Conception d'exposition
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Chaque exposition est unique et raconte une histoire qui lui est propre. La façon dont ces histoires sont racontées et transposées dans un décor dépend directement de la conception d'exposition. Ce livre, qui s'articule autour d'études de cas et d'exemples, détaille les principaux aspects de la conception d'exposition et du rôle de concepteur.
Conception d'exposition
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Chaque exposition est unique et raconte une histoire qui lui est propre. La façon dont ces histoires sont racontées et transposées dans un décor dépend directement de la conception d'exposition. Ce livre, qui s'articule autour d'études de cas et d'exemples, détaille les principaux aspects de la conception d'exposition et du rôle de concepteur.
Museums and Universal Exhibitions
Machine art, 1934
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In 1934, New York’s Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass(...)
Machine art, 1934
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In 1934, New York’s Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass production. Telling the story of this popular but controversial show, Jennifer Jane Marshall examines its history and the relationship between the museum’s director, Alfred H. Barr Jr., and its curator, Philip Johnson, who oversaw it. She situates the show within the tumultuous climate of the interwar period and the Great Depression, considering how these unadorned objects served as a response to timely debates over photography, abstract art, the end of the American gold standard, and John Dewey’s insight that how a person experiences things depends on the context in which they are encountered. An engaging investigation of interwar American modernism, Machine Art, 1934 reveals how even simple things can serve as a defense against uncertainty.
Museums and Universal Exhibitions
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Narrative Spaces is about exhibition design. It places the profession in a broad theoretical and cultural-historical context and defines a conceptual framework that brings out the dynamics of the field. Exhibitions are narrative environments in which the designer has to translate often complex and scientific objectives into an engaging spatial narrative that can comprise(...)
Narrative spaces: on the art of exhibiton
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Narrative Spaces is about exhibition design. It places the profession in a broad theoretical and cultural-historical context and defines a conceptual framework that brings out the dynamics of the field. Exhibitions are narrative environments in which the designer has to translate often complex and scientific objectives into an engaging spatial narrative that can comprise a mix of wide-ranging media and communicational strategies. This publication defines the theatrical and scenographic principles of exhibitions as narrative space and holds out conceptual tools that can inspire a new approach to exhibition design.
Museums and Universal Exhibitions
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Le Corbusier's Pavilion for Zurich uses numerous handwritten documents, drawings, and papers to trace the history of Le Corbusier's last built work. This dwelling, which is also a museum, was initiated by Zurich gallery owner Heidi Weber. With its abstract forms and colors, it represents an intellectual legacy of the famous architect in which the further development of(...)
December 2012
Le Corbusier's Pavilion for Zurich: model and prototype of an ideal exhibition space
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Le Corbusier's Pavilion for Zurich uses numerous handwritten documents, drawings, and papers to trace the history of Le Corbusier's last built work. This dwelling, which is also a museum, was initiated by Zurich gallery owner Heidi Weber. With its abstract forms and colors, it represents an intellectual legacy of the famous architect in which the further development of architecture as envisaged by Le Corbusier is clearly legible. From the first ideas and sketches from and beyond, the genesis of this exceptional building - the completion of which the architect did not live to see - is presented with illustrations and documents. This book explains the significance of the pavilion, which differs strongly from the beton brut of Le Corbusier's late work, in terms of its position as one of the architect's central and forward-looking works.
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Museums are often among the most iconic buildings to grace a citys skyline. In fact, through the very prestige of the architects involved and the innovation of material form, a new museum can easily herald a citys arrival on the world stage as a center for art and culture.
Culture and art - museum design : art museum, humanistic museum
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Museums are often among the most iconic buildings to grace a citys skyline. In fact, through the very prestige of the architects involved and the innovation of material form, a new museum can easily herald a citys arrival on the world stage as a center for art and culture.
Museums and Universal Exhibitions
Thematic museums
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This book takes the architecture and display features of museums as its content, displaying various thematic museum features in modeling and space design. From the use of materials to their cultural and regional embodiment, the book analyses the cultural and historical connotations of museum design systematically.
