{"product_id":"companions-to-the-history-of-architecture-4-volume-set-isbn-9781444338515","title":"Companions to the History of Architecture, 4 Volume Set","description":"Unprecedented in its in-depth coverage, and with over 500 illustrations, photographs, and architectural drawings the multi-volume \u003ci\u003eCompanion to the History of Architecture\u003c\/i\u003e offers an indispensable resource on architectural thought and practice ranging from the 15th century to the present day.\u003cbr\u003e\u003cbr\u003e \u003cul\u003e \u003cli\u003e\n\u003cb\u003eAUTHORITATIVE:\u003c\/b\u003e Brings together an international team of over one hundred eminent historians, academics and practising architects \u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eUSER-FRIENDLY:\u003c\/b\u003e Accessibly structured into volumes organized both chronologically and thematically, spanning the architecture of the Medieval, Renaissance, and Enlightenment periods, through to the 19th, 20th, and 21st centuries \u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eINCLUSIVE:\u003c\/b\u003e Spans a broad and global range of issues, from the impact of war and religion on city architecture; its relationship with the public; and architecture and the sciences; to examples such as materials and Tectonic expression; Beaux-arts and the Gothic; and contemporary issues, such as contemporary architecture’s critical review of its cultural production, ecology, technological saturation, and ontological engagement with a world now largely urbanized\u003c\/li\u003e \u003c\/ul\u003e \u003cul\u003e \u003cli\u003e\n\u003cb\u003eCUTTING-EDGE: \u003c\/b\u003eReviews the most recent developments in the field, including theory and practice from the past ten years, along with likely future developments in the history of architecture\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eMULTI-FORMAT:\u003c\/b\u003e Publishing simultaneously in print and online, providing an unparalleled reference work for students and scholars alike\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003cb\u003eVOLUME I\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eList of Illustrations\u003c\/p\u003e \u003cp\u003eAbout the Editors\u003c\/p\u003e \u003cp\u003eContributors to Volume I\u003c\/p\u003e \u003cp\u003eContents of The Companions to the History of Architecture\u003c\/p\u003e \u003cp\u003eIntroduction: Renaissance and Baroque Architecture\u003cbr\u003e \u003ci\u003eAlina Payne xxv\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I The Building Blocks\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eArchitecture and its Culture\u003c\/p\u003e \u003cp\u003e1. When did the Renaissance in Architecture Begin?: From Panofskian Mythography to Vasarian History\u003cbr\u003e \u003ci\u003eMarvin Trachtenberg\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2. Vitruvius and the Architectural Treatise in Early Modern Europe\u003cbr\u003e \u003ci\u003eTod A. Marder\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3. Architecture and Antique Sculpture in Early Modern Rome\u003cbr\u003e \u003ci\u003eKathleen Christian\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4. What Drawings did in Renaissance Italy\u003cbr\u003e \u003ci\u003eCammy Brothers\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5. Materiality, Ornament, and Media Overlaps: Architecture Between Art and Building Science\u003cbr\u003e \u003ci\u003eAlina Payne\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6. Theater and Architecture: Toward a Material History of Renaissance Theater\u003cbr\u003e \u003ci\u003eAlice Jarrard\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7. Architecture and the Sciences\u003cbr\u003e \u003ci\u003ePamela O. Long\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8. Vaults and Domes: Statics as an Art\u003cbr\u003e \u003ci\u003eFederico Bellini\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eCity, War, and Religion\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e9. The Birth of the Modern City\u003cbr\u003e \u003ci\u003eClaudia Conforti\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10. The City at War and the Semantic Armament of Renaissance Architecture\u003cbr\u003e \u003ci\u003eMarion Hilliges\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11. Taking Place: Architecture and Religious Devotion in Seventeenth-Century Italy\u003cbr\u003e \u003ci\u003eHelen Hills\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12. Jesuit Architecture Worldwide: A Culture of Corporate Invention\u003cbr\u003e \u003ci\u003eEvonne Levy\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Global Geographies and European Internationalism\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eFrance, the