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The Monumental Impulse: Architecture's Biological Roots, by George L. Hersey
Ebook Download The Monumental Impulse: Architecture's Biological Roots, by George L. Hersey
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We humans owe an immense architectural debt to many other species. Indeed, the first hexagons humans saw may have been in honeycombs, the first skyscrapers termitaries (termite high-rises), and the first tents those of African weaver ants. In The Monumental Impulse, art historian George Hersey investigates many ties between the biological sciences and the building arts. Natural building materials such as wood and limestone, for example, originate in biological processes. Much architectural ornament borrows from botany and zoology. Hersey draws striking analogies between building types and animal species. He examines the relationship between physical structures and living organisms, from bridges to mosques, from molecules to mammals.Insects, mollusks, and birds are given separate chapters, and three final chapters focus on architectural form and biological reproduction. Hersey also discusses architecture in connection with the body's interior processes and shows how buildings may be said to reproduce, adapt, and evolve, like other inanimate or "nonbiotic" entities such as computer programs and robots. The book is both learned and entertaining, and is abundantly illustrated with fascinating visual comparisons.
- Sales Rank: #3949178 in Books
- Published on: 2001-02-19
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .75" w x 7.00" l, 1.22 pounds
- Binding: Paperback
- 280 pages
Review
"In this engaging, eminently readable, and frequently surprisingexploration of the human urge to build, Hersey invites us to viewarchitecture from an unaccustomed perspective—the perspective ofbiology.... With this coupling of architecture and biology, Herseyis fully engaged in that Enlightenment spirit biologist E. O. Wilsoncalls 'the quest for the unity of knowledge.'" Norman Crowe , Department of Architecture, University of Notre Dame
About the Author
George Hersey is Emeritus Professor of Art History at Yale University. He is the author of numerous books, including The Evolution of Allure: Sexual Selection from the Medici Venus to the Incredible Hulk (MIT Press, 1996) and The Lost Meaning of Classical Architecture: Speculations on Ornament from Vitruvius to Venturi (MIT Press, 1988).
Most helpful customer reviews
5 of 25 people found the following review helpful.
how theory gets a bad name...
By M. Studer
i picked up this title, in part, to locate catherine ingraham's latest historicization of 'life' and 'architecture's indifference to each other, expecting to find some sort of oppositional model of phenomenological essentialism and anologism that naturalizes architecture (as the title proclaims). granted, i'd not expected much, but even at that this is a sorry, sorry, desperate disappointment and excuse for academic writing and architectural theory. first, as anyone in physical and cultural anthro will relate, ascribing human or even chimp behavior to biological lineage or heritage, as opposed to learned, culturally inflected/enabled/motivated behavior, plays into a naturalizing fallacy of genetic/biological determinism. to attribute architectural, symbolic form to biological origin is a radical simplification. even architecture's formal mimesis of recognizable 'natural' (read other) elements is itself a cultural process, loaded with symbolic/semiological importance. so basically, in terms of content and historiographic presumptions, hersey's work is just a series of arbitrary formal analogies made through the reduction of historical/cultural phenomenon to contemporary (yet dehistoricized) biological models. second, in terms of textual problems, the writing is elementary, without any seductive rhetorical flourishes, making it dull, dull, dull to read. his essentializing/eternalizing/naturalizing presumptions can be seen clearly in the accents to the text- the image captions do not include dates of publication and formal structures trump content and context of illustrations. thus, by the third page of the intro, where he compares 2 trees- a 19th century evolutionist visions of animals/man and 19th century evolutionist theories of art (neither of which he locates within 19th century historicism and the anthrocentric telos of man as pinacle)- it's obvious the book is being lead by formal image association, without date, without history, without cultural implicaion. also, his formal analogies make the mistake of pairing, say, a surface drawing of the vaginal lips and a section of the great pyramid, demonstrating the lack of theoretical reflection on both representation and its functions (i.e. the implied difference between surface and slice) as well as then neglecting the spatiality of architecture for mere iconic readings. beyond a slim 'naturalization' intention, the chapters relay on thematic strings of throught, without any particular thesis, argument, nor point- seeming to follow the 15th/16th century model of associative similitude pre- natural history that foucault alligns with, in 'the order of things,' borges's chinese encyclopedia and, in context, works like aldrovandi's 'historia serpentum et draconum.' while, for foucault those other order helped to show the historicity of ours, hersey's antiquated formalism, 19th century evolutionary conceptions, ecclectic models, and facile importation of biology as theoretical structure all reflect poorly on MIT (for publishing this), Yale (his former tenure institution), and himself.
while, i'd recommend the book for a beginning architectural-theory writing seminar (what not to do, how arbitrary structures can detract from useful exegesis, etc.) it's neither worth the time or money to read.
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