Detalles MARC
| 000 -LEADER |
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| fixed length control field |
10863nam a22003137a 4500 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
pucpr |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20201001171819.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
150319s2021 ae frb 000 0 eng |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9783869226538 |
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| International Standard Book Number |
3869226536 |
| 040 ## - CATALOGING SOURCE |
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| Original cataloging agency |
pucpr |
| Language of cataloging |
eng |
| Description conventions |
rda |
| Transcribing agency |
pucpr |
| Modifying agency |
pucpr |
| 049 ## - LOCAL HOLDINGS |
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| Holding library |
CARIBET |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER |
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| Classification number |
SB472.47 |
| Item number |
W55 2021 |
| 082 00 - DEWEY DECIMAL CLASSIFICATION NUMBER |
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| Edition number |
712.02 |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
Wilk, Sabrina. |
| 9 (RLIN) |
291091 |
| 245 10 - TITLE STATEMENT |
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| Title |
Drawing for landscape architects 2 : |
| Remainder of title |
perspective views in history, theory, and practice / |
| Statement of responsibility, etc. |
Sabrina Wilk |
| Medium |
txt |
| 264 ## - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE |
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| Place of production, publication, distribution, manufacture |
Berlín |
| Name of producer, publisher, distributor, manufacturer |
DOM Publishers |
| Date of production, publication, distribution, manufacture, or copyright notice |
2021 |
| 300 ## - PHYSICAL DESCRIPTION |
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| Extent |
367 p. |
| Other physical details |
ill.; photo.; plans.; col. |
| Dimensions |
29 cm. |
| Type of unit |
book |
| 336 ## - CONTENT TYPE |
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| Source |
rdacontent |
| Content type code |
txt |
| Content type term |
text |
| 337 ## - MEDIA TYPE |
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| Source |
rdamedia |
| Media type code |
n |
| Media type term |
unmediaded |
| 338 ## - CARRIER TYPE |
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| Source |
rdacarrier |
| Carrier type code |
nc |
| Carrier type term |
volume |
| 440 ## - SERIES STATEMENT/ADDED ENTRY--TITLE |
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| 9 (RLIN) |
296280 |
| Title |
Construction and Design Manual |
| Name of part/section of a work |
Drawing for landscape architects 2: perspective views in history, theory, and practice |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc. note |
Includes bibliographical references. |
| 505 ## - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
Understanding landscape and visualization --<br/>Introduction to terminology: Basics, principles, and preclusions --<br/>16 The profession, its distinction from architecture and why this matters to perspective visualisation --<br/>17 Landscape, imagery, and the profession --<br/>19 Transmitting the message: The landscape as medium for ideas --<br/>20 The difference in design and visualisation: Changeable, ephemeral contents of landscape <br/>Understanding linear perspective --<br/>22 Being outdoors: Sensations and universal experiences --<br/>24 The role of the viewer: Perceiving the medium of landscape --<br/>26 Influential imagery: The landscape-image-landscape cycle, and its role in fostering value and meaning --<br/>27 Final points --<br/><br/>Understanding linear perspective --<br/>32 Basic characteristics and composition --<br/>34 The perspective view: Definition and terminology --<br/>37 Origins and history: From Ancient Greece to the Renaissance --<br/>38 The discovery of perspective construction --<br/>40 Atmospheric perspective views --<br/>44 A review of general observations --<br/>45 The importance of the picture plane and the effects of convergence --<br/>48 Usefulness and limitations of perspectives: Perceptibility over precision --<br/>49 Types of linear perspective: Construction and effects One-point perspective --<br/>50 Two-point perspective --<br/>51 Viewer location and elevation --<br/>52 Pedestrian eye level --<br/>55 Human figures and embellishment: Storytelling --<br/>56 Artistic possibilities: Graphic style, colour, and media --<br/>59 Composition variables and placement of vanishing points --<br/>64 Criteria