Low Countries, and Britain\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e13. Medici Queens as Patrons in France\u003cbr\u003e \u003ci\u003eSabine Frommel\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14. Classicism and Church Architecture in Early Seventeenth-Century France: Aspects and Debates\u003cbr\u003e \u003ci\u003eErika Naginski\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15. Religious Architecture and the Image in the Southern Netherlands after the Beeldenstorm: Shrines for Miracle-Working Statues of the Virgin Mary\u003cbr\u003e \u003ci\u003eMaarten Delbeke\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16. British Classicism to 1700 and the Search for a National Architectural Style\u003cbr\u003e \u003ci\u003eVaughan Hart\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17. Understanding Roman Architecture from a Distance: Sir Christopher Wren on the Temples of Peace and of Mars the Avenger\u003cbr\u003e \u003ci\u003eCaroline van Eck\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eIberia, Spanish Italy, the Ottomans, and Latin America\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e18. Al-Andalus and Castile: Art and Identity in the Iberian Peninsula\u003cbr\u003e \u003ci\u003eMaria Feliciano and Juan Carlos Ruiz Souza\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e19. The Spanish Kingdom of Southern Italy: Architecture in Naples, Lecce, L’Aquila\u003cbr\u003e \u003ci\u003eDaniela del Pesco\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20. Architectural Dialogues across the Eastern Mediterranean: Monumental Domed Sanctuaries in the Ottoman Empire and Renaissance Italy\u003cbr\u003e \u003ci\u003eGülru Necipoğlu\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21. The Classical Ideal in Portugal and the Portuguese World: From Lisbon to China\u003cbr\u003e \u003ci\u003eNuno Senos\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22. Baroque Spain: Architecture and Urbanism for a Universal Monarchy\u003cbr\u003e \u003ci\u003eJesús Escobar\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23. The Architecture of the Early Modern Period “Because Vitruvius did not Recommend Square Columns”: Europe, Latin America, and the Globalization of the Renaissance\u003cbr\u003e \u003ci\u003eTom Cummins\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThe German Lands and Bohemia\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e24. Northern Imaginative Antiquarianism: The Dismembered Column as Relic and Tool\u003cbr\u003e \u003ci\u003eChristopher P. Heuer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25. The Reception and Flowering of Classicism in the German Lands\u003cbr\u003e \u003ci\u003eHarry Francis Mallgrave\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26. Crossbreeding Cultures: Italian and Local, Elite and Popular: Building in Bohemia, 1490–1720\u003cbr\u003e \u003ci\u003eDirk De Meyer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e \u003cp\u003e\u003cb\u003eVOLUME II\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eContributors to Volume II\u003c\/p\u003e \u003cp\u003eIntroduction: Eighteenth-Century Architecture\u003cbr\u003e \u003ci\u003eCaroline van Eck and Sigrid de Jong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: The Main Actors\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThe Architect\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Open to all: Architectural education in the eighteenth century\u003cbr\u003e \u003ci\u003eFreek Schmidt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2 Architects’ Libraries\u003cbr\u003e \u003ci\u003eRobin L. Thomas\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 Laugier’s Prototypal Hut, Soufflot’s Sainte-Geneviève, and the Enlightenment Theory of Representation\u003cbr\u003e \u003ci\u003eNeil Levine\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4 Ornament in Eighteenth-Century Architecture\u003cbr\u003e \u003ci\u003eJean-François Bédard\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eBuilding Portraits 1698-1731 [format of these TBC]\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGreenwich Hospital (1698 – 1728)\u003cbr\u003e \u003ci\u003eVaughan Hart\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eCastle Howard (1699-1712)\u003cbr\u003e \u003ci\u003eNeil Levine\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eBlenheim (1705)\u003cbr\u003e \u003ci\u003eVaughan Hart\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSuperga (1716-1731)\u003cbr\u003e \u003ci\u003eCornelia Joechner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThe Public\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5 Architecture and the Spectator\u003cbr\u003e \u003ci\u003eCaroline