The sketch is a window into the architects mind. As creative designers, architects are interested in how other architects, particularly successful ones, think through the use of drawings to approach their work. Historically designers have sought inspiration for their own work through an insight into the minds and workings of people they often regard as geniuses. This collection of sketches aims to provide this insight. Here for the first time, a wide range of world famous architects' sketches from the Renaissance to the present day can be seen in a single volume. The sketches have been selected to represent the concepts or philosophies of the key movements in architecture in order to develop an overall picture of the role of the sketch in the development of architecture. The book illustrates the work of designers as diverse as Andrea Palladio, Erich Mendelsohn, Sir Edwin Lutyens, Gianlorenzo Bernini, Le Corbusier, Michelangelo, Alvar Aalto, Sir John Soane, Francesco Borromini, Walter Gropius, and contemporary architects Tadao Ando, Zaha Hadid and Frank Gehry to name but a few. Each chronologically placed sketch is accompanied by text providing details about the architect’s life, a look at the sketch in context, and the connection to specific buildings where appropriate. Style, media and meaning are also discussed, developing an explanation of the architect’s thinking and intentions. As creative designers themselves, architects are interested in how other architects, particularly successful ones, think and draw and approach their work. Historically designers have sought inspiration for their own work through an insight into the minds and workings of people they often regard as geniuses. This collection of sketches aims to provide this insight. Listed chronologically each sketch will be accompanied by a text which provides: A short synopsis/history of the architect's life; a look at the sketch in this context; the connection to a specific building (where appropriate); techniques of the sketch: style and media; meaning - what the sketch shows about the architect's thinking and intentions followed by a select bibliography for each section.

A serious and original study of the beginnings and development of modernism in which the pictorial aspects are designed to aid in the communication of the author's closely reasoned formulations. Let it be said at once that the format of this work is richly handsome: it is a two-volume boxed set comprising 844 pages and well over 1,000 high-quality illustrations, and it reflects throughout its publisher's conviction that good design is an essential, not superficial, part of bookmaking. Beyond that, it should be emphasized that this work is not another facile cultural tour of modern architecture. It is a serious and original study of the beginnings and development of modernism in which the pictorial aspects are designed to aid in the communication of the author's closely reasoned formulations, rather than to gloss over a lack of substantive content. The book is a translation of the third Italian edition, published in 1966. Benevolo, who is on the faculty of architecture in Venice, has earned an international reputation as a historian of architecture and town planning, and his publications embrace the span of time from the Renaissance to the foreseeable future. One such publication, The Origins of Modern Town Planning (The MIT Press, 1967), may be read as a prelude to the present work as well as an independent contribution. Perhaps more than any other architectural historian in our time, Benevolo has made a determined effort to place developments in design and planning in their proper social and political settings. Indeed, the author argues that the development of the modern movement in architecture was determined, not by aesthetic formalisms, but largely by the social changes that have occurred since about 1760: "After the middle of the eighteenth century, without the continuity of formal activity being in any way broken, indeed while architectural language seems to be acquiring a particular coherence, the relations between architect and society began to change radically.... New material and spiritual needs, new ideas and modes of procedure arise both within and beyond the traditional limits, and finally they run together to form a new architectural synthesis that is completely different from the old one. In this way it is possible to explain the birth of modern architecture, which otherwise would seem completely incomprehensible...." This second volume is concerned with the modern movement proper, from 1914 to 1966. The author emphasizes the unity of the movement, rejecting the usual treatment that allots to the individual architects separate and unconnected biographical accounts.Benevolo remarks at one point, "When one talks about modern architecture one must bear in mind the fact that it implies not only a new range of forms, but also a new way of thinking, whose consequences have not yet all been calculated." His main concern is to provide a more exact calculation of those consequences.

Concepts from architects’ minds evolve through sketches and as a mode of transference are conveyed to the finished building. This book compares qualities of sketches to reveal unique approaches to the instruments of thinking in which all architects engage. It provides new insight into the relationship between architectural sketches and the process of creative manipulation. Sketches comprise a thinking mechanism, and through the qualities of ambiguity, quickness and change, they initiate a dialogue for architects. As a medium to facilitate communication, recording, discovery and evaluation, their pertinence lies in their ability to exhibit both the precise and the imprecise. Exploring four related theoretical approaches, play, memory-imagination-fantasy, caricature and the grotesque, the book shows how imprecision stimulates imagination to conceive new forms in the dialogue of architectural sketches.

The Historical Dictionary of Neoclassical Art and Architecture provides an overview of Neoclassicism, focusing on its major artists, architects, stylistic subcategories, ideas, and historical framework of the 18th century style found mainly in Europe and the United States. This is done through a chronology, an introductory essay, an extensive bibliography, and over 200 dictionary entries on famous artists, sculptors, architects, patrons, and other historical figures and events.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century – which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

This is a survey of the history of art and architecture of Western civilizations. The textbook extends from the age of the Renaissance until the end of the 20th Century. The textbook includes illustrations, graphs, and reconstruction images curated from Creative Commons material. The textbook includes original text not protected intellectual property.

A History of Art for Beginners and Students: Painting, Sculpture, Architecture by Clara Erskine Clement: Embark on a captivating artistic journey through time with Clara Erskine Clement in ""A History of Art for Beginners and Students."" Explore the evolution of painting, sculpture, and architecture, gaining insight into the diverse expressions of human creativity. Why This Book? ""A History of Art for Beginners and Students"" invites readers to appreciate the rich tapestry of human creativity. Clara Erskine Clement's exploration of painting, sculpture, and architecture provides a comprehensive and accessible guide for beginners and students alike. Clara Erskine Clement, a passionate advocate for art appreciation, leaves a lasting legacy through works like ""A History of Art for Beginners and Students."" Her commitment to making art accessible and engaging is evident in this informative and illuminating journey through the world of art.

Originally published in 1904, this is a combination of Biographical and Bibliographical Dictionary based on the following principles: First - A brief biographical notice of every important author known in literary history; Second - A bibliographical notice of his principal or best-known works.