ललित कलाओं के प्रति उदासीनता बर्बरता के करीब है।
Indifference to the fine arts comes close to barbarism.
Indifference to the fine arts comes close to barbarism.
शिकल (Schinkel) का सौंदर्यशास्त्र कोई कच्चा, भौंडा और मटेरियलिस्टिक "सामग्री के प्रति सच्चाई" वाला मामला नहीं था... बल्कि यह विनिर्माण प्रक्रिया में कलाकार के सीधे सहयोग के माध्यम से लोहे और अन्य औद्योगिक सामग्रियों को एक उचित सुंदरता प्रदान करने का प्रयास था।
Schinkel's aesthetic was not a crudely materialistic "truth to material" affair... but rather an attempt to inform iron and other industrial materials with an appropriate beauty through the direct collaboration of the artist in the manufacturing process.
Schinkel's aesthetic was not a crudely materialistic "truth to material" affair... but rather an attempt to inform iron and other industrial materials with an appropriate beauty through the direct collaboration of the artist in the manufacturing process.
शिकल ऐतिहासिक शैलियों के अपने उपयोग में मनमाने नहीं थे, बल्कि शब्द के सर्वोत्तम अर्थों में उदारवादी (एक्लेक्टिक) थे। वे समकालीन वास्तुकला के आधार के रूप में उनका स्वतंत्र रूप से और विस्तार से उपयोग करते हुए, उनकी उल्लेखनीय सफलताओं के लिए अतीत को खंगाल सकते थे।
Schinkel was not arbitrary in his use of historical modes but rather eclectic in the best sense of the word. He could search the past for its conspicuous successes using them both freely and discursively as the basis for a contemporary architecture.
Schinkel was not arbitrary in his use of historical modes but rather eclectic in the best sense of the word. He could search the past for its conspicuous successes using them both freely and discursively as the basis for a contemporary architecture.