The enduring influence of the architect Gottfried Semper derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Künsten, here translated into English for the first time. A richly illustrated survey of the technical arts, Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each (...) medium. Thus, in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety. Harry Francis Mallgrave's introductory essay offers an account of Semper's life and work, a survey of Der Stil, and a fresh consideration of Semper's landmark study and its lasting significance. (shrink)

The paper follows Gottfried Semper's thesis that building – just like the textile – originates in practices of the knot. A comparison of the knot with dominant metaphors of the construction stone, the chain and the con tainer shows how knotting is inscribed in the fields of material, movement, perception and human relations. But the knot connects things with each other, instead of simply adding them; it is a connection by sympathy rather than by joints. That leads to (...) a comparison of tectonic and stereotomic aspects of building, especially of the wall. Is the wall constructed on the ground, like the skyscraper, or is it a fold in the ground itself, like the mountain? If one pursues the idea of the knot, one arrives at the latter conclusion. _German_ Der Beitrag greift Gottfried Sempers Perspektive auf, dass das Bauen wie das Textile ihren Ursprung in Praktiken des Knotens haben. Ein Vergleich des Knotens mit den vorherrschenden Metaphern des Bausteins, der Kette und des Behälters zeigt, wie sich das Knoten in die Bereiche des Materials, der Bewegung, der Wahrnehmung und der menschlichen Beziehungen einschreibt. Doch der Knoten verbindet Dinge >miteinander zusammenzufügen<, eher durch Sympathie als durch Gelenkverbindungen. Das führt zu einem Vergleich der tektonischen und stereotomischen Aspekte des Bauens, insbesondere der Mauer. Ist die Mauer auf dem Grund errichtet, wie der Wolkenkratzer, oder ist sie, wie der Berg, eine Falte im Grund selbst? Geht man vom Knoten aus, gelangt man zu letzterem Schluss. (shrink)

The paper follows Gottfried Semper's thesis that building – just like the textile – originates in practices of the knot. A comparison of the knot with dominant metaphors of the construction stone, the chain and the con tainer shows how knotting is inscribed in the fields of material, movement, perception and human relations. But the knot connects things with each other, instead of simply adding them; it is a connection by sympathy rather than by joints. That leads to (...) a comparison of tectonic and stereotomic aspects of building, especially of the wall. Is the wall constructed on the ground, like the skyscraper, or is it a fold in the ground itself, like the mountain? If one pursues the idea of the knot, one arrives at the latter conclusion. (shrink)

On Surface and Place is a rich and poetic exploration of surfaces which foregrounds their significance in our understanding and experience of place. Adopting weaving as its overarching metaphor, it departs from Gottfried Semper's discussion of correspondences between architecture and textiles, and emerges from the reading of photographs, a swatch of Harris Tweed and curtain wall façade juxtaposed. In juxtaposing the fabric of the city with the weave of Harris Tweed the book charts an original course across a (...) range of connected ideas and questions, combining many different themes, writers and disciplines. It presents integrated and innovative rethinkings on a number of fundamental relationships, including correlations between body and building, word and image, and between the rural and the metropolitan, and the hand-crafted and the mass-reproduced. In doing so, it seeks to foreground the very interrelationship of surface and place, as it makes a claim for the relational nature of the world in which we live. (shrink)

The purpose of this critical study is to examine the young Hugo von Hofmannsthal’s theory of form departing from the characterization that Kurt Breysig provides of his poetry as Treibhauskunst, that is, greenhouse art. It aims also to illustrate how Hofmannsthal finds in the theoretical developments of Gottfried Semper the most precise expression of his own concept of form. The main point of the paper is to show that, at the turn of the twentieth century, the metaphorization and (...) the figuration of the greenhouse derives from its architectural features both formal means and aesthetic attributes closely linked to moral values. (shrink)

Drawing on examples by Gottfried Keller, Gottfried Semper, Walter Benjamin, Paul Scheerbart and Bruno Taut, the paper pursues the subcutaneous impacts of Goethe’s Faust II in modern aesthetics. Recurring to morphology and the theory of colour, these aesthetics connect Faust with the categories of color and volubility, thus establishing an alternative relation be- tween tradition and modernity.