Van Eck\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 To Move and to be Moved: Experiencing Architectural Space\u003cbr\u003e \u003ci\u003eSigrid de Jong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7 Public Debate on Architecture in Eighteenth-Century France\u003cbr\u003e \u003ci\u003eRichard Wittman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Between the Stage and the Public Space: Refiguring Spectatorship in French Theatre Architecture\u003cbr\u003e \u003ci\u003eBram van Oostveldt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9 Festival architecture as well-ordered entertainment\u003cbr\u003e \u003ci\u003eEric Monin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eBuilding Portraits 1716-1732\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKarlskirche (1716-1737)\u003cbr\u003e \u003ci\u003eAnja Schuermann\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eHôtel Amelot (1717)\u003cbr\u003e \u003ci\u003eFreek Schmidt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSaint Mary-le-Strand (1724)\u003cbr\u003e \u003ci\u003eVaughan Hart\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eChiswick Villa (1726-1732)\u003cbr\u003e \u003ci\u003eBarbara Arciszewska\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThe Patron\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e10 The Office of the King’s Works and the Modernization of Architectural Patronage in England\u003cbr\u003e \u003ci\u003eBarbara Arciszewska\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 ‘The Body Natural as well as the Body Politic stands indebted’: the hospital - foundation, funding and form\u003cbr\u003e \u003ci\u003eAnn-Marie Akehurst\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12 Denmark, Norway and Sweden: the flirt with the French and its long-term effects\u003cbr\u003e \u003ci\u003eJuliette Roding\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 Interiors and Patronage\u003cbr\u003e \u003ci\u003eMeredith Martin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14 Female Architectural Patronage in 18th-Century France\u003cbr\u003e \u003ci\u003eClaire Ollagnier\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eResidenz Würzburg (1729-1744)\u003cbr\u003e \u003ci\u003eFreek Schmidt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eAll Souls College (1735)\u003cbr\u003e \u003ci\u003eVaughan Hart\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eRadcliffe Camera (1739-1749)\u003cbr\u003e \u003ci\u003eVaughan Hart\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eVierzehnheiligen (1742-1744)\u003cbr\u003e \u003ci\u003eJean-François Bédard\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: The Architectural Discourse\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThe Schools and the Academies\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e15 The Académie Royale d’Architecture 1671-1793\u003cbr\u003e \u003ci\u003eChristopher Drew Armstrong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 London, Parma, Dresden. Exposition, Competition, Exhibition\u003cbr\u003e \u003ci\u003ePierre de la Ruffinière du Prey\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 Architectural Discourse in Rome: Academies, Ruins and Books\u003cbr\u003e \u003ci\u003eHeather Hyde Minor\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18 Architectural Debate in Venice\u003cbr\u003e \u003ci\u003eLola Kantor-Kazovsky\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSanssouci (1743-45)\u003cbr\u003e \u003ci\u003eJean-François Bédard\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eBayreuth (1748)\u003cbr\u003e \u003ci\u003eBram Van oostveldt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eStrawberry Hill (1749-1790)\u003cbr\u003e \u003ci\u003eMichael Snodin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eAlbergo dei Poveri (1751)\u003cbr\u003e \u003ci\u003eRobin L. Thomas\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eCaserta (1751)\u003cbr\u003e \u003ci\u003eRobin L. Thomas\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eArchitecture and the Sciences\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e19 ‘An exact and irreprochable Piece of Architecture should be the Flower and Crown as it were of all the Sciences Mathematical’\u003cbr\u003e \u003ci\u003eMatthew Walker\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Measuring Classical Architecture\u003cbr\u003e \u003ci\u003eAmalia Papaioannou\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eVilla Albani (1757-1759)\u003cbr\u003e \u003ci\u003eLauran Schijvens\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSyon House (1760-1768)\u003cbr\u003e \u003ci\u003eAdriano Aynonimo\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003ePetit