Wat is een Definitie?
Definire: tot een einde brengen, de
grenzen stellen finis: grens
Normatief:
Normstellend Norma: L. Carpenter’s square rule. Normalis: made according to square
Connotatief:
Associatief, bijbetekenis
Constitutief:
vormend, samenstellend
En bij elke definitie hoort een geschiedenis
definities
Cunutgim (ierland) = Ik construeer
Déhmi
(sanskrit) = ik vorm
Fingere
(latijn) = ik modelleer
Adeiladu
(
Bâtir (frans) bastjan (oud duits) boomschors vlechten
Bho(u)-/bhu (indo Europees) zijn, geboren worden
Fio, fui (Latijn) Grieks fuomai Sanskrti bhū betekenen behalve zijn ook bewonen en
bouwen
Bŭan (oud duits) bauen (duits) to
build (Engels) Bygga
(Deens) Bygga (Zweeds) Boogja
(Ijsland) Byt (Russisch
voor steen)
Stroit (Russisch) bouwen en ordenen stroinost
(orde en harmonie)
Architecture: (ªèkitektiôr),
sb. 1593 [- Fr. Architecture or L. architectura; see ARCHITECT, -URE] 1. The art or
science of constructing edifices for human use,
specialized as Civil, Ecclesiastical, Naval, and Military.Occas.
Regarded merely as a fine art. (See quots.) 2. The action or process of building (arch.)
1646. 3. Concr. Architectural work; structure
1611 4. A special method or style of structure and
ornamentation 1703 5. Transf. Or fig. Construction Generally 1590
Marine A.
1800. A., as distinguished from mere building, is the decoration
of construction G.SCOTT. 3. The ruins of the a. are the schools of modern
builders JOHNSON. 4. Many other architectures besides
Gothic RUSKIN. Hence A.rchitecture v. to
design as architect KEATS
Van Dale
ar·chi·tec·´tuur (de ~ (v.))
1 de kunst en de leer van het ontwerpen en uitvoeren van bouwwerken => bouwkunst
2 bouwstijl
3 geheel van regels, protocollen en voorschriften waaraan programma's
moeten voldoen om door de computer te kunnen worden begrepen
Architectoniek OED
Architectonic, -al (ā:‹ki|tektæ.nik, ªl). 1595 [-L. architectonicus
(VITRUVIUS) – Gr. Arcitektonikos;
see prec., -ic, -AL1 A. adj. 1.
Of or pertaining to architecture; serviceable for
construction 1608. 2. Constructive 1595. 3. Directive, controlling. (So in Gr.) 1678 4. Esp. in Metaph.
Pertaining to the systematization of
knowledge 1801
skill
[of birds] G. WHYTE. 4. The a. impulse of reason,
which seeks to refer all science to one principle 1877. Hence A:rchitecto-nically adv. In
relation to architectonics; with architectural fitness
Marcus Vitruvius Pollio (80 V CHr.)
Architecti est scientia pluribus disciplinis et variis eruditionibus ornata
Marcus Vitruvius Pollio (80 V CHr.)
Cum in omnibus enim rebus, tum
maxime etiam in architectura haec
duo insunt, quod significatur
et quod significat. Significatur proposita
res, de qua dicitur; hanc autem significat demonstratio doctrinarum explicata
Marcus Vitruvius Pollio (80 V CHr.)
Architectura autem constat ordinatione,
quae graece taxis dicitu, et ex dispositione, hanc autem Graeci
diathesin vocitant, et eurythmia et symmetria et decore et distributione quae graece oeconomia
dicitur
Marcus Vitruvius Pollio (80 V CHr.)
Partes ipsius architecturae
sunt tres: aedificatio, gnomonice, machinatio. Aedificatio autem divisa est bipertito, e quibus una est oenium et communium operum in publicis locis conlocatio, altera est privatorum aedificiorum explicatio.
Marcus Vitruvius Pollio (80 V CHr.)
Haec autem ita fieri debent,
ut habeatur ratio firmitatis,
utilitatis, venustatis
Leone Batista Alberti
The whole Force and Rule of
Design, consists in a right and exact adapting and joining together the Lines
and Angles which compose and form the Face of the Building. It is the Property
and Business of the Design to appoint to the Edifice and all its Parts their
proper Places, determinate Number, just proportion and beautiful Order; so that
the whole Form of the Structure be proportionable
Henry Wotton,
The Elements of Architecture, 1624
IN Architecture as in
all other Operative arts, the end must direct the Operation
The end is to build well. Well
building hath three Conditions Commoditie, Firmenes, and Delight
Henry Wotton,
The Elements of Architecture, 1624
In Architecture, there
may seen to be two opposite affectations, Vniformitie
and Varietie, which yet will very well suffer a good recocilement, as we may see in the great Paterne of Nature
Friedrich Wilhelm Joseph von Schelling 1775-1854
A = inorganic artistic form of
plastic music
Friedrich von Schlegel 1772-1829
A = bevroren muziek
John Ruskin
It is very necessary in the
outset of all inquiry, to distinguish carefully between Architecture and
Building. To build, -literally to confirm,- is by
common understanding to put together and adjust the several pieces of any
edifice or receptacle of a considerable size. Thus we have church building,
ship building, and coach building (...) but building does not become architecture
merely by the stability of what it erects; and it is no more architecture which
raises a church, or which fits it to receive and contain with comfort a
required number of persons occupied in certain religious offices, than it is
architecture which makes a carriage commodious, or a ship swift. I do not, of
course, mean that the word is not often, or even may not be legitimately,
applied in such a sense (as we speak of naval architecture); but in that sense
architecture ceases to be one of the fine arts, and it is therefore better not
to run the risk, by loose nomenclature, of the confusion which would arise, and
has often arisen, from extending principles which belong altogether to
building, into the sphere of architecture proper. Let us therefore, at once
confine the name to that art which, taking up and admitting, as conditions of
its working, the necessities and common uses of the building, impresses on its
form certain characters venerable or beautiful, but otherwise unnecessary.
