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Mildred and Robert Woods Bliss were consummate collectors and patrons. After purchasing Dumbarton Oaks in 1920, they significantly redesigned the house and its interiors, built important new structures, added over fifty acres of planned gardens, hosted important musical evenings and intellectual discussions in their Music Room, and acquired a world-class art collection and library.
The illustrated essays in this volume reveal how the Blisses wide-ranging interests in art, music, gardens, architecture, and interior design resulted in the creation of the Dumbarton Oaks Research Library and Collection. Their collections of Byzantine and Pre-Columbian art and rare garden books and drawings are examined by Robert Nelson, Julie Jones, and Therese O Malley, respectively. James Carder provides the Blisses biography and discusses their patronage of various architects, including Philip Johnson, and the interior designer Armand Albert Rateau. The Blisses collaboration with Beatrix Farrand on the creation of the Dumbarton Oaks Gardens is recounted by Robin Karson, and their commission of Igor Stravinsky s Dumbarton Oaks Concerto and its premiere by Nadia Boulanger is examined by Jeanice Brooks. The volume demonstrates that every aspect of the Blisses collecting and patronage had a place in the creation of what they came to call their home of the humanities.
Renowned for his extensive work in architectural history and historic preservation as an educator, scholar, activist, and public lecturer, Richard Longstreth is one of the most important architectural preservationists of the recent past. Looking beyond the Icons offers a generous and diverse selection of his writings over the past twenty-five years. The author explores a variety of topics related to midcentury (ca. 1945-70) preservation efforts, including practical, intellectual, and psychological dilemmas associated with preserving the recent past, preservation-related deficiencies in the urban planning process, and preservation of specific types of buildings. This collection offers a new understanding of the richness and variety of mid-twentieth-century U.S. architecture, landscape, and urbanism, and provides a detailed analysis of both the imperatives for and the challenges involved in preserving this legacy.
'Living in New York' opens the door on a wide range of innovative living solutions from different areas of the city: apartments, lofts, houses. This new book in the series includes the renovation of interior spaces, cosy self-made rooms and wonderful interior designers' solutions for all economical possibilities. Some of the recently refurbished buildings also offer special 'collective' places for baby-sitting, laundry, and a 'wellness' area; a little bit house a little bit hotel, illustrating a completely different way of living with no limits of fantasy or budget.
In this series, the Design Museum looks at the fifty design icons of major cities around the world - icons that, when viewed together, inherently sum up the character of their city. Covering anything from buildings, monuments and iconic designers to a classic film or street sign, these books explore a tapestry of infamous designs, all with their own story to tell. One part design history, one part visual guidebook, this fascinating series unlocks the design stories of the biggest, most creative cities in the world. Berlin's turbulent history has led to a wealth of innovative, evocative design, from the TV Tower and Jewish Museum to the S-Bahn and even kebab kiosks. Uncover this history and explore the fifty design icons that have shaped this city. With stunning photography selected by the Design Museum, Berlin in Fifty Design Icons is the perfect gift for design enthusiasts and anyone who loves Berlin. Also available in the series: London in Fifty Design Icons New York in Fifty Design Icons Paris in Fifty Design Icons
A 'new alliance' is being forged between designers and commercial property developers, who are championing progressive design, in projects as diverse as apartment blocks, houses, hotels and offices. While some architects are taking a proactive role in development, others are cutting out a new position for themselves as designer-developers. This is all happening at a time that property developers are starting to recognise the added value that an architect can bring to a scheme. By taking a truly international look at the projects architects and developers are achieving together, this issue explores the economic and demographic opportunities that are now driving architect-developer alliance in cities as diverse as Amsterdam, Hong Kong, London, Malmo, Melbourne, Montreal, New York, Phoenix and Tokyo. As architects and property developers break boundaries together, they are also beginning to transcend an established pattern of notorious and longstanding ill will. Could this herald a new age of economic saviness in architecture and an appreciation of design input in development?
