Download A Concise Dictionary of Architectural Terms (Dover by John Henry Parker PDF

By John Henry Parker

ISBN-10: 0486142914

ISBN-13: 9780486142913

Bibliographical Note
 
This Dover version, first released in 2004, is an unabridged republication of the 1910 (twelfth revised) variation of the paintings initially released in 1846 through James Parker and Co., Oxford (England) less than the name A Concise word list of phrases utilized in Grecian, Roman, Italian, and Gothic Architecture.

Overview

First released in 1846, this illustrated dictionary of structure was once such a success that the writer revised it a number of instances. It is still the most effective courses to thousands of phrases utilized in Greek, Roman, Medieval, and Renaissance structure.

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Extra resources for A Concise Dictionary of Architectural Terms (Dover Architecture)

Example text

If topography’s potentials exceed one’s grasp and remain unforeseen to some degree, they can also be said to be unreasonable, at least in some measure. If, as argued previously, the building is always, or necessarily, engaged with topography by virtue of its inevitable contextuality and contingency, its performances, too, will be (to some degree) unplanned or will arise from “causes” that are unassignable. This suggests a different understanding of the building. It is not a technical preparation, or not that chiefly; nor is it primarily a representation of such a preparation.

We tend to assume that the place exhibits “its intentions” the way designs present theirs; in both, intentions are shown, and givenness, we believe, offers expressive display. But this again confuses the ways that figures and grounds are perceived, for the topography in which architecture performs is not composed of prominent figures or objects; it does not expose the intentionality of its formation, but serves as the basis for that formation. If topography’s potentials exceed one’s grasp and remain unforeseen to some degree, they can also be said to be unreasonable, at least in some measure.

If not fully, can it be understood at least in part, without turning to ourselves as the benefactors of its identity? If we slacken the threads of intention that bind us to objects, what will appear? The question seems worth pursuing, because it is undeniable that rooms predate our use of them. They also remain as they were once we have finished with them, at least basically the same. With just this single and simple observation about the building’s extended temporality in mind, it seems fair to observe that architecture exists quite happily and completely without us.

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