Adrian Stokes: An Architectonic Eye
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1000 tulosta hakusanalla Stephen Kite
Based on extensive fieldwork, and research into John Ruskin's still little-interpreted archival material, notebooks and drawings (in the Ruskin Library, Lancaster University, UK and elsewhere), Stephen Kite offers an unprecedented account of the evolution of Ruskin's architectural thinking and observation in the context of Italy where his watching of building achieved its greatest intensity. Venice naturally figures large in a work that also examines other key sites including Verona, Lucca, Pisa, Florence, Milan and Monza; here, the fabrics are vividly read in their contexts against the rich evidence of Ruskin's diaries, his pocket-book sketches, architectural worksheets, drawings, and daguerrotypes (the early form of photography), and the drafts and published editions of the texts. Kite presents the complex story of Ruskin's visual thinking in architecture as a narrative of deepening interpretation and representation, focusing on the humbler monuments of Italy. He shows how Ruskin's early picturesque naturalism was transformed by the realisation that to understand the built realities confronting him in Italy demanded a closer engagement with the substance of the stones themselves; reflecting Ruskin's sense of his task as a near-archaeological gleaning and gathering of remains 'hidden in many a grass grown court, and silent pathway, and lightless canal'.
Shaping the Surface explores the history of modern British architecture through the lens of surface, materiality and decoration.Picking up on a trait that art historian Nikolaus Pevsner first identified as a ‘national mania for beautiful surface quality’, this book makes a new contribution to architectural history and visual culture in its detailed examination of the surfaces of British architecture from the middle of the 19th century up to the turn of the 21st century. Tracing this continuing sensibility to surface all the way through to the modern era, it explores how and why surface and materiality have featured so heavily in recent architectural tradition, examining the history of British architecture through a selection of key cultural moments and movements from Romanticism and the Arts and Crafts, to Brutalism, High-Tech, Post-Modernism, Neo-Vernacular, and the New Materiality. Embedded within the narrative is the question of whether such national characters can exist in architecture at all – and indeed the extent to which it is possible to identify a British architectural consciousness in an architectural tradition characterised by its continuous importation of theories, ideas, materials and people from around the globe.Shaping the Surface provides a deep critique and meditation on the importance of surface and materiality for architects, designers, and historians everywhere - in Britain and beyond - while it also serves as a thematic introduction to modern British architectural history, with in-depth readings of the works of many key British architects, artists, and critics from Ruskin and William Morris to Alison and Peter Smithson, Eduardo Paolozzi, Richard Rogers and Caruso St John.
Shaping the Surface explores the history of modern British architecture through the lens of surface, materiality and decoration.Picking up on a trait that art historian Nikolaus Pevsner first identified as a ‘national mania for beautiful surface quality’, this book makes a new contribution to architectural history and visual culture in its detailed examination of the surfaces of British architecture from the middle of the 19th century up to the turn of the 21st century. Tracing this continuing sensibility to surface all the way through to the modern era, it explores how and why surface and materiality have featured so heavily in recent architectural tradition, examining the history of British architecture through a selection of key cultural moments and movements from Romanticism and the Arts and Crafts, to Brutalism, High-Tech, Post-Modernism, Neo-Vernacular, and the New Materiality. Embedded within the narrative is the question of whether such national characters can exist in architecture at all – and indeed the extent to which it is possible to identify a British architectural consciousness in an architectural tradition characterised by its continuous importation of theories, ideas, materials and people from around the globe.Shaping the Surface provides a deep critique and meditation on the importance of surface and materiality for architects, designers, and historians everywhere - in Britain and beyond - while it also serves as a thematic introduction to modern British architectural history, with in-depth readings of the works of many key British architects, artists, and critics from Ruskin and William Morris to Alison and Peter Smithson, Eduardo Paolozzi, Richard Rogers and Caruso St John.
Based on extensive fieldwork, and research into John Ruskin's still little-interpreted archival material, notebooks and drawings (in the Ruskin Library, Lancaster University, UK and elsewhere), Stephen Kite offers an unprecedented account of the evolution of Ruskin's architectural thinking and observation in the context of Italy where his watching of building achieved its greatest intensity. Venice naturally figures large in a work that also examines other key sites including Verona, Lucca, Pisa, Florence, Milan and Monza; here, the fabrics are vividly read in their contexts against the rich evidence of Ruskin's diaries, his pocket-book sketches, architectural worksheets, drawings, and daguerrotypes (the early form of photography), and the drafts and published editions of the texts. Kite presents the complex story of Ruskin's visual thinking in architecture as a narrative of deepening interpretation and representation, focusing on the humbler monuments of Italy. He shows how Ruskin's early picturesque naturalism was transformed by the realisation that to understand the built realities confronting him in Italy demanded a closer engagement with the substance of the stones themselves; reflecting Ruskin's sense of his task as a near-archaeological gleaning and gathering of remains 'hidden in many a grass grown court, and silent pathway, and lightless canal'.
