By Steven Marrone

This paintings is ready the improvement of scholastic argumentation in thirteenth-century Europe. It lines the increase of a proper version of technological know-how and ensuing lodgings in conventional attitudes in the direction of human cognition, in particular with reference to the position of divine illumination. Investigated are ten theologians from Robert Grosseteste to Duns Scotus, all mostly linked to a so-called Augustinian present. The research makes a speciality of conception of data and of brain, pertaining to either to the account of human figuring out of divinity on this planet. Of curiosity to historians of medieval tradition and historians of technological know-how, the ebook lays naked the highbrow ameliorations eventually surroundings the level for the emergence of contemporary technology. It moreover advances a unique argument in regards to the fact of "Augustinianism" and "Aristotelianism" in high-medieval idea.

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Additional resources for The Light of Thy Countenance: Science and Knowledge of God in the Thirteenth Century (Studies in the History of Christian Thought) (Vol.1)

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A central glass and steel sculptural conference room dominates the 400 square metres (4,300 square feet) of office. The adaptation of unusual existing spaces and buildings provides an occupant with the potential for new and innovative spatial configurations with which to communicate their company’s identity. These strategies have led to the development of entirely new interior terrains with a mixed landscape of spaces, enclosures, pods and rooms in which work can take place. In a project by Fashion Architecture Taste (FAT), a disused church in Amsterdam has become a space for the Dutch advertising agency KesselsKramer.

Context This four-storey rooftop addition was designed for the architect himself, Paul Rudolph. The host building was a five-storey Neo-Georgian upper Manhattan townhouse, which had been remodelled in the 1930s. Rudolph rented an apartment on the fourth floor in 1965 and in 1976 purchased the whole building for $300,000. In 1977 he started work on the conversion of the first four floors into apartments and the construction of his own penthouse – work that was ongoing due to his constant reappraisal of his personal living space, and not ‘officially’ finished until 1988.

Its placement away from the main stair denoted its invitation-only status. Whilst high above the ground, the apartment had a unique relationship with landscape. Each level was connected to the exterior by a terrace. There were five distinct outdoor spaces on four staggered levels. The largest terrace faced east and was connected to the master bedroom. Detail In the Rudolph apartment entire rooms are hidden within the structure whilst others are boldly exposed. 1 The main materials used in the construction of the exterior of the apartment were concrete, glass and steel.

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