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Histoires de forme et de sens
De Ville Mont-Royal à Vitruve, d'Hochelaga à Palladio et de Jérusalem à Le Corbusier, c'est de cet urbain saisi sur deux échelles, celle du monde qui l'a produit et celle du monde qui nous entoure, dont cet ouvrage-ci nous parle. Les textes colligés visent ainsi à inscrire la ville, comme création, dans un horizon culturel qui en dévoile l'extraordinaire foisonnement. Ils illustrent par quels moyens, devant quels regards et sous quels aspects ce merveilleux enchevêtrement du sens se révèle. Pourquoi publier une anthologie d'André Corboz? Pour montrer que l'on peut, encore, analyser la ville par-delà la description fataliste de son immédiateté, comme une création et comme l'image que nous voulons de nous-mêmes, ancrée aux temps, ceux d'hier et ceux de demain.
Space, Gender, and Aesthetics
From the avant-garde design of the Islamic Cultural Center in New York City to the simplicity of the Dar al-Islam Mosque in Abiquiu, New Mexico, the American mosque takes many forms of visual and architectural expression. The absence of a single, authoritative model and the plurality of design nuances reflect the heterogeneity of the American Muslim community itself, which embodies a whole spectrum of ethnic origins, traditions, and religious practices. In this book, Akel Ismail Kahera explores the history and theory of Muslim religious aesthetics in the United States since 1950. Using a notion of deconstruction based on the concepts of "jamal" (beauty), "subject," and "object" found in the writings of Ibn Arabi (d. 1240), he interprets the forms and meanings of several American mosques from across the country. His analysis contributes to three debates within the formulation of a Muslim aesthetics in North America—first, over the meaning, purpose, and function of visual religious expression; second, over the spatial and visual affinities between American and non-American mosques, including the Prophet’s mosque at Madinah, Arabia; and third, over the relevance of culture, place, and identity to the making of contemporary religious expression in North America.
U.S. Architectural Visions for the Western Hemisphere
Coinciding with the centennial of the Pan American Union (now the Organization of American States), González explores how nineteenth- and twentieth-century U.S. architects and their clients built a visionary Pan-America to promote commerce and cultural exchange between United States and Latin America.
Playthings and Places in Midcentury America
The postwar American stereotypes of suburban sameness, traditional gender roles, and educational conservatism have masked an alternate self-image tailor-made for the Cold War. The creative child, an idealized future citizen, was the darling of baby boom parents, psychologists, marketers, and designers who saw in the next generation promise that appeared to answer the most pressing worries of the age.
Designing the Creative Child reveals how a postwar cult of childhood creativity developed and continues to this day. Exploring how the idea of children as imaginative and naturally creative was constructed, disseminated, and consumed in the United States after World War II, Amy F. Ogata argues that educational toys, playgrounds, small middle-class houses, new schools, and children’s museums were designed to cultivate imagination in a growing cohort of baby boom children. Enthusiasm for encouraging creativity in children countered Cold War fears of failing competitiveness and the postwar critique of social conformity, making creativity an emblem of national revitalization.
Ogata describes how a historically rooted belief in children’s capacity for independent thinking was transformed from an elite concern of the interwar years to a fully consumable and aspirational ideal that persists today. From building blocks to Gumby, playhouses to Playskool trains, Creative Playthings to the Eames House of Cards, Crayola fingerpaint to children’s museums, material goods and spaces shaped a popular understanding of creativity, and Designing the Creative Child demonstrates how this notion has been woven into the fabric of American culture.
Architectural Images in Qing China
Qing China (1644–1912) witnessed a resurgence in architectural painting, a traditional subject category known as jiehua, or boundary painting. Drawing Boundaries concerns itself with the symbolic implications of this impressive and little studied reflorescence. Beginning with a concise and well-illustrated history of the evolution of the tradition, this exciting new study reveals how these images were deployed in the Manchu (Qing) imperial court to define political, social, or cultural boundaries. Characterized by grand conception and regal splendor, the paintings served to enhance the imperial authority of rulers and, to a segment of the elite, to advertise social status. Drawing Boundaries thus speaks to both issues of painting and architectural style and the discourse of powerful cultural forms. In addition to the analysis of how the style of image construction suggests these political and social motivations, the book identifies another aspect of traditional architectural representation unique to the Qing: the use of architectural representation to render form and space. Anita Chung makes the fascinating observation that these renderings create an overwhelming sense of “being there,” a characteristic, she argues, that underscores the Qing concern for the substance of things—a sensibility toward the physical world characteristic of the period and emblematic of a new worldview.
La conservation du patrimoine résulte de facteurs complexes, non seulement de choix scientifiques et d’intérêts politiques ou financiers, mais aussi de positions mémorielles, voire d’idéologies. Dans une trentaine de textes ici rassemblés, Jean-Michel Leniaud expose les enjeux de l’habitus patrimonial qui s’est composé pour que, dans la cité, une place soit faite à l’héritage.
College Farm to University Museum
British Gardens in India
Like their penchant for clubs, cricket, and hunting, the planting of English gardens by the British in India reflected an understandable need on the part of expatriates to replicate home as much as possible in an alien environment. In Flora's Empire, Eugenia W. Herbert argues that more than simple nostalgia or homesickness lay at the root of this "garden imperialism," however. Drawing on a wealth of period illustrations and personal accounts, many of them little known, she traces the significance of gardens in the long history of British relations with the subcontinent. To British eyes, she demonstrates, India was an untamed land that needed the visible stamp of civilization that gardens in their many guises could convey.
Colonial gardens changed over time, from the "garden houses" of eighteenth-century nabobs modeled on English country estates to the herbaceous borders, gravel walks, and well-trimmed lawns of Victorian civil servants. As the British extended their rule, they found that hill stations like Simla offered an ideal retreat from the unbearable heat of the plains and a place to coax English flowers into bloom. Furthermore, India was part of the global network of botanical exploration and collecting that gathered up the world's plants for transport to great imperial centers such as Kew. And it is through colonial gardens that one may track the evolution of imperial ideas of governance. Every Government House and Residency was carefully landscaped to reflect current ideals of an ordered society. At Independence in 1947 the British left behind a lasting legacy in their gardens, one still reflected in the design of parks and information technology campuses and in the horticultural practices of home gardeners who continue to send away to England for seeds.
Vol. 27 (2012) through current issue
The National Trust's Forum Journal is a quarterly publication featuring in-depth articles on preservation issues. It includes timely, comprehensive pieces, often organized around a specific theme, about preservation issues of interest to a wide range of preservationists working across the country.