No comments about Historic Preservation Technology: A Primer.

3 comments about The Gothic Cathedral.

1. An interesting theme is the connection with mathematics. "With few exceptions, the Gothic builders have been tight-lipped about the symbolic significance of their projects, but they are unanimous in paying tribute to geometry as the basis of their art. ... With but a single basic dimension given, the Gothic architect developed all other magnitudes of his ground plan and elevation by strictly geometrical means, using as modules certain regular polygons, above all the square. ... Proportions thus obtained the master considers to be 'according to true measure'. ... Why this extraordinary submission, so alien to our own notions concerning the nature of art and of the freedom of artistic creation, to the laws of geometry? ... The Gothic artist would have overthrown the rule of geometry, had he considered it, as most modern artists would, a fetter. It is clear, on the other hand, that he did not use his geometrical canons for purely aesthetic reasons either, since he applied them where they are invisible to the observer. ... In the first book of his treatise De musica, St. Augustine defines music as the 'science of good modulation'. ... The science of good modulation is concerned with the relating of several musical units according to a module, a measure, in such a way that the relation can be expressed in simple arithmetical ratios. The most admirable ratio, according to Augustine, is that of equality or symmetry, the ratio 1:1, since here the union or consonance between the two parts is most intimate. Next in rank are the ratios 1:2, 2:3, 3:4 ... Augustine uses architecture, as he does music, to show that number, as apparent in the simpler proportions that are based on the 'perfect' ratios, is the source of all aesthetic perfection. ... For him, music and architecture are sisters, since both are children of number; they have equal dignity, inasmuch as architecture mirrors eternal harmony, as music echoes it. ... The Cathedral of Sens is the first Gothic cathedral. ... [T]he ground plan of Sens being designed ad quadratum, the square bays of the nave are twice as wide as those of the side aisles; owing to the tripartite elevation, it was possible to give the same proportion to the relative heights of nave and aisles. The elevation of the nave to the springing of the vaults, moreover, is subdivided, at the level of the arcade imposts, into two equal parts: the octave ratio of 1:2 permeates the entire edifice. ... Fortunately, at least one literary document survives that explains the use of geometry in Gothic architecture: the minutes of the architectural conferences held during 1391 and the following years in Milan. ... The question debated at Milan is not whether the cathedral is to be built according to a geometrical formula, but merely whether the figure to be used is to be the square ... or the equilateral triangle. ... The minutes of one particularly stormy session relate an angry dispute between the French expert, Jean Mignot, and the Italians. Overruled by them on a technical issue, Mignot remarks bitterly that his opponents have set aside the rules of geometry by alleging science to be one thing and art another. Art, however, he concludes, is nothing without science, 'ars sine scientia nihil est'. ... This argument was considered unassailable even by Mignot's opponents. They hasten to affirm that they are in complete agreement as regards this theoretical point and have nothing but contempt for an architect who presumes to ignore the dictates of geometry."



2. There aren't many books available looking at the phenomenon or idea of the Gothic Cathedral as a whole, and few of those are generally accessible reading. There are countless books on particular cathedrals and churches - Notre Dame, Salisbury Cathedral, Chartes, the Abbey of St. Denis. There are other books that look at particular aspects of the architecture or function; particular books on flying buttresses, stained-glass windows, and such are also numerous.
   
   This third edition of Otto von Simon's book (originally published in 1956, updated in 1962 and again in 1987) looks at the Gothic Cathedral as a whole from many different standpoints - architecture, artistic value, spiritual value, economic value and influence, functional and practical concerns. 'The cathedral,' Simson wrote in his first preface, 'was designed as an image, and was meant to be understood as one.' Simson is direct in his admiration of Gothic style, calling Gothic architecture 'perhaps the most creative achievement in the history of Western architecture'. It is indeed hard to find rivals to this claim.
   
   The Gothic Cathedral, according to Simson, is the earthly representation of supernatural reality. It is a physical manifestation of the theological ideas and aspirations of the Middle Ages. However, Gothic has become a bit too commonplace in some respects - being at the centre of many European and North American cities and towns, it also suffers from being seen as a relic more appropriately the object of archaeological examination than current appreciation.
   
