The models
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"Fairly early in our discussions (...)we decided that we wanted to do a model exhibition. Only models. Not a single finished product o building project, not even as photographs. The models exhibited should be from various stages of completion and finishes. Sketch models as well as presentation models. All presented together in one room. A house is a built idea. A(...)
Architecture Monographs
March 2005, Gothenburg
The models
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"Fairly early in our discussions (...)we decided that we wanted to do a model exhibition. Only models. Not a single finished product o building project, not even as photographs. The models exhibited should be from various stages of completion and finishes. Sketch models as well as presentation models. All presented together in one room. A house is a built idea. A chair is a manufactured idea. But the model is the idea." -Claesson, Koivisto, Rune -
Architecture Monographs
Dance with Archigram
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Meet with Archigram - Listen to Archigram - Dialog with Archigram - Talk about Archigram Text in English and Korean.
Architecture Monographs
January 1900, Seoul
Dance with Archigram
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Meet with Archigram - Listen to Archigram - Dialog with Archigram - Talk about Archigram Text in English and Korean.
Architecture Monographs
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This series provides a survey of the vast body of theoretical work produced by modern and contemporary architects and examines the major projects and themes of international architecture. The written word thus becomes a useful means of studying and analysing planning processes and questions relating to the modern city and urban and spatial design. These publications(...)
Architecture Monographs
January 1900, London
James Stirling : writings on architecture
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This series provides a survey of the vast body of theoretical work produced by modern and contemporary architects and examines the major projects and themes of international architecture. The written word thus becomes a useful means of studying and analysing planning processes and questions relating to the modern city and urban and spatial design. These publications are not just systematic collections of writings or transcripts of conferences and public statements but are also attempts by the architects themselves to reformulate their oeuvre and to produce new, unpublished work. The texts are accompanied by original illustrations, often produced specifically for these publications, and by critiques and biliograhies of the architects' work.
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January 1900, London
Architecture Monographs
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Mies van der Rohe
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Few architects have had as decisive an influence on 20th century architecture as Mies van der Rohe. Despite the importance of Mies' work, it has been somewhat neglected by recent publications. This book proposes a revisiting of his built works through new photograhps and material from MoMA's Mies van der Rohe Archive in New York.
Architecture Monographs
April 2001, Lisbon
Mies van der Rohe
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Few architects have had as decisive an influence on 20th century architecture as Mies van der Rohe. Despite the importance of Mies' work, it has been somewhat neglected by recent publications. This book proposes a revisiting of his built works through new photograhps and material from MoMA's Mies van der Rohe Archive in New York.
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April 2001, Lisbon
Architecture Monographs
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Le Corbusier
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Le Corbusier is probably the most famous and certainly the most controversial architect of the twentieth century. His impact on the urban fabric around us and on the way we live has been gigantic because of the richness and variety of his work and his(...)
Le Corbusier
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Le Corbusier is probably the most famous and certainly the most controversial architect of the twentieth century. His impact on the urban fabric around us and on the way we live has been gigantic because of the richness and variety of his work and his passionately expressed philosophy of architecture. Weaving through his long and prolific life are certain recurrent themes — his perennial drive toward new types of dwelling, from the early white villas to the U'ité d'Habitation at Marseille; his evolving concepts of urban form, including the Plan Voisin of 1925 with its cruciform towers imposed on the city of Paris and his work at Chandigarh in India; and his belief in a new technocratic order. The distinguished critic and historian Kenneth Frampton reexamines all these facets of his artistic and philosophical worldview in the light of recent discoveries, and presents us with a Le Corbusier for the twenty-first century.
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June 2001, London
Architecture Monographs
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This volume contains work, both built and unbuilt, both large-scale and small, designed in the 1990s by the firm of Philip Johnson/Alan Ritchie Architects. Alan Ritchie has worked with Johnson since 1969; the firm was established in 1994. The projects shown may be divided into two groups. Johnson’s interest in the past decade in sculptural form - or the way in which(...)
Architecture Monographs
January 2003, New York
Philip Johnson / Alan Ritchie architects
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This volume contains work, both built and unbuilt, both large-scale and small, designed in the 1990s by the firm of Philip Johnson/Alan Ritchie Architects. Alan Ritchie has worked with Johnson since 1969; the firm was established in 1994. The projects shown may be divided into two groups. Johnson’s interest in the past decade in sculptural form - or the way in which sculptural form translates into architectural presence - has led to designs that involve both new kinds of shapes and new ways of using classic architectural form to make entirely new works of architecture. Such sculptural works, for the most part small in scale, include Da Monsta, the new visitors pavilion at Johnson’s famed Glass House in New Canaan, Connecticut, and a spectacular folly consisting of four pyramids made of chain-link fencing at an estate in New York State. Simultaneously, the firm has continued its ongoing work with larger projects, such as a 27-story apartment tower for Tribeca, in lower Manhattan; the Cathedral of Hope in Dallas; an addition to the Amon Carter Museum, originally designed by Johnson in 1961, in Forth Worth, Texas; and a proposal for the architecture school at Texas A University in College Station. Also included are a pair of proposals for La Défense in Paris; three large houses; a new china design for the Four Seasons restaurant in New York; and a new public clock, sponsored by Movado, for Lincoln Center. Introduction by Paul Goldberger.
