Energy and Bulding Control Systems in the Tropics
This book deals with both passive and active methods of controlling the environmental performance of buildings in hot tropical climates such as Malaysia. In these climates the building fabric plays a crucial role in determining the indoor environment and maintaining reasonable thermal comfort. Useful and practical examples from local case studies are used to illustrate solutions. While the book is of a technical nature and based on academic research, the language is suitable for both students and the general public. The book offers a significant contribution towards the move to more sustainable, energy efficient and 'green’ buildings. It provides building designers with practical and simple solutions that are based on a sound understanding of building physics.
Spaces Speak, Are You Listening?
We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling.Integrating contributions from a wide range of disciplines--including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others--Spaces Speak, Are You Listeningestablishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
The Producer as Composer
In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin's recordings of the Beatles did not resemble live performances -- in the Albert Hall or elsewhere -- but instead created a new sonic world. The role of the record producer, writes Virgil Moorefield in The Producer as Composer, was evolving from that of organizer to auteur; band members became actors in what Frank Zappa called a "movie for your ears." In rock and pop, in the absence of a notated score, the recorded version of a song -- created by the producer in collaboration with the musicians -- became the definitive version. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques -- tape editing, overdubbing, compression -- and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers. What began when rock and pop producers reinvented themselves in the 1960s has continued; Moorefield describes the importance of disco, hip-hop, remixing, and other forms of electronic music production in shaping the sound of contemporary pop. He discusses the making of Pet Sounds and the production of tracks by Public Enemy with equal discernment, drawing on his own years of studio experience. Much has been written about rock and pop in the last 35 years, but hardly any of it deals with what is actually heard in a given pop song. The Producer as Composer tries to unravel the mystery of good pop: why does it sound the way it does?
Histories of the Immediate Present
Architecture, at least since the beginning of the twentieth century, has suspended historical references in favor of universalized abstraction. In the decades after the Second World War, when architectural historians began to assess the legacy of the avant-gardes in order to construct a coherent narrative of modernism's development, they were inevitably influenced by contemporary concerns. In Histories of the Immediate Present, Anthony Vidler examines the work of four historians of architectural modernism and the ways in which their histories were constructed as more or less overt programs for the theory and practice of design in a contemporary context. Vidler looks at the historical approaches of Emil Kaufmann, Colin Rowe, Reyner Banham, and Manfredo Tafuri, and the specific versions of modernism advanced by their historical narratives. Vidler shows that the modernism conceived by Kaufmann was, like the late Enlightenment projects he revered, one of pure, geometrical forms and elemental composition; that of Rowe saw mannerist ambiguity and complexity in contemporary design; Banham's modernism took its cue from the aspirations of the futurists; and the "Renaissance modernism" of Tafuri found its source in the division between the technical experimentation of Brunelleschi and the cultural nostalgia of Alberti. Vidler's investigation demonstrates the inevitable collusion between history and design that pervades all modern architectural discourse--and has given rise to some of the most interesting architectual experiments of the postwar period. Anthony Vidler is Dean and Professor of the Irwin S. Chanin School of Architecture at The Cooper Union, New York. He is the author of Warped Space: Art, Architecture, and Anxiety in Modern Culture (2000), The Architectural Uncanny: Essays in the Modern Unhomely (1992), both published by The MIT Press, and other books.
The Taming of the Shrew
Lucentio comes to Padua to attend the university, but his attention is quickly captured by the lovely Bianca. He would do anything to marry her, including disguise himself as her Latin teacher. But a major obstacle stands in the way of Lucentio's intentions: Bianca's father will only allow Bianca to marry after her sister, Katherine, is married. Katherine is everything Bianca is not. She is ill-tempered, opinionated, and objects to the idea of marriage. When bold Petruchio arrives in Padua, however, he might just be the kind of suitor who could succeed in marrying Katherine. This is an unabridged version of English playwright William Shakespeare's romantic comedy, which was first published in 1623.
