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When the excavations at Pompeii were first placed on a scholarly archaeological footing in the 19th century, brothers Fausto and Felice Niccolini were close at hand and ready to respond. Making use of the newly introduced technique of color lithography, they documented the buildings, frescos, statues, as well as the most ordinary everyday objects, of the city buried in just 24 hours by the catastrophic eruption of Vesuvius and preserved for over 1,600 years under a mantle of volcanic ash. The Niccolinis' goal was to illustrate all aspects of life in the antique city. Their publication, Le case ed i monumenti di Pompei ("The Houses and Monuments of Pompeii"), which was issued in installments between 1854 and 1896 in Naples, presented over 400 color plates providing not only views, maps, and groundplans of the city and its public buildings, but also offered unprecedented access to Pompeii's private residences. They revealed the astonishing painted wall decorations that adorned these long-buried abodes, their intricate works of art, and the practical utensils of everyday use, conjuring up a vivid picture of each house as a real domestic space. In total, the plates illustrated more than 1,000 items, each extensively specified and located for the first time, making the publication a major reference in Pompeii research. In addition, "animated" representations visualized daily life in Pompeii's workshops, taverns, and shops, on its public squares, and in its temples, theaters, and baths. This meticulous facsimile revives the Niccolinis' extraordinary achievement with all color plates and two introductory essays setting the project in its contemporary context and presenting the historical protagonists of the Vesuvian excavations. In addition, we explore the remarkable influence exerted by Pompeian art-and by the haunting plaster casts made of victims of the eruption-on the visual arts. Across painting, sculpture, and interior design, we trace the Pompeii legacy in the work of Robert Adam, Anton Raphael Mengs, Angelika Kaufmann, Jean-Auguste-Dominique Ingres, Lawrence Alma-Tadema, Pablo Picasso, and Giorgio de Chirico, right through to recent masters Duane Hanson and George Segal.
A boxed set in four volumes, each volume in the series represents a
core sample of the firm at this moment in time, highlighting a
grouping of four major projects that share a common theme but not
necessarily the same typology or program. The themes are threads
that weave the work together and as a whole define the design
philosophy of the firm. The firm's emphasis on sustainability is a
current that runs through the narrative of each book. Each book
focuses on design process and collaboration. Each project is
presented in depth and will underscore the methodology, aesthetics,
techniques and ethos of the firm. With future volumes planned,
these sets will track the progression of ideas that evolve over
time through the work that enacts the ideas, and informs the work
Offices should provide the atmosphere of encouraging creativity and staff energy. Fall in Love with Office features 43 projects from a variety of practices all in full colour with diagrams. Included are cutting edge office designs for Skype, Facebook, Cisco, Google, PwC, Deloitte, MTV and Net-A-Porter
Trope Tokyo, the fourth volume in the Trope City Editions series, celebrates the architecture and urban landscapes of this dynamic metropolis fusing the ancient and the ultramodern. The collection highlights the photographic images of emerging and independent photographers from Tokyo and beyond, who through their passion for the craft, creative development, and social media smarts have attracted impressive followings on Instagram. This carefully curated and bound collection of 200 photographs offers a new perspective of Tokyo. Each chapter is accompanied by a map, along with the locations where the photographs were taken. From high above Tokyo Tower to the scramble of Shibuya Crossing, these images command a strong point of view: digitally processed, filtered, toned, de-saturated, sharpened, for a very urban sensibility. Showcasing both the quiet traditionalism and sleek futurism of contemporary Tokyo, the images reveal distinctive and dramatic visions of one of the world's greatest cities.
People associate the term Brutalism with concrete and, in the UK, with the Welfare State - just one thin slice of the Brutalist canon. Brutalism is not a style. It reveals enduring architectural ideas and interests that have emerged at different times and in different places, prompted by social and political ideals and technological conditions. Richly illustrated with unique, high-quality photographs, this book explores Brutalism through the lens of twelve distinct, occasionally competing, definitions, as a living and evolving entity. Redefining Brutalism offers insight into how these buildings were designed and constructed, their underlying social contexts, and how Brutalism triggered various other movements such as High-tech and Postmodernism. This book is a lens through which to see the present as much as the past.
