Excerpt from A Parallel of the Antient Architecture With the Modern: In a Collection of Ten Principal Authors Who Have Written Upon the Five Orders, Viz. Palladio and Scamozzi, Serlio and Vignola, D. Barbaro and Cataneo, L. B. Alberti and Viola, Bullant and De Lorme, Compared With One Another Shall not need (like the mo]? (part of Writers) to celebrate the Subjeit which I deliver, in that (point I am at ea/e For Ar chiteéture can want no Commendation, where there are noble Men or noble Minds: I will therefore fpend this Preface, rather about thofe from whom I have gathered my Knowledge. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Looking to the works of prominent architects and intellectuals such as John Evelyn, Robert Hooke, Sir Christopher Wren, and Roger North, this volume explores the origins of the study of architecture as an intellectual persuit in late seventeenth-century England.

The study of the architectural discipline suffers from an increasing disconnect between its teaching and its professional practice. In this edited collection, 18 architectural voices address this disconnect by reflecting on the ways in which they exercise the architectural discipline in three ways: research, teaching, and practice. This book argues that the totality of activities encompassed by the architectural profession can be best fulfilled when reconsidering the critical interactions between these three fields in the everyday exercise of the profession. Split into three parts, "Architecture as Research," Architecture as Pedagogy," and "Architecture as Practice," each section focuses on one of these three dimensions while establishing continuity with the other two. In doing so, the book not only favors a more fulfilling interaction between academia and the profession but also reinforces the implementation of design theory and research in everyday teaching and practice. The contributions come from 18 teams of architects operating from geographically diverse locations, including Pezo von Ellrichshausen in Chile, Kengo Kuma & Associates in Japan, Barclay & Crousse in Peru, Shift in Iran, Heinrich Wolff in South Africa, and People’s Architecture Office in China, opening the design conversation to larger contexts and framing continuity and inclusion in time. Written for students, instructors, and practitioners alike, the inspiring reflections in this volume encourage readers to grow as architects and play an instrumental role in transforming the built environment.

This book examines how seventeenth-century English architectural theorists and designers rethought the domestic built environment in terms of mobility, as motion became a dominant mode of articulating the world across discourses encompassing philosophy, political theory, poetry, and geography. From mid-century, the house and estate that had evoked staccato rhythms became triggers for mental and physical motion – evoking travel beyond England’s shores, displaying vistas, and showcasing changeable wall surfaces. Simultaneously, philosophers and other authors argued for the first time that, paradoxically, the blur of motion immobilised an inherently restless viewer into social predictability and so stability. Alternately feared and praised early in the century for its unsettling unpredictability, motion became the most certain way of comprehending social interactions, language, time, and the buildings that filtered human experience. At the heart of this narrative is the malleable sensory viewer, tacitly assumed in early modern architectural theory and history yet whose inescapable responsiveness to surrounding stimuli guaranteed a dependable world from the seventeenth century.

The seventeenth and eighteenth centuries represent a high point in the intersection between design and workmanship. Skilled artisans, creative and technically competent agents within their own field, worked across a wide spectrum of practice that encompassed design, supervision and execution, and architects relied heavily on the experience they brought to the building site. Despite this, the bridge between design and tacit artisanal knowledge has been an underarticulated factor in the architectural achievement of the early modern era. Building on the shift towards a collaborative and qualitative analysis of architectural production, Between Design and Making re-evaluates the social and professional fabric that binds design to making, and reflects on the asymmetry that has emerged between architecture and craft. Combining analysis of buildings, archival material and eighteenth-century writings, the authors draw out the professional, pedagogical and social links between architectural practice and workmanship. They argue for a process-oriented understanding of architectural production, exploring the obscure centre ground of the creative process: the scribbled, sketched, hatched and annotated beginnings of design on the page; the discussions, arguments and revisions in the forging of details; and the grappling with stone, wood and plaster on the building site that pushed projects from conception to completion.