Thus, I suppose, no one would call the laws architectural which determine the
height of a breastwork or the position of a bastion. But if to the stone facing
of that bastion be added an unnecessary feature, as a cable moulding,
that is architecture. It would be similarly unreasonable to call battlements or
machicolations architectural features, so long as they consist only of an
advanced gallery supported on projected masses, with open intervals beneath for
offence. But if these projecting masses be carved beneath into round courses,
which are useless, and if the headings of the intervals be arched and trefoiled, which is useless, that is Architecture. It may
not be always easy to draw the line so sharply, because there are few buildings
which have not some pretence or colour of being
architectural; neither can there be any architecture which is not based on
building, nor any good architecture which is not based on good building; but it
is perfectly easy, and very necessary, to keep the ideas distinct, and to
understand fullly that Architecture concerns itself
only with those characters of an edifice which are above and beyond its common
use.
Eugène Emmanuel Viollet-le-Duc 1864
The beauty of a structure does
not lie in the perfection produced by a highly advanced civilization or
industry, but in the judicious use of materials and means at the disposal of
the constructor
Le Corbusier (Charles Edouard Jeanneret
(1887-1965) Vers Une Architecture, 1924 (1923)
L’Architecture, c’est avec des Matériaux bruts,
établir des rapport émouvants.
L’Architecture est au delà des choses utilitaires
L’Architecture est chose de plastique. Esprit
d’ordre, unité d’intention, le sens des rapport; l’architecture
gère des quantités.
La passion fait des pierres inertes un drame
Le Corbusier (Charles Edouard Jeanneret
(1887-1965) Vers Une Architecture, 1924 (1923)
On met en oeuvre de la pierre, du bois, du ciment; on en fait des maisons,
des palais; cést de la construction. L’ingéniosité
travaille. Mais, tout à coup, vous me prenez au coeur, vous me faites du bien,
je suis heureux, je diz: c’est beau. Voilà lárchitecture. L’art est ici.
Le Corbusier (Charles Edouard Jeanneret
(1887-1965) Vers Une Architecture, 1924 (1923)
Ma maison est pratique. Merci, comme merci aux ingénieurs des chemins de
fer et á la Compagnie des Téléphones. Vous n’avez pas touché mon coeur. Mais
les murs s’élévent sur le ciel dans un ordre tel que jén suis ému. Je sens vos intentions. Vous étiez doux,
brutal, charmant ou digne. Vos pierres me le disent. Vous m’attachez à cette
place et mes yeux regardent. Mes yeux regardent quelque chose qui énonce une
pensée. Une pensée qui s’éclaire sans mots ni sons, mais uniquement par les
prismes qui ont entre eux des rapports. Ces prismes sont tels que la lumière
les détaille clairement. Ces rapports nón trait à
rien de nécessairement pratique ou descriptif. Ils sont une création
mathématique inertes, sur un programme plus au moins utilitaire que vous débordez,
vous avez établi des rapports qui mónt ému. Cést l’architecture.
Theo van Doesburg (C.E.M. Küpper) 1883-1931 De
Stijl, 1924
Tot een beeldende architectuur
De Vorm. – De grondslag voor een gezonde ontwikkeling der architectuur (en
der kunst in het algemeen) is elk begrip van vorm, in den zin van voorop
gesteld type te overwinnen
In plaats van de vroegere stijltypen als sjablonen te gebruiken en zoodoende
vroegere stijlen te imiteren is het noodig het
probleem der architectuur geheel opnieuw te stellen
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur is elementair,
d.w.z. zij ontwikkelt zich uit de elementen van
den bouw; in den uitgebreidsten
zin. Deze elementen als: functie, massa, vlak, tijd, ruimte, licht, kleur,
materiaal enz., zijn tegelijk beeldende elementen
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur is economisch,
d.w.z. zij organiseert hare elementaire middelen
zoo zakelijk en spaarzaam mogelijk, zonder verspilling dezer middeleln of materiaal.
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur is functioneel,
d.w.z. zij ontwikkelt zich uit de nauwkeurige vastelling de practische eischen welke zij in een helder grondplan vastlegt
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur is vormloos en toch bepaald..
d.w.z. zij kent geen a priori
aangenomen estetische vormschema; geen
vorm (in den zin der koekebakkers) waarin zij de functioneele ruimten, uit de practische
wooneisen ontstaan, giet.