Thematic museums
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This book takes the architecture and display features of museums as its content, displaying various thematic museum features in modeling and space design. From the use of materials to their cultural and regional embodiment, the book analyses the cultural and historical connotations of museum design systematically.
Museums and Universal Exhibitions
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The 2010 Shanghai Expo is unparalleled, a gathering like no other. One of the top experiences at the Shanghai Expo is the USA Pavilion, perhaps the leading international attraction of the entire Fair. At least 70 million guests are expected to tour the fairgrounds, making the Expo not just the largest World's Fair in history, but also the largest attended event of any(...)
The USA pavilion: Expo 2010 Shanghai
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The 2010 Shanghai Expo is unparalleled, a gathering like no other. One of the top experiences at the Shanghai Expo is the USA Pavilion, perhaps the leading international attraction of the entire Fair. At least 70 million guests are expected to tour the fairgrounds, making the Expo not just the largest World's Fair in history, but also the largest attended event of any sort in human history. A lucky five million or so of these fair-goers will enter the USA Pavilion, where an engaging, impactful four-act show awaits, and American hospitality abounds. The USA Pavilion Expo 2010 Shanghai: Rising to the Challenge captures the thrilling experiences inside America's great hall. Packed with eye-catching images, facts, and first-person accounts, The USA Pavilion Expo 2010 Shanghai is a perfect keepsake for Pavilion-goers, World Expo enthusiasts, American history buffs, and anyone interested in major international events such as the World Cup or the Olympic Games. From early Pavilion drawings to images of Opening Day excitement to a tour of the Pavilion itself, this official commemorative book highlights the spirit of America and the splendor of an epic showcase.
Museums and Universal Exhibitions
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L'ouverture au public du Centre Pompidou-Metz s'incarne symboliquement dans l'architecture de Shigeru Ban et Jean de Gastines. En son sein, l'exposition inaugurale "Chefs-d'oeuvre?" a permis d'esquisser une histoire des musées d'art moderne et contemporain depuis 1937 - année de l'Exposition internationale à Paris. Les établissements français les plus emblématiques sont(...)
Chefs-d'oeuvre? : architectures de musées, 1937-2014
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L'ouverture au public du Centre Pompidou-Metz s'incarne symboliquement dans l'architecture de Shigeru Ban et Jean de Gastines. En son sein, l'exposition inaugurale "Chefs-d'oeuvre?" a permis d'esquisser une histoire des musées d'art moderne et contemporain depuis 1937 - année de l'Exposition internationale à Paris. Les établissements français les plus emblématiques sont ici mis en perspective avec des chefs-d'oeuvre de l'architecture muséale internationale. Du Palais de Tokyo au Centre Pompidou-Metz, c'est toute une histoire architecturale et culturelle qui est ici retracée, incluant les projets qui marqueront les années à venir.
Museums and Universal Exhibitions
Sanaa: New Museum
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This monograph treats the institution's design and construction in depth, through images, writings and an interview with the architects.
Sanaa: New Museum
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This monograph treats the institution's design and construction in depth, through images, writings and an interview with the architects.
Museums and Universal Exhibitions
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof(...)
Josep Lluis Sert: Joan Miro foundation
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof terraces above. (Two subsequent expansions to the building were designed by Jaume Freixa, a pupil and longtime colleague of Sert's.) After the first major retrospective of Miró's work occurred in Barcelona in 1968, the artist decided to set up a building to make his work and the work of other contemporary artists permanently accessible to the public. To design the foundation's home, he tapped his old friend Sert, a pioneer in the introduction of modern architecture in Catalonia, who had first met Miró in 1932 and worked with him on the Spanish (Republican) Pavilion at the Paris World Fair in 1937. This volume, one of a series of monographs on new museum architecture, provides a careful look at the design of one of Europe's premier art institutions, and includes an interview with the architects responsible for the recent expansions.
Museums and Universal Exhibitions