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Shadow-makers : a cultural history of shadows in architecture
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.
eBook
Shadow-makers : a cultural history of shadows in architecture
\"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 \"-- Provided by publisher.
Book
Building Texts + Reading Fabrics: Metaphor, Memory, and Material in John Ruskin's Stones of Venice
We cannot remember without [architecture], declares John Ruskin (1819-1900) in \"The Lamp of Memory\" of his The Seven Lamps of Architecture (1849) (Cook and Wedderburn, 1904, vol. 8, p. 224). For Ruskin, the city is a place of collective memory, a space where buildings are analogized as texts—\"the criticism of the building is to be conducted precisely on the same principles as that of a book,\" he contends ( Works , 10: 269). In the evangelical tradition of Ruskin's upbringing, this interpretation of architecture is a kind of lectio divina ; a great building is a sacred palimpsest for those who read the fabric with patience and insight. Equally, a text such as the three volumes of his Stones of Venice is endowed with a tectonic in counterform to the city it depicts. Thus, the first volume is constructed from quarry to cornice; Ruskin demands his readers to roll up their sleeves, gives them \"stones, and bricks, and straw, chisels and trowels, and the ground, and then asks [them] to build\" ( Works , 9: 73). In exploring these analogous spaces of text and architecture, this research operates within the empirical and documentary arena of Ruskinian interpretation, working with the primary notebooks, worksheets, and diaries from which the Stones of Venice was constructed. It examines the reciprocity between Ruskin's multiple readings of the urban fabric, the erection of the manuscript of Stones , and the playing out of his intimate physical knowledge of the city in themes of metaphor, memory and material.
Journal Article
\Watchful Wandering\
Through close readings of John Ruskin's notebooks and diaries (related to The Stones of Venice) and the city itself, this paper explores his \"watchful wandering\"-as he characterized it-as a mode of urban experience and analysis, and that connected vision wherein the concrete fragment emblematizes the whole. Within a long history of ambulatory urban contemplation and journeyings, the paper locates Ruskin at the cusp of the pre- and early modern, exposing thereby a tension between the ethical and the aesthetic; between Ruskin's threefold vision-imbricating the romantic, scientific, and symbolic-and the blasé detachment of the urban flâneur.
Journal Article
Can quality be managed and assured in architecture? Issues of qualification and quantification
‘Quality’ has become ubiquitous in the management vocabulary of Western societies. In consequence, the word's familiar usage has grown slippery. Formerly grounded in ethical values or skilled craftsmanship, ‘quality’ is now commonly associated with the management of administrative or technical processes. Whereas the appreciation of quality was founded in the exercise of individual judgement and taste – of connoisseurship – organisations now seek to ground its assessment in supposedly objective systems of evaluation. Practitioners are under pressure to quantify quality, but it remains questionable whether it is possible or even desirable to do so. Several papers in this issue of arq derive from a conference exploring such themes around the idea of Quality, an event held at the Welsh School of Architecture in July 2007 and reviewed here.
Journal Article
Can quality be managed and assured in architecture? Issues of qualification and quantification
‘Quality’ has become ubiquitous in the management vocabulary of Western societies. In consequence, the word's familiar usage has grown slippery. Formerly grounded in ethical values or skilled craftsmanship, ‘quality’ is now commonly associated with the management of administrative or technical processes. Whereas the appreciation of quality was founded in the exercise of individual judgement and taste – of connoisseurship – organisations now seek to ground its assessment in supposedly objective systems of evaluation. Practitioners are under pressure to quantify quality, but it remains questionable whether it is possible or even desirable to do so. Several papers in this issue of arq derive from a conference exploring such themes around the idea of Quality , an event held at the Welsh School of Architecture in July 2007 and reviewed here.
Journal Article
The ‘architecture of colour-form’: Adrian Stokes and Venice
Adrian Stokes (1902–72) — aesthete, critic, painter and poet — is linked to John Ruskin and Walter Pater as one of the greatest aesthetic thinkers in this English empirical tradition. This paper explores his insights on the reciprocity of colour and form in relation to architecture.
Journal Article