The book also includes descriptions of laquerware under candlelight, and women in the darkness of the house of pleasure.

    The purpose of Why Architecture Matters is to "come to grips with how things feel to us when we stand before them, with how architecture affects us emotionally as well as intellectually" — with its impact on our lives. "Architecture begins to matter," writes Paul Goldberger, "when it brings delight and sadness and perplexity and awe along with a roof over our heads." He shows us how that works in examples ranging from a small Cape Cod cottage to the "vast, flowing" Prairie houses of Frank Lloyd Wright, from the Lincoln Memorial to the highly sculptural Guggenheim Bilbao and the Church of Sant'Ivo in Rome, where "simple geometries...create a work of architecture that embraces the deepest complexities of human imagination."Based on decades of looking at buildings and thinking about how we experience them, the distinguished critic raises our awareness of fundamental things like proportion, scale, space, texture, materials, shapes, light, and memory. Upon completing this remarkable architectural journey, readers will enjoy a wonderfully rewarding new way of seeing and experiencing every aspect of the built world.

    Here the reform movement of the turn of the century is not only dealt with as an artistic event, but those economic and political interests which inspired, supported, and handicapped it are also taken into account. In the chapters "Movement," "Unrest", and "Equilibrium," the historical phenomenon as a whole is characterised and is also presented with its own distinct local features. The centres of Brussels, Nancy, Barcelona, Glasgow, Helsinki and Chicago are dealt with in subchapters as are Munich, Darmstadt and Weimar. Finally, Vienna, that city in which the synthesis achieved its culmination, is described separately. The outstanding artists are examined in detail in connection with the respective cities of their greatest activity. The result is a complex picture of the symbiosis of architecture, furniture design, and craftsmanship with their corresponding approaches to artistic revitalization.

    It is considered a pioneering essay for both feminist art history and feminist art theory.In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural". In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question "Why have there been no great women artists?" is based; by questioning the validity of the formulation of so-called problems in general and the "problem" of women specifically; and then, by probing some of the limitations of the discipline of art history itself."

    Combining examples with activities and selected readings it offers a unique resource for teachers and students in cultural studies and related fields as an introduction to this complex and central theme.

    Organised largely by building type, and with over 6000 diagrams, it provides a mass of data on spatial requirements and also covers planning criteria and considerations of function and siting. Most illustrations are dimensioned and each building type includes plans, sections, site layouts and design details. There are substantial new sections on:- building components - services - heating - lighting - thermal and sound insulation - fire protection - designing for the disabledAn extensive bibliography and a detailed set of metric/imperial conversion tables are included.Since it was first published in Germany in 1936, Ernst Neufert's handbook has been progressively revised and updated through 35 editions and many translations. This Third Edition of the English language version has been revised for the first time in 20 years and completely reworked, with 40% more material, to provide a major new edition for an international readership. Browse sample pages and buy online: http: //www.blackwellpublishing.com/architect...

    In this seminal work, Arnheim, author of The Dynamics of Architectural Form, Film as Art, Toward a Psychology of Art, and Art and Visual Perception, asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. An indispensable tool for students and for those interested in the arts.

    Long considered the survey of modern art, this engrossing and liberally illustrated text traces the development of trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. Retaining its comprehensive nature and chronological approach, it now comes thoroughly reworked by Michael Bird, an experienced art history editor and writer, with refreshing new analyses, a considerably expanded picture program, and a more absorbing and unified narrative.

    The story of how it came to be is a remarkable one: two young citizens with no prior experience in planning and development collaborated with their neighbors, elected officials, artists, local business owners, and leaders of burgeoning movements in horticulture and landscape architecture to create a park celebrated worldwide as a model for creatively designed, socially vibrant, ecologically sound public space.Joshua David and Robert Hammond met in 1999 at a community board meeting to consider the fate of the High Line. Built in the 1930s, it carried freight trains to the West Side when the area was defined by factories and warehouses. But when trains were replaced by truck transport, the High Line became obsolete. By century's end it was a rusty, forbidding ruin. Plants grew between the tracks, giving it a wild and striking beauty.David and Hammond loved the ruin and saw in it an opportunity to create a new way to experience their city. Over ten years, they did so. In this candid and inspiring book— lavishly illustrated—they tell how they relied on skill, luck, and good timing: a crucial court ruling, an inspiring design contest, the enthusiasm of Mayor Bloomberg, the concern for urban planning issues following 9/11. Now the High Line—a half-mile expanse of plants, paths, staircases, and framed vistas—runs through a transformed West Side and reminds us that extraordinary things are possible when creative people work together for the common good.

