Book Description
This second volume of The Details of Modern Architecture continues the study of the relationships of the ideals of design and the realities of construction in modern architecture, beginning in the late 1920s and extending to the present day. It contains a wealth of new information on the construction of modern architecture at a variety of scales from minute details to general principles. There are over 500 illustrations, including 130 original photographs and 230 original axonometric drawings, arranged to explain the technical, aesthetic, and historical aspects of the building form.
Most of the modern movements in architecture have identified some paradigm of good construction, arguing that buildings should be built like Gothic cathedrals, like airplanes, like automobiles, like ships, or like primitive dwellings. Ford examines the degree to which these models were followed, either in spirit or in form, and reveals much about both the theories and techniques of modern architecture, including the extent to which the current constructional theories of High Tech and Deconstruction are dependent on the traditional modernist paradigms, as well as the ways in which all of these theories differ from the realities of modern building.
Individual chapters treat the work of Eliel and Eero Saarinen, Eric Gunnar Asplund, Richard Neutra, Alvar Aalto, Le Corbusier, and Louis Kahn, as well as the Case Study, High Tech, Postmodern, and Deconstructivist architects. Among the individual buildings documented are Eliel Saarinen's Cranbrook School, Asplund's Woodland Cemetery, Fuller's Dymaxion house, the Venturi house, the Eames and other Case Study houses, the concrete buildings of Le Corbusier, Aalto's Saynatsalo Town Hall, and Kahn's Exeter Library and Salk Institute -- with many details published for the first time.
Customer Reviews:
explains why "God is in Details".......2006-07-18
I guess most architects are familiar with the super famous modernists' projects, but few know what was put on the working drawings to realize it. This book does not provide actual construction drawings, but provide enough information to address what was quintessential aspects of the details. The reader would really appreciate the ingenuity of modern master's detailing by Ford's rich axonometric drawings of particular details. Ford painstakingly explains major issues involved in the details and weaves back to the historical basis of Modernism. Sometimes he makes bold generalizations to help a reader understand (and categorize) structural vs. envelope relationships. Throughout the book there is a clear categorization of attitudes towards the details; first, architects who would like to expose structure; second, architects who would like to wrap structure; third, architects who would combine the former two attitudes (expose/wrap structure). It was extremely rewarding to learn how Corb's details ("layered") differed from Mies's or Kahn's ("tectonic"). Four architects that I really enjoyed reading (because of my lack of knowledge on them) were; Asplund, Lewerentz, Greene Greene, and Aalto. I had to purchase these four architects' monographs after reading Ford's books.
Just like the first one.......2002-04-18
Like the first volume, excellent book. Be prepared, however, for sentences like this, on page 127: "Perhaps because this methodology required the juxtaposition of opposites seemingly incapable of reconciliation, the irrational combination of radically different techniques, and the simultaneous consideration of multiple variables, it was one at which Aalto excelled". Both books are pretty much like that. It's interesting to read these elaborate sentences, but often they're the umpteenth re-statement of a point. After reading these volumes you'll have an overview of the important buildings and architects of the Twentieth century, complete with detailed drawings describing exactly how they were built, and a sense that architects will always agonize over the deceptions they are forced to perpetuate.
Poor drawings.......2002-01-10
This book could be the greatest book in my bookshelf, but the detail drawings are so basic and naive that it's valuable almost only for the essays. I mean... I bought a book where I expected to find good and useful details, and got a book with excelent essays about construction according to the masters (from Lutyens to Morphosis). That's why I gave it 3 stars instead of the 5 the title deserved.
Scholarly text and incredibly detailed drawings.......2001-12-31
A review of famous modern architects' buildings, starting with H.H. Richardson and ending with Wright's Usonian houses. Shows how each's ideals regarding architectural honesty are revealed and often compromised in their buildings. The theme is really not important, as long as it provides a framework for discussion of construction methods, which is the real heart of the book. (For the sequel, another theme, the influence of industrialization, is added to the discussion.) You'll learn interesting facts: Greene & Greene's Gamble House is post and beam only where it shows; FLW's Martin house owes its distinctive style to framing with structural steel and brick piers. Combine this with the second volume, and you'll be familiar with all the important Modern buildings and architects.
