Here, for the first time in this century, is an opportunity to reexamine the philosophy of the Beaux-Arts school of architecture, whose two-hundred-year history represented the body of ideas and buildings against which the modern movement rebelled.
Based on the doctrines of architecture formulated by the French Academy during the eighteenth century, the Ecole des Beaux-Arts system of instruction stressed drawing as the primary means of visualizing architectural form. The Concours du Grand Prix de Rome was the ultimate test of ability, and thus the index of the Academy's ideals throughout this period. This book reproduces, in more than 200 drawings, projects for the Grand Prix and for virtually every other type of competition or assignment at the Ecole des Beaux-Arts. Included are drawings by students who subsequently became preeminent as professional architects—among them Henri Labrouste, architect of the Bibliothèque Sainte-Geneviève, and Charles Garnier, architect of the Paris Opéra. All illustrations are accompanied by extensive explanatory captions, and a selection of important larger studies appear on specially folded inserts, enabling the reader to view them in unusually clear and precise detail.
Complementing the student work reproduced here is a selection of photographs by major Beaux-Arts buildings executed in France and the United States. In all, the book contains 423 illustrations, 23 in color, and 10 inserts.
The Architecture of the Ecole des Beaux-Arts offers an enlightening analysis of the school. The authors examine Beaux-Arts concepts of theory and practice and assess major work by each of the school's main factions. The essay by Richard Chafee covers the school's complex political and administrative history and is followed by a survey of the school's evolving notions of architectural composition—from Charles Percier through Garnier—by David Van Zanten. Neil Levine discusses the emergence of the Neo-Grec and the ideas of Labrouste, which in their preoccupation with literature and meaning in architecture parallel some recent concerns. In the final essay, Arthur Drexler examines such issues as the uses of the past, the ethical implications of style versus "non-style," and the techniques of visualizing buildings that have influenced the development of modern architecture.
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Book Description Martin Secker & Warburg Ltd, 1977. Hard Cover. Book Condition: Fair. Dust Jacket Condition: Very Good. Ex-Library. Bookseller Inventory # 097874
Book Description Martin Secker & Warburg Ltd, 1977. Hardcover. Book Condition: Very Good. 0436137100 blue cloth gilt lettering dust jacket 525 pp. Bookseller Inventory # 44432
Book Description Secker and Warburg,, London, 1984. Hardback. Hardback. 528pp. 401 illustrations: 24 in colour and 12 fold-out plates. A little rubbed to spine ends. Hint of sunning dust wrapper spine. Very clean and sound Very good copy in good+ dust wrapper Very good copy in good+ dust wrapper. Bookseller Inventory # 16110
Book Description Secker & Warburg, London, 1977. HARD BACK. Book Condition: Very Good. Dust Jacket Condition: Price Clipped & Shelfwear. 528pp. 401 illustrations (24 in colour & 12 gatefolds).Published to accompany an exhibition at MOMA 1975over 200 drawings, projects for the Grand Prix, and the buildings created by the qualified architects. Heavy item, may attract additional postage. Book. Bookseller Inventory # 18628
Book Description Martin Secker & Warburg Ltd, 1977. Book Condition: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. Bookseller Inventory # 4245977
Book Description Martin Secker & Warburg Ltd, 1977. Book Condition: Good. A+ Customer service! Satisfaction Guaranteed! Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. Bookseller Inventory # 0436137100-2-4