Architects write a lot, especially now that conceptual aspects have become central in advanced reflections and narrative forms increasingly intersect the quest of design practices for an ultimate legitimation. In the growing mass of publications, these keywords turn the genre of annotated bibliography into a hypertextual device by highlighting recurrent issues and tracking synthetic paths of orientation among different critical positions, with particular attention to what happens in the neighbouring fields of the arts and sciences.
Do you know a Doric column when you see one? Of course. But what about an entablature, a hypostyle, a pylon, or a pagoda? Architectural Details uses beautifully engraved plates from the great works of architectural history to illustrate a show-and-tell journey round the architecture of civilizations east and west, from Ancient Egypt to the Industrial Revolution. Most of the drawings and engravings have been taken from early sources, unparalleled for their elegance and delicacy of line, as well as for the amount of fine detail they offer. Extended captions and annotation supply you with a complete naming of parts which, as well as identifying and defining the correct terminology, will help you to understand how architects have planned and made the buildings of the past, from Amenhotep to Palladio, and Vitruvius to Wren.
The OfficeUS Atlas collects the exhibition research in an archive of nearly 1000 architectural projects. Organized according to individual firm histories, the Atlas documents the development of U.S. architectural offices working abroad from 1914 to the present. Offices and their projects are illustrated by over 1200 photographs and architectural drawings. OfficeUS, the U.S. Pavilion for the 2014 International Architecture Exhibition - la Biennale di Venezia, reframes the history of U.S. architecture through the lens of export in two interrelated constructs: "The Office" and "The Repository." The Repository presents 1000 projects designed by 200 US offices working abroad in a chronological archive of the last 100 years. Collectively these projects tell multiple, imbricated stories of U.S. firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. The Office engages these projects, revisiting their premises and conclusions over the course of the Biennale. It functions as a laboratory staffed by a diverse group of resident design partners collaborating with outpost offices and a rotating cast of visiting experts. Together, these two halves of OfficeUS create both an historical record of the U.S. contribution to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption and critique.
CHANDIGARH RETHINK captures the rich, ongoing discourse on radically transforming urbanities within the Global South with specific reference to India's social, historical, economic and cultural repositioning. It examines urban edge figures and their rural grounds -- relevant not just to Chandigarh, but also to cities in general -- while suggesting narrative strategies via provocative design studio design work. These introspections are framed within themed contributions from a globally recognized group of scholars who represent the diverse disciplines of architecture, planning, urban design, landscape ecologies and the humanities. As a topical publication on global urbanities transforming a signature urban project, CHANDIGARH RETHINK anticipates the Buildings-Landscapes-Cultures (blc) program and SARUP's efforts to uniquely aligning urban research, pedagogy and critical design practice towards examining global urbanities that continue to defy normative urban analysis. Beyond serving as an exemplar for globally aware architectural schools nationwide and beyond, it is also directed to serve as an instructive primer for design students and instructors examining global urban sites.
In a fleeting 14-year period between two world wars, Germany's Bauhaus School of Art and Design changed the face of modernity. With utopian ideas for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology, which they applied across media and practices from film to theater, sculpture to ceramics. This book is made in collaboration with the Bauhaus-Archiv/Museum fur Gestaltung in Berlin, the world's largest collection on the history of the Bauhaus. Some 550 illustrations including architectural plans, studies, photographs, sketches, and models record not only the realized works but also the leading principles and personalities of this idealistic creative community through its three successive locations in Weimar, Dessau, and Berlin. From informal shots of group gymnastics to drawings guided by Paul Klee, from extensive architectural plans to an infinitely sleek ashtray by Marianne Brandt, the collection brims with the colors, materials, and geometries that made up the Bauhaus vision of a "total" work of art. As we approach the Bauhaus centennial, this is a defining account of its energy and rigor, not only as a trailblazing movement in modernism but also as a paradigm of art education, where creative expression and cutting-edge ideas led to simultaneously functional and beautiful creations. Featured artists include Josef Albers, Marianne Brandt, Walter Gropius, Gertrud Grunow, Paul Klee, Ludwig Mies van der Rohe, and Lilly Reich.
