Architecture of Thought by Andrzej Piotrowski

By Andrzej Piotrowski

In Architecture of Thought, Andrzej Piotrowski maps and conceptually explores fabric practices of the previous, exhibiting how actual artifacts and visible environments occur culturally rooted modes of proposal and perform the main nuanced approaches of negotiations and ideological exchanges. in response to Piotrowski, fabric constructions let humans to imagine in new ways—distill rising or adjust latest worldviews—before phrases can stabilize them as traditional narratives.
Combining layout pondering with educational tools of inquiry, Piotrowski lines historic to fashionable architectural histories and—through serious readings of pick out buildings—examines the function of nonverbal exchanges within the improvement of an gathered Western identification. not like reports that manage round the conventional scheme of periodization in background, Architecture of Thought makes use of an interdisciplinary method of examine a large spectrum of cultural productions in numerous instances and places.
Operating from the statement that constructions are the main everlasting checklist of unself-conscious ideals and attitudes, it discusses Byzantium and the West after iconoclasm, the conquest and colonization of Mesoamerica, the Reformation and Counter-Reformation in jap Europe, the increase of the tradition of consumerism in Victorian England, and excessive Modernism as its end result. via relocating past the belief that ancient constructions mirror transcendental values and deterministic legislation of physics or financial system or were formed by way of self-conscious contributors, Piotrowski demanding situations the conventional wisdom of what structure is and will be.

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57 In considering the symbolic functioning of this church, information about the original construction of windows is important. 58 Like mosaics, the screens with the colored glass must have glittered with sparkles of intense color. 59 Only the gap windows, when the shutters were opened, would have created bright (though hidden) sources of light. 2 is quite different from what a person would have seen in the past. Today, the interior is both much brighter and visually fragmented by multiple and competing bright spots, be it those created by clear-glass apertures or by their reflections in the highly polished surfaces around them.

2. In the past, the enclosed spaces of the gallery captured daylight, but their visible fragments looked different. 5 happens. 5 shows remnants of two kinds of finishes in the southeast gallery, matte but relatively light below and painted surfaces above. The gallery floors are made of matte light-colored stones. The band of wall surfaces adjacent to them, but below the height of the railing of the balustrades, was made of untreated stucco resembling floors. Light-colored and matte surfaces reflect a high percentage of light energy, but in the process of doing so they appear bright.

As is always the case with architecture, the process of designing a building provided an opportunity for conceptual engagement with a variety of explicit and implicit issues. Suger, the designer, emphasized verbal production— a profound departure from the emphasis on nonverbal and exploratory modes of expression in post-iconoclastic architecture. His objective was not just to construct a new building representing a religious vision but to produce a new set of symbolic definitions, identities, and political relationships.

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