The comparison of Thomas Aquinas’ Summa Theologiae with the architecture of a cathedral is not new. We find it in 1850 in Karl Werner’s System der christlichen Ethik (1850, 47), and in 1860 the German architect Gottfried Semper writes in the preface to his two-volume manual Style in the Technical and Tectonic Arts: art... appears isolated and relegated to a field especially marked out for it. The opposite was true in antiquity, where philosophy held sway over this field (...) as well. Philosophy was seen as an artist herself and a guide to the other arts. But in growing old, she turned to analysis and devised dead categories instead of living analogies. In just the same way, Gothic architecture was the.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Architectural Theory, Volume 1: An Anthology from Vitruvius to 1870Peg RawesArchitectural Theory, Volume 1: An Anthology from Vitruvius to 1870, edited by Harry Francis Mallgrave. Malden MA, Oxford, Victoria: Blackwell Publishing, 2006, 590 pp., $49.95.This anthology is a rich and comprehensive documentation of the key stages that construct Western architectural theory, from Vitruvius's classical writing to Gottfried Semper's theories in late-nineteenth-century Europe. Comprised of 229 texts (...) by these and other significant writers of architectural theory, it represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture. Professor Mallgrave's career as an architectural historian and theorist at the Illinois Institute of Technology, and editor of Architecture and Aesthetics for the Texts and Documents Series at the Getty Research Institute, has enabled him to bring together a large number of canonical texts by architects and writers, including Alberti, Palladio, Vasari, Perrault, Wotton, Wren, Soufflot, Blondel, Boullée, Ledoux, Soane, Reynolds, Pugin, Viollet-le-Duc, Ruskin, and Greenough. In addition, Mallgrave has selected important contextualizing texts that inform the philosophical, cultural, and aesthetic development of the discipline by writers such as Rousseau, Voltaire, Montesquieu, Morris, Chambers, Winckelmann, Locke, Hume, Ramsey, Burke, Walpole, Price, von Schlegel, Wolff, Jefferson, Emerson, Hugo, Zola, and Leibnitz.Six stages of development are laid out, beginning with the Classical and Renaissance periods in part I. In part II the debates about Classicism in France and Britain develop, leading into part III, in which texts from the Neoclassical and Enlightenment debates in Europe take precedence. In part IV, Picturesque and Sublime theories are documented, from which part V turns to consider the importance of Historicism in the nineteenth century and, finally, in part VI the impact of Historicism is examined in relation to developments in industrialization.Introducing each part, Mallgrave succinctly highlights the historical, cultural, and political structures that underpin the development of architectural ideas and debates during the period. Within each part, internal sections further distinguish the particular ideas that preoccupied specific individuals and groups to comprise different theoretical positions. Part II, for example, is divided into the nationalist differences between "French Classicism: Ancients and Moderns" and "British Classicism and Palladianism," and part IV identifies key texts that contribute to the theorization of eighteenth-century aesthetics in three stages: "Sources of the Picturesque," "Toward a Relativist Aesthetics," and "Consolidation of Picturesque Theory." In addition, Mallgrave introduces each individual text, drawing attention to the author's intellectual ambitions and the contemporary debates in which their contribution is constructed. Architectural [End Page 111] theory is therefore characterized as a discipline that is made up of dynamic discussions, which are frequently unresolved and irregular in their formation. Diverse and opposing agendas are pursued, both within and between different institutions, academies, and communities, including the late-sixteenth-century "stylistic battles" of Alberti and Serlio's treatises, which were developed out of Vitruvius's ten "books" of architecture; the pluralism of styles in the United States in the mid-nineteenth century that was comprised of puritanical influential theories, Gothic and French Classicism, and the new generation of American architectural theorists; and the emergence of a German architectural theory within the political disputes that led to the unification of Germany in 1871. Architectural theory is therefore firmly constructed in relation to social, material, cultural, and political systems and frameworks.This colorful construction of architectural theory is evident, especially in those sections that are central to Mallgrave's ongoing research interests, in the tension between the rational, technical, and empirical discussions that inform seventeenth-, eighteenth-, and nineteenth-century aesthetics. Running through parts II and III, for example, is one of the most drawn-out and bitter disputes, which dominated architectural theory in the seventeenth- and eighteenth-century French Academy of Architecture. Focused on the value of Vitruvius's Roman origins of Classicism, versus revivalist ambitions to retrieve the ornamental Classicism of Greek and Gothic styles, this great quarrel occupies the texts, letters, essays, and articles by architects and writers, including Blondel, Perrault, Piranesi, Soufflot, Winckelmann, Le Roy, Boullée, and Ledoux. But this debate is also important in the context of... (shrink)

The enduring influence of the architect Gottfried Semper derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Künsten, here translated into English for the first time. A richly illustrated survey of the technical arts, Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each (...) medium. Thus, in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety. Harry Francis Mallgrave's introductory essay offers an account of Semper's life and work, a survey of Der Stil, and a fresh consideration of Semper's landmark study and its lasting significance. (shrink)