Trianon (1761)\u003cbr\u003e \u003ci\u003eChristopher Drew Armstrong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eEcole de Chirurgie (1769-1774)\u003cbr\u003e \u003ci\u003eRichard Wittman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eHistory and Historiography\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e21 Zeitgeist, Style, and Stimmung – notes on the historiography of architecture in the late eighteenth century\u003cbr\u003e \u003ci\u003eMari Hvattum\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 The Historical Experience of How it All Began: the quest for the origins of architecture\u003cbr\u003e \u003ci\u003eSigrid de Jong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23 Monuments\u003cbr\u003e \u003ci\u003eMaarten Delbeke\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eThéâtre Bordeaux (1773-1782)\u003cbr\u003e \u003ci\u003eChristopher Drew Armstrong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSomerset House (1776-1801)\u003cbr\u003e \u003ci\u003eAdriano Aynonimo\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eBarrières (1785)\u003cbr\u003e \u003ci\u003eChristopher Drew Armstrong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eLuscombe House (1799)\u003cbr\u003e \u003ci\u003eJohn MacArthur\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eVOLUME III\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eContributors to Volume III\u003c\/p\u003e \u003cp\u003eIntroduction: Nineteenth-Century Architecture\u003cbr\u003e \u003ci\u003eMartin Bressani and Christina Contandriopoulos\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Historicism, the Beaux-Arts, and the Gothic\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1. Revivalism\u003cbr\u003e \u003ci\u003eMartin Bressani\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2. Antiquity Reborn: Quatremère de Quincy’s Argument for Polychromy in Le Jupiter Olympien\u003cbr\u003e \u003ci\u003eNicholas Roquet\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3. The French Beaux-Arts\u003cbr\u003e \u003ci\u003eJean-Philippe Garric\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4. Outward Forms and Inward Spirit: The Recovery of Historical Church Architecture in the Nineteenth Century\u003cbr\u003e \u003ci\u003eStephen Bann\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5. Romantic Historiography and the Paradoxes of Historicist Architecture\u003cbr\u003e \u003ci\u003eBarry Bergdoll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6. Ruskin and Victorian Gothic\u003cbr\u003e \u003ci\u003eStephen Kite\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7. The Search for a National Style\u003cbr\u003e \u003ci\u003eÁkos Moravánszky\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8. Gothic Historiography: An Interdisciplinary Speculation\u003cbr\u003e \u003ci\u003eCameron A. Macdonell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Debates on Structure, Materials, and Tectonic Expression\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e9. The New Material-Based Realism of Nineteenth-Century Theory and Practice\u003cbr\u003e \u003ci\u003eNeil Levine\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10. Realism in Nineteenth-Century British Architecture\u003cbr\u003e \u003ci\u003eTimothy Brittain-Catlin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11. German Tectonics\u003cbr\u003e \u003ci\u003eMitchell Schwartzer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12. Gottfried Semper and Modern German Theory\u003cbr\u003e \u003ci\u003eHarry Francis Mallgrave\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13. Viollet-le-Duc’s Rationalism\u003cbr\u003e \u003ci\u003eMartin Bressani\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14. Between the Visible and the Legible: Iron and Reinforced Concrete in Fin-de-Siècle France\u003cbr\u003e \u003ci\u003eRéjean Legault\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III The Question of the House, Social Utopias, Science, and New Technological Infrastructures\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e15. Domestic Architecture as a Mode of Separation\u003cbr\u003e \u003ci\u003eAnnmarie Adam\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16. “The Science of the Plan.” House-Building and the Like, 1860–1930\u003cbr\u003e \u003ci\u003eLaurent Stalder\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17. Comfort: Architecture’s Technological Dream\u003cbr\u003e \u003ci\u003eGeorges Teyssot\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18. Universal Expositions, Utopia, and Architecture\u003cbr\u003e \u003ci\u003eAntoine Picon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e19. The Fourierist Phalanstère: Building a New Society through Architecture?