'Property development has to be market driven and certainly not product driven. The architect can creatively add great value to the developers' commercial objectives by design - in doing so he can achieve his architectural agenda at the same time.' Kenneth Yeang.
'There is a new generation of developers that is becoming enlightened to the cultural value of design excellence, and a new generation architects that is becoming enlightened to the cultural value of fiscal risk, reward, and responsibility. Thank goodness the old guard is dying of obsolescence. Our cities will revel for the evolution.' GreggPasquarelli, ShoP/Sharples Holden Pasquarelli
'I don't know when "architecture" fell out of the discussion. Maybe in the haste to make money, or when short-term thinking replaced long-term thinking. The real question is: Why would architecture not make profit? I think we have proven the opposite.' Winka Dubbledam
Winka Dubbeldam and Archi-Tectonics
Michael Graves & Associates
Jones Studio, Inc
Richard Meier Architects
ShoP/ Sharples Holden Pasquarelli
Robert AM Stern Architects
Kerstin Thompson Architects
Practice Profile - estudio Teddy Cruz
Labics, based in Rome, is a leader among Italy's up-and-coming architecture firms and has gained great international acclaim for submissions to competitions and a number of realised projects. This first-ever monograph on Labic's fast growing, impressive body of work features some twenty of their designs, representing the entire range of the firm's achievements. The selection comprises housing and office buildings, museums and cultural centres, schools, public spaces, and subway stations, located in Bosnia and Herzegovina, Finland, Iran, Italy, Saudi Arabia, Switzerland, and the UK. All are documented with atmospheric photographs and a wealth of plans and diagrams to illustrate the concept and many details of each project. Structure, in a variety of notions of the term, is guiding Labic's approach. Consequently, the book is arranged in five chapters exploring geometric, bearing, circulation, public space, and urban and territorial structures in topical essays. This provides the frame for the featured projects, all of which exemplify the importance of the respective type of structure for Labic's work.
Over the past two hundred years, Americans have reproduced George Washington's Mount Vernon plantation house more often, and in a greater variety of media, than any of their country's other historic buildings. In this highly original new book, Lydia Mattice Brandt chronicles America's obsession with the first president's iconic home through advertising, prints, paintings, popular literature, and the full-scale replication of its architecture. Even before Washington's 1799 death, his house was an important symbol for the new nation. His countrymen used it to idealize the past as well as to evoke contemporary--and even divisive--political and social ideals. In the wake of the mid-nineteenth century's revival craze, Mount Vernon became an obvious choice for architects and patrons looking to reference the past through buildings in residential neighborhoods, at world's fairs, and along the commercial strip. The singularity of the building's trademark piazza and its connection to Washington made it immediately recognizable and easy to replicate. As a myriad of Americans imitated the building's architecture, the Mount Vernon Ladies' Association carefully interpreted and preserved its fabric. Purchasing the house in 1859 amid intense scrutiny, the organization safeguarded Washington's home and ensured its accessibility as the nation's leading historic house museum. Tension between popular images of Mount Vernon and the organization's ""official"" narrative for the house over the past 150 years demonstrates the close and ever-shifting relationship between historic preservation and popular architecture.In existence for roughly as long as the United States itself, Mount Vernon's image has remained strikingly relevant to many competing conceptions of our country's historical and architectural identity.
More than twenty years after its initial publication, Michael Kenna's seminal collection of photographs of the Ford River Rouge industrial complex is now available in a new, revised, and expanded edition. One of the world's most acclaimed photographers working exclusively in black-and-white, Michael Kenna has traveled the world to create stunning, magical images of nature and manmade objects. Known for the ethereal tone and incredibly nuanced detail of his photographs, Kenna is also a chronicler of environmental degradation. His images of an auto plant outside of Detroit, Michigan, are some of his best-known works. Long out of print, Rouge has been brought back to life with a spectacular new design, an authoritative essay by art historian James Steward, and many previously unpublished images that were part of the original series. As the city of Detroit struggles to reclaim its heritage as an American commercial and artistic hub, these photographs resonate more than ever with the stark realities and hidden beauty of the industrial landscape.