The missing details.......2001-11-15
I received the books (both the earlier publication and the follow up vol 2) today after a long wait. I must say that I have high expectation of the books and reckon that they could make an important contribution to the study of architecture. In an age where students are learning only from glossy mags and have no idea how buildings are put together and how the tactile quality of construction works, I think it is right that somebody should revisit the art and craft of architecture.
However, I am greatly disappointed with the books. Whilst the text is general reasonable, insightful and critical, the same cannot be said to the drawings. In a nutshell, they are badly drawn and poorly finished. For example, the style of the drawings does not reflect the quality of the material used. And who is going to believe that when materials of different qualities are joined together, there is no tolerance? Fixing methods are not illustrated and I have a suspicion that some of the details are guesswork. This is evident by noting the impossibility of construction sequence based on the drawings. The most unforgivable sin of the drawings is that lines are missing, or are wrongly drawn. Like my teachers used to say to us, students of architecture, the guy who did the drawings simply has no idea of construction and detailing.
As far as trying to teach my students the art and craft of architecture, I will definitely give the books a miss. The books are only useful to show how they should not be done.
Book Description
Millions of people have learned to draw using the methods of Dr. Betty Edwards. Now, in an essential companion to her bestselling classic, Edwards offers readers the key to mastering this art form: guided practice in their newfound creative abilities.
Here are forty new exercises that cover each of the five basic skills of drawing. Each practice session includes a brief explanation and instructional drawings, suggestions for materials, sample drawings, and blank pages for the reader's own drawings. Also provided in this spiral-bound workbook is a pullout viewfinder, a crucial tool for effective practice. While The New Drawing on the Right Side of the Brain focused primarily on portrait drawing with pencil, this workbook gives readers experience in various subject matter-still life, landscape, imaginative drawing-using alternative mediums such as pen and ink, charcoal, and conté crayon.
For all those who are taking a drawing class, who have already received instruction through a book or course, or who prefer to learn by doing, this volume of carefully structured "homework" offers the perfect opportunity to reinforce and improve their skills and expand their repertoire.
Customer Reviews:
drawing.......2007-02-03
Companion to reading. A must have for anyone who just likes to draw.
Build Drawing Skills easily.......2007-01-26
This workbook is a great companion to Drawing on the Right Side of the Brain. We bought it for my teenage son. It provides nicely guided lessons to give directed practice in drawing. The lessons are laid out well. I like that the drawing area is large enough to encourage exploration and expression.
Excellent Practice Book.......2007-01-25
Buy the text and the workbook, do the exercises and see your drawing improve.
Drawing made easier.......2007-01-16
My grandson and I are just starting to work through this book. He is really excited about it. I think it makes sense! While my grandson is only 12 and this is not a childrens book, with our working together it makes my job of teaching possible. I had not had lessons myself and am learning as I teach. I can't wait for our next session.
Making a difference.......2007-01-10
I would say this is one of those book that just gets your brain moving forward and into new spaces of the drawing dimension. Unfortuately my art teacher in high school never used such a high calibre but easy to understand book, otherwise I would have gone a longer way on art courses. But it is never too late, now is the time to start. I am half way through the book, and I am impressed with my results already. What is most important is that you now know what is stopping you is not "natural ability", but time and effort.
Customer Reviews:
Course in Enhancing Creativity & Artistic Confidence.......2007-07-08
An amazing book. Note that it has been updated so there is an updated version too. This includes 12 chapters that are outlined here: 1) Drawing the the art of bicycle riding, 2) Expressing yourself in drawing: the nonverbal language of art 3) your brain the right and left of it 4) Crossing Over: Experiencing the Shift from left to right 5) Drawing on Memories: Your History as an Artist. 6) Getting Around your Symbol System: Meeting Edges & contours 7) Perceiving the Shape of Space: The Positive Aspects of Negative Space 8) Relationships in a new mode: putting sighting in perspective, 9) Facing forward: portrait drawing with ease 10) The Value of Logical Lights and Shadows 11) Drawing on the Beauty of Colro 12) The Zen of Drawing: Drawing Out the Artist Within and an afterword-- is beautiful handwriting a Lost Art and a Postscript.
