Festival Architecture Rome (Cambridge Studies in the History of Architecture)

Arts & Photography

Oechslin, Werner

Architecture

Cambridge University Press

Contemporary architectural theory emphasizes the importance of "tectonics," the term used to articulate the relationship among construction, structure, and architectural expression. Yet, little consideration has been given to the term's origins or historical significance. In this study, Oechslin examines the attempts by early Modern theoreticians of architecture to grapple with the relationship between appearance and essence. He locates the culmination of this search for "truth" in architectural expression in the work of Adolf Loos and the writings of theorists such as Bötticher, Le Corbusier, and Lux.

Otto Wagner, Adolf Loos, and the Road to Modern Architecture

Biographies & Memoirs

Arts & Literature

Light and shadow belong together. Yet the increasing number of artificial light sources on earth are resulting in continuously decreasing zones of shadow and darkness. In architecture, the growing use of glass and other translucent layers questions the very significance of shadows. Do they protect against or cause a loss of brightness? Do we even need shadows today at all? The Secret of the Shadow explores these "holes in the light" through perceptual psychology, historical accounts of their use in architectural teaching, and an overview of their role in classical modern architecture. Additionally, 50 "shadow seekers" from around the world, including Pritzker Prize-winning architects Tadao Ando and Sverre Fehn, contributed a work of their own that reveals the importance of shadows in contemporary architectural concepts.

The Secret of the Shadow: Light and Shadow in Architecture (Das Geheimnis Des Schattens: Licht und Schatten in der Architektur) (English and German Edition)

Libeskind, Daniel

Casati, Roberto

Fehn, Sverre

Goetz, Annina

Lellau, Dirk

Trummer, Peter

Wolf, Gerhard

Testa, Clorindo

Weinmiller, Gesine

Ando, Tadao Fehn, Sverre Wolf, Gerhard

Wasmuth

A rare and beautiful geometry primer from the 19th century Red, yellow, blue – and of course black – are the colours that Oliver Byrne employs for the figures and diagrams in his most unusual 1847 edition of Euclid, published by William Pickering and printed by Chiswick Press, and which prompt the surprised reader to think of Mondrian. The author makes it clear in his subtitle that this is a didactic measure intended to distinguish his edition from all others: "The Elements of Euclid in which coloured diagrams and symbols are used instead of letters for the greater ease of learners." Byrne is not content to trust solely in the supposed intuitive “logical” structure of Euclid’s axioms and theorems – who doesn’t know the first famous sentences of Euclid’s Elements: “I. A point is that which has no parts. II. A line is length without breadth”? –, but translates them into colourful diagrams and symbols. He thereby thinks in terms of the school classroom: he compares his colours to the dyed chalks in which figures are drawn on the blackboard. Oliver Byrne (c. 1810–c. 1880) was an Irish author and civil engineer. Little is known about his life, though he wrote a considerable number of books. As Surveyor of Her Majesty's Settlements in the Falkland Islands, Byrne had already published mathematical and engineering works, but never anything like his edition on Euclid. This remarkable example of Victorian printing has been described as one of the oddest and most beautiful books of the 19th century. Each proposition is set in Caslon italic, with a four-line initial, while the rest of the page is a unique riot of red, yellow and blue. On some pages, letters and numbers only are printed in colour, sprinkled over the pages like tiny wild flowers and demanding the most meticulous alignment of the different colour plates for printing. Elsewhere, solid squares, triangles and circles are printed in bright colours, expressing a verve not seen again on the pages of a book until the era of Dufy, Matisse and Derain.

The First Six Books of the Elements of Euclid Oliver Byrne

Graphic Design

Taschen

Primary elements: Euclid in living color Nearly a century before Mondrian made geometrical red, yellow, and blue lines famous, 19th century mathematician Oliver Byrne employed the color scheme for the figures and diagrams in his most unusual 1847 edition of Euclid's Elements. The author makes it clear in his subtitle that this is a didactic measure intended to distinguish his edition from all others: “The Elements of Euclid in which coloured diagrams and symbols are used instead of letters for the greater ease of learners.” As Surveyor of Her Majesty’s Settlements in the Falkland Islands, Byrne had already published mathematical and engineering works previous to 1847, but never anything like his edition on Euclid. This remarkable example of Victorian printing has been described as one of the oddest and most beautiful books of the 19th century. Each proposition is set in Caslon italic, with a four-line initial, while the rest of the page is a unique riot of red, yellow, and blue. On some pages, letters and numbers only are printed in color, sprinkled over the pages like tiny wild flowers and demanding the most meticulous alignment of the different color plates for printing. Elsewhere, solid squares, triangles, and circles are printed in bright colors, expressing a verve not seen again on the pages of a book until the era of Dufy, Matisse, and Derain. Text in English, French, and German

Oliver Byrne: The First Six Books of the Elements of Euclid

Nearly a century before Mondrian made geometrical red, yellow, and blue lines famous, 19th-century mathematician Oliver Byrne employed the color scheme for his 1847 edition of Euclid’s mathematical and geometric treatise Elements. Byrne’s idea was to use color to make learning easier and “diffuse permanent knowledge.” The result has been described as one of the oddest and most beautiful books of the 19th century.
The facsimile of Byrne’s vivid publication is now available as part of TASCHEN’S Bibliotheca Universalis series. A masterwork of art and science, it is as beautiful in the boldness of its red, yellow, and blue figures and diagrams as it is in the mathematical precision of its theories. In the simplicity of forms and colors, the pages anticipate the vigor of De Stijl and Bauhaus design. In making complex information at once accessible and aesthetically engaging, this work is a forerunner to the information graphics that today define much of our data consumption.

Oliver Byrne. The First Six Books of the Elements of Euclid (Bibliotheca Universalis) (Multilingual Edition)

The ongoing paradigm change in regard to the use of energy, its efficient usage and the consumption of resources is giving rise to new light systems and lighting appliances. The goal of this book is to develop temporary light spaces that re-interpret the existing urban environment on a seasonal basis or over a cycle of several years. In addition to the presentation of light-planning examples in Paris, Shanghai, Helsinki, Mekka and Frankfurt am Main the book includes a number of essays, among them . »Light architecture« (Werner Oechslin), »In search of light« (Wolfgang Rang), »Light planning for cities in China« (Hao Luoxi), »City light. An instrument of urban planning« (Roger Narboni), »Borders, places, light« (Niels Gutschow), »Earth and spirit« (Wolfgang Rang).

CityLight

Gutschow, Niels

Narboni, Roger

Batz, Michael

Luoxi, Hao

Edition Axel Menges

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