The main objective of this book is to present the distribution and diversity of major soil types in Serbia. It focuses on giving a detailed description of the physical, chemical and biological properties of soil and their geomorphological forms, as well as the geological characteristics of parent material. An integrative approach is used to study the interaction between climate, vegetation and geology in soil formation. Special attention is paid to human-induced soil degradation due to the erosion and contamination of soils in Serbia. The book includes a harmonization of national soil classification systems, with the FAO, WBR and ESD systems.
In Rage and Denials, philosopher and architectural historian Branko Mitrović examines in detail the historiography of art and architecture in the twentieth century, with a focus on the debate between the understanding of society as a set of individuals and the understanding of individuals as mere manifestations of the collectives to which they belong. The conflict between these two views constitutes a core methodological problem of the philosophy of history and was intensely debated by twentieth-century art historians—one of the few art-historical debates with a wide range of implications for the entire field of the humanities. Mitrović presents the most significant positions and arguments in this dispute as they were articulated in the art- and architectural-historical discourse as well as in the wider context of the historiography and philosophy of history of the era. He explores the philosophical content of scholarship engaged in these debates, examining the authors’ positions, the intricacies and implications of their arguments, and the rise and dominance of collectivist art historiography after the 1890s. He centers his study on the key art-historical figures Erwin Panofsky, Ernst Gombrich, and Hans Sedlmayr while drawing attention to the writings of the less well known Vasiliy Pavlovich Zubov. Rage and Denials offers a valuable window onto how key aspects of modern research in the humanities took shape over the course of the twentieth century.
Andrea Palladio's works - the Basilica, Palazzo Chiericati, and Villa Rotonda in Vicenza; Villa Cornaro in Piombino Dese; the Redentore Church in Venice; and numerous other buildings - have never ceased to attract the attention of architects, historians, and the general public. Arguably the most influential Renaissance architect, Palladio and his works have been examined in countless publications. In this book, Branko Mitrovic rethinks traditionally held views of Palladio's design theory. He explores Palladio's approach to spatial composition, facade design, detailing, proportions, and use of the classical orders; discusses Platonist influences in Palladio's design; and uncovers pertinent aspects of Palladio's design procedures and methodology. Mitrovic provides a synthesis of earlier Palladian scholarship and emphasizes the importance of the history of design theory to the understanding of the architectural works of the part. Finally, he offers an insightful view of the application of Palladio's Renaissance design principles in twenty-first-century architecture, inspiring, through Palladianism, the architecture of the future." "Nearly 200 photographs and illustrations show-case a broad selection of Palladian structures and styles, supplemented by digital renderings, views, and site plans. Throughout, Mitrovic's comprehensive study reveals what architectural historians, practicing architects, and students can learn from Palladio today."--Jacket.
What does it mean for our understanding of history if we assume that everything is physical and that no immaterial entities, forces, or phenomena exist? A Materialist Philosophy of History: A Realist Antidote to Postmodernism examines the implications of a materialist worldview in contemporary philosophy of history. Materialism has wide-ranging consequences for historical research as well as for the credibility of various conceptions of the historical past. Branko Mitrović shows how these implications pertain both to the nature of social institutions and the capacities of historical figures to decide, act, acquire beliefs, and communicate and to the methodology of historical research and problems, such as the interpretation and the translation of historical documents. A materialist view also entails rejecting the view that forces such as culture, language, or society can construct physical reality or that the historical past is constructed through the work of the historian. This book examines these consequences and presents a comprehensive materialist perspective on historical research and the understanding of the historical past.
Philosophy for Architects is an engaging and easy-to-grasp introduction to philosophical questions of interest to students of architectural theory. Topics include Aristotle's theories of "visual imagination" and their relevance to digital design, the problem of optical correction as explored by Plato, Hegel's theory of zeitgeist, and Kant's examinations of space and aesthetics, among others. Focusing primarily on nineteenth- and twentieth-century philosophy, it provides students with a wider perspective concerning philosophical problems that come up in contemporary architectural debates.
What is more important in architectural works—their form, shape, and color, or the meanings and symbolism that can be associated with them? Can aesthetic judgments of architecture be independent of the stories one can tell about buildings? Do non-architects perceive buildings in the same way as do architects? For the greater part of the twentieth century it was common to respond to these and similar questions by relying on psychological theories asserting there is no innocent eye, that we think only in language, and that human visuality results from preexisting, conceptual knowledge. Dramatic breakthroughs in philosophy and psychology over the past two decades, however, have shown us that human visuality functions for the most part independently of conceptual thinking and language. This book examines the ways in which new theories of human visuality create a different understanding of architectural design, practice, and education. This new understanding coincides with and supports formalist approaches to architecture that have become influential in recent years as a result of the digital revolution in architectural design.
