Classical architecture is a visual "language" and like any other language has its own grammatical rules. Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the "Latin" of arch...
Classical architecture is a visual "language" and like any other language has its own grammatical rules. Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the "Latin" of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.in this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of "the orders" and the scope of "rustication"; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the "modern" architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.
They invented ways of using the orders not merely as ornamental enrichments for their new types of structure but as controls. The orders are, in many Roman buildings, quite useless structurally but they make their buildings expressive, they make them speak; they conduct the building, with sense and ceremony and often with great elegance, into the mind of the beholder. Visually, they dominate and control the buildings to which they are attached. (查看原文)
Classical architecture has always, even in ancient times, depended on precedents and, therefore, on written treatises. Vitruvius himself declared his indebtedness to ancient authors and the classicism of the modern world has been to a great extent dependent on Vitruvius. Editions of his work, therefore, take precedence in any review of the literature of classical architecture. Next to Vitruvius, the treatises of 16th century Italy are of the greatest consequence; the are followed by the treatises of other nations which invariably refer back both to Vitruvius and to the Italians.
Vitruvius
The only Roman writer on architecture whose work survivied to be copied and recopied throught the Middle Ages. The oldest existing manuscript is in the British Museum (Harl.2767); it belongs to the 8th ... (查看原文)
非常好的一本书，一为简二为明。不过其实可以改作the classical language of orders，主要是讲柱式的演化逻辑，并没有涉及到其他方面，比如壁龛、三角山花等。柱式作为建筑要义的缘起是古罗马人将其运用到以拱券、穹顶为结构的公共建筑上，是扩大类型、改变结构之后对古希腊神庙moral的借用或说残留，其实是社会学意义上的。这种语言在文艺复兴时期为Bramante和Palladio建立...非常好的一本书，一为简二为明。不过其实可以改作the classical language of orders，主要是讲柱式的演化逻辑，并没有涉及到其他方面，比如壁龛、三角山花等。柱式作为建筑要义的缘起是古罗马人将其运用到以拱券、穹顶为结构的公共建筑上，是扩大类型、改变结构之后对古希腊神庙moral的借用或说残留，其实是社会学意义上的。这种语言在文艺复兴时期为Bramante和Palladio建立起一套完整的体系，又被Michelangelo和Rumano分别以雕塑object和rustication入侵而打破，继而在neo-classicism追求柱子真正的承重作用中被重新重用，最后在Perret和柯布那里仅仅保留下了rhythm和intercolumniation所创造的harmony。(展开)
After all this time? Always. 今后走在路上都会不禁寻找立柱的幽灵，it's crystalized Western tradition it's the ghost in the shell. 变构之后的结构，无能之后的功能。读完此书才略会维特鲁威之意，建筑是语法、音乐、哲学，变奏斗兽场，跳音德特宫，赋格巴洛克，偷藏小调的布伦海姆，哑然米开朗基罗，掉san的布鲁塞尔司法...After all this time? Always. 今后走在路上都会不禁寻找立柱的幽灵，it's crystalized Western tradition it's the ghost in the shell. 变构之后的结构，无能之后的功能。读完此书才略会维特鲁威之意，建筑是语法、音乐、哲学，变奏斗兽场，跳音德特宫，赋格巴洛克，偷藏小调的布伦海姆，哑然米开朗基罗，掉san的布鲁塞尔司法宫。建筑史其实是古生物史，只是石头的遗传比肉类的基因混合稍更守序：能指所指，永恒理型。History haunts. （作者的文字语言也和建筑语言一样美，但插图排版太差了必须扣一星——我做了笔记把图重新插进去还补充了彩图，lmk如果你需要pdf版本(展开)
我个人认为这是一本披着理论皮的历史书，因为作者并没有深入古典建筑的原理，而是在描述这种建筑语言的历史发展。从作者对柱式（order；不知道中文版如何翻译）这一概念的解释中就可以看出这种不充分（第 10 页最上段）： "An order is the 'column-and-superstructure' unit o...
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在建筑风格的发展中描述了古典元素的贯穿与一脉相承，一本挺详细清楚的小书。图片配的也很有代表性。 Chpt.1 The Essentials of Architecture Classical architecture has its roots in antiquity, in the temple architecture of the Greek world and the religious, militar...
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I thought that it's a reference book, while it actually does more than just telling you the jargons of classical architecture. Summerson touches upon the great iconographical meanings carried down by the classical language (orders) and shows us a vitality t...