Architecture Monographs
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"This is an experiential architecture, not a theoretical one. It is grounded in reality, not in abstract dogma, yet it seeks the transcendent, every bit as earnestly - perhaps even more so - then architecture that is built on pure theory. It is the way space, texture, light, materials actually feel that motivates these architects, and it is their skill at manipulating(...)
Olsen Sundberg Kunding Allen : connecting architecture, art, and craft in twelve residential projects
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"This is an experiential architecture, not a theoretical one. It is grounded in reality, not in abstract dogma, yet it seeks the transcendent, every bit as earnestly - perhaps even more so - then architecture that is built on pure theory. It is the way space, texture, light, materials actually feel that motivates these architects, and it is their skill at manipulating these elements that gives their work the rigor and strength it possesses. This architecture is marked by a sense of a self-assured and sensual presence, shaped by light, texture, materiality and scale. It should almost go without saying at this point that in an age in which most architects actively seek to achieve the identity of a "look," Olson Sundberg's work eschews simple similarities. Certain principles are evident from one building to another, as is the absence of direct historical replication, but consistency is not the same as a packageable style. Indeed, a single, easily identifiable style is something that these architects not only do not have but seem actively to discourage, as if its presence could be taken as a sign that their firm was not sufficiently cognizant of the widely varying demands that are inherent in different clients' programs, sites and esthetic preferences. They seem determined to prove that consistency of belief need not yield similarity of visual appearance – and that it is possible to produce a coherent body of work that does not look precisely the same." Excerpted from the introduction written by Paul Goldberger.
Architecture Monographs
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Based on the collection of drawings at Sir John Soane's Museum.
Robert Adam - the creative mind : from the sketch to the finished drawing
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Based on the collection of drawings at Sir John Soane's Museum.
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January 1996, London
Architecture Monographs
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Robert Adam's castles
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In the last fifteen years of his life, Robert Adam produced a series of picturesque landscape fantasies which he never exhibitied, but which were the recreation of his leisure hours. He also made amny designs for buildings in the Castle Style; both these groups form the subject of this exhibition catalogue which explores this compartively neglected aspect(...)
Robert Adam's castles
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In the last fifteen years of his life, Robert Adam produced a series of picturesque landscape fantasies which he never exhibitied, but which were the recreation of his leisure hours. He also made amny designs for buildings in the Castle Style; both these groups form the subject of this exhibition catalogue which explores this compartively neglected aspect of Adam's work. The works are taken from the collection of Sir John Soane's Museum.
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January 2000, London
Architecture Monographs
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This exhibition catalogue explores 'the cult of the ruin', a phenomenon of 18th and early 19th century Europe. Mock ruins were built as 'follies' in landscape gardens, while artists imagined how London would appear as a ruined city after the collapse of the British Empire. In Rome, interiors were painted as trompe l'oeil(...)
Architecture Monographs
January 1999, London
Visions of ruin : architectural fantasies & designs for garden follies
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This exhibition catalogue explores 'the cult of the ruin', a phenomenon of 18th and early 19th century Europe. Mock ruins were built as 'follies' in landscape gardens, while artists imagined how London would appear as a ruined city after the collapse of the British Empire. In Rome, interiors were painted as trompe l'oeil ruins, and in Paris the great chef Antoine Carême served blancmanges in the shape of Roman ruins. John Soane represents the climax of this fascination. In the garden of his Museum at No.13 Lincoln's Inn Fields is the 'Monk's Yard', a mock-ruin assembled from medieval fragments of the Palace of Westminster. At his country house, Pitzhanger Manor in Ealing, he pretended that a mock-classical ruin was a Roman temple he had discovered at the bottom of the garden. He commemorated the completion of his masterpiece, the Bank of England, by exhibiting a series of astonishing views of the structure as if a ruin. He even wrote a narrative, "Crude Hints Towards the History of My House", in which he imagined an archaeologist of future centuries inspecting the fragments of his home. The transcribed text is reprinted in this publication. Architects and artists include Robert Adam, William Chambers, Hubert Robert, Piranesi, Clerrisseau, Richard Wilson, J. M. W. Turner, Gustave Doré and John Martin.
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January 1999, London
Architecture Monographs