New Coastal Houses by Arian Mostaedi

By Arian Mostaedi

Эта книга представляет проекты домов, находящихся в разных уголках планеты на побережьях морей, рек и океанов, элегантная архитектура которых адекватна их окружающей среде. В то же время место нахождения определяет не только стилистку домов, но и расположение внутренних помещений, размер окон и т.п., а также в некоторой степени защиту от воздействия внешней среды. Представлены работы Сильвии Гмур, Ваччини Ливио, 10 Arquitectos, MVRDV и Тосико Мори. Содержит фотографии фасадов, интерьеров домов (500 цветных иллюстраций), а также планы хорошего качества. Интересна архитекторам, дизайнерам интерьеров, широкому кругу читателей.

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This development has not 44 Deconstructing the American Mosque Detail of tile work, Ranchos mosque, Abiquiu, New Mexico. Photograph ©  by Ronald Baker. Courtesy of Ronald Baker. 9: been influenced by a single design theory but is rather the result of a complex process. For example, it is well known in the United States that most architects who have been hired to construct a mosque do not have encyclopedic mastery of the relevant planning or historical data. Establishing the concept of a spatial sunnah is essential because the search for a model can be confused by the features of hybrid examples whose origins often predate Islam.

The Great Umayyad mosque at Damascus adapts Roman and Byzantine structural columns, which are integrated into the conceptual hierarchical grid of a hypostyle hall. The significance of this type of juxtaposition is multiple. First and foremost, it presents us with a simulacrum: while the plan of the building is explicit, the use of structural elements is experimental. The use of recycled structural elements at Kairouan and the adaptation of an extant structure at Aesthetic Origins and End Conditions 47 Damascus legitimized the use of preexisting construction elements.

Many images used in these mosques draw on hybrid 32 Deconstructing the American Mosque traditions or entirely modern themes; in both instances, cultural forces are connected to the art of building, since technique alone does not explain the origins of architectural image. In investigating the origin of an architectural image, we find that the etymologies of key words that occur in the Qur’an and the hadith literature point toward what may be called the aesthetics of monotheism. Since the techniques of ornamentation and spatial order are not cultivated in one aesthetic language, and since religious dogma is often enacted through the agency of aesthetics, the term ‘‘aesthetics of monotheism’’ is well suited to explain the origin and end condition of an image.

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