By Claudio Silveira Amaral
Examines Ruskin's architectural, political and philosophical perspectives as a made of his inner common sense. this article additionally examines the effect of that common sense on Brazil's industrialization efforts within the past due nineteenth and early twentieth centuries.
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Extra resources for The Influence of John Ruskin on the Teaching of Drawing in Brazil: How His Spatial Way of Thinking Affects Architecture and Painting
Sensorial apprehension of an object is feeling its spirit, or its moral element Therefore, the aesthetic is the result of a procedure which is both sensorial (what is seen) and intellectual (the apprehension of a moral). Nevertheless, Ruskin's interest is not in the individual moral of an element, but that which results from a harmonious relationship between the elements, true composition, which is the reason behind the natural logic of the elements. True composition is the moment this logic reaches its unity and equilibrium.
6- Cultural Hall of Rio de Janeiro, Uruguaiana Street with Ouvidor Street. Photo taken by Claudio Amaral in 2011. 7- Cultural Hall of Rio de Janeiro, Uruguaina Street with Sete de Setembro Street. Photo taken by Claudio Amaral in 2011. 8- Cultural Hall of Rio de Janeiro, Lavradio Street n° 34. Photo taken by Claudio Amaral in 20 I I. 9- Cultural Hall of Rio de Janeiro, Republica do Libano Street n° 13. Photo taken by Claudio Amaral in 2011. 10-Cultural Hall of Rio de Janeiro, Constituiyao Street n° 41.
The ornament must be visible over the design of the structure to add value to it. The best example of this definition are the drawings on the arches and pillars of the Venice Ducal Palace. According to Ruskin, the ornament is dependent on the structures of the building, but it has the central role of registering the history and the emotional characteristics of the place, as well as the subjectivity of the builder, emphasizing the regional culture and personal beliefs. 43 43 Ruskin, J. The Stones ojYenice, v.