192 pp. Tightly bound. Corners not bumped. Text is free of markings. No ownership markings. Very good dust jacket. Jacket not price clipped. Remainder mark (one short 1" black line) on bottom fore-edge. This copy is smyth sewn. Smyth sewing is a method of bookbinding where groups of folded pages (referred to as signatures) are stitched together using binder thread. Each folded signature is sewn together individually with multiple stitches and then joined with other signatures to create the complete book block. This is the traditional and best method of bookbinding.

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Detalles bibliogr�ficos

T�tulo

Built, the Unbuilt, and the Unbuildable: In Pursuit of Architectural Meaning

Editor

Mit Pr, Cambridge, MA

Fecha de publicaci�n

1991

Idioma

Ingl�s

ISBN 10

0262082047

ISBN 13

9780262082044

Encuadernaci�n

Hardcover

Edici�n

1st Edition

Impresi�n

2nd Printing

Estado

Very Good

Estado de la sobrecubierta

Very Good Dust Jacket

Cat�logos de vendedores

Scholarly IV

Acerca de

Sinopsis

The pristine, the ruined, the ephemeral, and even the notional are the subject of Robert Harbison's highly original and admittedly romantic contribution to the literature of architecture. His fresh perceptions open this practical art to new interpretations as he explores the means by which buildings, real or imagined, evade or surpass functional necessities while sometimes satisfying them.

What fascinates Harbison in these discussions are the paradoxes and ironies of function that give rise to meaning, to a psychological impact that may or may not have been intended. He chooses examples from an architectural borderland�of gardens, monuments, ideal cities and fortification, ruins, paintings, and unbuildable buildings�where use and symbolism overlap; he examines the exceptions at the edges of a field that will illuminate its center.

Harbison's pursuit of man's efforts to "fashion art from nonhuman life" begins with a consideration of gardens and the organic architecture of the English Arts and Crafts movement and of Gaudi, then turns to monuments (Claes Oldenburg, Christo, the Vietnam Memorial) that are "either the nearest or the furthest thing from gardens." Harbison's discussion of fortification and urban planning leads to metaphorical themes (fort-features in churches or prisons or Fascist municipal buildings) and mocked-up worlds (Williamsburg, Disneyland), and to the subject of fictional space as expressed in ruins, in painting, in the unbuildable, and finally in the inconceivable as revealed in Kafka's sketches.

Rese�a del editor

The pristine, the ruined, the ephemeral, and even the notional are the subject of Robert Harbison's highly original and admittedly romantic contribution to the literature of architecture. His fresh perceptions open this practical art to new interpretations as he explores the means by which buildings, real or imagined, evade or surpass functional necessities while sometimes satisfying them.

What fascinates Harbison in these discussions are the paradoxes and ironies of function that give rise to meaning, to a psychological impact that may or may not have been intended. He chooses examples from an architectural borderland—of gardens, monuments, ideal cities and fortification, ruins, paintings, and unbuildable buildings—where use and symbolism overlap; he examines the exceptions at the edges of a field that will illuminate its center.

Harbison's pursuit of man's efforts to "fashion art from nonhuman life" begins with a consideration of gardens and the organic architecture of the English Arts and Crafts movement and of Gaudi, then turns to monuments (Claes Oldenburg, Christo, the Vietnam Memorial) that are "either the nearest or the furthest thing from gardens." Harbison's discussion of fortification and urban planning leads to metaphorical themes (fort-features in churches or prisons or Fascist municipal buildings) and mocked-up worlds (Williamsburg, Disneyland), and to the subject of fictional space as expressed in ruins, in painting, in the unbuildable, and finally in the inconceivable as revealed in Kafka's sketches.

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