Vor 100 Jahren abgeschafft und totgeglaubt, gibt es längst wieder ein modernes Ornament. War dieses früher schmückendes Beiwerk oder Dekor an sich, stellt es heute ein grundlegendes Konzept und Ordnungsmodell für viele Gestaltungsfelder des täglichen Lebens dar. Anstelle der bislang üblichen Pflanzen und Zeichen durchdringen im 21. Jahrhundert Punktraster, Streifen und Quadrate als ornamentale Strategie Architektur, Kunst und jede Art von Design. Das Buch gibt einen Überblick über alle Ordnungsprinzipien moderner Ornamentik und öffnet den Blick auf eine völlig neue, faszinierende Welt. Für alle, die optische Zusammenhänge ohne Dogma sehen und verstehen wollen.

Yet during the twentieth century, ornament was scorned (Adolf Loos famously called it "crime") and its study all but eliminated from art and architecture curricula. What happened - and must we live with the result? Is ornament dead?".

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library T022978 London: printed, 1728. [4], xxviiip.,150 plates; 2°

Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.