Resumo Houve, durante o século XX, uma persistente recorrência do tema da síntese ou integração das artes, em especial no campo da arquitetura: desde as vanguardas dos anos de 1920 até a ressurgência do tema, no imediato Pós-II Guerra, com Le Corbusier, Sigfried Giedion e Fernand Léger. No Brasil, nos anos de 1950, o entusiasmo de Mário Pedrosa com a construção da nova capital seguiu o lema Brasília, a cidade nova, síntese das artes. A literatura correspondente menciona com frequência os (...) nomes do arquiteto Gottfried Semper, um teórico oitocentista do estilo, e sua cooperação com o compositor Richard Wagner. O interesse contemporâneo pelo tema da síntese ou integração das artes e suas relações com arte e arquitetura aponta para os trabalhos desses dois autores como a proposição inicial, no âmbito da Gesamtkunstwerk ou a obra de arte total. Neste estudo, examina-se a feição especulativa com que Wagner sustentou a Gesamtkunstwerk, como passo estratégico para os estudos sobre o tema.There had been througout the 20th century a persistent recurrence of the theme of the synthesis or integration of arts, in the field of architecture at least. It was present amongst the early twentieth century vanguards but had a bounce back in the early postwar period with Le Corbusier, Sigfried Giedion and Fernand Léger. In Brazil in the 1950s, art critic Mário Pedrosa under the mote Brasilia enthusiastically hailed the construction of Brasília the New City, Synthesis of Arts. The corresponding literature points out to architect and historian Gottfried Semper, a nineteenth century theorist of style, who cooperated closely with composer and operist Richard Wagner as the authors who put forth the original conceptions of the Gesamtkunstwerk or total artwork. In this study, we examine the speculative guise with which Wagner held up the Gesamtkunstwerk, as a strategic step for the studies on the theme. (shrink)

For Viennese artist Florian Pumhösl »abstraction is a method«, not a category. Or rather, if abstraction is the defining category of modernism, the objective is to reproduce modernism's problems and limits and exploit relationships among its parts. Considering what Pumhösl calls the »textile complex« of modernism, this essay examines the artist's work in parallel with Charles Sanders Peirce's diagram concept and Gottfried Semper's use of textile diagrams throughout Style in the Technical and Tectonic Arts. _German_ »Abstraktion« ist für (...) den Wiener Künstler Florian Pumhösl eine »Methode«, keine Kategorie. Oder vielmehr, wenn Abstraktion die bestimmende Kategorie der Moderne ist, dann ist das Ziel, die Probleme und Beschränkungen der Moderne zu reproduzieren und die Beziehungen zwischen ihren Elementen auszunutzen. Vor dem Hintergrund dessen, was Pumhösl den »Gewebekomplex« der Moderne nennt, untersucht dieser Bei trag das Werk des Künstlers und führt es mit Charles Sanders Peirces Diagramm Konzept und Gottfried Sempers Einsatz von »textilen« Diagrammen in seinem Werk Der Stil in den technischen und tektonischen Künsten eng. (shrink)

For Viennese artist Florian Pumhösl »abstraction is a method«, not a category. Or rather, if abstraction is the defining category of modernism, the objective is to reproduce modernism's problems and limits and exploit relationships among its parts. Considering what Pumhösl calls the »textile complex« of modernism, this essay examines the artist's work in parallel with Charles Sanders Peirce's diagram concept and Gottfried Semper's use of textile diagrams throughout Style in the Technical and Tectonic Arts.

Ontology of Construction explores theories of construction in modern architecture, with a particular focus on the relationship between nihilism of technology and architecture. Providing an historical context to the concept of making, the essays collected in this volume articulate the implications of technology in works by such architects as Le Corbusier, Frank Lloyd Wright, Adolf Loos, and Mies van der Rohe. Also provided is an interpretation of Gottfried Semper's discourse on the Tectonic and the relationship between architecture and (...) other crafts. Emphasising 'fabrication' as a critical theme for contemporary architectural theory and practice, Ontology of Construction is a provocative contribution to the current debate in these areas. (shrink)