In tegenstelling met all stijlen van voorheen,
kent de nieuwe architectonische methode geen in zich gesloten typus, geen GRONDVORM
Theo van Doesburg, 1883-1931 De Stijl, 1924
De indeling der functionele ruimten is streng bepaald door rechthoekige
vlakken, welke aan zich geen individueelen vorm
hebben, daar ze, hoewel begrensd, (het een vlak door het andere) tot in het
oneindige uitgebreid gedacht kunnen worden, waardoor een koördinaat-systeem
ontstaat, waarvan de verschillende punten op een gelijk aantal punten in de universeele, open ruimte, zou correspondeeren.
Hieruit volgt, dat de vlakken een directe spanningsverhouding met de open
(exterieure) ruimte hebben
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur heeft het begrip MONUMENTAAL onafhnkelijk
gemaakt van groot en klein (aangezien het woord “monumentaal” verbruikt s zet
zij daarvoor in de plaats het woord “beeldend”) Zij heeft gedemonstreer,
dat alles is door verhouding, verhouding van het een tot het ander.
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur kent geen enkel passief moment. Zij heeft het gat
(in de muur) overwonnen. Het ventster heeft als
OPENHEID, tegenover de GESLOTENHEID van het wandvlak, een actieve beteekenis. Nergens ontstaat een gat of een leegte, alles
is door zijn contrast streng bepaald
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur heeft den WAND DOORBROKEN en zoodoende de
GESCHEIDENHEID VAN BINNEN EN BUITEN te niet gedaan. De wanden dragen niet meer;
zij zijn tot steunpunten teruggebracht. Hierdoor ontstaat een nieuwe open
plattegrond, totaal verschillend van de klassieke, daar binnen-
en buitenruimten elkaar doordringen
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur is OPEN Het geheel bestaat uit één ruimte, welke al
naar de functioneele eischen
wordt ingedeeld. Deze indeeling geschiedt door
SCHEIDINGSVLAKKEN (intérieur) of door BESCHUTTINGSVLAKKEN exterieur)
Theo van Doesburg, 1883-1931 De Stijl, 1924
De eerste, welke de verschillende functioneele
ruimten van elkaar scheiden, kunnen MOBIEL zijn d.w.z.
de scheidings vlakken (de vroegere binnenmuren)
kunnen doo beweegbare schermen of platen (waartoe ook
de deuren gerekend moeten worden) vervangen worden. In een volgend stadium harer ontwikkeling, zal de plattegrond geheel moeten
verdwijnen.
Theo van Doesburg, 1883-1931 De Stijl, 1924
De in 2 afmetingen geprojecteerde ruimtencompositie,
vastgelegd in een plattegrond, zal vervangen worden door een nauwkeurige
CALCULATIE DER CONSTRUCTIE, een calculatie, welke het draagvermogen tot de
eenvoudigste maar de meest weerstandbiedende steunpunten zal hebben terug te
brengen. Hiertoe zal onze euclydische mathematica
geen diensten meer kunnen bewijzen, doch met de non-euclydische
berekeningen in vier afmetingen, zal dit gemakelijk
vallen
Theo van Doesburg, 1883-1931 De Stijl, 1924
Ruimte en tijd De nieuwe architectuur rekent niet slechts met de ruimte,
doch ook met den tijd als accent der architectuur. De eenheid van tijd en
ruimte geeft de architectonische verschijning een nieuw en volledig beeldend
aspect. (4 – dimensionaal, tijd-ruimtelijkbeeldingsaspects)
Theo van Doesburg, 1883-1931 De Stijl, 1924
De nieuwe architectuur is Anti-kubistisch, d.w.z. zij streeft er niet naar, de verschillende functionele ruimte-cellen in één gesloten kubus samen te vatten, maar
zij WERPT DE FUNCTIONEEL RUIMTE-CELLEN (alsmede luifel-vlakken, balkon-volumen
enz. ) UIT HET MIDDELPUNT der kubus naar buiten, waardoor hoogte, breedte en
diepte + tijd tot een geheel nieuwe plastische uitdrukking in de open ruimte
komen. Hierdoor krijgt de architectuur (voor zover dit constructief mogelijk is
– opgave der ingenieurs!) een min of meer zwevend
aspect, dat bij wijze van spreken, tegen de zwaartekracht der natuur ingaat.
Theo van Doesburg, 1883-1931 De Stijl, 1924
Symmetrie en herhaling _ De nieuwe architectuur heeft te niet gedaan zoowel
de eentonige herhaling als de starre gelijkheid van twee helften, het
spiegelbeeld, de symmetrie. Zij hetn geen repeteering in tijd, geen straatwand of normalisatie. Een
complex is evenzeer een gheel als het zelfstandige
huis dit is. Zoowel voor het complex als van de stad gelden dezelfde wetten als
voor het afzonderlijke woonhuis. Tegenover de symmetrie stelt de nieuwe
architectuur de evenwichtige verhouding van ongelijke delen, d.w.z. van deelen, welke door hun
functioneel karakterverschil, in stand maat proportie en ligging verschillend zijn. De gelijkwaardigheid dezer deelen
wordt veroorzaakt door het evenwicht der ongelijkwaardigheid en niet door
gelijkheid. Ook heeft de nieuwe architectuur het “voor” “achter”, rechts, ja
zoo mogelijk ook het “boven”en “onder” gelijkwaardig gemaakt.
