By Dana Arnold
Structure as adventure investigates the belief and appropriation of locations throughout periods of time and tradition. the actual drawback of the quantity is to compile clean empirical learn and animate it through touch with theoretical sophistication, with out overwhelming the fabric. The chapters identify the continuity of a selected actual item and express it in at the least two alternative old views, during which recognisable gains are proven in numerous lighting fixtures. the consequences are frequently surprising, inverting the common idea of a old position as having a permanent meaning. This book shows the perception that may be won from studying approximately past buildings of meaning which were derived from the comparable constructions that stand earlier than us this present day.
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Additional resources for Architecture as Experience: Radical Change in Spatial Practice
20 Overall, the fountain must have been a most attractive landmark in the new Flavian piazza, and it is not surprising that many of the numismatic commemorations of the amphitheatre proudly display the Meta Sudans alongside it as an integral component of the Flavian building programme in the valley. The close association and equal fortunes of the Meta Sudans and the Flavian amphitheatre continued through the Roman imperial period. On third-century coins commemorating imperially sponsored repairs to the fire-damaged Colosseum, the Meta Sudans is still featured beside the amphitheatre on the reverses.
23 Chippindale, op. , p. 205. 24 Ralph Waldo Emerson, quoted by John Dewey, in Art as Experience, 1934, reprinted New York, Puttnam, 1980, pp. 28–9. 25 Dewey, op. , chapter one, ‘The Live Creature’, pp. 3–19. 26 Dewey, op. , p. 18. 34 Misprisions of Stonehenge 27 Dewey, op. , pp. 18–19. 28 Johann Joachim Winckelmann, Gedanken über die Nachahmung der greichischen Werke in der Malery und Bildhauer-Kunst, 1755; translated by Henry Fuseli, Reﬂections on the Painting and Sculpture of the Greeks; With Instructions for the Connoisseur, and an Essay on Grace in Works of Art, London, 1765, p.
A ‘biographical’ account of the life of a building and its architecture will aspire to sketch an outline of such a line of development and will need continual revision for as long as the building is remembered and plays a signiﬁcant role in heritage and imagination. Other kinds of account, that see an initiating moment of the building’s life as allimportant, certainly have a role to play, but they are like moments of dramatic crisis, rather than a whole biography. Most of our biographies of buildings cover little more than the time between conception and birth.
Architecture as Experience: Radical Change in Spatial Practice by Dana Arnold