   Simson highlights many of the aspects of Gothic architecture, including the use of light in new, unparalleled ways, and the relationship between structure and appearance. Stained glass windows, according to Simson, 'are structurally and aesthetically not openings in the wall to admit light, but transparent walls.' Gothic also took advantage of advances in design and building materials to emphasise verticality beyond what earlier architectural forms could do. This together with the sense of geometric precision and orderliness made the Gothic church a reflection of heaven. Simson develops Augustine's idea of architecture and music as enjoyments of transcendence, 'since both are children of number; they have equal dignity, inasmuch as architecture mirrors eternal harmony, as music echoes it.'
   
   In addition to talking about the aesthetic principles of Gothic style, Simson develops the political and social history out of which it emerged. He gives an extended biography of Abbot Suger of St. Denis, in most regards the father of the Gothic style. Simson shows the competing ideas political and religious in the world, as well as the different influences and forces at work on Suger. 'Suger undertook the rebuilding of his church in order to implement his master plan in the sphere of politics. His vision as a stateman imposed itself upon the architectural project; he conceived it as the monumental expression of that vision.' This place was to be thought of in the same regard as Jerusalem, Constantinople and Rome. However, this political vision was far from the only image for Suger, for such an image most likely would not have endured. Simson explores the various aesthetical and practical influences upon Suger, what prompted him to make the decisions he did, and what came to be the birthplace of Gothic churches.
   
   Simson explores other structures as well - most notably, he concentrates on the cathedral of Chartes as one of the principle examples of high Gothic style. This discussion not only examines the building and design aspects, but also the economic aspects of the community of Chartes and surrounding areas and how this impacted the building of the great cathedral, and vice versa. Of Chartes, Simson says we may 'well define it as a "model" of the cosmos as the Middle Ages perceived it. But this "model" was ontologically transparent. It reflected an ultimate reality.'
   
   The book contains 52 black-and-white plates with pictures and graphics, and 8 text figures as line-art drawings. It has sections of addenda and a postscript of revisions of earlier editions. There is a very extensive bibliography for further research, and a reasonable index. The book itself is footnoted throughout, many of the footnotes being rather substantial. This is not a 'popular' book, and is written in an academic style. However, the content is so intriguing that that is a minor consideration. My one wish for the text would be that there were colour pictures or plates included with the text.
   
   This is a very interesting and worthwhile text, good for anyone interested in the history of architecture, Gothic design, cathedrals and worship spaces, and the intersection of faith and the physical world.



3. As an art historian, museum curator, and traveler to France I found this book very useful. Most books on Gothic Architecture look at style as though it exists for its own sake. Simson places the beginnings of Gothic Architecture into the intellectual and historical context that gave this archetectual style its birth. The two sections that I most enjoyed were the theology of light that Suger was trying to express through architecture and the historical/political life of Suger. Both of these elements had a profound effect on the developement and impact of the Abby Church of St. Denis. This book represents architectural history as it should be written. Simson's approach is only possible because of his ability to draw upon a broad and deep educational framework. Reading this book caused me to lament the shallowness of much of what passes for scholarly training and writing in our time. You don' t have to be an architectural historian to enjoy this book. But you should be passionate about ideas. Simson shows us how ideas have consequences. This is one of the best books I have ever read.

1 comments about Japanese Fortified Temples and Monasteries AD 710-1602 (Fortress).

1. I found this book to be an excellent companion book to Turnbull's earlier Osprey Fortress series book on Japanese castles. Although the title read "AD 710 to 1602", most of the core coverage of this book lies with Sen-joku period of Japan, basically between 1540 to 1600.
   
   A short book of 64 pages, the book divides itself into three basic parts. First part dealt with the basic history of these warrior monks whose European counterparts might be the Knight Templars or Hussites depending on how you looked at it. Second part dealt with the designs and concepts of these fortified temples and monasteries. Finally, the third part dealt with military history behind these fortified locations.
   
