000			03011nam a22004095i 4500
001			978-1-56898-657-9
003			DE-He213
005			20161121230512.0
007			cr nn 008mamaa
008			100301s2005 xxu| s |||| 0|eng d
020			_a9781568986579 _9978-1-56898-657-9
024	7		_a10.1007/1-56898-657-2 _2doi
050		4	_aNA1995
072		7	_aAMB _2bicssc
072		7	_aARC006000 _2bisacsh
082	0	4	_a720 _223
100	1		_aAmbroziak, Brian M. _eauthor.
245	1	0	_aMichael Graves _h[electronic resource] : _bImages of a Grand Tour / _cby Brian M. Ambroziak.
264		1	_aNew York, NY : _bPrinceton Archit.Press, _c2005.
300			_aXII, 257 p. 300 illus., 90 in color _bonline resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0		_aSir John Soane’s Grand Tour: Its Impact on His Architecture and His Collections -- The Necessity for Seeing -- Plates -- Rome -- Other Italian Locales -- Greece -- Turkey -- France -- Spain -- United Kingdom -- The Necessity for Drawing -- The Necessity for Drawing -- Graves’s Travels: Giants and Dwarfs -- Volume, Surface, and Plan.
520			_aMichael Graves the extraordinary experience of two years at the American Academy in Rome in the early 1960 s transformed how I looked at the world around me. In that rich and marvelous city, I came to understand architecture as a continuum from antiquity to the present day, and thus as a language. I discovered new ways of seeing and analyzing both architecture and landscape. I also developed an urgent need to record what I saw and created hundreds of photographs and drawings. It has been a great joy to work with Brian Ambroziak on his ambitious project to publish many of them in this book, accompanied by his insightful commentary. I have always been fascinated by drawing. In fact, it was my ability to draw that led me to a career in architecture. Until I went to Rome, however, I had created dr- ings only in my studio, never in the street or landscape. While there, rather than searching for a single manner of drawing, I experimented with multiple methods that I thought might express the architecture. I made large, elaborate sepia and black ink washes of important baroque churches, 40 x 28 inches in size; quick notations in fine ink or crude pencil in a hand-sized notebook; and pencil sketches on a wonderful cream-colored clay-coated paper, with fluid lines that captured just the essence of a profile. No matter what media I chose, my drawings were always analytical.
650		0	_aArchitecture.
650		0	_aArchitects.
650	1	4	_aArchitecture / Design.
650	2	4	_aArchitects.
710	2		_aSpringerLink (Online service)
773	0		_tSpringer eBooks
776	0	8	_iPrinted edition: _z9781568985299
856	4	0	_uhttp://dx.doi.org/10.1007/1-56898-657-2
912			_aZDB-2-ADE
950			_aArchitecture and Design (Springer-11641)
999			_c499740 _d499740