What "really constitutes an architectural atmosphere," Peter Zumthor says, is "this singular density and mood, this feeling of presence, well-being, harmony, beauty ... under whose spell I experience what I otherwise would not experience in precisely this way." Zumthor's passion is the creation of buildings that produce this kind of effect, but how can one actually set out to achieve it?
In nine short, illustrated chapters framed as a process of self-observation, Peter Zumthor describes what he has on his mind as he sets about creating the atmosphere of his houses. Images of spaces and buildings that affect him are every bit as important as particular pieces of music or books that inspire him. From the composition and "presence" of the materials to the handling of proportions and the effect of light, this poetics of architecture enables the reader to recapitulate what really matters in the process of house design.
Technological choices give us ways to bridge the gap between the technical and the cultural, immersing one within the other. The immersion creates a platform for innovation. The techniques that people generate through their use of technology exert pressure on technical refinement and enfold those refinements within culture. Technological choices define a world within which specific alternatives of uses emerge, and they define a subject who chooses among those alternatives. In the making of the world through technology, we simultaneously enact great cultural change. In order for architecture to remain relevant in the future and create a critique of the present it must operate within technology, developing technological practices and design methods that become intrinsic to technology as opposed to applying it to a previously conceived design. The scope and significance of this is potentially enormous. Asset Architecture 3 attempts to illustrate some of the concepts, directions, and practices that have taken on this challenge.
`A lovely book... full of provocative ideas' The Daily Telegraph This book introduces the diverse range of images to be found among the medieval and architectural sculpture at Exeter Cathedral. A striking array of fabulous monsters and exotic beasts, angelic musicians, saints and Green Men appear throughout this unique Gothic building, carved into roof bosses, corbels, capitals and misericords. Blending the most current research with a practical knowledge of working with stone, themed chapters explore the medieval contexts and possible meanings of these carvings, tracing their history and the working lives of the stonemasons and carvers who made them. From plants and dragons to scenes of the Crucifixion, the sculpture at Exeter, particularly that of the late thirteenth and early fourteenth centuries, represents some of the best work in European medieval art. This book provides an accessible and informative guide. `A lovely book... full of provocative ideas' The Daily Telegraph `Full of stimulating material. Woodcock sees the monstrous and the miraculous as interrelated aspects of a world in which the divine was at once unknowable and potentially to be encountered around every corner' Journal of the British Archaeological Association `Clearly written, takes an accessible popular approach and gives a good current overview of the subject' Medieval Archaeology
For the last few decades at least, art and architecture have been controlled by the so called celebrities, who use their publicity machines to impose their dishonest ways on society and the young. The artist now distorts the human face and form, and in so doing, destroys the very beauty that God has created. The musician uses tones that are in disharmony with the natural frequencies of our planet and the human body. Similarly, the architect disregards thousands of years of Mans thoughts, discoveries and experience and creates a bankrupt kind of architecture, driven by computer software, where the presentation becomes more important than the content. A 3D fly-through of anything can make it magical. I have been on many such assessment juries, and have wished that the brief had excluded 3D animation because of its power to deceive and seduce. I have always looked to create timeless architecture, a coherent link from the knowledge and expertise of our forefathers to the as yet undreamt of discoveries of our children yet to be born. I would spend a lot of time thinking of how to avoid the obvious and instead create an enduring architectural form that is relevant to our times. One day, before I went to sleep, I was once again thinking of how to create such a thing. In my sleep I had a dream in which I was driving my car through Andalusia in the south of Spain. To the right were the mountains, to the left, the sea, with the sun in front of me. I usually listen to the Quran when driving, in particular the Qisar Suwer (the short chapters). When the Surah Wash-shamsi wa duhaha came, which deals with the sun, the moon, the earth, mankind and the proper relationship between them, the CD began skipping and repeating the same verse over and over again. No matter how I tried to eject the CD or skip to the next track, it just kept repeating. When I woke up the next day, the energy in me had changed and things came effortlessly to my mind. The mathematics between the moon, the sun and the earth became more clear and the initial idea for the building was born. What follows is the details of its design and construction.