This is the most widely used and highly praised drawing insruction book in the world. It has sold millions of copies and has been translated into at least 10 languages. As it says on the back cover-- it can teach you to draw even though you feel you have little talent and doubt that you could ever learn. It will allow you to gain skill even if your drawing is still childlike. If you're already a professional artist or artist in training it gives you greater confidence. First published in 1979 it is a classic. Most importantly it talks about the dual nature of human thinking -- verbal, analytic thinking mainly located in the left hemisphere and visceral, perceptual thinking mainly located in the right hemisphere. It follows the work of Rober Sperry psychobiologist who received the Novel prize in 1981 for his studies. According to the author, the key principle is that "drawing is a global (or whole) skill requiring only a limited set of basic components. It has some similarities to other global skills that are key to live-- driving, walking and even skiing. The author even talks about the perception of the whole (the gestalt). R mode -- right mode may seem difficult and unfamiliar -- and even off the wall. BUT learning to draw also helps one to control how one's own brain handles information.
Mostly good with a bit of nonsense.......2006-04-19
All the stuff about "R-mode" and "L-mode" is really just pop-science. Like Freud before it, and as is the current trend with "memetics", it's a popular idea which people use to pigeonhole and explain social and psychological phenomenon which rely more on theory than anything else. Edwards makes the all-too-often assumption that any difficulty facing a potential artist is the "right-brain's fault". And after the first few chapters it gets really tedious. I wouldn't be surprised if she read this review and said to me that my "right-brain" is tricking me into thinking it's not really doing anything ;o)
However, Edwards does indeed make a few valid points. She argues that drawing is a skill, much the same as reading as writing, and therefore it can be taught and learnt by almost anyone. Makes sense to me. She further argues that the reason why most adults can not draw is because drawing is not considered a survival skill and isn't stressed in the education system. Makes sense, too.
The underlying theme behind the brain-hemisphere nonsense is simply perception. To draw realistically requires that you actually process the visual information of what you want to draw, rather than relying on any preconceived information. It's a bad habit, really, but hardly a "right-brain" conspiracy theory as Edwards makes it out to be.
The book is broken down into various exercises, all of which force the reader to get into the habit of perceiving things "as-is", such as "vase-faces" and upside-down drawing, and well-established concepts like negative space are also discussed. This is where the book shines.
Good for both beginner to intermediate artists, the overall theories, instructions and exercises make it worthwhile... if you don't mind sifting through the junk, that is.
can't say enough good things!.......2005-09-22
i can't say enough good things about this book. the explanations make sense, the exercises progress logically, and each one pushes your limits a little bit more. my drawing skills have improved immensely, and i'm only 1/2 way through the book. the basis of good painting is having a good drawing and sense of the perspective in your subject. without the ability to "see" what you're looking at, paintings will come out less than stellar - this book will prepare you to be able to "see" the way an artist sees. buy it!
Response to Bruce R. Bain.......2005-07-25
For those who can already do "that", it must be difficult to appreciate that some of us can't do "that", so for us non-"that"ers, doing "this" in order to do "that" can be stunning!
Hands up all those who recognize the distinction between Metaphysical Nominalism and Metaphysical Realism!!
Unlocking your creative abilities........2005-02-11
I bought this book years ago, and it taught me how to dramatically improve my drawing skills.
I believe people who are blocked from drawing well will get the most from this book. More accomplished artists may benefit as well by understanding better how the process works.
It shows you how to look at things differently, and uses different techniques to enable you to bypass your left (logical) brain, and access your right brain, (your subconscious mind), hence the title.
Instead of using left brain- right brain theory to describe this, in my view the more correct description would be to learn to access your subconscious mind which functions at a deeper level, while reducing the way in which your conscious mind interferes with the creative process.
Your brain has four levels of consciousness, beta which is normal waking state, alpha which is a relaxed meditative state such as when you are about to go to sleep, theta which is a deeper state associated with creativity and light sleep, and delta which is deep sleep.
Normally, your brain shows shows some activity at all these levels. Artists and other creative people are able to access the creative mental state more easily.
Here is an example of how the process works.