Inhalt: Michael Albrecht: Zum Wortgebrauch von 'Aufklarung' bei Johann Joachim Spalding. Mit einer Bibliographie der Schriften und zwei ungedruckten Voten Spaldings - Bruno Bianco: Schulbegriff und Weltbegriff der Philosophie in der Wiener Logik. Ein Beitrag zum Verstandnis von Kants Philosophie- und Wissenschaftsbegriff - Luigi Cataldi Madonna: Theorie und Kritik der Vernunft bei Gottfried Wilhelm Leibniz - Claudio Cesa: Reformation statt Aufklarung. Hegel uber Friedrich den Grossen - George di Giovanni: Rehberg, Reinhold und C. C. E. Schmid uber Kant und (...) die moralische Freiheit - Jean Ecole: Christian Wolffs Metaphysik und die Scholastik - Gunter Gawlick: Theodizee fur den Alltag. Bemerkungen zur Rezeption von A. A. Sarasas Ars semper gaudendi in der deutschen Aufklarung - Volker Gerhardt: Prolegomena zum Begriff der Individualitat - Hansmichael Hohenegger: Der Weg der Wissenschaft und die Arbeitsteilung in der Philosophie. Zur Rolle der Teleologie in Kants Philosophieauffassung - Gerd Irrlitz: Antinomik bei Kant und was er von deren Aufklarung erwartete - Fumiyasu Ishikawa: Die 'ungesellige Geselligkeit' der Vernunftkritik. Kant als Polemiker - Soo Bae Kim: Ethik als Kasuistik. Kants Antwort auf die Garvesche Kritik - Lothar Kreimendahl: Hat Hume William Kings 'De origine mali' gelesen? Die Notizen zur Theodizee in den 'Early Memoranda' und ihre Quelle - Silvestro Marcucci: Kant, Gustav von Starck und die 'pythagorischen Ternen' - Pietro Pimpinella: 'Cognitio intuitiva' bei Wolff und Baumgarten - Horst Schropfer: Ludwig Martin Trager - ein fruher Anhanger der philosophischen Ideen und Bestrebungen Immanuel Kants - Clemens Schwaiger: Vollkommenheit als Moralprinzip bei Wolff, Baumgarten und Kant - Rainer Specht: John Lockes Lehre vom Allgemeinen - Katrin Tenenbaum: 'Was ist der Mensch?' Mannliche Universalitat und weibliche Partikularitat in der Anthropologie Kants - Robert Theis: Gottes Spur in der Welt? Kant uber den Optimismus um die Mitte der 1750er Jahre - Maria Jesus Vazquez Lobeiras: Kants Logik zwischen Tradition und Innovation - Verzeichnis der Schriften Norbert Hinskes. (shrink)

In the New Essays on Human Understanding, Leibniz argues chapter by chapter with John Locke's Essay Concerning Human Understanding, challenging his views about knowledge, personal identity, God, morality, mind and matter, nature versus nurture, logic and language, and a host of other topics. The work is a series of sharp, deep discussions by one great philosopher of the work of another. Leibniz's references to his contemporaries and his discussions of the ideas and institutions of the age make this a fascinating (...) and valuable document in the history of ideas. The work was originally written in French, and the version by Peter Remnant and Jonathan Bennett, based on the only reliable French edition (published in 1962), first appeared in 1981 and has become the standard English translation. It has been thoroughly revised for this series and provided with a new and longer introduction, a chronology on Leibniz's life and career and a guide to further reading. (shrink)

First published in 1961, An Introduction to General Metaphysics presents Gottfried Martin's careful study of many of the passages in Plato and Aristotle which deal with metaphysical problems and in particular with the Platonic Theory of Ideas. He has traced the development of the theory both in early works and in late works such as the Parmenides and the Sophistes; and with equal care he has studied the relative passages in Aristotle's Metaphysics. He has quoted many of these passages (...) at length and has offered a careful account and analysis of the progress of Plato's thought. He has also discussed in a very interesting way the main passages relative to Aristotle's criticism of Plato's Theory of Ideas. This book is a must read for any student of Greek Philosophy and Philosophy in general. (shrink)

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Keine ausführliche Beschreibung für "Allgemeine Metaphysik" verfügbar.

Controversies are boiling these days among distinguished men over true and false ideas. This is an issue of great importance for recognizing truth—an issue on which Descartes himself is not altogether satisfactory. So I want to explain briefly what I think can be established about the distinctions and criteria that relate to ideas and knowledge. [Here and in..

After Leibniz's death in 1716, Clarke published an edition of their philosophical correspondence--a wide-ranging discussion of the nature of God, human souls, free will and indifference of choice, space and time, the vacuum, miracles, and matter and force. Clarke included his own letters, his translations of Leibniz's letters, and some translated passages from Leibniz's French and Latin works that helped to illuminate their exchanges.