Theo van Doesburg, 1883-1931 De Stijl, 1924
In tegenstelling met de FRONTALITEIT door een starre, statische
levensopvatting gehuldigd, biedt de nieuwe architectuur een plastische rijkdom
van alzijdige tuid-ruimtelijke werking.
Horace Walpole 1717-1797
A = the most suitable field in
which the genius of a people may range
Tomasso Temanza
A = quite diverse because the
different customs and different religions of nations are such that what is
suitable and proper in one province is not in another
Vincenzo
Lamberti
A = the keeper and the refuge
of:
man’s
repose,
the
principle of society,
the
division of populations,
their
pomp and ceremony,
the
decorum of religion and
the
sustainer of human life
James Fergusson
Treated historically…architecture
ceases to be a mere art, interesting only to the artist and his employer, but
becomes one of the most important adjuncts of history, filling up many gaps in
the written record and giving lifeand reality to much
that without its presence could with difficulty be realized
E.G. Boutmy
A monument = not only the work
of compass and square; its style does not depend solely on personal or
professional taste. Behind the instruments of technique and the sensibilities
of the architect there is a collective intelligence, passions, attitudes and
needs felt by aall that imprint a specific character
on the architecture of any period… Psychological environment explains the great
monuments
Honoré
de Balzac 1799-1850
A = the register of human
activity
Guy de Maupassant 1850-1893
Across the centuries A has
received the privilege of symbolizing every period, of summing up by means of a
very small number of typical monuments the way of thinking, feeling and
dreaming of a race and of a civilisation
Victor Hugo 1802-1885
A = the book of human history.
From the most distant pagoda of a
Bruno Zevi
“Architecture”
Modern thought does not
recognize as valid any theory of art that applies exclusively to a specific
creative activity
Bruno Zevi
The architectural critic, and
hence the history of architecture, does not serve solely to make the past live
again or to award renown to a particular contemporary work or artist. He
decides the fate of architecture itself, both ancient and modern. The vandalism
against monuments and their setting, which has occurred with ever increasing
frequency since the Renaissance, the perennial disfigurement caused by
unreasoning restoration , the construction of mediocre or even atrocious
buildings, and the prolonged ostracism of the truly modern creator result
largely from the lack of a vital historical conscience and from the struggle
between a reactionary sense of history and an artistic impulse not yet
developed to full maturity….
Bruno Zevi
Creation and criticism meet in
every important architectural problem – a fact that demonstrates the futility
of any attempt to reconstruct the change in the “concept” of architecture, to
separate history from architecture, or to trace a history of architecture that
excludes architectural practice and its problems
Basil Hume
A building’s design is an indicatioin of the value of the particular society which
has brought it into being.. Architecture depends not
only for its forms, but for its very existence upon the organization and
conduct of society as a whole
Bruno Zevi
If the value of architecture
lies only in the representation of civilization in its generic and collective
sense, then the architect of genius is an intruder
Bruno Zevi
Reduced to an impersonal
activity architecture becomes the least expressive of the arts…
Nicolò
Gallo
A = incapable of representing
any effect, passion, or action whatever
Bruno Zevi
The architect seems a
mysterious and stupid creature, or, to put it more kindly, a being so generous
and so altruistic as to resemble God
Philibert
de L’Orme, 1576
It would be better for the arcitect to err in the ornaments of the columns, in his
measures, and in the façades than in those fundamental laws of nature that
pertain to the comfort use and advantage of the inhabitants. The decoration,
beauty, and enrichment fo the dwelling serve only to
delight the eye, but they bring nothing useful to either the health of the life
of man. Do you not understand that an error in the planning or the function of
a dwelling makes the inhabitants sad, sickly and uncomfortable?
Giovan
Battista Passeri 1770’s
As for Form, I maintain that is
should depend on function and the different ways it is used.
Francesco Algarotti, Saggio sopra l’Architettura, 1756
Nothing should appear in the
representation that does not truly have a function
Francesco Milizia, Principi di Architettura Civile, Bassano 1785
Everything must arise from
necessity and necessity does not admit the superfluous
Julien Guadet, Éléments et Théories de l’Architecture, 1902
The architect must first of all
determine the
content, from which he can then derive the container
Auguste Perret
Structure is the mother tongue
of the architect …Anyone who hides structure deprives himself of architecture’s
only legitimate and beautiful ornament. Anyone who hides a pilaster commits an
error; anyone who puts up a false one commits a crime
Vaillant
The building is a mechanical
instrument, a machine constructed for some service
Thomas Jackson
A = the poetry of construction,
it is based on building, but it is something more than building as poetry is
something more than prose
Martin S. Briggs
A…means building infused with
imagination and dignity
Edwin Lutyens
A, with its love and passion
begins where function ends
Le Corbusier
L’Architecture est le jeu savant, correct et
magnifique des volumes assemblés sous la lumière
Le Corbusier
Arcitecture
goes beyond utilitarian needs. You emply stone, wood
and concrete, and with these materials you build houses and palaces. That is
construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say “This is
beautiful” That is architecture. Art enters in.