If you try to draw a chair you may have a definite idea in your logical mind of how a chair should be, so when you draw you are thinking 4 legs, a seat and a back. You know all the legs are the same length, and therefore you may draw that way.
This can interfere with you doing a good drawing, because each leg from an artistic viewpoint is longer or shorter depending on the distance from your eye, so you have to learn how to use your vision to see it differently.
This can interfere with you doing a good drawing, because each leg from an artistic viewpoint is longer or shorter depending on the distance from your eye, so you have to learn how to use your imagination instead.
In this book there is a picture of something such as a chair or a person's face, and you may draw it as it is. You can also use a picture from a newspaper or magazine. This represents your current skill level.
Now, turn the picture upside down and draw the picture upside down. As you do this drawing, you may notice that you are producing a more accurate copy of the picture. This is because you are now using different skills. I was amazed at the results. This is so simple to do. Try it yourself and discover how easy it is.
There are other examples and illustrations to show you how to see pictures differently, and use space, light and shade, optical illusions and so forth.
As you become more experienced you will learn how to use your new skills automatically. I particularly enjoyed using pictures of movie stars, turning them upside down, copying them, and then doing it again right side up.
I have referred several people who would love to draw well to this book. If you are not as artistic as you would like to be, and were to follow the exercises in this book there is no reason your skill level should not improve dramatically. Naturally, the more you practice, the more you improve. If it worked for me, it can work for you. This is pretty easy.
Imagine drawing anything you want to draw completely accurately, and with incredible detail, subtlety and nuance just like a professional artist. This potential is just a few clicks away. If it worked for me, it can work for you, as my natural drawing was ability not good.
If you find this review helpful, please click yes.
Book Description
illustrated with 12-page color photo insert and line art throughout
A revised and expanded edition of the classic drawing-instruction book that has sold more than 2,500,000 copies.
When Drawing on the Right Side of the Brain was first published in 1979, it hit the New York Times bestseller list within two weeks and stayed there for more than a year. In 1989, when Dr. Betty Edwards revised the book, it went straight to the Times list again. Now Dr. Edwards celebrates the twentieth anniversary of her classic book with a second revised edition.
Over the last decade, Dr. Edwards has refined her material through teaching hundreds of workshops and seminars. Truly The New Drawing on the Right Side of the Brain, this edition includes:
* the very latest developments in brain research;
* new material on using drawing techniques in the corporate world and in education;
* instruction on self-expression through drawing;
* an updated section on using color; and
* detailed information on using the five basic skills of drawing for problem solving.
Translated into thirteen languages, Drawing on the Right Side of the Brain is the world's most widely used drawing-instruction guide. People from just about every walk of life--artists, students, corporate executives, architects, real estate agents, designers, engineers--have applied its revolutionary approach to problem solving. The Los Angeles Times said it best: Drawing on the Right Side of the Brain is "not only a book about drawing, it is a book about living. This brilliant approach to the teaching of drawing . . . should not be dismissed as a mere text. It emancipates."
Customer Reviews:
Learning to Draw Starts Here.......2007-09-21
Whatever eventual outcome of research into right-left brain functions may be, the fact will remain that drawing is a facility that stems from the spacial relationships that the human brain perceives in the same way that reading is a facility that stems from the abstractions that the human brain makes.
Meanwhile, Edwards uses the right-versus-left theory as a touchstone to good effect in her attempt to instruct the artistic way of seeing to those living in a culture that defines cognition almost wholly in linguistic and mathematical terms.
It is a sad commentary on the state of our education system in the United States -- and indeed, on our whole idea of that which education consists -- that students are not introduced to these techniques in primary school, and well-versed in them by the end of secondary school.
Home schoolers, take note.
The results obtained by students of any age will be a revelation -- not to mention a satisfaction -- to those who take the time to work through Edwards' exercises. The road to becoming an artist -- or perhaps more specifically a draughtsman in the classical tradition -- starts here, with the ability to realistically draw shapes as seen, with a basic grasp of shading and perspective, and with the capacity to draw recognizable portraits from life.
But as others have pointed out, the road does not end here. Far from it.
