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An Edifice of Ideas Architectural patronage was crucial for the
thinking of Aby Warburg and his circle. In Hamburg the
purpose-designed Kulturwissenschaftliche Bibliothek Warburg,
completed in 1926, organized Warburg’s remarkable library. From
1927 Warburg developed ideas about orientation in the radical
transformation of a disused water tower into the Hamburg
Planetarium. After the Warburg Institute transferred to London in
1933 this pattern of seminal architectural commissioning continued,
including projects designed by the avant-garde practice Tecton
during the 1930s, and culminating in the construction of the
library’s present home at Woburn Square, Bloomsbury in 1958.
Warburg Models: Buildings as Bilderfahrzeuge follows this history,
using archive photographs, architectural drawings and a series of
architectural models to show how the Warburg scholars projected a
connection between their own physical occupancy of architectural
space and their shared ideas about intellectual order, cultural
survival, and memory.
We are taught to believe in originals. In art and architecture in
particular, original objects vouch for authenticity, value, and
truth, and require our protection and preservation. The nineteenth
century, however, saw this issue differently. In a culture of
reproduction, plaster casts of building fragments and architectural
features were sold throughout Europe and America and proudly
displayed in leading museums. The first comprehensive history of
these full-scale replicas, Plaster Monuments examines how they were
produced, marketed, sold, and displayed, and how their significance
can be understood today. Plaster Monuments unsettles conventional
thinking about copies and originals. As Mari Lending shows, the
casts were used to restore wholeness to buildings that in reality
lay in ruin, or to isolate specific features of monuments to
illustrate what was typical of a particular building, style, or
era. Arranged in galleries and published in exhibition catalogues,
these often enormous objects were staged to suggest the sweep of
history, synthesizing structures from vastly different regions and
time periods into coherent narratives. While architectural plaster
casts fell out of fashion after World War I, Lending brings the
story into the twentieth century, showing how Paul Rudolph
incorporated historical casts into the design for the Yale Art and
Architecture building, completed in 1963. Drawing from a broad
archive of models, exhibitions, catalogues, and writings from
architects, explorers, archaeologists, curators, novelists, and
artists, Plaster Monuments tells the fascinating story of a
premodernist aesthetic and presents a new way of thinking about
history's artifacts.
While completing the Almannajuvet Zinc Mine Museum in southern
Norway in 2016, celebrated Swiss architect Peter Zumthor asked
Norwegian scholar Mari Lending to engage in a dialogue about the
project. Departing from the ways in which Zumthor's pavilions frame
the barely visible traces of the industrial exploitation of zinc in
the 1890s, the conversation took unexpected turns. In meandering,
impressionistic style and drawing on Zumthor's favourite writers,
such as Johann Peter Hebel, Stendhal, Vladimir Nabokov, and T.S.
Eliot, their exchanges explore how history, time and temporalities
reverberate across the famous architect's oeuvre. Looking back,
Zumthor ponders on how a feeling of history has informed his
continuous attempts of emotional reconstruction by means of
building, from architectural interventions in dramatic landscapes
to his design for the redevelopment of Los Angeles' LACMA on a
grand urban scale. This small, beautifully designed new book
records the conversation between Zumthor and Lending, illustrated
with photographs by the renowned Swiss architectural photographer
Helene Binet.
While completing the Almannajuvet Zinc Mine Museum in southern
Norway in 2016, celebrated Swiss architect Peter Zumthor asked
Norwegian scholar Mari Lending to engage in a dialogue about the
project. Departing from the ways in which Zumthor's pavilions frame
the barely visible traces of the industrial exploitation of zinc in
the 1890s, the conversation took unexpected turns. In meandering,
impressionistic style and drawing on Zumthor's favourite writers,
such as Johann Peter Hebel, Stendhal, Vladimir Nabokov, or T.S.
Eliot, their exchanges explore how history, time and temporalities
reverberate across the famous architect's oeuvre. Looking back,
Zumthor ponders on how a feeling of history has informed his
continuous attempts of emotional reconstruction by means of
building, from architectural interventions in dramatic landscapes
to his design for the redevelopment of Los Angeles' LACMA on a
grand urban scale. This small, beautifully designed new book
records the conversation between Zumthor and Lending, illustrated
with photographs by the renowned Swiss architectural photographer
Helene Binet. Text in French.
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