for success --<br/><br/><br/>The perspective leap into landscape visualisation --<br/>70 Pictorial developments and literary influences --<br/>71 From painting to landscape: Seeing landscape space as restorative place ---<br/>72 The Arcadian ideal and its influences on the garden --<br/>75 Origins in painting: The framed view from indoors / background landscapes in Italy and Flanders --<br/>76 Other applications of perspective and landscape in Europe --<br/>78 Symbolic and fantasy landscape: The view from outdoors--<br/>80 Visualisation: The perspective and its early influence on architectural and garden design Combining the imaginary with the factual --<br/>81 The perspective visualisation at Villa Lante in Bagnaia --<br/>83 Villa Lante: Construction and manipulation --<br/>84 Landscape design from Renaissance Arcadia onwards--<br/><br/>Perspective developments in the 17th and 18th centuries --<br/>88 Visualising the formal garden and landscape garden --<br/>89 The 17th century: Linear perspectives and the formal French garden --<br/>92 Visualisation for persuasion and publicity Standardised visualisation before construction --<br/>94 Prestige and power: Visualisation after construction --<br/>96 The 17th century and new artistic influences --<br/>97 New observation and appreciation of landscape -- <br/>98 Lorrain and the perfected landscape composition --<br/>101 The 18th century ideal landscape: Pastoral Arcadia --<br/>102 Claude's influence on the English countryside --<br/>103 The perspective in 18th century landscape visualisation: Picturesque vision --<br/>104 Visualising the picturesque landscape --<br/>105 William Kent --<br/>106 Capability Brown --<br/>107 Repton and the composite perspective: Fusing the imaginary with the real --<br/>110 The reciprocal relationship: Nature imitates art, art imitates nature --<br/>111 Concluding statements and summary of events --<br/><br/>Visualising a social Arcadia: 1850s to early 1900s --<br/>118 Visualising a social Arcadia: Public landscapes from the 1850s to the early 1900s. The need for a new public green space --<br/>119 Beginnings in England --<br/>120 Visualising public parks in England --<br/>122 Competition culture --<br/>123 The influence of education on perspective visualisation --<br/>125 Education in urban design and planning: The Beaux Arts schools --<br/>127 Urban expansion and the competition for Central Park --<br/>132 After Central Park: Visualising the landscape at the beginning of the 20th century --<br/>134 Summary of 19th century: Public design and the professionalisation of landscape design --<br/><br/>The first decades of the 20th century --<br/>140 The first decades of the 20th century Contextual background for garden and landscape design before World War II --<br/>141 New influences: Photography, media, and art. The impact of print media and competitions --<br/>142 Events in art: Abstract and decorative influences on gardens and landscapes --<br/>144 Garden visualisations in the first decades of the 20th century: Germany and France --<br/>146 The return to the geometric garden in early 20th century France Henri and Achille Duchene –<br/>148 J.C.N. Forestier: Planting emphasis within perspective scenes --<br/>150 Cubism and the influence of new art on landscape design--<br/><br/>150 The Vera brothers' perspective visualisations --<br/>152 Other gardens of the 1920s across Europe --<br/>154 The 1920s: Neues Bauen, public parks, and landscapes in Germany --<br/>155 The Bauhaus and landscape architecture --<br/>156 Landscape visualisation in the public realm: Leberecht Migge's ideas for social improvement --<br/>158 Erwin Barth --<br/>159 Le Corbusier: Landscape versus architecture --<br/>161 Garrett Eckbo and Roberto Burle Marx: Modernist black-line perspective --<br/>162 Perspectives for large-scale projects --<br/>163 Roberto Burle Marx --<br/>164 Summary of developments --<br/><br/>The second half of the 20th century --<br/>170 Subjective expression --<br/>171 Landscape architectural design in the modernist and post-modernist period --<br/>172 A changing profession: Urban expansion and new fields of work in the 1950s and 60s --<br/>173 Visualising for corporate clients: New projects --<br/>174 The stronghold of modernist graphics: Halprin and Nogiichi --<br/>176 Landscape architectural education: Producing the landscape designer-engineer-artist --<br/>177 Competition culture --<br/>178 Art and technology in turn-of-the-century visualisation: The emergence of the collage --<br/>179 Digital collaging. From modernist austerity to expressive perspective visualisations --<br/>180 Subjectivism and uniqueness in landscape architectural visualisation --<br/>182 Dieter