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哲夫成城
浙江人民美术出版社2018版
离净语
晒
0 有用 soph 2010-10-22 23:33:31
看了两遍才敢说我读过...明天考完试回来整理下笔记吧
1 有用 俨然 2015-04-01 01:30:05
非常好的一本书，一为简二为明。不过其实可以改作the classical language of orders，主要是讲柱式的演化逻辑，并没有涉及到其他方面，比如壁龛、三角山花等。柱式作为建筑要义的缘起是古罗马人将其运用到以拱券、穹顶为结构的公共建筑上，是扩大类型、改变结构之后对古希腊神庙moral的借用或说残留，其实是社会学意义上的。这种语言在文艺复兴时期为Bramante和Palladio建立... 非常好的一本书，一为简二为明。不过其实可以改作the classical language of orders，主要是讲柱式的演化逻辑，并没有涉及到其他方面，比如壁龛、三角山花等。柱式作为建筑要义的缘起是古罗马人将其运用到以拱券、穹顶为结构的公共建筑上，是扩大类型、改变结构之后对古希腊神庙moral的借用或说残留，其实是社会学意义上的。这种语言在文艺复兴时期为Bramante和Palladio建立起一套完整的体系，又被Michelangelo和Rumano分别以雕塑object和rustication入侵而打破，继而在neo-classicism追求柱子真正的承重作用中被重新重用，最后在Perret和柯布那里仅仅保留下了rhythm和intercolumniation所创造的harmony。 (展开)
0 有用 t 2017-06-22 04:00:09
"先锋"终成"古典"？有趣的也是站在半个多世纪之后透过作者1963年的视角审视何为classical/classicism.
0 有用 茨威格的银环 2020-11-05 15:41:27
深入浅出且内容非常系统资料翔实
0 有用 黑胡椒 2013-06-05 15:35:09
膜拜泰斗。。。
0 有用 Pluto&Piaget 2023-01-24 11:39:05 美国
After all this time? Always. 今后走在路上都会不禁寻找立柱的幽灵，it's crystalized Western tradition it's the ghost in the shell. 变构之后的结构，无能之后的功能。读完此书才略会维特鲁威之意，建筑是语法、音乐、哲学，变奏斗兽场，跳音德特宫，赋格巴洛克，偷藏小调的布伦海姆，哑然米开朗基罗，掉san的布鲁塞尔司法... After all this time? Always. 今后走在路上都会不禁寻找立柱的幽灵，it's crystalized Western tradition it's the ghost in the shell. 变构之后的结构，无能之后的功能。读完此书才略会维特鲁威之意，建筑是语法、音乐、哲学，变奏斗兽场，跳音德特宫，赋格巴洛克，偷藏小调的布伦海姆，哑然米开朗基罗，掉san的布鲁塞尔司法宫。建筑史其实是古生物史，只是石头的遗传比肉类的基因混合稍更守序：能指所指，永恒理型。History haunts. （作者的文字语言也和建筑语言一样美，但插图排版太差了必须扣一星——我做了笔记把图重新插进去还补充了彩图，lmk如果你需要pdf版本 (展开)
0 有用 yk 2022-09-12 06:18:22 法国
The paris of Henri IV, intro(Henry IV, the grand Louvre. The Pont Neuf and the place des Vosges)
0 有用 茨威格的银环 2020-11-05 15:41:27
深入浅出且内容非常系统资料翔实
0 有用 takethedive 2019-12-03 04:57:39
系统、简明地讲了建筑古典语言延续和创新的历史，到后几章就几乎只讲柱式。大致的路线: 人类最开始最自然的结构-树杆成柱式-古希腊-古罗马-宗教建筑-世俗建筑-成体系运用-打破常规-更强的装饰性-回归结构-现代不再使用。几百年前意大利的天才为了antiquity而向万神庙和凯旋门这些古罗马prototype学习，却做出了新的东西且具有永恒价值。没有学过也不太了解中国建筑史，但会想象如果中国历史上有过像... 系统、简明地讲了建筑古典语言延续和创新的历史，到后几章就几乎只讲柱式。大致的路线: 人类最开始最自然的结构-树杆成柱式-古希腊-古罗马-宗教建筑-世俗建筑-成体系运用-打破常规-更强的装饰性-回归结构-现代不再使用。几百年前意大利的天才为了antiquity而向万神庙和凯旋门这些古罗马prototype学习，却做出了新的东西且具有永恒价值。没有学过也不太了解中国建筑史，但会想象如果中国历史上有过像文艺复兴那样的运动，现在城市的面貌会是如何。可是从方方面面来说好像都缺点土壤。 (展开)
0 有用 t 2017-06-22 04:00:09
"先锋"终成"古典"？有趣的也是站在半个多世纪之后透过作者1963年的视角审视何为classical/classicism.