By Ayn Rand
During this superbly written and brilliantly reasoned publication, Ayn Rand throws a brand new gentle at the nature of paintings and its function in human existence. once more Rand eloquently demonstrates her refusal to enable well known catchwords and traditional rules stand among her and the reality as she has came upon it.
The Romantic Manifesto takes its position beside The Fountainhead as probably the most very important achievements of our time.
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Additional info for The Romantic Manifesto: A Philosophy of Literature
Example text
A more poignant example is described by Lady Barker in The Bedroom and the Boudoir (1878) wherein the real and artificial blend into one. 6 In this short description, Lady Barker establishes a direct connection between the inside and outside. Noisette roses are the agent to a spatial reading that establishes the interior room as an extension of landscape. That is, this room breaks the traditional reading of interior architectural space as discrete rooms conforming to a greater architectural whole.
Patterns Zaha Hadid Architects, Louis Vuitton Store, Macau, China, 2007 The slight distortion in the cubic volume is visually amplified by means of the correlated pattern. Zaha Hadid Architects, Randers Art Museum competition, London, 2009 Architecture as a pattern of continuously transforming components. 1 They have been covering architectural surfaces since time immemorial, in the same way that they have been spread all over manmade objects. The human body was perhaps the first surface to receive designed patterns.
9. See Stephen Perrella (ed), AD Hypersurface Architecture, Vol 68, No 5–6, 1998. 10. Schumacher, op cit. 11. The author has been experimenting with the agenda of parametric figuration in various teaching arenas: Innsbruck University, the Architectural Association Design Research Lab (DRL), Yale University and the University of Applied Arts, Vienna. Text © 2009 John Wiley & Sons Ltd. Images: pp 28-30, 35, 36(b), 37 © Zaha Hadid; p 31(t) © Bob Krist/Corbis; p 31(b) © Charles & Josette Lenars/Corbis; p 33 © Krisztian Csémy, Jasmina Frincic and Jakub Klaska; p 34 © Huang, Yung-Chieh, Hang Jin and Wen-Kai Li; p 36(t) © Werner Forman/Corbis; p 38(t) © Johannes Elias, Christoph Hermann, Thomas Milly and Negar Niku; p 38(b) © Peter Schamberger; p 39 © Manuel Froeschi, Konrad Hofmann, Maren Klasing, Martin Krcha; pp 40-1 © Nicola Beck, Christoph Zimmel 41 RELENTLESS PATTERNS THE IMMERSIVE INTERIOR What happens when patterns become all pervasive?