The making of shadows is an act as old as architecture itself. From the gloom of the medieval hearth through to the masterworks of modernism, shadows have been an essential yet neglected presence in architectural history.Shadow-Makers tells for the first time the history of shadows in architecture. It weaves together a rich narrative – combining close readings of significant buildings both ancient and modern with architectural theory and art history – to reveal the key places and moments where shadows shaped architecture in distinctive and dynamic ways. It shows how shadows are used as an architectural instrument of form, composition, and visual effect, while also exploring the deeper cultural context – tracing differing conceptions of their meaning and symbolism, whether as places of refuge, devotion, terror, occult practice, sublime experience or as metaphors of the unconscious.Within a chronological framework encompassing medieval, baroque, enlightenment, sublime, picturesque, and modernist movements, a wide range of topics are explored, from Hawksmoor’s London churches, Japanese temple complexes and the shade-patterns of Islamic cities, to Ruskin in Venice and Aldo Rossi and Louis Kahn in the 20th century. This beautifully-illustrated study seeks to understand the work of these shadow-makers through their drawings, their writings, and through the masterpieces they built.
Adrian Stokes: An Architectonic Eye
First published in 2005, An Architecture of invitation: Colin St John Wilson is a distinctive study of the life and architectural career of one of the most significant makers, theorists and teachers of architecture to have emerged in England in the second half of the twentieth century. Exceptionally in an architectural study, this book interweaves biography, critical analysis of the projects, and theory, in its aims of explicating the richness of Wilson’s body of work, thought and teaching. Drawing on the specialisms of its authors, it also examines the creative and psychological impulses that have informed the making of the work – an oeuvre whose experiential depth is recognised by both users and critics.
First published in 2005, An Architecture of invitation: Colin St John Wilson is a distinctive study of the life and architectural career of one of the most significant makers, theorists and teachers of architecture to have emerged in England in the second half of the twentieth century. Exceptionally in an architectural study, this book interweaves biography, critical analysis of the projects, and theory, in its aims of explicating the richness of Wilson’s body of work, thought and teaching. Drawing on the specialisms of its authors, it also examines the creative and psychological impulses that have informed the making of the work – an oeuvre whose experiential depth is recognised by both users and critics.
Cardinal Martini approaches the figure of Stephen, the first martyr, by beginning with what is described in Chapters 6-8 of the Acts of the Apostles, 'an impressive document of a man's retrospective view in the face of death, of himself, the history of salvation, of what Christ has meant for him and the future to which he has been called.' Reflection on the figure of Stephen is important for the entire community of believers; in fact with Stephen 'the Church feels the seriousness of being both witness and servant: It understands that abandoning oneself to God does not save one from death, but it does allow one to pass through death, contemplating the glory of God; it recognises what it is that God saves us and does not save us from and what he prepares us for.'The richness of these meditations lies in this summary of things. It lies in the experience of a man who is approaching the revelation of the proximity of a transcendent and immanent God and at the same time arrives 'at the culmination of his mission as servant witness, ' experiencing the mystery that he proclaims, contemplates and adores, in his very own body.
Stephen Mangham is dead, brutally murdered in his apartment, but George, his father, has no tears to shed, no grief in his heart. He despised his son, despises the mourners, but a stranger in the cemetery, watching from afar, gives him pause for thought, and unsettles him.The Beeches, geriatric wing of a local hospital, is closed for refurbishment. Stan Perkins, a former nurse, is on the verge of marriage, but undecided as to whether or not to return to his career once the renovation is complete. Memories of recent horrors, and the death of a colleague, haunt him. D.C. Robin Coldwell is suspended from active duty and drinking heavily, but husband, Oliver, is sure that solving the Mangham murder would give her purpose and focus.Neither is prepared for the awful truth. Are you?
In 2483, a cyborg attack by the Rouges maroons 3-year-old Stephen on Terra 3. He grows up to eventually lead defense of the small colony thirty years later. Unfortunately, a violent dispute forces him flee to Terra 12 in a rickety starship. There he makes friends with Jack the barkeep, Matou the enhanced tomcat, and Nova, a mysterious young woman with a hidden past. Rouge agents force Stephen and Nova to flee, with cyborg soldiers threatening every step. When a familiar starship from Earth enters the fray, the battle truly begins. Stephen will do everything he can to save his friends, or die trying.
Stephen, an emperor goose in Hope, Alaska, doesn't quite fit in with his family. But more surprisingly he doesn't like the water. What goose doesn't like the water? Find out more in Stephen.