Philosophy for Architects is an engaging and easy-to-grasp introduction to philosophical questions of interest to students of architectural theory. Topics include Aristotle's theories of "visual imagination" and their relevance to digital design, the problem of optical correction as explored by Plato, Hegel's theory of zeitgeist, and Kant's examinations of space and aesthetics, among others. Focusing primarily on nineteenth- and twentieth-century philosophy, it provides students with a wider perspective concerning philosophical problems that come up in contemporary architectural debates.
In Rage and Denials, philosopher and architectural historian Branko Mitrović examines in detail the historiography of art and architecture in the twentieth century, with a focus on the debate between the understanding of society as a set of individuals and the understanding of individuals as mere manifestations of the collectives to which they belong. The conflict between these two views constitutes a core methodological problem of the philosophy of history and was intensely debated by twentieth-century art historians—one of the few art-historical debates with a wide range of implications for the entire field of the humanities. Mitrović presents the most significant positions and arguments in this dispute as they were articulated in the art- and architectural-historical discourse as well as in the wider context of the historiography and philosophy of history of the era. He explores the philosophical content of scholarship engaged in these debates, examining the authors’ positions, the intricacies and implications of their arguments, and the rise and dominance of collectivist art historiography after the 1890s. He centers his study on the key art-historical figures Erwin Panofsky, Ernst Gombrich, and Hans Sedlmayr while drawing attention to the writings of the less well known Vasiliy Pavlovich Zubov. Rage and Denials offers a valuable window onto how key aspects of modern research in the humanities took shape over the course of the twentieth century.
What is more important in architectural works—their form, shape, and color, or the meanings and symbolism that can be associated with them? Can aesthetic judgments of architecture be independent of the stories one can tell about buildings? Do non-architects perceive buildings in the same way as do architects? For the greater part of the twentieth century it was common to respond to these and similar questions by relying on psychological theories asserting there is no innocent eye, that we think only in language, and that human visuality results from preexisting, conceptual knowledge. Dramatic breakthroughs in philosophy and psychology over the past two decades, however, have shown us that human visuality functions for the most part independently of conceptual thinking and language. This book examines the ways in which new theories of human visuality create a different understanding of architectural design, practice, and education. This new understanding coincides with and supports formalist approaches to architecture that have become influential in recent years as a result of the digital revolution in architectural design.
Andrea Palladio's works - the Basilica, Palazzo Chiericati, and Villa Rotonda in Vicenza; Villa Cornaro in Piombino Dese; the Redentore Church in Venice; and numerous other buildings - have never ceased to attract the attention of architects, historians, and the general public. Arguably the most influential Renaissance architect, Palladio and his works have been examined in countless publications. In this book, Branko Mitrovic rethinks traditionally held views of Palladio's design theory. He explores Palladio's approach to spatial composition, facade design, detailing, proportions, and use of the classical orders; discusses Platonist influences in Palladio's design; and uncovers pertinent aspects of Palladio's design procedures and methodology. Mitrovic provides a synthesis of earlier Palladian scholarship and emphasizes the importance of the history of design theory to the understanding of the architectural works of the part. Finally, he offers an insightful view of the application of Palladio's Renaissance design principles in twenty-first-century architecture, inspiring, through Palladianism, the architecture of the future." "Nearly 200 photographs and illustrations show-case a broad selection of Palladian structures and styles, supplemented by digital renderings, views, and site plans. Throughout, Mitrovic's comprehensive study reveals what architectural historians, practicing architects, and students can learn from Palladio today."--Jacket.
This book examines the wide-ranging implications for historical research of the view that everything is physical and that no immaterial entities, forces, or phenomena exist. It presents the consequences of materialism for our understanding of the historical past, including the rejection of postmodernist perspectives on history.
The main objective of this book is to present the distribution and diversity of major soil types in Serbia. It focuses on giving a detailed description of the physical, chemical and biological properties of soil and their geomorphological forms, as well as the geological characteristics of parent material. An integrative approach is used to study the interaction between climate, vegetation and geology in soil formation. Special attention is paid to human-induced soil degradation due to the erosion and contamination of soils in Serbia. The book includes a harmonization of national soil classification systems, with the FAO, WBR and ESD systems.
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