Kienast --<br/>184 New viewpoints: Dutch landscape visualisation --<br/>186 Summary of 20th century subjective landscapes --<br/><br/><br/>21st century perspective visualization: The return of Arcadian themes --<br/>192 21st century Arcadia and the hyper-realistic picturesque --<br/>193 New ideas and the return to pictorial vision --<br/>194 The digital turn in the landscape profession --<br/>196 Digital models in landscape visualisation: The difficulty of representing vegetation in CAD --<br/>197 Digitalisation of the landscape --<br/>201 The impact of digital media on visualisation Persuading the viewer: Storytelling through digital perspectives --<br/>204 The picturesque composition as evolutionary preference--<br/>206 The return of beauty and awe in 21st century Claudian pictorial composition --<br/>207 Enduring themes of Beauty and Sublime --<br/>209 The return of the Sublime: Wonder and awe in artificial and natural contexts --<br/>212 The return of an Arcadian vision: The ideal society --<br/>214 Summary of events and final thoughts --<br/>218 Concluding remarks --<br/>220 Future creativity and artful expression --<br/><br/>Constructing perspectives --<br/>226 Perspective views: Seeing and understanding space --<br/>228 Linear perspectives: Basic observations, principles, and assumptions --<br/>229 Basic assumptions --<br/>230 Observations and principles --<br/>232 The horizon line --<br/>234 Basic set-up for linear perspective --<br/>236 Types of linear perspective --<br/>238 Atmospheric or size perspective --<br/>242 Extending the visual fields --<br/>246 Dimensioned space and depth illusion --<br/>247 Cone of vision --<br/>248 Constructing a perspective grid --<br/>249 Diagonal point method for determining depth --<br/>250 The horizon line and its effect on the perspective --<br/>252 Stairs, ramps, and slopes --<br/>253 Reflections in perspectives --<br/>254 Repetitive elements in perspective --<br/>256 Drawing circles in perspective --<br/>257 Constructing simple shadows --<br/>258 Perspective plan method: One-point perspective --<br/>260 Perspective plan method: Projecting a two-point perspective --<br/>262 Drawing perspectives with a prepared perspective grid --<br/>264 Using a perspective grid --<br/>266 Using a prepared perspective grid --<br/>268 Drawing perspectives using photographs --<br/>270 Freehand perspective drawings on site --<br/>272 Estimating proportions when freehand drawing --<br/>274 Freehand one-point perspective --<br/>276 Freehand two-point perspective --<br/>278 Rendering and graphic styles --<br/>280 Composition: Key elements and devices --<br/>281 Framing --<br/>282 Framing using architecture and built structures --<br/>284 Balance Contrasts, light, and atmosphere --<br/>287 Horizontal proportions: Sky and ground plane --<br/>288 Human figures and activities --<br/>290 Composition: Final comments -- <br/><br/>Perspective visualisation: Examples and inspiration --<br/>294 Perspective visualisation in landscape architectural design: Examples and inspiration --<br/>296 atelier le balto, Berlin --<br/>300 Auböck + Karasz, Vienna --<br/>304 Balmori Associates, New York --<br/>308 Karl Bauer, Karlsruhe --<br/>310 Bureau B+B, Amsterdam --<br/>312 Claude Cormier & Associés, Montreal --<br/>318 DnD Landschaftsplanung --<br/>320 die-grille, Penzberg --<br/>322 GROSS.MAX., Edinburgh --<br/>324 Hager Partner AG, Zurich --<br/>330 Benedikt Hartl, Munich --<br/>334 Franz Reschke, Berlin --<br/>338 Sabine Heine, Rotterdam --<br/>342 Martha Schwartz and Partners, New York --<br/>344 silands I Gresz + Kaiser, Ulm --<br/>348 Sabrina Wilk, Freising --<br/>350 West 8, Rotterdam --<br/><br/>Appendix --<br/>356 Contributor list --<br/>358 Image list-<br/>363 Bibliography and suggested reading --<br/>366 Thanks and acknowledgements |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Landscape architectural drawing |
| Topical term following geographic name entry element |
Handbooks, manuals, etc. |
| 9 (RLIN) |
244226 |
| Source of heading or term |
Local |
|
|---|
| Topical term or geographic name entry element |
Landscape architectural drawing |
| 9 (RLIN) |
244226 |
| Source of heading or term |
Local |
|
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| Topical term or geographic name entry element |
Architectural drawing |
| Topical term following geographic name entry element |
technique. |
| 9 (RLIN) |
54079 |
| Source of heading or term |
Local |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
|---|
| Source of classification or shelving scheme |
Library of Congress Classification |
| Koha item type |
Libro |
| Classification part |
SB472.47 |
| Call number suffix |
W55 2021 |
| Call number prefix |
General |