Architecture can be analogous to a history, a fiction, and a landscape. We expect a history or a novel to be written in words, but they can also be cast in concrete or seeded in soil. The catalyst to this tradition was the simultaneous and interdependent emergence in the eighteenth century of new art forms: the picturesque landscape, the analytical history, and the English novel. Each of them instigated a creative and questioning response to empiricism’s detailed investigation of subjective experience and the natural world, and together they stimulated a design practice and lyrical environmentalism that profoundly influenced subsequent centuries. Associating the changing natural world with journeys in self-understanding, and the design process with a visual and spatial autobiography, this book describes journeys between London and the North Sea in successive centuries, analysing an enduring and evolving tradition from the picturesque and romanticism to modernism. Creative architects have often looked to the past to understand the present and imagine the future. Twenty-first-century architects need to appreciate the shock of the old as well as the shock of the new.
Landscape of Architecture
122 Scully writes: 'Venturi, who first went to Rome in 1948, preceded Kahn in projecting the use of Roman ruins as deep screens around his buildings, as in the Pearson house project of 1957,' which Venturi describes as 'things in things ...
... previous experience in park design was gained through working under John Nash on the Regent's Park ( 1811 - c . 1828 ) . ... the La Follette legislation regulating grazing , preservation of the Appalachian watersheds , the Palisades ...
The essays have been perennial favorites in landscape courses since their original publication in Landscape Journal.
We expect historical narratives to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The aim of this volume is to understand each design as a visible and physical history.
Describes the life of the landscape architect responsible for New York's Central Park and Boston's Emerald Necklace including his lesser-known time spent as an influential journalist, early voice for the environment and abolitionist, all ...
One of the arguments in A Landscape of Architecture, History and Fiction28 is that a building can be understood as a landscape, as well as history and/or a fiction. As a historian, I try to be true to the material and archive I study, ...
An exploration of the way English literature has interacted with architectural edifices and the development of landscape as a national style from the Middle Ages to the 19th Century.
We expect historical narratives to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The aim of this volume is to understand each design as a visible and physical history.
Together, the fictions put forward in this volume both outline and inspire innovative methods for critique and discourse, while raising awareness of evolving social, cultural, political and atmospheric conditions, and emergent technologies ...