Michelangelo Buonarotti
A = nothing but order,
disposition, beautiful appearance, the proportion of parts to one another,
suitability and distribution
Vincenzo
Scamozzi
A makes use in the abstract of
number, form, size, and material by means of speculation; it also uses
proportion and relation in the same way as the mathematicians
Maria Zanotti
What else does the architect do
but turn over in his mind the immense variety of infinite proportions,
searching with his soul through all the forms of beauty and attractiveness in
order that all his study will make his own work conform to what he judges to be
perfect?
Johann Joachim Winckelmann, Reflections on the Painting and
Sculpture of the Greeks, transl. by Henry Fusseli,
In architecture beauty consists
primarily in proportion. A building can be beautiful by proportion alone,
without any ornament
Girolamo
Francesco Cristiani
The consonances of music create
pleasure and harmony when the ear is able to understand and hold all at once
their commensurability by means of the frequent conincidence
of the vibrations of the chords, whether trmolo or
sonorous. The beautiful proportions of architecture are the same
Leopoldo
Cicognara
It cannot be doubted that the
absolute beauty derived from architecture consists in the general harmonies and
in the proportions of the parts
Pietro Selvatico
A = commonly defined as the art
of building according to the proportions and rules fixed by nature and taste
Robert Kerr (oprichter van de Architectural Association,
Londen)
Architectural art is the dress
of scientific structure
J.L. Ball
A = a mathematical art
operating solely by the medium of proportion
Louis Hautecoeur
Of all the arts architecture is
most subservient to material, economic, and social conditions; it is also the
one which, thanks to mathematical proportions and geometric forms, expresses
the most abstract speculations of the human mind
[proportion
redeems A of the material]
Heinrich Wessling
A = based on geometry and not
on the feelings of the individual … the task of architecture is the application
of geometric figures and their harmony to the form and size of the building.
Architectural style is the form deriving from the composition of geometric
figures
Nikolaus
Pevsner, An
Outline of European Architecture, 1943
A bicycle shed is a building;
utilitas
The function of architecture is
to create an environment, of enclosing space adapted to the life of man,
unified by perspective and proportion
Oswald Spengler 1880-1936, der Untergang des Abendländes 1918-1922
The feeling for space is at the
generative centre of every culture
Alois Riegl 1858-1905
From the very beginning of
human civilization has not the aim of any architecture whatsoever that rises
above the level of pure sign, been the formation of space?
Georg Frobenius
Morphological theory of spatial
intuition
Antiquity: the isolated body
The Western World: the
infinitely 3d
Arab World: the cave-vault
Egypt: The Labyrinthine Road
China: The Road in Nature
Russia: The Infinite plane
John Fleming, Hugh Honour, Nikolaus Pevsner, Dictionary of Architecture, 1966
A = ……
Einfühlung
Precedenten:
anthropomorphisme
Le Camus de Mezières
& Girolamo Masi
Vischer,
Volkelt, Theodor Lipps
Wölfflin
Prolegomena zu einer Psychologie der Architektur, 1886
Renaissance und Barok, 1888
Bruno Zevi
A theory of architecture
developed from experience and from history must inevitably fall into
generalities
Geoffrey Scott, in The Architecture of Humanism, 1914
Architecture gives us spaces of
three dimensions in which we stand. And here is the very center of
architectural art…Architecture alone of the arts can give space its full value.
It can surround us with a void of three dimensions; and whatever delight may be
derived from that is the gift of architecture alone…The habits of our mind are
fixed on matter. We talk of what occupies our tools and arrests our eyes.
Matter is fashioned; space comes. Space is ‘nothing’- a mere negation of the
solid. And thus we come to overlook it. But though we may overlook it, space
affects us and can control our spirit; and a large part of the pleasure we
obtain from architecture springs in reality from space… The architect models in
space as a sculptor in clay. He designs his space as a work of art; that is, he
atttempts through its means to excite a certain mood
in those who enter it. None the less, in the beauty of every building, space
value, addressing itself to our sense of movement, will play a principal part
A.E. Brinckmann
in 1915
Architecture forms spaces and
plastic masses. Space, in contrast to plasticity, encounters its limitations
where it strikes against the plastic masses; it is defined from the interior.
The limits of plasticity, however are in the space of the air that surrounds
it, it is defined from the exterior… These two elements have in common volume
and corporeality…Hence it is possible to speak of a spatial body or of a
plastic body. The relations of space and plasticity in
architecture rests on these these common
elements. Space and plasticity can model each other reciprocally. Spatial
vision…, like plastic vision, rests on the representation of movement.
A Hildebrand, 1918
Our relation to space finds its
direct expression in architecture in so far as architecture awakens in us a
precise feeling of space, instead of merely suggesting the possibilities of
movement in space, and in so far as it articulates a space in such a way that
the visual image is substituted for the labor of orientation required in nature
Frank Lloyd Wright in 1928
The building is no longer a
block of building material dealt with artistically from the outside, a form of
sculpture. The room within, the space to be lived in, is the great fact about
the building; this room should be expressed on the exterior as space enclosed
Henri Focillon
in 1934
In essence and by destination,
the art of architecture exerts itself in a ‘true’ space, one in which we walk
and which the activity of our bodies occupies….
