- Gebundene Ausgabe: 304 Seiten
- Verlag: Yale University Press (16. Oktober 2009)
- Sprache: Englisch
- ISBN-10: 030014430X
- ISBN-13: 978-0300144307
- Größe und/oder Gewicht: 20,2 x 14,2 x 2,5 cm
- Amazon Bestseller-Rang: Nr. 276.888 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Why Architecture Matters (Why X Matters Series)
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Produktbeschreibungen
Pressestimmen
"This generously illustrated volume anchors its speculations in brief discussions of buildings that manage this hard-won equilibrium."--Brian Sholis, "The Virginia Quarterly Review"--Brian Sholis "The Virginia Quarterly Review "
Kurzbeschreibung
"Why Architecture Matters" is not a work of architectural history or a guide to the styles or an architectural dictionary, though it contains elements of all three. The purpose of "Why Architecture Matters" is to 'come to grips with how things feel to us when we stand before them, with how architecture affects us emotionally as well as intellectually' - with its impact on our lives. 'Architecture begins to matter', writes Paul Goldberger, 'when it brings delight and sadness and perplexity and awe along with a roof over our heads'. He shows us how that works in examples ranging from a small Cape Cod cottage to the 'vast, flowing' Prairie houses of Frank Lloyd Wright, from the Lincoln Memorial to the highly sculptural Guggenheim Bilbao and the Church of Sant'Ivo in Rome, where 'simple geometries...create a work of architecture that embraces the deepest complexities of human imagination'. Based on decades of looking at buildings and thinking about how we experience them, the distinguished critic raises our awareness of fundamental things like proportion, scale, space, texture, materials, shapes, light, and memory. Upon completing this remarkable architectural journey, readers will enjoy a wonderfully rewarding new way of seeing and experiencing every aspect of the built world.
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis
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17 von 18 Kunden fanden die folgende Rezension hilfreich
Highly readable
3. Januar 2010
Format:Gebundene Ausgabe
Opening a book on architecture tends to put me a bit on edge, since I've come to expect that the author, whoever he may be, is going to be highly opinionated and is going to make a lot of pronouncements that seem arbitrary and (worse) that differ from my own arbitrary opinions. This book was a pleasant surprise. Goldberger doesn't spend a lot of time pronouncing certain examples of architecture as appealing or appalling. Instead, he gives a good overview of what some of the issues are and how various architects handle them: "challenge" versus "comfort", for example, to take what's perhaps his best chapter. There are good black-and-white illustrations in the text, and my only quibble is that there could have been more of them provided (fortunately, it's not hard to find images on the internet). Highly readable and accessible.
10 von 12 Kunden fanden die folgende Rezension hilfreich
buy 1, get 1 free
16. Januar 2010
Format:Gebundene Ausgabe
To our joy, 3 books are recently released by first-rate architectural critics.
One is the posthumous work of Herbert Muschamp and the rest two are works of
Paul Goldberger. Critic of New Yorker, his writings flow with delicious flavor.
Born in NJ, studied at Yale, and practiced in NY, Goldberger's writings grasp what is
best of Architecture with examples mostly from the US.
Books like this typically pays particular attention to examples of great
masters of Europe or cities like Paris, Rome, or London.
Goldberger's writings are valuable, at least to foreign audience,
because subject matter is mostly American.
The book is divided into thematic sections. Each section provides ample illustrations.
What makes the reading enjoyable is the fact that Goldberger's writing does not only stick
to examples of now, but rather, navigates also through past, kindly explaining to the
readers why certain building in the past is as much valuable as, if not more, excellent
buildings of now.
For example, he compares National Gallery West to East, outlining why John Pope's design
(though style-wise it was criticized severely by Modernists at the time of erection)
is better than IM Pei's. Claims like this could be mind-bothering, depending on which school
of thought an audience is in. As a museum, Paul thinks west wing was much more exhibition-friendly
than Pei's. He explains why good buildings outlive criticism of the day and outlast
regardless of their style application.
Explanation on Lincoln Memorial is another example. Stylistically speaking it's a Greek
building, but Goldberger's reading of it turns it not so pseudo historical replica.
He argues Henry Bacon was talented enough to make it a truly brilliant and
as much a modern building as any other Modern masterpiece.
Buildings of Gilded Age receive new edge, Architects 19 century gets
new spotlight, and the arc of styles (or life of a building) are re-viewed
with insight and sharpness. His writings on Yale campus and his child
neighborhood are touching. His clips from movies and novels add freshness.
Goldberger also tries to help the reader to see the building not as an individual object,
but to view it in the context of visible, and sometimes invisible, setting. He helps
us to see sometimes physical and cultural, and sometimes political and financial forces
that shaped the building. Yet the joy of his writing is that it is ultimately geared towards
experiential dimension of a space than theoretical.
The joy of experiencing real world, hence he argues, lies in the "serendipity"
and the "propinquity" of real stuff felt through real contact in cities and buildings.
Hence, even in the cyber space world with virtual realities, the importance of matter
and physical contact remains vital importance for people.
One is the posthumous work of Herbert Muschamp and the rest two are works of
Paul Goldberger. Critic of New Yorker, his writings flow with delicious flavor.
Born in NJ, studied at Yale, and practiced in NY, Goldberger's writings grasp what is
best of Architecture with examples mostly from the US.
Books like this typically pays particular attention to examples of great
masters of Europe or cities like Paris, Rome, or London.
Goldberger's writings are valuable, at least to foreign audience,
because subject matter is mostly American.
The book is divided into thematic sections. Each section provides ample illustrations.
What makes the reading enjoyable is the fact that Goldberger's writing does not only stick
to examples of now, but rather, navigates also through past, kindly explaining to the
readers why certain building in the past is as much valuable as, if not more, excellent
buildings of now.
For example, he compares National Gallery West to East, outlining why John Pope's design
(though style-wise it was criticized severely by Modernists at the time of erection)
is better than IM Pei's. Claims like this could be mind-bothering, depending on which school
of thought an audience is in. As a museum, Paul thinks west wing was much more exhibition-friendly
than Pei's. He explains why good buildings outlive criticism of the day and outlast
regardless of their style application.
Explanation on Lincoln Memorial is another example. Stylistically speaking it's a Greek
building, but Goldberger's reading of it turns it not so pseudo historical replica.
He argues Henry Bacon was talented enough to make it a truly brilliant and
as much a modern building as any other Modern masterpiece.
Buildings of Gilded Age receive new edge, Architects 19 century gets
new spotlight, and the arc of styles (or life of a building) are re-viewed
with insight and sharpness. His writings on Yale campus and his child
neighborhood are touching. His clips from movies and novels add freshness.
Goldberger also tries to help the reader to see the building not as an individual object,
but to view it in the context of visible, and sometimes invisible, setting. He helps
us to see sometimes physical and cultural, and sometimes political and financial forces
that shaped the building. Yet the joy of his writing is that it is ultimately geared towards
experiential dimension of a space than theoretical.
The joy of experiencing real world, hence he argues, lies in the "serendipity"
and the "propinquity" of real stuff felt through real contact in cities and buildings.
Hence, even in the cyber space world with virtual realities, the importance of matter
and physical contact remains vital importance for people.
4 von 5 Kunden fanden die folgende Rezension hilfreich
Interesting on many levels
23. Januar 2010
Format:Gebundene Ausgabe
The book was very useful to me as an artist in terms of the power of context and the abstract meanings that can exist in art and music as well as architecture. Goldberg's writing is smooth as silk and very conversational.
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