|
Showing 1 - 8 of
8 matches in All Departments
"The truth is, decorative art is equipment, beautiful equipment,"
Le Corbusier, L'Art decoratif d'aujourd'hui This book traces the
history of an encounter between a remarkable invention,
half-industrial half-design object, and one of the most famous
architects of the 20th century. Created in 1921, the Gras lamp
holds a unique place in the history of lighting. A revolutionary
design of marvelous simplicity, its original purpose was to meet
the needs of the booming manufacturing and retail sectors. The
young Le Corbusier, passionate about the challenges of interior
lighting, adopted it as his own from the early 1920s on. Thanks to
its remarkable functionality, this lamp also perfectly corresponded
to his desire to break with decoration and ornament, and the
architect went on to utilize it in his studio in the rue de Sevres
in Paris as well as his home. He also placed it in many of the
interiors of the houses he designed: the Villa Le Lac
(Switzerland), the Villa La Roche (Paris), the Guiette House
(Antwerp), the Villa Savoye (Poissy), and the villa belonging to
his friend Eileen Gray in Roquebrune-Cap-Martin. Relying on rich
photographic documentation from the period, the book goes through
the history of the Gras lamp, its patents and various models, but
it also enables the reader to rediscover Le Corbusier's interior
designs through the prism of this icon of design, as he was one of
this lamp's main promoters in modern times. Text in English and
French. Contents: Preface, Antoine Picon; Le Corbusier and "the law
of light" Arthur Ruegg; The Lamp and the Architect; Le Corbusier:
For daily use; The Studio in the rue de Sevres; Private homes; A
Restoration story; Le Corbusier's Designs; Introduction; Villa Le
Lac, "little house," Corseaux near Vevey (Switzerland), 1923; La
Roche-Jeanneret house, Paris, 1925; Guiette House, Antwerp, 1926;
Villa Savoye, "Clear Hours," Poissy, 1929-1931; Swiss Pavilion,
Cite Universitaire, Paris, 1931-1933; Visiting Eileen Gray;
Bibliography; Chronology."
Situated on the shore of the Lake Zurich, Le Corbusier's exhibition
pavilion is his last realised design. Based on his Modulor
proportional system and at the scale of a single-family home, it
demonstrates the potential of prefabricated elements to form a
perfect space for art and design. Commissioned in 1960 by Heidi
Weber, Zurich-based gallery owner and patron of Le Corbusier the
visual artist, this structure in steel and glass represents pivotal
aspects of his architectural philosophy and also points to the
future. Architects Silvio Schmed and Arthur Ruegg have carefully
restored the Pavillon Le Corbusier to its original state, including
the reconstruction of missing pieces of furniture and luminaires.
This book documents their research and the restored building,
featuring previously unpublished historic photographs and documents
alongside newly commissioned images by Georg Aerni.
Since its founding in 1989, the office of Gigon/Guyer architects
has designed a truly impressive series of projects. Among the most
important are museum, residential, and office buildings, as well as
mixed-use constructions. The recently completed Prime Tower and its
annex buildings on the Maag site in Zurich have been
internationally acclaimed. The monograph offers keen insight into
how Annette Gigon and Mike Guyer understand architecture. The
diverse concepts and the varied applications of design, material,
form, and color employed in their projects are presented in
detailed documentation of their work that includes photography,
plans, and short texts. Three essays and a discussion between
Patrick Gmur, Martin Steinmann, and the architects offer in-depth
reflection and contextualization.
Sigfried Giedion (1888-1968) and Carola Giedion-Welcker (1893-1979)
were among the most distinguished and influential scholars of art
and architectural history during the 20th century's earlier
dacades. Of particular impact was their role in connecting leading
protagonists of modernism in architecture, art, and literature,
such as Alvar Aalto, Hans Arp, Constantin Brancusi, Marcel Breuer,
Max Ernst, Walter Gropius, Barbara Hepworth, Le Corbusier, Laszlo
Moholy-Nagy, Piet Mondrian, or Sophie Taeuber-Arp. The discourses
they initiated, for example on the New Vision in photography or a
'Synthesis of Arts', have lost nothing of their relevance and
provide new starting points through to the present day. The estate
of Sigfried and Carola Giedion-Welcker is today kept in Zurich at
ETH Zurich's Institute for the History and Theory of Architecture,
the Swiss Institute for Art Research, the University of Zurich's
Institute of Romance Studies, and the James Joyce Foundation. It
comprises some 16,000 letters, 10,000 photographic prints and
negatives, a wealth of other papers, and a vast library. This new
book offers a re-evaluation of Sigfried and Carola
Giedion-Welcker's work, impact, and lasting significance. The
editor and contributors were the first to draw fully on the estate,
which has been opened entirely to researchers only recently.