In "When All of Rome Was Under Construction," architectural historian Dorothy Metzger Habel considers the politics and processes involved in building the city of Rome during the baroque period. Like many historians of the period, Habel previously focused on the grand schemes of patronage; now, however, she reconstructs the role of the "public voice" in the creation of the city. She presents the case that Rome's built environment did not merely reflect the vision of patrons and architects who simply imposed buildings and spaces upon the city's populace. Rather, through careful examination of a tremendous range of archival material--from depositions and budgets to memoranda and the minutes of confraternity meetings--Habel foregrounds what she describes as "the incubation of architecture" in the context of such building projects as additions to the Palazzo Doria-Pamphili and S. Carlo ai Catinari as well as the construction of the Piazza Colonna. She considers the financing of building and the availability of building materials and labor, and she offers a fresh investigation of the writings of Lorenzo Pizzatti, who called attention to "the social implications" of building in the city. Taken as a whole, Habel's examination of these voices and buildings offers the reader a deeper and more nuanced understanding of the shape and the will of the public in mid-seventeenth-century Rome.
The three legendary structures conceived by King Ludwig II are showcased in this photographic exploration. Documenting what was revered as his dream home, the study delves into the construction of Neuschwanstein Castle, from the foundations being laid to the eventual completion of its great hall. His creations at Schloss Linderhof--the only castle to be finished--and Schloss Herrenchiemsee are also chronicled, capturing their evolution in a stylish array of images. Revealing the inspiration behind these masterly works, this consideration reflects on the subject's renowned passion for building, love of art and music, and turbulent life.
The Council on Tall Buildings and Urban Habitat's Outrigger Working Group has addressed the pressing need for design guidelines for outrigger systems with this guide, now in its second edition, providing a comprehensive overview of the use of outriggers in skyscrapers. This guide offers detailed recommendations for analysis of outriggers within the lateral load resisting systems of tall buildings, for recognising and addressing effects on building behaviour and for practical design solutions. It also highlights concerns specific to the outrigger structural system, such as differential column shortening and construction sequence impacts. In this edition, a new chapter explores the use of 'hybrid' outrigger systems that can 'tune' the stiffness of outrigger trusses, use leverage of the outrigger arms to drive non-linear damping devices, and use yielding materials that absorb seismic energy. Several project examples are explored in depth, illustrating the role of outrigger systems in tall building designs and providing ideas for future projects. The guide details the impact of outrigger systems on tall building designs, and demonstrates ways in which the technology is continuously advancing to improve the efficiency and stability of tall buildings around the world. The new second edition features updated design considerations to reflect current practices, expanded systems organisation and examples, and updated recommendations and suggestions for future research. SELLING POINTS: * Addresses the need for design guidelines, based around the role and impact of outrigger systems in tall buildings * Written by CTBUH, experts in tall building technologies * This new edition features updated design considerations to reflect current practices, expanded systems organisation and examples, and updated recommendations and suggestions for future research 150 colour
Covering the whole period from the 7th century BC to the Second World War, Paul N Balchin's Rome explores how the political history of Rome had a major impact on the townscape of the Eternal City. This detailed work divides Rome's history into three main periods, beginning with the period when the early kings ruled the city, from the 8th to the 6th centuries BC; from a time when the townscape was much influenced by Etruscan culture and architecture to the subsequent Roman Empire that lasted until the 5th century AD. Leaving ancient Rome behind, Paul N Balchin proceeds to examine the period which lasted from the 6th century to 1870, when the city was the ecclesiastical capital of the Catholic church, and the temporal capital of the Papal States. The final section of the book examines the Risorgimento, the unification of Italy and the development of the fascist state; a time when Rome became and remained the capital of Italy, and, like the city of ancient times, endeavoured to establish a new empire. Exploring political instability and change, Paul demonstrates that as the Roman townscape developed, there was a strong connection between politics and the physical shaping of the Eternal City. The book supports this argument using evidence of successive styles of architecture, ranging from Classical to Modernist, which were employed in the construction of a plethora of different buildings. Containing a wide range of photographs and other images, Rome is a unique book that explores the effect that political events have had upon the physical development of the city. Inspired by Mary Beard, David Gilmour and Robert Hughes, Paul N Balchin's book will appeal to ancient historians, as well as those interested in the history of one of the most famous cities in the world.