\u003cbr\u003e \u003ci\u003eLaurent Baridon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20. From Object to Field: The Uses of Photography by Nineteenth-Century Architects\u003cbr\u003e \u003ci\u003ePeter Sealy\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Psychology, Aesthetic, and Ornament\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e21. Decoration as Discourse in Nineteenth-Century Britain\u003cbr\u003e \u003ci\u003eDavid Brett\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22. Ornament and Expressive Lines: Nature and Symbol in Victor Ruprich-Robert's Flore ornementale\u003cbr\u003e \u003ci\u003eRalph Ghoche\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23. Constructing Emotions. The Scientific Aesthetics of Architecture in France 1860–1900\u003cbr\u003e \u003ci\u003eEstelle Thibault\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e24. The Tectonics of the Soul: Animist Survivals in Nineteenth-Century Architecture and Ornamentation\u003cbr\u003e \u003ci\u003eSpyros Papapetros\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V America\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e25. Furness, Richardson, and Sullivan, and the Anglo-French Synthesis\u003cbr\u003e \u003ci\u003eMichael J. Lewis\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26. What American Architects Learned in Paris, 1845–1914\u003cbr\u003e \u003ci\u003eDavid Van Zanten\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27. Structural Expression and Functional Representation in American Architecture 1850–1910\u003cbr\u003e \u003ci\u003eJoseph M. Siry\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e28. Canadian Architecture in the Nineteenth Century: Identities in Tension\u003cbr\u003e \u003ci\u003eMarc Grignon and Christopher Thomas\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Colonialism and Cross-Perspectives: Japan, China, Russia, India, etc.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e29. Russian Architecture of the Nineteenth Century\u003cbr\u003e \u003ci\u003eDmitry Shvidkovsky\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e30. Multiple Modernisms in Khedivial Egypt\u003cbr\u003e \u003ci\u003eMercedes Volait\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e31. Dismembering and Remembering the Mughal Virtuous City in Nineteenth-Century British India\u003cbr\u003e \u003ci\u003eSanthi Kavuri-Bauer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e32. Of Emperor and Empire: Architectural Constructions of Imperial Japan\u003cbr\u003e \u003ci\u003eAlice Y. Tseng\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e \u003cp\u003e\u003cb\u003eVOLUME IV\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eContributors to Volume IV\u003c\/p\u003e \u003cp\u003eIntroduction: The Project and Projects of Modern Architecture\u003cbr\u003e \u003ci\u003eDavid Leatherbarrow\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I The Early Twentieth Century: Anticipating Modern Worlds\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction\u003cbr\u003e \u003ci\u003eAlexander Eisenschmidt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1. Schlesinger and Mayer Department Store\/Carson Pirie Scott\u003cbr\u003e \u003ci\u003eJoanna Merwood-Salisbury\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2. House for an Art Lover: Reverberating Echoes\u003cbr\u003e \u003ci\u003eAmy Kulper\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3. Postal Savings Bank: Timeless Modernity\u003cbr\u003e \u003ci\u003eBéla Kerékgyártó\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4. AEG Turbine Factory\u003cbr\u003e \u003ci\u003eGabriele H. Bryant\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5. Glass House at Cologne\u003cbr\u003e \u003ci\u003eMarkus Breitschmid\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6. Città Nuova: Fast and Slow Futurism\u003cbr\u003e \u003ci\u003eMichelangelo Sabatino\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II The Modern Project: Imagining New Worlds\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction\u003cbr\u003e \u003ci\u003eDavid Leatherbarrow\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7. Monument to the Third International\u003cbr\u003e \u003ci\u003eRichard Anderson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8. Friedrichstrasse Skyscraper: Transfiguration through Glass, or Vertical and Horizontal Transparencies\u003cbr\u003e \u003ci\u003eUfuk Ersoy\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9. Brick Country House Project\u003cbr\u003e \u003ci\u003eGeorge Dodds\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10. Stockholm Public Library\u003cbr\u003e \u003ci\u003eMichael Asgaard