    This book offers a fresh perspective on various developments shaping our cultural history.

    In prose of outstanding immediacy, Jane Jacobs writes about what makes streets safe or unsafe; about what constitutes a neighborhood, and what function it serves within the larger organism of the city; about why some neighborhoods remain impoverished while others regenerate themselves. She writes about the salutary role of funeral parlors and tenement windows, the dangers of too much development money and too little diversity. Compassionate, bracingly indignant, and always keenly detailed, Jane Jacobs's monumental work provides an essential framework for assessing the vitality of all cities.

    Every building contains clues embedded in its design that identify not only its architectural style but also who designed it, what kind of congregation it was built for, and why. This practical yet charming handbook is the key to decoding the style, history, evolution, and social significance of religious buildings. Not strictly limited to churches, it also covers abbeys, chapels, and monasteries, among other structures. Organized according to architectural element (windows, domes, arches, etc.), each element is presented in chronological order. Additional chapters explore the architectural influence of geography, history, and various creeds, along with an illustrated timeline showing how, where, and in many cases why certain church features evolved through the centuries. There is also a useful introduction to naming each component of a church, from vaults to buttresses and transepts to apses. All entries are illustrated with period engravings and line drawings. This book will be invaluable for architecture buffs and anyone who has ever wondered why classic New England churches are white with little ornament, why Quaker meetinghouses have no altars, or why Episcopalians traditionally favored the Gothic style.

    "It can be exhilarating, appealing, inspiring, chilling. It is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend." In a book that is itself beautifully written, renowned philosopher Roger Scruton explores this timeless concept, asking what makes an object--either in art, in nature, or the human form--beautiful. This compact volume is filled with insight and Scruton has something interesting and original to say on almost every page. Can there be dangerous beauties, corrupting beauties, and immoral beauties? Perhaps so. The prose of Flaubert, the imagery of Baudelaire, the harmonies of Wagner, Scruton points out, have all been accused of immorality, by those who believe that they paint wickedness in alluring colors. Is it right to say there is more beauty in a classical temple than a concrete office block, more beauty in a Rembrandt than in an Andy Warhol Campbell Soup Can? Can we even say, of certain works of art, that they are too beautiful: that they ravish when they should disturb. But while we may argue about what is or is not beautiful, Scruton insists that beauty is a real and universal value, one anchored in our rational nature, and that the sense of beauty has an indispensable part to play in shaping the human world. Forthright and thought-provoking, and as accessible as it is stimulating, this fascinating meditation on beauty draws conclusions that some may find controversial, but, as Scruton shows, help us to find greater meaning in the beautiful objects that fill our lives.

    In Heaven in Stone and Glass, Catholic priest and professor of theology at Mundelein Seminary in Chicago teaches us how to read these secrets, with beautiful reflections on aspects such as light and darkness, the labyrinth, the meaning of gargoyles and demons, and the imagery of vertical space. whether you are preparing for a pilgrimage to York Cathedral of Notre Dame in Paris, or looking ahead to inspirational bedside reading, this book is the perfect guide.

    As varied and inventive as the volumes they hold, such buildings can be much more than the dusty, dark wooden shelves found in mystery stories or the catacombs of stacks in the basements of academia. From the great dome of the Library of Congress, to the white façade of the Seinäjoki Library in Finland, to the ancient ruins of the library of Pergamum in modern Turkey, the architecture of a library is a symbol of its time as well as of its builders’ wealth, culture, and learning. Architectural historian James Campbell and photographer Will Pryce traveled the globe together, visiting and documenting over eighty libraries that exemplify the many different approaches to thinking about and designing libraries. The result of their travels, The Library: A World History is one of the first books to tell the story of library architecture around the world and through time in a single volume, from ancient Mesopotamia to modern China and from the beginnings of writing to the present day. As these beautiful and striking photos reveal, each age and culture has reinvented the library, molding it to reflect their priorities and preoccupations—and in turn mirroring the history of civilization itself. Campbell’s authoritative yet readable text recounts the history of these libraries, while Pryce’s stunning photographs vividly capture each building’s structure and atmosphere.  Together, Campbell and Pryce have produced a landmark book—the definitive photographic history of the library and one that will be essential for the home libraries of book lovers and architecture devotees alike.