A building is not a collection
of surfaces, but an assemblage of parts, in wich
length, width, and depth agree with one another in a certain fashion, and consitute an entirely new solid that comprises an internal
volume and an external mass…
The fundamental privelege [of architecture] is the mastery of a complete
space, not only as a mass, but as a model imposing a new value on the three
dimensions
Henri Focillon
in 1934
The profound originality of
architecture resides in the internal mass. In lending form to that absolutely
empty space, architecture truly creates its own universe. The unique privilege
of architecture among all the other arts,,, is not that of surrounding and as
it were, guaranteeing a convenient void, but of constructing an interior world
that measures space and light according to the laws of a geometrical,
mechanical, and optical theory which is necessarily implicit in the natural
order, but to which nature herself contributes nothing
E.W. Rannels
in 1949
The enduring value of
architecture is space…Architecture must be seen and felt and understood from
the inside out…
The progress of architecture
through the ages is to be traced in the expressive development of the inner
volumes rather than of the outer forms that contain them or, what is worse,
merely stand before them as added monumental façades
A.I.T. Chang in 1956
Unlike other visual arts,
architecture is an art of life itself expressed in lifesize
scale … it is the language that has the emotional power to express with
authority the structural meaning of a functional space
Volkelt
in 1876
The configuration of space is
explained by movement in order to understand it aesthetically we must
participate in this feeling of movement
John Dewey, Art as Experience (1934)
Architectural structures
provide the perfect ‘reductio ad absurdum’ of the
separation of space and time in works of art. If anything exists in the mode of
‘space-occupancy’ it is a building. Even a small hut cannot be matter of
esthetic perception save as temporal qualities enter in…The sightseer no more
has an esthetic vision of St Sophia or of the cathedral of Rouen than the
motorist traveling at 60 miles an hour ‘sees’ the flitting landscape. One must
move around, inside and outside through many visits and allow the structure to
present itself gradually under different lights and in connection with many
different moods
Bruno Zevi
In constructing a space, and architect foresees and maps out every itinerary.
He accentuates the value of one reading and diminishes the importance of
another.
Federigo
Zuccaro in 1607
Architecture…too has imitation
as its aim. This it attains by orderng different
sorts of structures to the use and requirements of man. This world was created
as the earthly dwelling of man and the animals. Nature created caves and grottioes, ponds, woods and lakes for the wild beasts; she
also creates in a different manner other grottoes, other caves, and other
woods, ponds and delightful and pleasant artificial lakes for this sociable
animal in order to give greater comfort to man and to embellish this world at
the same time. As man surpasses all the other creatures and animals, so the structures
she builds for man surpass by far the caves and dwelling of the brute beasts
Francesco Maria Zanotti in 1750
Even though architecture does
not imitate any product of nature in the way it forms and decorates its palaces
and temples, it still attempts to follow certan
rules. In doing this it imitates in a certain way the perfect model which
cannot be seen with the eyes of the body, but only with the eyes of the soul. I
shall freely admit that architecture does not imitate nature, if you will
concede this, which is so much greater: it imitates an object far superior to
itself – the one imitated by God himself
Francesco Milizia
in 1768
Architecture can be called the
twin of agriculture. Along with hunger, which led men to agriculture, goes the
need for shelter, which gave him
architecture….Architecture is an art of imitation…True it does lack a model
formed by nature, but it has another formed by man when he followed his natural
industry and constructed his first dwelling
Francesco Milizia
in 1781
If civil architecture wishes to
be admitted because of her beauty to the Fine Arts, she must prove that, like
the others, she descends from some natural model that she proposes to embellish
while imitating. Caves grottoes, caverns are the buildings that Mother Nature
presented to man, her favorite son. [The problem for architecture] requires
that we decide whether the rustic model of a hut provides a basis for deducing
a good system of imitation for the beauty in buildings
Gian
Battista Vinci in 1795
Since architecture is nothing
but an imitation of the original rude hut, it is impossible to find any basis
outside this imitation for the architects’ decision to use various ornaments in
their buildings. Trees suggested columns. The branches …inspired the capital. A
plank of wood stretched horizontally between two trunks gave the idea of the
architrave. The beams that support the ceiling suggested the frieze. The roof
that protects the structure from the rain is expressed in the cornice. Finally
the pitch of the roof taught man how to form the pediment…Every architect has
the right to depart from the established rules when this would aid him
tremendously in providing that degree of expression which he intends for his
work
Wölfflin
Linear vision
Pictorial vision, planar
vision,
Volumetric vision, plastic
vision
Bruno Zevi
in 1959
The definition architecture –
art of space: each culture has its own space, each architect, in every truly
artistic work creates an original and unique space. Architectural history is no
longer concerned with abstract spatial “conceptions”but
with the creative personality of spaces {this view] frees architectural space
both from mechanistic bonds and from the mythical timeless, and symbolic
attributes that would relate it to aspirations for a changeless and
incorruptible eternity
Leopold Eidlitz,
1823-1909 The Nature and Function of Art, more especially of architecture, 1881
If a structure is erected to
accommodate a number of persons who congregate in it, not for the purpose of gratifing physical needs only, but in obedience to an idea,
such a structure is called a monument of this idea
Architecture is the fine ar by which ideas are expressed in a structure, and more
especially in a monument
Leopold Eidlitz,
1823-1909 The Nature and Function of Art, more especially of architecture, 1881
How is an idea to be expressed
in a structure? Its form must of necessity be purely ideal. There is no object
in Nature which can be accepted by the architect as a model for his creation.
