By Roger B. Ulrich, Caroline K. Quenemoen
A better half to Roman Architecture provides a finished overview of the serious concerns and techniques that experience remodeled scholarly realizing in contemporary a long time in a single easy-to-reference volume.
• bargains a cross-disciplinary method of Roman structure, spanning expertise, background, artwork, politics, and archaeology;
• Brings jointly contributions via prime students in architectural history;
• an important consultant to fresh scholarship, protecting new archaeological discoveries, lesser recognized constructions, new applied sciences and area and construction;
• comprises large, updated bibliography and word list of key Roman architectural terms.
Read or Download A Companion to Roman Architecture (Blackwell Companions to the Ancient World) PDF
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Extra info for A Companion to Roman Architecture (Blackwell Companions to the Ancient World)
Both projects—not alone but in their coupling with the object of their architectural affection (or disaffection) and interdependence— address themselves to the viewer in such a way that the viewer doubles and develops the temporary multiple confounding mediums 49 22. Rachel Whiteread, Psycho Building: Artists Take on Architecture, 2006/2008. Installation view. The Hayward, London 50 personality order that comes with the nonlinguistic consciousness of a sleepwalker. These works are not critical of architecture, in the manner of Rachel Whiteread or Hirschhorn, who both use buildings’ ties with authority and capital as a foil, but rather share enough with architecture that the feedback between the two mediums is productive (fig.
Architecture’s history of interaction with other mediums is a long and complex story of intimacy and separation, power and control, but it is also a history that has repeatedly played a central role in the discipline’s advancement. From perspective and painting in the fif- 12. Pipilotti Rist, Youghurt on Skin— Velvet on TV, 1994. Audio video installation, view at Neue Galerie Graz/AT confounding mediums 35 teenth century to performance art and pneumatics in the 1960s, medium specificity has remained current as a question and architecture has remained projective as a discipline by detouring through medium alterity.
Projected images break the planes of a building into parts that never come together again to compose an envelope. While it is possible to see a building’s cladding through translucent images, they also add matter to a building envelope, thickening it rather than dematerializing it with luminosity. The viewer cannot choose to see only the material of a building surface or the image as in a gestalt figure/ground, but must see both simultaneously. Face and facade are superimposed but desynchronized, confounding the viewer’s perceptual capacity to distinguish between the material and representational strata of the facade.