Discourses on Architecture, 2 tomas

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J.R. Osgood, 1875 - 517 psl.
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31 psl. - Handbook of Architecture. Being a Concise and Popular Account of the Different Styles prevailing in all Ages and Countries in the World. With a Description of the most remarkable Buildings.
50 psl. - May we know what this new doctrine, whereof thou speakest, is? 20. For thou bringest certain strange things to our ears: we would know therefore what these things mean. 21. (For all the Athenians, and strangers which were there, spent their time in nothing else, but either to tell or to hear some new thing.) 22.
x psl. - American architecture, — why not begin afresh? To this, of course, there can be but one intelligent reply. All the past is ours; books, engravings, photographs, have so multiplied, that at any moment we can turn to and examine the architectural achievements of any age or nation. These suggestions of beauty and use are always with us. It must not be forgotten that the most essential distinction between the arts of primitive barbarism and those of civilization...
xiii psl. - The master-workman, however, laid aside his functions as an originator, and the architect was born, when precedent began so to accumulate, when civilization became so complex and exacting, the wants of mankind so various and conflicting, that, to meet the more elaborate emergencies of building, there came to be needed a larger and more exact knowledge, a more careful study of plans and details, and a more deliberate and scientific method of construction. These conditions began to render essential...
vi psl. - ... based upon programmes officially prepared and announced. These competitions are decided by juries largely composed of architects not officially connected with the faculty of instruction, and culminate in the two great annual competitions preliminary to the final struggle for the grand prize of Rome. All this machinery tends directly to the creation and prevalence of a style of architecture peculiarly academical, and which, considering the atmosphere of emulation in which it has grown and its...
312 psl. - ... construction; in short, against sham work of any kind. Thus a certain master lays down this dogma: " A form which admits of no explanation, or which is a mere caprice, cannot be beautiful...
xi psl. - It must not be forgotten that the most essential distinction between the arts of primitive barbarism and those of civilization is that, while the former are original and independent, and consequently simple, the latter must be retrospective, naturally turning to tradition and precedent, and are therefore complex. A beginning once made by primitive discovery and experiment, art, like nature, must thenceforward proceed by derivation and development; and where architectural monuments and traditions...
180 psl. - ... architecture is at most stationary. And, indeed, it may be questioned whether, without a thought of art, and, as it were, in spite of himself, the engineer has not produced the most impressive, as certainly he has produced the most characteristic monuments of our time. "A locomotive," says Viollet-le-Duc, "has its peculiar physiognomy, not the result of caprice but of necessity.
348 psl. - the first condition of design is to know what we have to do, to know what we have to do is to have an idea, to express this idea we must have principles and form that is grammar and language.
468 psl. - METHOD. must needs be confessed that modern architects, surrounded as they are by prejudices and traditions, and embarrassed by an habitual confusion in respect to their art, are neither inspired by original ideas nor guided by definite and well-understood principles ; a fact the more plainly betrayed the more elaborate and complex are the monuments they are called upon to design and execute.

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