Borromini Revised

At first glance, Borromini's architecture is a flight of Baroque fantasy, the product of limitless imagination. A closer look reveals an almost ruthlessly logical geometry underlying his creation. Blunt shows how the combination of revolutionary inventiveness and intellectual control gives Borromini's work its great appeal.

To this day, no comprehensive academic study of the development of guidebooks to Rome over time has been performed. This book treats the history of guidebooks to Rome from the Middle Ages up to the early twentieth century. It is based on the results of the interdisciplinary research project Topos and Topography, led by Anna Blennow and Stefano Fogelberg Rota. From the case studies performed within the project, it becomes evident that the guidebook as a phenomenon was formed in Rome during the later Middle Ages and early Renaissance. The elements and rhetorical strategies of guidebooks over time have shown to be surprisingly uniform, with three important points of development: a turn towards a more user-friendly structure from the seventeenth century and onward; the so-called ’Baedeker effect’ in the mid-nineteenth century; and the introduction of a personalized guiding voice in the first half of the twentieth century. Thus, the ‘guidebook tradition’ is an unusually consistent literary oeuvre, which also forms a warranty for the authority of every new guidebook. In this respect, the guidebook tradition is intimately associated with the city of Rome, with which it shares a constantly renovating yet eternally fixed nature.

A milestone in modern thought, Space, Time and Architecture has been reissued many times since its first publication in 1941 and translated into half a dozen languages. In this revised edition of Sigfried Giedion’s classic work, major sections have been added and there are 81 new illustrations. The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier’s only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death), which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jørn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post–World War II architectural concepts. A new essay, “Changing Notions of the City,” traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as José Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert’s Peabody Terrace is discussed as an example of the interlocking of the collective and individual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.

Exploring the ambiguities of how we define the word 'culture' in our global society, this book identifies its imprint on architectural ideas. Chapters written by international academics in history, theory and philosophy of architecture examine how different modes of representation throughout history have drawn profound meanings from cultural practices and beliefs.

In his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic spirals: Tatlin’s Monument to the Third International and Borromini’s dome for Sant’Ivo alla Sapienza. The values shared between the baroque age and the modern were thus encapsulated on a single page spread. As Giedion put it, writing of Sant’Ivo, Borromini accomplished 'the movement of the whole pattern [...] from the ground to the lantern, without entirely ending even there.' And yet he merely 'groped' towards that which could 'be completely effected' in modern architecture-achieving 'the transition between inner and outer space.' The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It considers the varied ways that historians of art and architecture have historicized modern architecture through its interaction with the baroque: a term of contested historical and conceptual significance that has often seemed to shadow a greater contest over the historicity of modernism. Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.

First published in 1997. For this second edition of Art Books: A Basic Bibliography of Monographs on Artists, the vast number of new books published since 1985 was surveyed and evaluated. This has resulted in the selection of 3,395 additional titles. These selections, reflective of the increase in the monographic literature on artists during the last ten years, are evidence of the activities of a larger number of art historians in more countries worldwide, of the increasingly diverse and ambitious exhibition programs of museums whose number has also increased dramatically, and also of a lively international art market and the attendant gallery activities. The selections of the first edition have been reviewed, errors have been corrected and important new editions and reprints have been noted. The second edition contains 278 names of artists not represented in the first edition.