Yet imitation is an unavoidable element in a work of fine art
August Schmarsow, 1853-1936 Das wesen de architektonischen Schöpfung, 1893
(Barok und Rococo 1897)
Architectur ist ihrem innersten Wesen nach Raumgestaltung. Solange sie
unmittlebar de dunklen Drange des schöpferischen Triebes folgt, bewegt sie sich
im Sinne des Raumwillens
Claude Perrault, Les Dix livres d’architecture de Vitruve, ed. 1673
L’Architecture est une science qui doit être
accompagnée d’une grande diversité d’études et de connaissance par le moyen desquelles
elle juge de tous les ouvrages des autres arts qui lui appartient. Cette
science sácquiert par la pratique et par la théorie..
Bruno Taut 1880-1938, Architekturlehre, 1936-7
Architektur is eine kunst
Tecknik, Konstruktion und Funktion
Die Kunst ist ein Spiegel der Natur, aber kein mechanischer, kein unbedingt
objektiver
Architectur
is die kunst der proportion
Paul Valéry, Eupalinos, of de Architect
Wat schoon is, is niet van het leven te scheiden, en het leven is dat wat
sterft
Ik geloof zei hij (Eupalinos) glimlachend, dat ik
door aanhoudend te construeren, mezelf heb geconsrueerd
Socrates: Als ik die Eupalinos
ontmoette zou ik hem nog iets vragen. Phaedrus: Hij
moet de ongelukkigste onder de gelukzaligen zij. Wat zouje
hem vragen? Socrates: Om zich wat duidelijker uit te
drukken over die gebouwen waarvan hij zei dat ‘ze zingen’. (…) ik wil het gezang van die zuilen horen en me in de heldere
hemel een voorstelling maken van het bouwwerk als melodie.
Socrates: Je hebt nooit ervaren, wanneer je een
plechtig feest bijwoonde, of als je deelnam aan een banket, en het orkest de
zaal vulde met klanken en fantomen? Kwam het je dan niet voor alsof de
oorspronkelijke ruimte vervangen werd door een ruimte die je kunt verstaan en
die verandert; of eerder, dat de tijd zelf je aan alle kanten omringde: Leefde je dan niet in een gebouw dat bewoog en zonder
ophouden vernieuwd werd en in zichzelf geconstrueerd; helemaal
geweid aan de transformaties van een ziel die de ziel van de ruimte was? Was
dan niet een veranderende volheid, analoog aan een continue vlam die je hele
wezen verlichtte en verwarmde door een onophoudelijke verbranding van hertinneringen, voorgevoelens, gevoelens van heimwee en
voortekenen, en van een oneindig aantal emoties zonder precieze oorzaak? En die
momenten, en hun versierselen; en die dansen zonder danseressen, en die beelden
zonder lichaam en zonder gezicht (maaar toch zo
fijnzinnig getekend), leken die je niet te omringen, jou, slaaf van de algemene
aanwezigheid van de muziek?
Socrates: Geen geometrie zonder het woord. Zonder
woorden zijn de figuren toevalligheden, en manifesteren noch dienen ze de macht
van de geest.
eu·ryth·my also eu·rhyth·my
(y¢-rîth¹mê) noun
1. Harmony of
proportion in architecture.
2. A system of rhythmical body movements
performed to a recitation of verse or prose.
[Latin eurythmia, from Greek euruthmia, from euruthmos,
rhythmic, well-proportioned : eu-,
eu- + rhuthmos,
proportion. See rhythm.]
Excerpted from The American Heritage« Dictionary of the
English Language, Third Edition 1996 by Houghton Mifflin Company.
eurhythmy
(noun)
symmetry: harmony, concinnity, congruity, eurhythmy, agreement
The Original Roget's Thesaurus of English Words and Phrases 1994
rhythm
(rîth¹em) noun
1. Movement or variation characterized
by the regular recurrence or alternation of different quantities or conditions:
the rhythm of the tides.
2. The patterned, recurring alternations
of contrasting elements of sound or speech.
3. Music. a. A regular pattern
formed by a series of notes of differing duration and stress. b. A specific
kind of such a pattern: a waltz rhythm. c. A group of instruments
supplying the rhythm in a band.
4. a. The pattern or flow of sound created by the arrangement of stressed
and unstressed syllables in accentual verse or of long and short syllables in
quantitative verse. b. The similar but less formal sequence of sounds in
prose. c. A specific kind of metrical pattern or flow: iambic rhythm.
