This highly regarded, consistently well-selling and extremely well-written book brings to life architectural history and its canon of great buildings through a lively approach that is both insightful and accurate. This story of architecture moves back and forth between long views of historical trends and close-ups of major works and crucial ...
This highly regarded, consistently well-selling and extremely well-written book brings to life architectural history and its canon of great buildings through a lively approach that is both insightful and accurate. This story of architecture moves back and forth between long views of historical trends and close-ups of major works and crucial architectural themes. The authors have successfully made the subject of architectural history - which due to its technical aspects can too often be off-putting to the lay reader - transparent, engaging, and easily mastered. All buildings are illustrated with effective images that are well reproduced and thoughtfully keyed to the text. In the second edition, the content of the book has been fine-tuned and polished. Sections in the Renaissance, Baroque, and Modern chapters were reworked to include recent scholarship and, in the case of the Baroque, expand coverage to Eastern Europe. The Introduction has been significantly updated in its slant and language, including a discussion of the newly introduced term Postmodernity. The most significant and exciting change, however, is the addition of the new chapter, which covers architectural development
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Publishers Weekly, 1986-01-31 In his design for the Brooklyn Bridge, John Roebling fused Egyptian and Gothic detail into his personal version of the Roman triumphal arch. Michelangelo conceived his muscular, expressive architecture as if it were sculpture. These engaging insights are typical of the fresh approach taken by two New York University professors in this heavily illustrated, 600-page survey of Western architecture. The authors focus on monumental structures within each epoch, and give stylistic detail priority over social or political context. Even so, they often make broad connections between buildings and people. For example, a comparison of Greek freestanding temples and Rome's imposing facades suggests a difference between the freedom-loving Athenians and a Roman society dominated by state power and state religion. From Etruscan ruins to Robert Venturi's juxtaposing of low vernacular with high art, this detailed, rewarding study measures innovation against continuity. (March)
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