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A set of articles first released in: the house store Machinist, compiled and edited through Joe D. Rice.

Many Machinist tasks, illustrations and photos.

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During the last decades of the 18th century, such passage would become a favourite theme of architects such as Etienne-Louis Boullée and ClaudeNicolas Ledoux. Beyond the immediate allusion to the function of his saltworks of Arc-et-Senans (1779), Ledoux’s ornamental motive of horizontal vases protruding from the wall, from which water petrified by salt hangs like ice on the edge of a roof, conveys this very notion of the transition from nature to civilisation, from rock salt and brines as a natural resource to the realisation of its use for humans.

See also Mark Garcia (ed), Patterns of Architecture, Architectural Design (AD) series (London: John Wiley & Sons, November/ December (no 6), 2009. 3 Adolf Loos, ‘Ornament and Crime’, 1929, republished in Adolf Loos, Ornament and Crime: Selected Essays (Riverside, California, Ariadne Press, 1998), pp 167–76, p 167 in particular. On the circumstances surrounding the elaboration of ‘Ornament and Crime’, see Christopher Long, ‘The Origins and Context of Adolf Loos’s “Ornament and Crime”’, Journal of the Society of Architectural Historians, vol 68, no 2, June 2009, pp 200–23.

Neo-Romanesque and neo-Gothic are not Romanesque and Gothic, but hybrids between medieval formal references, the architectural legacy of Renaissance and Baroque, and 19th-century concerns. Once again, the Vitruvian tradition and its reinterpretation of Greco-Roman architecture represent our true point of departure. 032 PTW Architects, CSCEC + Design and Arup, Beijing National Aquatics Centre, 2007. The Weaire-Phelan pattern on which the design of the Water Cube is based derives from the natural formation of bubbles in foam.

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