Andersen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11. Contra-Construction: Theo Van Doesburg’s Oblique View of Modern Architecture\u003cbr\u003e \u003ci\u003eHilary Bryon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12. Plan Voisin and the Functional City\u003cbr\u003e \u003ci\u003eFlora Samuel\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Revisiting the Modern Project: Constructing New Worlds\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction\u003cbr\u003e \u003ci\u003eDavid Leatherbarrow\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13. The Goetheanum\u003cbr\u003e \u003ci\u003eRandall Ott\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14. Dymaxion House: Ship Shape\u003cbr\u003e \u003ci\u003eAnnMarie Brennan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15. Schocken Department Store: “The Art of a Master”\u003cbr\u003e \u003ci\u003eKathleen James-Chakraborty\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16. E.1027: The Art of Dialogue\u003cbr\u003e \u003ci\u003eCaroline Constant\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17. Villa Savoye: Building on a Clear Horizon\u003cbr\u003e \u003ci\u003eRichard Wesley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18. Villa Müller: Building Philosophy\u003cbr\u003e \u003ci\u003eChristopher Long\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e19. The VDL Research House\u003cbr\u003e \u003ci\u003eEdward R. Ford\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20. The PSFS Building: Modern Architecture for the Corporate Client\u003cbr\u003e \u003ci\u003eGrace Ong Yan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21. Fallingwater\u003cbr\u003e \u003ci\u003eNeil Levine\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22. Danteum\u003cbr\u003e \u003ci\u003eJonathan Mekinda\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23. Maison du Peuple: The Craft of Industrialized Construction\u003cbr\u003e \u003ci\u003eAnne Beim\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e24. The Villa Mairea\u003cbr\u003e \u003ci\u003eScott Poole\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Postwar Trends: Beginning Again, But Not at the Beginning\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction\u003cbr\u003e \u003ci\u003eDavid Leatherbarrow\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25. Endless House\u003cbr\u003e \u003ci\u003eWilliam W. Braham\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26. Golden Lane: The Design and Urbanism of Megastructures\u003cbr\u003e \u003ci\u003eEric Mumford\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27. Pajaritos Chapel, Maipu, Chile\u003cbr\u003e \u003ci\u003eRodrigo Perez de Arce\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e28. The Naked City: Why Put a Collage in a Book on Modern Architecture?\u003cbr\u003e \u003ci\u003eSimon Sadler\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e29. Brasilia: The Pilot Plan and its Monuments\u003cbr\u003e \u003ci\u003eCarlos Eduardo Comas\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e30. Church of Christ the Worker\u003cbr\u003e \u003ci\u003eStanford Anderson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e31. Burgerweeshuis Orphanage: A CIty-like House\u003cbr\u003e \u003ci\u003eNathaniel Coleman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e32. Plan for Tokyo\u003cbr\u003e \u003ci\u003eZhongjie Lin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V The 1960s and 1970s: Questioning Modern Worlds\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction\u003cbr\u003e \u003ci\u003eAlexander Eisenschmidt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e33. Mother’s House\u003cbr\u003e \u003ci\u003eMartino Stierli\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e34. Salk Institute: Hard-won Calm\u003cbr\u003e \u003ci\u003eDaniel S. Friedman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e35. Brion Cemetery: Between Worlds\u003cbr\u003e \u003ci\u003eMichael Cadwell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e36. Swimming Pool on the Beach at Leça de Palmeira: The Presence of the Atlantic Ocean\u003cbr\u003e \u003ci\u003eChristian Gänshirt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e37. Walking City: Archigram and the Pursuit of Style\u003cbr\u003e \u003ci\u003eSarah Deyong\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e38. Kharga Market: From Vernacularism to Regionalism\u003cbr\u003e \u003ci\u003eHassan Radoine\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e39. Marie Short House\u003cbr\u003e \u003ci\u003eMaryam Gusheh and Catherine Lassen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e40. Centre Pompidou\u003cbr\u003e \u003ci\u003eHadas