An Angel In Hell
After years of caring for her ailing father, the Earl of Medwin, the ethereally beautiful young Lady Ancella Winn is pale, drawn and exhausted now that he has died and she is devastated. Worse still, she has nowhere to go, except for the home of her strait-laced and disapproving aunts. So when family friend and doctor, Sir Felix Johnson, suggests that it would be good for her health to travel to the French Riviera to work as the nurse-companion to an ageing Russian Princess, she nervously agrees. Although her new employer is difficult and demanding, Ancella is bewitched, first by the beauty of the C?te d’Azur and then by the Princess’s ineffably handsome son, Prince Vladimer. Caught up in the glamour of the Monte Carlo Casino, the den of iniquity against which her aunts had warned her in no uncertain terms, it seems that she has won the Prince’s heart as the feckless aristocrats around her lose fortunes at Roulette and Baccarat. But then to her horror her hopes of the love she has always dreamt about are dashed when it she finds that Prince Vladimer has betrayed her with the grasping but alluring Marchioness of Chiswick.
Modigliani (1884-1920) was a painter of great unhappiness in his native Italy and felt only sorrow in his adopted country of France. Out of this discontent came forth Modigliani’s original work, which was influenced by African art, the Cubists, and drunken nights in Montparnasse. His portrayal of women—sensual bodies, almost aggressive nudity, and mysterious faces—expresses their suffering and feelings of being unloved and unjustly disregarded. Modigliani died at the age of 36.
Piet Mondrian (1872-1944), who can be assigned to the school of classical modernism, was born in Amersfort, Netherlands. After studying in Amsterdam, he started his artist?s career in the impressionist style as a figure and landscape painter. His works from these years showed the influence of Vincent Van Gogh (1853-1890) and of Fauvism, a French school from the beginning of the 20th century. When he traveled to Paris in 1911, he discovered Pablo Picasso?s works (1881-1973) and, with that, Cubism. He thereafter became a pioneer of abstract painting in the Netherlands. From the 1920s on, his paintings show a vertical and horizontal composition that, combined with the oppositions of blue, yellow, red, and noncolored spaces, turned into his trademark. His art was very appreciated in New York, where he spent his last years. Mondrian was not only a painter but also an art theoretician and cofounder of the art school De Stijl.
Lautrec studied with two of the most admired academic painters of the day, Léon Bonnat and Fernand Cormon. Lautrec’s time in the studios of Bonnat and Cormon had the advantage of introducing him to the nude as a subject. At that time life-drawing of the nude was the basis of all academic art training in nineteenth-century Paris. While still a student, Lautrec began to explore Parisian nightlife, which was to provide him with his greatest inspiration, and eventually undermined his health. Lautrec was an artist able to stamp his vision of the age in which he lived upon the imagination of future generations. Just as we see the English court of Charles I through the eyes of van Dyck and the Paris of Louis-Philippe through the eyes of Daumier, so we see the Paris of the 1890s and its most colourful personalities, through the eyes of Lautrec. The first great personality of Parisian nightlife whom Lautrec encountered – and a man who was to play an important role in helping Lautrec develop his
Whistler suddenly shot to fame like a meteor at a crucial moment in the history of art, a field in which he was a pioneer. Like the impressionists, with whom he sided, he wanted to impose his own ideas. Whistler’s work can be divided into four periods. The first may be called a period of research in which he was influenced by the Realism of Gustave Courbet and by Japanese art. Whistler then discovered his own originality in the Nocturnes and the Cremorne Gardens series, thereby coming into conflict with the academics who wanted a work of art to tell a story. When he painted the portrait of his mother, Whistler entitled it Arrangement in Grey and Black and this is symbolic of his aesthetic theories. When painting the Cremorne Pleasure Gardens it was not to depict identifiable figures, as did Renoir in his work on similar themes, but to capture an atmosphere. He loved the mists that hovered over the banks of the Thames, the pale light, and the factory chimneys which at night turned into
米开朗基罗（Michelangelo）的名字不断浮现在西斯廷教堂、阿波罗、丘比特等数不计数的杰作中。在《意大利绘画》（The Italian Painting）这本书中，作者司汤达写道：“在古希腊风物和米开朗基罗之间，没有任何距离，除了或多或少技术娴熟的伪造物。”在《漫步罗马》（Promenade in Rome）一书中，沙特布莱表达了对《圣母怜子像》（Pieta）中那些精致的线条的崇敬之情。诸如司汤达等大连古欧秀的作家将米开朗基罗视为西方艺术复兴的大家之一。毫无疑问，米开朗基罗的作品经历住了时间的考验。在若干年后，米开朗基罗的作品何以能够揭示希腊先驱们的创造性来源？米开朗基罗是创造性的天才和超人，是意大利文艺复兴中无与伦比的艺术家，他的影响力和成就与达芬奇可相媲美。在这本著作中， Jean-Matthieu Gosselin探讨了米开朗基罗所有的身份：雕塑家、建筑师、画家和美术家。
Born in 1860 in a small Czech town, Alphonse Mucha (1860-1939) was an artist on the forefront of Art Nouveau, the modernist movement that swept Paris in the 1910s, marking a return to the simplicity of natural forms, and changing the world of art and design forever. In fact, Art Nouveau was known to insiders as the “Mucha style” for the legions of imitators who adapted the master’s celebrated tableaux. Today, his distinctive depictions of lithe young women in classical dress have become a pop cultural touchstone, inspiring album covers, comic books, and everything in between. Patrick Bade and Victoria Charles offer readers an inspiring survey of Mucha’s career, illustrated with over one hundred lustrous images, from early Parisian advertisements and posters for Sandra Bernhardt, to the famous historical murals painted just before his death, at the age of 78, in 1939.