   The book proves to be well written, researched and well illustrated. The three map illustrations of the major fortified religious centers during the Sen-joku period can be compared with the one built prior to it. These illustrations proves to be very handy and useful in giving a great overall understanding to the subject at hand.
   
   This book will be a welcomed addition to any library whose reader got a great interest in Japanese samurai history. For a book so short, its proves to be highly informative.

3 comments about Splash 8: Watercolor Discoveries (Splash).

1. So many almost photographic pictures of shiny objects,fruits, flowers and too few real "Discoveries" I look forward to each new "Splash",but this one seemed just more of the same.The pictures using fluid inks and a looser style are fun, but please thinks of us non-Americans when you use brand names of materials like "Yupo"plastic paper



2. La série des livres SPLASH (actuellement le 8e volume est paru) est une pure merveille. J'ai la chance de disposer de l'intégralité de ces ouvrages achetés sur le site Amazon.com
   Chaque livre présente plus de 100 oeuvres. Chacune de ces aquarelles est une découverte formidable: de la couleur, de la poésie, de l'art, du très grand art.
   Je vous recommande ces ouvrages très vivement. Vous ne serez pas décus. Félicitations très chaleureuses à tous ces artistes.



3. The story continues with this latest edition of 140 works. Since the first book in 1991 the Splash series has featured some glorious watercolor paintings. The reason I love these books is the enormous variation in style. In this book it can vary from the almost photographic painting of trees and a house by Steven Kozar (page eighty-nine) to the very loose but still very controlled work of Dan Burt and his flamboyant painting of a street scene in Guanajuato, Mexico (page eighteen).
   
   I have the eight books and they are such a treat to browse through but I think it worth mentioning that they are not how-to-do books. Each artist though, does contribute some thoughts on how they created their work and in a way this can be more valuable than a learn-to-paint book because with so many styles on display every artist has a different point to make about their creativity.
   
   The presentation follows the style set in the first book, each spread has two paintings, and frequently one is whole page with the artist's comments and another painting on the opposite page. The screen is 175dpi so the reproduction is good on a gloss paper, though I prefered the matt stock used in book four, it made the images sparkle a bit more.
   
   Amazon has over twelve hundred books listed under 'watercolor painting' so there is plenty of choice but I think the Splash series has a special place for presenting the best contemporary American watercolor work.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.

1 comments about Architectural Details and Measured Drawings of Houses of the Twenties (Dover Pictorial Archives).

1. This book is a replica of ARCHITECTURAL DETAILS FOR EVERY TYPE OF BUILDING: A PRACTICAL DRAFTING ROOM GUIDE FOR CONTRACTORS, BUILDERS, LUMBER DEALERS, MILLMEN, DRAFTSMEN, AND ARCHITECTS published in 1921. The original title is an appropriate one, as it was not intended for the general public looking for house plans or ideas for details but more for the building professional. Today, however, it provides a great reference resource for those interested in restoring or improving an early twentieth century building. For houses, there are some complete working drawing sets in addition to various details for stairs, fireplaces, bookcases, and even fences, among many others. Also included are drawings for an Ice House, a Modern Photo Play House (movie theater), and various Barns. It is highly recommended for those who enjoy technical information.

1 comments about Education of An Architect: A Point of View: The Cooper Union School of Art and Architecture 1964-1971.

1. Cooper Union exhibits art showing cross up man's rectum:
   Catholic League president Bill Donohue offered his comments today: "Surely there is a difference between art, traditionally understood as conveying beauty, and junk. Admittedly there is so much junk that passes as art these days that the public can be forgiven if it is no longer capable of making critical distinctions. But we should expect more from the art faculty at a distinguished institution of higher education."That the works of this student should be deemed `major,' representing the `best' of the student contributions does not speak well for Cooper Union. On the other hand, I have the sneaking suspicion that these paintings made the cut precisely because they were an assault on Catholic sensibilities.

1 comments about On Weathering: The Life of Buildings in Time.