A. Steiner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e41. Teatro del Mondo\u003cbr\u003e \u003ci\u003eMary Lou Lobsinger\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e42. Sangath\u003cbr\u003e \u003ci\u003eKazi Khaleed Ashraf\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI The Present Generation: Engaging the Contemporary World\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction\u003cbr\u003e \u003ci\u003eAlexander Eisenschmidt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e43. Parc de la Villette and its Afterlife\u003cbr\u003e \u003ci\u003eJulia Czerniak\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e44. Stone House: Between the Human and the Non-human\u003cbr\u003e \u003ci\u003ePhilip Ursprung\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e45. The Church of the Light\u003cbr\u003e \u003ci\u003eJin Baek\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e46. Kunsthal: The Pliable Surface\u003cbr\u003e \u003ci\u003eRoberto Gargiani\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e47. Bilbao Guggenheim: A Secular Cathedral of Art\u003cbr\u003e \u003ci\u003eRichard M. Sommer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e48. Yokohama: International Passenger Terminal\u003cbr\u003e \u003ci\u003eHelene Furján\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e49. Sendai Mediatheque: The Fifth Plan\u003cbr\u003e \u003ci\u003eRon Witte\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e50. 21st Century Museum of Contemporary Art\u003cbr\u003e \u003ci\u003eXavier Costa\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e \u003cp\u003e\u003cb\u003eHarry Francis Mallgrave, Hon FRIBA,\u003c\/b\u003e is  Distinguished Professor Emeritus,  Illinois Institute of Technology. He is the author or editor of numerous books, including\u003ci\u003e Architecture and Embodiment: The Implications of the New Sciences and Humanities for Design \u003c\/i\u003e(2013). His books published with Wiley Blackwell include \u003ci\u003eArchitectural Theory: An Anthology from Vitruvius to 1870, Volume 1\u003c\/i\u003e (2005), \u003ci\u003eArchitectural Theory: An Anthology from 1871 to 2005, Volume 2\u003c\/i\u003e (edited with Christina Contandriopoulos, 2008), \u003ci\u003eThe Architect's Brain: Neuroscience, Creativity, and Architecture \u003c\/i\u003e(2011)\u003ci\u003e,\u003c\/i\u003e and \u003ci\u003eAn Introduction to Architectural Theory: 1968 to the Present\u003c\/i\u003e (with David Goodman, 2011).\u003c\/p\u003e \u003cp\u003e\u003ci\u003eVolume I: Renaissance and Baroque Architecture\u003c\/i\u003e, Edited by \u003cb\u003eAlina Payne\u003c\/b\u003e, Harvard University\u003cbr\u003e\u003ci\u003eVolume II: Eighteenth-Century Architecture\u003c\/i\u003e, Edited by \u003cb\u003eCaroline van Eck\u003c\/b\u003e, Cambridge University, and \u003cb\u003eSigrid de Jong\u003c\/b\u003e, Leiden University\u003cbr\u003e\u003ci\u003eVolume III: Nineteenth-Century Architecture\u003c\/i\u003e, Edited by \u003cb\u003eMartin Bressani\u003c\/b\u003e, McGill University, and \u003cb\u003eChristina Contandriopoulos\u003c\/b\u003e, Université du Québec à Montréal\u003cbr\u003e\u003ci\u003eVolume IV: Twentieth-Century Architecture\u003c\/i\u003e, Edited by \u003cb\u003eDavid Leatherbarrow\u003c\/b\u003e, University of Pennsylvania, and \u003cb\u003eAlexander Eisenschmidt\u003c\/b\u003e, University of Illinois at Chicago\u003c\/p\u003e \u003cp\u003eUnprecedented in its depth of coverage, and with over 500 illustrations, photographs, and architectural drawings, the four-volume Companions to the History of Architecture offer an indispensable resource on architectural thought and practice ranging from the fifteenth century to the present day.\u003c\/p\u003e  \u003cp\u003eAn international contributor team of over one hundred eminent historians, academics, and practising architects have come together to present this invaluable guide to the history of architecture. The entries reflect the latest research within the field, providing original and critical scholarship, and fresh insights into the subject. The volumes interrogate key periods of architectural history within a chronological framework, spanning the Medieval and Renaissance periods, the Enlightenment, and the nineteenth, twentieth, and twenty-first centuries.  \u003c\/p\u003e\u003cp\u003eOnline edition available at www.companionstohistoryofarchitecture.com\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988955414757,"sku":"NP9781444338515","price":867.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781444338515.jpg?v=1761782198","url":"https:\/\/k12savings.com\/es\/products\/companions-to-the-history-of-architecture-4-volume-set-isbn-9781444338515","provider":"K12savings","version":"1.0","type":"link"}