The first history of twentieth-century America's architecture that puts architecture and its institutions into a dialogue with the "underground"-featuring the experiments, practices, and polemics of the 1960s and 1970s. In Architecture or Techno-Utopia, Felicity Scott traces an alternative genealogy of the postmodern turn in American architecture, focusing on a set of experimental practices and polemics that emerged in the late 1960s and early 1970s. Scott examines projects, conceptual work, exhibitions, publications, pedagogical initiatives, and agitprop performances that had as their premise the belief that architecture could be ethically and politically relevant. Although most of these strategies were far from the mainstream of American architectural practice, Scott suggests that their ambition-the demonstration of architecture's ongoing potential for social and political engagement-was nonetheless remarkable. Scott examines both the marginal and the prominent: the Marxist architectural criticism of Meyer Schapiro; the curatorial work of Arthur Drexler at New York's Museum of Modern Art; Emilio Ambasz's introduction of ideas from environmental design, European critical theory, and Italian radicalism at MoMA; the counterculture's embrace of Buckminster Fuller's domes; psychedelic and intermedia environments; the video and architectural collective Ant Farm and the politics of ecology; the early experimental practices of Rem Koolhaas; and, connecting these earlier practices to the present day, the missed opportunities for political engagement in the competition sponsored by the Lower Manhattan Development Corporation for the World Trade Center site. At a time of increasing receptiveness to thinking politically about architecture and design, Architecture or Techno-Utopia offers a detailed account of the ways in which the work of architects and designers can speak to the contemporary condition.
This beautifully illustrated history of Safavid Isfahan (1501-1722) explores the architectural and urban forms and networks of socio-cultural action that reflected a distinctly early-modern and Perso-Shi'i practice of kingship. An immense building campaign, initiated in 1590-91 at the millennial threshold of the Islamic calendar (1000 A.H.), transformed Isfahan from a provincial, medieval, and largely Sunni city into an urban-centered representation of the first Imami Shi'i empire in the history of Islam. The historical process of Shi'ification of Safavid Iran and the deployment of the arts in situating the shifts in the politico-religious agenda of the imperial household informs Sussan Babaie's study of palatial architecture and urban environments of Isfahan and the earlier capitals of Tabriz and Qazvin. Babaie argues that since the Safavid claim presumed the inheritance both of the charisma of the Shi'i Imams and of the aura of royal splendor integral to ancient Persian notions of kingship, a ceremonial regime was gradually devised in which access and proximity to the shah assumed the contours of an institutionalized form of feasting. Talar-palaces, a new typology in Islamic palatial designs, and the urban-spatial articulation of access and proximity are the architectural anchors of this argument. Cast in the comparative light of urban spaces and palace complexes elsewhere and earlier-in the Timurid, Ottoman, and Mughal realms as well as in the early modern European capitals-Safavid Isfahan emerges as the epitome of a new architectural-urban paradigm in the early modern age.