'I love this city, and always shall. I write about it. I dream about it. I walk its streets and see something new each day - traces of faded lettering on the stone, still legible, but just; some facade that I have walked past before and not noticed; an unregarded doorway with the names, in brass, of those who lived there sixty years ago, the bell-pulls sometimes still in place, as if one might summon long-departed residents from their slumbers.' Edinburgh is a city of stories - a place that has witnessed everything from great historical upheavals, to the individual lives of a remarkable cast of characters. Every spire, cobblestone, bridge, close and avenue has a tale to tell. In this sumptuous new book, Alexander McCall Smith curates his own, distinctive story of Edinburgh - combining his affectionate, incisive wit with a wealth of stunning imagery drawn from Scotland's national collection of architecture and archaeology. Through a series of photographs, maps, drawings and paintings - many never before published - he takes the reader on a unique tour. Just like the city's architecture, the book can move in an instant from sweeping views to secret, hidden vignettes. This is a story of famous landmarks and lost buildings; the people who made them; the people who lived in them. A Work of Beauty is an intimate portrait of a city by one of Scotland's greatest storytellers.
Exploring this much-loved public park reveals its story. In the Middle Ages, Gunnersbury belonged to the powerful mistress of a medieval king. Prosperous Tudor merchants and City aldermen followed; its first transformation saw the building of a huge Palladian mansion with formal gardens around 1660. After years of neglect it was reborn as a centre of Georgian society; a merchant politician and art collector and then a Hanoverian princess each softened the landscape and built follies. In 1800 the mansion was demolished and development plots sold off; two neighbouring villas emerged which still survive. From 1835 one was home to the banking family who eventually reunited the estate, and this building is now the Gunnersbury Park Museum. Gunnersbury was opened as a public park in 1926. This book marks the completion of the recent and extensive conservation programme - its 21st century transformation - in the lead-up to the Park centenary. Published to coincide with the Gunnersbury Park Museum's reopening in spring/summer 2018. Gunnersbury Park receives 30,000-40,000 visitors per year, and this is expected to rise to as many as 1 million visitors per year after the renovation and conservation programme is completed.
Once condemned by Modernism and compared to a 'crime' by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology.Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the 'subjective' - the human interaction that ornament requires in both its production and its reception - and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today's ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?
Overshadowed by the high-profile splendors of Italy and France, and studied and chronicled almost entirely in Swedish, Sweden s majestic palaces, stately manor houses, and tapestry-like gardens have seemed as remote as the Nordic country itself. On the pages of Classical Swedish Architecture and Interiors 1650 1840, meet such pathbreakers as Nicodemus Tessin the Younger and Carl Harleman and the ambitious, discerning monarchs and aristocrats who commissioned their work. Learn how Sweden s architects and designers mined antique and contemporary southern Europe for styles, techniques, and even artisans; how such marvels as the Royal Palace in Stockholm, Drottningholm, and King Gustav III s beloved Haga took shape and acquired their uniquely Swedish stamp. Step into the rich interiors where Sweden s kings and their consorts received state visitors, stored and displayed treasures, wrote letters and studied science, and laid their heads to sleep. The path of visitors to Sweden scholars and laymen, travelers and armchair explorers alike will be forever changed and expanded by this book. Stops at the more familiar sites will be informed with knowledge of the who, when, why, and how of each antechamber and pavilion, while the lucid text and abundance of brilliant photographs, complementing such historical documents as engravings and architectural renderings, will open roads to rural corners and coastal retreats where Swedish royals, nobles, and privileged commoners basked in the calm of their country mansions and warmed themselves before their handsome Swedish tile stoves."
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