Photo de l'auteur

Robert Harbison (1940–2021)

Auteur de Eccentric Spaces

13 oeuvres 461 utilisateurs 5 critiques

A propos de l'auteur

Robert Harbison is Professor of architecture at London Metropolitan University. His many books include Eccentric Spaces, The Built, the Unbuilt and the Unbuildable, and Reflections on Baroque.

Comprend les noms: Harbison Robert

Œuvres de Robert Harbison

Étiqueté

Partage des connaissances

Date de naissance
1940-09-06
Date de décès
2021
Sexe
male
Nationalité
USA
Pays (pour la carte)
UK
Lieu de naissance
Baltimore, Maryland, USA

Membres

Critiques

lesser known examples of major periods of building
 
Signalé
ritaer | 1 autre critique | Aug 11, 2021 |
The permanence of loss and the paradox of restoration drive this meditation, which contemplates works of literature, art, and architecture. This is a sorting through of pieces in museum drawers, rubble on ancient and near-contemporary sites, and pages of chaotic writings. It raises the question of what constitutes a ruin. The inescapable conclusion is that the past is irrevocably lost and can never be recreated: the present always intrudes.
 
Signalé
le.vert.galant | Nov 19, 2019 |
My attention first fixed on this book because its typographical composition (fonts and technopaegnia) quite clearly pays an homage to the Hypnerotomachia Poliphili, and indeed, author Harbison treats the Hypnerotomachia at some length in the fifth chapter of the volume. Still, I didn't really learn anything more about the Hypnerotomachia here. Many works of literature are discussed in the course of the book, but I suspect that in most cases, Harbison is more effective at advertising the virtues of these books than he is at illuminating anything for those familiar with them. I was especially encouraged by his musings on Salammbo, a book I've been long intending to read in any case.

The actual topic of Eccentric Spaces is the ways in which various arts (practical and expressive) reflect human imaginings of space. In the course of discussing topics such as gardens, machines, cities, and catalogs, Harbison turns often to paintings, sculptures, novels, and, of course, architecture to develop his points. Throughout, however, he engages in a form of criticism more aphoristic than analytical: he offers assessments, not arguments. But that can produce droll maxims like this one:

"Every pilgrim must watch his pocket, and translating a spiritual progress to a feasible journey, everyone ends up in hotels." (128)

I think the most successful chapters were perhaps the opening one on gardens and the penultimate one on maps. The latter in particular attained a sort of rapture of cartographic contemplation. For a text so trained on the sense of vision involved in appreciating spaces, it is in fact completely devoid of graphic illustrations. Paradoxically, that's probably how it should be, although image searching on the Internet makes the volume much more usefully readable for most people now than it would have been when it was published in 1977.
… (plus d'informations)
4 voter
Signalé
paradoxosalpha | Jan 31, 2016 |

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Statistiques

Œuvres
13
Membres
461
Popularité
#53,308
Évaluation
½ 3.6
Critiques
5
ISBN
38
Langues
2

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