A rethinking of the Henri Lefebvre's hypothesis that society has been completely urbanised. "I'll begin with the following hypothesis: society has been completely urbanized." - Henri Lefebvre, La revolution urbaine (1970) In 1970, Henri Lefebvre put forward the radical hypothesis of the complete urbanisation of society, a circumstance that in his view required a radical shift from the analysis of urban form to the investigation of the urbanisation processes. Drawing together classic and contemporary texts on the 'urbanisation question', this book explores various theoretical, epistemological, methodological and political implications of Lefebvre's hypothesis. It assembles a series of analytical and cartographic interventions that supersede inherited spatial ontologies (urban/rural, town/country, city/non-city, society/nature) in order to investigate the uneven implosions and explosions of capitalist urbanisation across places, regions, territories, continents and oceans up to the planetary scale. Neil Brenner is Professor of Urban Theory at the Harvard Graduate School of Design (GSD). His writing and teaching focus on the theoretical, conceptual, methodological and cartographic dimensions of urban questions. His work builds upon, and seeks to extend, the fields of critical urban and regional studies, comparative geopolitical economy and radical sociospatial theory. Major research foci include processes of urban and regional restructuring and uneven spatial development; the generalisation of capitalist urbanisation; the problem of spatial visualisation in urban studies; and processes of state spatial restructuring, with particular reference to the remaking of urban governance configurations under neoliberalising capitalism. In 2014, Brenner was selected as a Thompson Reuters Highly Cited Researcher (www.highlycited.com). Based on Web of Science data, his publications were ranked among the top 1% most cited globally in the general social sciences between 2002 and 2012. http://www.gsd.harvard.edu/person/neil-brenner/
The production of this book stems from two of the editors' longstanding research interests: the representation of architecture in print media, and the complex identity of the second phase of modernism in architecture given the role it played in postwar reconstruction in Europe. While the history of postwar reconstruction has been increasingly well covered for most European countries, research investigating postwar architectural magazines and journals across Europe - their role in the discourse and production of the built environment and particularly their inter-relationship and differing conceptions of postwar architecture - is relatively undeveloped. Modernism and the Professional Architecture Journal sounds out this territory in a new collection of essays concerning the second phase of the reception and assimilation of modernism in architecture, as it was represented in professional architecture journals during the period of postwar reconstruction (1945-1968). Professional architecture journals are often seen as conduits of established facts and knowledge. The role mainstream publications play, however, in establishing `movements', `trends' or `debates' tends to be undervalued. In the context of the complex undertaking of postwar reconstruction, the shortage of resources, political uncertainty and the biographical complexities of individual architects, the chapters on key European architecture journals collected here reveal how modernist architecture, and its discourse, was perceived and disseminated in different European countries.
The Architectural Guides from the tried and trusted Reimer Verlag series are readable, clearly set out and in a handy format. For all their brevity, the texts are informative and critical, a considerable achievement. These guides do not only line out the more or less famous ensembles, places, and buildings but also lead the way to little-known treasures, details, inner courts and gardens. The buildings are documented with informative texts, up-to-date photos, and ground plans. The layout according to tours of city districts, maps and detailed indices make orientation easy, even for strangers to the city.
The nineteenth issue of the architectural magazine speech: explores the theme of regulations. This particularly technical and nomenclatural theme has, in fact, at first glance a decisive influence on architecture, largely predetermining both its visual embodiment and all of the main operational characteristics. This issue is focused on regulations in the broadest sense of the word - from the urban norms according to which new areas and cities are built, to energy efficiency standards and fire safety codes, which no architect can omit from their designs. Text in English and Russian.
The preservation of architectural monuments has played a key role in the formation of national identities from the nineteenth century to the present. The task of maintaining the collective memories and ideas of a shared heritage often focused on the historic built environment as the most visible sign of a link with the past. The meaning of such monuments and sites has, however, often been the subject of keen dispute: whose heritage is being commemorated, by whom and for whom? The answers to such questions are not always straightforward, particularly in Central and Eastern Europe, the recent history of which has been characterized by territorial disputes, the large-scale movement of peoples, and cultural dispossession. This volume considers the dilemmas presented by the recent and complex histories of European states such as Germany, Greece, Poland, Hungary, Romania and Bulgaria. Examining the effect of the destruction of buildings by war, the loss of territories, or the "unwanted" built heritage of the Communist and Nazi regimes, the contributors examine how architectural and urban sites have been created, destroyed, or transformed, in the attempt to make visible a national heritage. Matthew Rampley is Professor of History of Art at the University of Birmingham. Contributors: Matthew Rampley, Juliet Kinchin, Paul Stirton, Susanne Jaeger, Arnold Bartetzky, Jacek Friedrich, Tania Vladova, George Karatzas, Riitta Oittinen
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