For an introduction to the would-be artist's road ahead, after instruction along the lines of Edwards' -- with an invaluable discussion of line-drawing versus mass drawing, in light of which, an excellent exercise for the transition from pencils to paint is presented -- check out Harold Speed's classic The Practice and Science of Drawing. For surveys of artistic anatomy and its importance to the primary artistic skill of figure drawing (along with much else), check out Robert Beverly Hale's Drawing Lessons from the Great Masters: 100 Great Drawings Analyzed, Figure Drawing Fundamentals Defined and Master Class in Figure Drawing.
As Hale points out, gaining the skills that the masters had -- of drawing realistic human and animal likenesses, from memory, in accurate perspectives and within compelling compositons -- will take practice, practice and more practice. Around 2000 drawings would represent a good start -- without taking a whole other aspect of art into account at all, namely color.
No small task indeed, but rather, the training required of a profession. (And one for which, according to commentary on a DVD I heard recently, Hollywood, of all places, is crying out.)
For anyone and everyone.......2007-09-14
The original "Drawing on the Right Side of the Brain" was my text book for high school art class. I've gone through the whole book twice and since used it in teaching others to draw. It is an excellent book for all levels of skill, if you feel that you can't draw or if you have natural talent. The step-by-step instruction and exercises are clear and well researched. This book has been tested and used, and it theories and methods are sound.
Oppinion.......2007-09-12
A good reference book whitch will take a long time to study and achieve my goals
Great book.......2007-09-05
This book is really great. I always thought drawing was pure innate talent,
and that I could never draw faces, but I started reading, practising, and I already feel some improvement.
Drawing on the Right Side of the Brain.......2007-09-02
This is a very helpful book. The concept of focusing on negative spaces is especially useful. I learned facts about positioning of facial features that I never would have discovered on my own. With the book's help, I produced drawings far better than I imagined I could.
Customer Reviews:
Eureka!.......2004-10-02
As I began reading this book, I expected to find one thing but soon realized it contained much more. I remember crying when I did the drawing exercise. I struggled as I tried to draw joy and other abstract concepts, but when finished I was astonished when I turned the page and realized others had made drawings very similar to mine. In an instant, I felt united with humanity and the tears flowed. (And I am not teary person). All of a sudden I understood how great art touches us so deeply, with out regard to our financial status or ethic background.
For the Intellect........2002-02-26
This book is as much about understanding "how and why all of us have the ability to draw but can't" as it is about teaching anyone to draw. If you are an older begginer this is a must, not only it teaches you how to tap into your natural drawing ability but it tells you why you STOPPED drawing. I always understand things better when I know why it happens or doesn't happen So if you ALSO want to feed your INTELLECT as much as your artistic talent get THIS book. If you just want mindless excercises and learn to draw by practice then get "Complete Idiot's guide to drawing," (no pun intended) by Lauren Jarrett, Lisa Lenard. The Idiot's guide pretty much copies concepts and methods THIS book puts forwared but without the detailed explanation and science behind it, specially if you are young and/or don't want to read too much. The method is the same and it WORKS.
Congratulations to Dr. Betty Edwards.......2000-01-24
Since the first time I read this book in 1983, I had the wish to express my gratitude to Dr. B. Edwards, because this book made great difference in my life. Through understanding better the process of realistic drawing I have improved my self in many ways. Learning to really see is a way to grow inside as a person, in all senses. That book has marked my passage from adolescence to adulthood (I was 22 then. At the time I was attending Massachussets College of Art in Boston, and heard about this book listening "All Things Considered" at National Public Radio, rigth after I bought it at the Harvard Coop). It also opened my self to accept what we do not explain, to have faith in God. I'm artist living and working in Northeast Brazil,city of NATAL, where I have a studio. I work mostly with acrylics and watercolor, but my strongest media of expression is freehand drawing... Thanks for sharing my feelings, Love Flavio Freitas
Product Description
3 Medium to Large paperbacks
Average customer rating:
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Drawing on the Right Side of the Brain
Betty Edwards
Manufacturer: Souvenir Press Ltd
ProductGroup: Book
Binding: Hardcover
 General
| Instructional & How-To
| Arts & Photography
| Subjects
| Books
Drawing
| Instructional & How-To
| Arts & Photography
| Subjects
| Books
ASIN: 0285630709 |
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