5. a. The sense
of temporal development created in a work of literature or a film by the
arrangement of formal elements such as the length of scenes, the nature and
amount of dialogue, or the repetition of motifs. b. A
regular or harmonious pattern created by lines, forms, and colors in painting,
sculpture, and other visual arts.
6. The pattern of development produced
in a literary or dramatic work by repetition of elements such as words,
phrases, incidents, themes, images, and symbols.
7. Procedure or routine characterized by
regularly recurring elements, activities, or factors: the rhythm of
civilization; the rhythm of the lengthy negotiations.
[Latin rhythmus, from Greek rhuthmos.]
Excerpted from The American Heritage« Dictionary of the English Language, Third
Edition ⌐
1996
Assonantie/consonantie
alliteratie
accentual-syllabic:
the number of syllables in a line of verse and the arrangement of these
syllables according to whether they are accented or unaccented. In
accentual-syllabic versification the basic unit of measurement is known as the
foot. The foot consists of one accented syllable accompanied by one or two
unaccented syllables. In a foot where one unaccented syllable precedes one
accented syllable is called the iamb or iambic foot. In addition to accent, the
number of syllables to a line also determines the pattern of verse. This
syllabic pattern, or meter, is usually expressed in terms of the number of feet
to a line. The example above contains five feet and is known as a pentameter
line. Iambic pentameter is the most common type of verse.
Another way to create a pattern
among the various lines of a poem is by using rhyme, or duplication of sound.
Most poems use end rhyme— that is, duplicating of sound at the ends of lines.
Rhyming couplets of iambic pentameter are the most frequent. A notable type of
unrhymed verse is blank verse, unrhymed lines of iambic pentameter. It is the
basic type of verse found in the plays of English playwright William
Shakespeare and in the epic poems of English poet John Milton.
When the pattern of rhymes, or
rhyme scheme, extends beyond two or three lines, the entire group of lines is
called a stanza. In poems containing more than one stanza, the pattern of the
first stanza is usually repeated in each succeeding one. The rhyme scheme of
any stanza is commonly indicated by a series of letters, in which each
recurring rhyme is designated by one letter, as in this example, in which the
rhyme scheme is abab:
At daybreak on the hill they stood
That overlooked the moor,
And thence they saw the bridge of wood,
A furlong from their door.
Stanzas may be composed of lines of the same length or of varying length.
Stanzas of four lines, like this one, are called quatrains. Quatrains sometimes
are arranged in other rhyme schemes, such as abba.
A stanza of seven iambic pentameter lines rhyming ababbcc,
known as rhyme royal, was frequently used by English poet Geoffrey Chaucer and
was often imitated by later poets. The Spenserian stanza of nine lines rhyming ababbcbcc is used throughout The Faerie Queene by English poet Edmund Spenser. The sonnet, perhaps
the most popular stanza form in English poetry, almost always contains 14 lines
of iambic pentameter.
Poets often use variations and
non patterned effects to achieve a unique style. The most important variation
is stress, or differentiation in the degree of accent. Most good poets produce an interplay between the natural stresses of speech and the
basic verse pattern. Another kind of variation from the theoretical pattern is
the length and phonetic character of the pauses, or intervals, between syllables
of verse. A strong pause in a line is called a caesura. A third factor
independent of the theoretical pattern is vowel and consonant quality. Harsh
sounds may suggest pain or effort; soft ones may suggest joy or peace. The
repetition of the same sounds in the first syllables, or first accented
syllables, of words is called alliteration. The repetition of the same stressed
vowel sounds with different consonants is called assonance. The repetition of
consonantal sounds when the vowel sounds differ is called consonance.
Dittography
the inadvertent duplication of
one or more letters or words, also occurs, as, for example, in the Dead Sea
Scroll text of Isaiah and in the Masoretic text of
Ezekiel
Haplography,
The accidental omission of a
letter or word that occurs twice in close proximity,
can be found, for example, in the
Homoeoteleuton
occurs
when two separate phrases or lines have identical endings and the copyist's eye
slips from one to the other and omits the intervening words. A comparison of
the Masoretic text I Samuel, chapter 14 verse 41,
with the Septuagint and the Vulgate versions clearly identifies such an
aberration.
Aural conditioning
would
result from a mishearing of similar sounding consonants when a text is dictated
to the copyist. A negative particle lo`, for example, could be confused
with the prepositional lo, "to him," or a guttural het with spirant kaf
so that ah "brother" might be written for akh "surely."
Trope
in
medieval church music, melody, explicatory text, or both added to a plainchant
melody. Tropes are of two general types: those adding a new text to a melisma (section of music having one syllable extended over
many notes); and those inserting new music, usually with words, between
existing sections of melody and text.
Klassiek Ritme:
Diataxis: kumulatief
patroon
Taxis: arrangement, patroon
Chiasme:
kruisarrangement
Cadens:
einde
Abruptio: het beken van een element in een serie
Aposiopesis: het breken van een serie
Epistrofe: terug gaan naar een oorspronkelijk ritme
Oxymoron: een schijnbare contradicite in een
gezwegen complement
Tarterstickung,
conceptuele overlap
Ellips:
overlap door transformatie