Featuring a vast number of previously unpublished documents and
other images alongside excerpts from the extensive correspondence
the two maintained with their artist friends and colleagues in
academia, it provides a unique and manifold insight into the
'Giedion universe'.
Le Corbusier designed two color collections for the Salubra
wallpaper company: the "Clavier de couleurs" of 1931, with 43
colors, and the 1959 collection, with 20. Not content with the mere
color selection, drawn from his experience as an architect and
painter, he also organized the tones on 12 sample cards in such a
manner that, by using a slider, three or five colors could be
varyingly isolated or combined. Each card contained a different
color scheme meant, when applied, to create a particular spatial
effect. This would become not only a useful tool but also a kind of
testament of the purist color theory, an essential groundwork and a
valuable instrument for all those who deal with color in theory or
practice. In the first volume, Arthur Ruegg, the renowned Le
Corbusier expert, explores the significance of the Salubra
collections for the history of modern architecture, and in the
epilogue to this third edition, presents the specialist research
conclusions from the last twenty years. The second volume contains
13 color plates with the 63 colors, printed using the screen
printing method and glued by hand as well as 4 separate sliders in
pocket. Volume three consists of 63 full page color sample sheets,
also printed using the screen printing method.
In this monograph, the author approaches Le Corbusier from a new
and unconventional angle. He analyses Le Corbusier's designs to
reveal the geometric structures which give each building its unique
sense of harmony. Through informative texts and fascinating
drawings, the relationship between the rational, constructive and
intuitive dimensions in his architecture emerges. Beginning with Le
Corbusier's early works and moving chronologically to the icons of
the late years - the Chapel at Ronchamp, the Convent of La Tourette
- we see two distinct poles: the experimental white buildings
around Paris, the epitome of which is the Villa Savoye, and by
contrast, the almost mystical monumental buildings in India where
Le Corbusier devoted his later years to building the government
complex in Chandigarh. Richly illustrated with many unpublished
photographs, this book demonstrates how Le Corbusier came to be
"one of those rare individuals who succeed in investing their
creations with a universal tone." William Curtis
|
The Atlas of Furniture Design (Hardcover)
Mateo Kries, Jochen Eisenbrand, Henrike Buscher, Fulvio Ferrari, Otakar Macel, …
|
R4,744
R3,647
Discovery Miles 36 470
Save R1,097 (23%)
|
Ships in 12 - 17 working days
|
In 2019, the Vitra Design Museum will publish the Atlas of
Furniture Design, the definitive, encyclopedic overview of the
history of modern furniture design. Featuring over 1700 objects by
more than 500 designers and 121 manufacturers, it includes
approximately 2800 images ranging from detailed object photographs
to historical images documenting interiors, patents, brochures, and
related works of art and architecture. The basis for the Atlas of
Furniture Design is the collection held by the Vitra Design Museum,
one of the largest of its kind with more than 7000 works. The book
presents selected pieces by the most important designers of the
last 230 years and documents key periods in design history,
including early nineteenth-century industrial furniture in bentwood
and metal, Art Nouveau and Secessionist pieces and works by
protagonists of classical modernism and postwar design, as well as
postmodern and contemporary pieces. The Atlas of Furniture Design
employed a team of more than 70 experts and features over 550
detailed texts about key objects. In-depth essays provide
sociocultural and design-historical context to four historical
epochs of furniture design and the pieces highlighted here,
enriched by a detailed annex containing designer biographies,
glossaries, and elaborate information graphics. The Atlas of
Furniture Design is an indispensable resource for collectors,
scholars and experts, as well as a beautifully designed object that
speaks to design enthusiasts.
|
|