1. This book provides a fresh new approach on how architects and/or designers should view the use of materials. The ingeneous approach on how the natural weathering process of materials can be a phenomenon that may enrich a material's physical property, provides a great insightful approach for a 'responsible' use of materials in architecture. This book is a MUST read for all those architecture students that have a great interest in materials.

5 comments about Ranches: Design Ideas for Renovating, Remodeling, and Building New.

1. If you are fan of midcentury American ranches, this book teaches you how to ruin these examples of classic American architecture. It gives suggestions on how to turn them into boring mini McMansions complete with granite counters and stainless steel appliances.



2. Writing a book is a huge undertaking so hats off to the authors. I can't give this book a favorable review however. This is not a book about mid-century architecture. The ranch-style homes in it have been substantially remodeled and very few mid-century details remain as you can readily see from the photos. As a fan of that period of architecture, this was a disappointment. But for someone who finds their rancher to be too low, too spare or too retro, this book shows how to get rid of all that and turn a rancher into something more like a bungalow or a shingle-style Cape Cod with a new kitchen. The furnishings in the homes are often brightly colored Scandinavian, early American, Native American, or craftsman. Many of the shots look very much like they are from a 1992 Metropolitan Home magazine although there are quite a few kitchens with stone countertops. If you want to convert a rancher, this might be for you. If you want to restore one, you'll need a different book.



3. The title implied that this book would be ideal for me; I like ranches, I feel that they are undervalued, and I see many that are ripe for renovation after years of benign neglect. They're often small by today's standards, too, and I'd like to know how other people have expanded or changed their ranches while maintaining the buildings' architectural identity. For all these reasons, I didn't like this book much. The author disparages the architectural style that some of us appreciate--she is downright insulting about the exteriors--and seems to feel that the reader/owner's main goal will be to ignore the exterior of their house or transform it into something very different such as a developer-style colonial. Little advice is given about maintaining or updating the wonderful horizontal form of the ranch, choosing trim, siding, roofing, hardware, doors, windows, etc., or maintaining and enhancing the architecture-nature connection that makes ranches interesting through appropriate landscaping, decks, gardens, and other outdoor features. If you find it at your library or a charity book sale, it's worth a look, but it didn't contain what I thought it would.



4. Before buying, I was offended by the spate of terse, one-star reviews of this book (which may or may not have been written by the same person) and took the advice of others who seemed to love it. I was so wrong. This book is for people who find themselves stuck with a ranch house ("Very few people love the exteriors of ranch houses") when they might have preferred a bungalow or a cottage. The photos are well-shot, the design ideas apparently fill a need, but this book is by no means Atomic Ranch.



5. I sent this book to my brother who is restoring a 40-year-old Ranch house. He's really found it inspirational and I've enjoyed looking through it too. Here in the Atlanta area, the old Ranch houses are in danger. McMansions and their greedy, tasteless developers would have them eliminated. Yes, most of the Ranch survivors are unremarkable upon first glance but the ideas behind them--well explained in this book--are wonderful and they are certainly built of better materials and with more care than the slapped-together structures of today. Of course a weakness of the Ranch house is that like the McMansion of today it was mostly built by developers out for a dime. The pages here show the potential of the Ranch. There are some lovely rennovations, beautifully photographed. There's a good history lesson on the Ranch and its architectural and cultural sources too. I heartilly recommend this book for Ranch owners and architectural historians.

No comments about Sustainable Design for Interior Environments.

2 comments about Lettering for Architects and Designers, 2nd Edition.

1. This book was excellent for an interior design or architectural student. I highly recommed it!



2. If you have ever wondered how architects and designers form such uniform letters, this is an essential reference. It is one of few books that focus on the beauty of written forms presented on blueprints.

   Outside, the book has a simple cover. Inside, every page is filled with the author's handwriting; the letters are incredibly consistent from page to page.

   Although the author presents a limited variety of alphabets, she offers many pointers on how to perfect them. This is clearly a case where quality received a greater emphasis than quantity.