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstra
Born in 1912, in a small town in Wyoming, Jackson Pollock embodied the American dream as the country found itself confronted with the realities of a modern era replacing the fading nineteenth century. Pollock left home in search of fame and fortune in New York City. Thanks to the Federal Art Project he quickly won acclaim, and after the Second World War became the biggest art celebrity in America. For De Kooning, Pollock was the “icebreaker”. For Max Ernst and Masson, Pollock was a fellow member of the European Surrealist movement. And for Motherwell, Pollock was a legitimate candidate for the status of the Master of the American School. During the many upheavals in his life in Nez York in the 1950s and 60s, Pollock lost his bearings - success had simply come too fast and too easily. It was during this period that he turned to alcohol and disintegrated his marriage to Lee Krasner. His life ended like that of 50s film icon James Dean behind the wheel of his Oldsmobile, after a night of
Diego Rodríguez de Silva y Velázquez (June 1599 – August 6 1660), known as Diego Vélasquez, was a painter of the Spanish Golden Age who had considerable influence at the court of King Philip IV. Along with Francisco Goya and Le Greco, he is generally considered to be one of the greatest artists in Spanish history. His style, whilst remaining very personal, belongs firmly in the Baroque movement. Velázquez’s two visits to Italy, evidenced by documents from that time, had a strong effect on the manner in which his work evolved. Besides numerous paintings with historical and cultural value, Diego Vélasquez painted numerous portraits of the Spanish Royal Family, other major European figures, and even of commoners. His artistic talent, according to general opinion, reached its peak in 1656 with the completion of Las Meninas, his great masterpiece. In the first quarter of the 19th century, Velázquez's style was taken as a model by Realist and Impressionist painters, in particular by ?douard
Besides its practical uses in regions across the globe, the fan has a long history as a fashion item, with new shapes, materials, and colours constantly being created. This book portrays the most artistic examples from the 18th to the 20th centuries. The imaginative shapes and expensive materials of fans are usually decorated with peculiar images of social events, icons, and music notes. Through its practical format, this book is an ideal gift for any lover of fashion and cultural objects.
Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in contro
The self-appointed “leader” of the artists’ group Die Brücke (Bridge), founded in Dresden in 1905, Ernst Ludwig Kirchner was a key figure in the early development of German Expressionism. His first works show the influence of Impressionism, Post-impressionism and Jugendstil, but by about 1909, Kirchner was painting in a distinctive, expressive manner with bold, loose brushwork, vibrant and non-naturalistic colours and heightened gestures. He worked in the studio from sketches made very rapidly from life, often from moving figures, from scenes of life out in the city or from the Die Brücke group’s trips to the countryside. A little later he began making roughly-hewn sculptures from single blocks of wood. Around the time of his move to Berlin, in 1912, Kirchner’s style in both painting and his prolific graphic works became more angular, characterized by jagged lines, slender, attenuated forms and often, a greater sense of nervousness. These features can be seen to most powerful effect in
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturall
At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side w