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Garden At Monceau (Hardcover)
Carmontelle; Edited by Elizabeth Barlow Rogers, Joseph Disponzio; Translated by Andrew Ayers; Introduction by Laurence Chatel de Brancion; Contributions by …
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R1,820
Discovery Miles 18 200
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Ships in 12 - 17 working days
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Carmontelle's landmark publication, Garden at Monceau, beautifully
reproduced to show the Parisian garden's artistic and cultural
importance before the French Revolution. Originally published in
1779, Garden at Monceau is a richly illustrated presentation of the
garden Louis Carrogis, known as Carmontelle, designed on the eve of
the French Revolution for Louis-Philippe-Joseph d'Orleans, duc de
Chartres. With its array of architectural follies intended to
surprise and amaze the visitor, the garden was a setting for ancien
regime social life. Carmontelle's portrayal of his work in Garden
at Monceau therefore serves as an expression of a key moment in the
history of European landscape design, garden architecture, and
social history. This facsimile edition, with its English-language
text and reproductions of the original engravings, is accompanied
by essays that interpret the landscape design and examine
Carmontelle's larger career as a painter and theater producer.
When not directly shaping the fabric of Paris themselves, its
rulers have always kept tight control over the activities of
others, with the result that Paris has developed under some of the
strictest building regulations of any major city. Despite Paris's
much vaunted reputation as the cultural salon of Europe, a certain
suspicion towards foreign architectural imports has characterised
its development, and outside influences have always been adapted to
local needs and indigenous modes of expression, a tradition which
carried on until the post-war era and arguably continues today. The
last decades of the 20th century have witnessed a rush to modernise
and adapt a crumbling fabric to the exigencies of the electronic
age.
Text in French & English. Even though his viaducts for the TGV
Atlantic line and several innovative projects rapidly brought him
national recognition, Jean-Yves Barrier, who set up his own
practice in Tours in 1990, managed to avoid involvement in fashions
and trends. Whether he is dealing with homes, public facilities,
offices, industrial buildings or shop design, Barrier approaches
each project with a fresh eye, and tries to come up with a powerful
idea that is then expressed spontaneously in his sketches. His
initial insight is developed in very precise studies, bringing an
architectural approach to the technical details. The originality of
his buildings is inevitably associated with the renewal of form, a
great variety of subjects and blending materials in a way that
exploits the value of each to optimise the construction as a whole.
Even though he was one of the first to realise a solar building
(1978), an automated house (1990) and a low-energy apartment block
(2001), these technical innovations are not his chief concern. The
essential feature for Barrier is the correctness of the response
applied to the programme and to the context, with consistent
respect for the users. He combines generosity in his human contacts
with rigour in conception and realisation. In all his exchanges
with contractors, engineers, workmen and users, his taste for
dialogue promotes a climate of confidence that enables every
project to find its own distinctive quality.
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