Architecture and the machine aesthetic
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Architecture and the machine aesthetic

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Published by Vance Bibliographies in Monticello, Ill .
Written in English

Subjects:

  • Architecture, Modern -- 20th century -- Bibliography.,
  • Functionalism (Architecture) -- Bibliography.

Book details:

Edition Notes

Cover title.

StatementCarole Cable.
SeriesArchitecture series : Bibliography ;, A-37
Classifications
LC ClassificationsZ5941.5 .C3, NA680 .C3
The Physical Object
Pagination10 p. ;
Number of Pages10
ID Numbers
Open LibraryOL4445136M
LC Control Number79106975

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Genre/Form: Bibliography Bibliographie: Additional Physical Format: Online version: Cable, Carole. Architecture and the machine aesthetic. Monticello, Ill.: Vance. Peter Reyner Banham, FRIBA (2 March – 19 March ) was an English architectural critic and writer best known for his theoretical treatise Theory and Design in the First Machine Age () and for his book Los Angeles: The Architecture of Four Ecologies. In the latter he categorized the Los Angeles experience into four ecological models (Surfurbia, Foothills, The Plains of Id, and Alma mater: Courtauld Institute of Art. The machine’s influence on art and architecture reflected the machine’s explosion as a valuable form of aesthetic. Both Functionalism and machine aesthetics held its own influence in modern architecture. The arrival of the machine was to have such revolutionary significance that the following years can legitimately be termed the Machine Age. In the s, Corbu published his own influential book, Toward an Architecture, in which he famously wrote “Une maison est une machine-à-habiter” (“A house is a machine for living in”). It reflected his functionalist vision for the future of domestic design.

Machine Aesthetic. Architecture that suggested something machine-made, acknowledging industrialization, mass-production, and engineering, or that used elements of metal structures (ships, aeroplanes, motorcars, etc.) in an eclectic fashion, more a matter of arriving at an appearance than of actually being what it seemed, a fact that contradicted demands for honesty and truth in architecture. In this important book, Roger Scruton calls for a return to first principles in contemporary architectural theory, contending that the aesthetic of architecture is, in its very In this important book, Roger Scruton calls for a return to first principles in contemporary architectural theory, contending that the aesthetic of architecture is, in /5(6). One of the most interesting questions in architectural history is why modern architecture emerged from the war-ravaged regions of central Europe and not the United States, whose techniques of mass production and mechanical products so inspired the first generation of modern architects like Le Corbusier, Mies van der Rohe, and Walter Gropius. In From Autos to Architecture, sociologist David. In Richard Hill published his Designs and their Consequences: Architecture and Aesthetics (Yale University Press, ). As its similar title suggests, Winters' book, part of the Continuum Aesthetics Series, invites comparison with Hill's earlier effort.

Architecture as machine; Towards an architectural system for human well-being P. Atmodiwirjo, Y.A. Yatmo Department of Architecture, Faculty of Engineering, Universitas Indonesia Abstract: Le Corbusier’s well-known phrase ‘The house is a machine for living in’ suggested a kind of machinic aesthetic. Theory and Design in the First Machine Age / Reyner Banham. This book documents the work of the architecture studio Flores & Prats, walking as an aesthetic practice / Francesco Careri. Vers une architecture, recently translated into English as Toward an Architecture but commonly known as Towards a New Architecture after the translation by Frederick Etchells, is a collection of essays written by Le Corbusier (Charles-Edouard Jeanneret), advocating for and exploring the concept of modern book has had a lasting effect on the architectural profession Author: Le Corbusier.   Architecture is distinguished from other art forms by its sense of function, its localized quality, its technique, its public and nonpersonal character, and its continuity with the decorative arts. In this important book, Roger Scruton calls for a return to first principles in contemporary Brand: Princeton University Press.