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Title:
The minimum dwelling
The minimum dwelling
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Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the(...)
$96.00
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Summary:
Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the(...)
Title:
The minimum dwelling
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$96.00
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Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the twentieth century. "The minimum dwelling" is not just a book on architecture, but also a blueprint for a new way of living. It calls for a radical rethinking of domestic space and of the role of modern architecture in the planning, design, and construction of new dwelling types for the proletariat. Teige shows how Gropius, Le Corbusier, Mies van der Rohe, and others designed little more than new versions of baroque palaces, mainly for the new financial aristocracy. Teige envisioned the minimum dwelling not as a reduced version of a bourgeois apartment or rural cottage, but as a wholly new dwelling type built on the cooperation of architects, sociologists, economists, health officials, physicians, social workers, politicians, and trade unionists. The book covers many subjects that are still of great relevance. Of particular interest are Teige’s rejection of traditional notions of the kitchen as the core of family-centered plans and of marriage as the foundation of modern cohabitation. He describes alternative lifestyles and new ways of cohabitation of sexes, generations, and classes. The detailed programmatic chapters on collective housing remain far ahead of current thinking, and his comments on collective dwelling presage communal living experiments of the 1960s and 1970s, as well as the communal facilities in contemporary condominium buildings and retirement communities. Translated and introduced by Eric Dluhosch.
The minimum dwelling
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$96.00
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Summary:
Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the twentieth century. "The minimum dwelling" is not just a book on architecture, but also a blueprint for a new way of living. It calls for a radical rethinking of domestic space and of the role of modern architecture in the planning, design, and construction of new dwelling types for the proletariat. Teige shows how Gropius, Le Corbusier, Mies van der Rohe, and others designed little more than new versions of baroque palaces, mainly for the new financial aristocracy. Teige envisioned the minimum dwelling not as a reduced version of a bourgeois apartment or rural cottage, but as a wholly new dwelling type built on the cooperation of architects, sociologists, economists, health officials, physicians, social workers, politicians, and trade unionists. The book covers many subjects that are still of great relevance. Of particular interest are Teige’s rejection of traditional notions of the kitchen as the core of family-centered plans and of marriage as the foundation of modern cohabitation. He describes alternative lifestyles and new ways of cohabitation of sexes, generations, and classes. The detailed programmatic chapters on collective housing remain far ahead of current thinking, and his comments on collective dwelling presage communal living experiments of the 1960s and 1970s, as well as the communal facilities in contemporary condominium buildings and retirement communities. Translated and introduced by Eric Dluhosch.
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books
books
Publication:
May 2002, Cambridge, Mass.
May 2002, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
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books
books
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In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history.(...)
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In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history.(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
October 2006, Cambridge (MA), London
October 2006, Cambridge (MA), London
Title:
Architecture in the age of divided representation : the question of creativity in the shadow of production
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In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
Architecture in the age of divided representation : the question of creativity in the shadow of production
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In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
Form:
books
books
Publication:
October 2006, Cambridge (MA), London
October 2006, Cambridge (MA), London
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$62.50
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Summary:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's(...)
$62.50
(available to order)
Summary:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's(...)
Title:
Architecture in the age of divided representation : the question of creativity in the shadow of production
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$62.50
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Summary:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
Architecture in the age of divided representation : the question of creativity in the shadow of production
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Price:
$62.50
(available to order)
Summary:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
Form:
books
books
Publication:
June 2004, Cambridge, Mass.
June 2004, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
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books
books
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$71.95
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Summary:
Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of(...)
$71.95
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Summary:
Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of(...)
Title:
Virtual art from illusion to immersion
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$71.95
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Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution. Grau retells art history as media history, helping us to understand the phenomenon of virtual reality beyond the hype. Grau shows how each epoch used the technical means available to produce maximum illusion. He discusses frescoes such as those in the Villa dei Misteri in Pompeii and the gardens of the Villa Livia near Primaporta, Renaissance and Baroque illusion spaces, and panoramas, which were the most developed form of illusion achieved through traditional methods of painting and the mass image medium before film. Through a detailed analysis of perhaps the most important German panorama, Anton von Werner's 1883 The Battle of Sedan, Grau shows how immersion produced emotional responses. He traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 3-D, Omnimax and IMAX, and the head mounted display with its military origins. He also examines those characteristics of virtual reality that distinguish it from earlier forms of illusionary art. His analysis draws on the work of contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Grau offers not just a history of illusionary space but also a theoretical framework for analyzing its phenomenologies, functions, and strategies throughout history and into the future.
Virtual art from illusion to immersion
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$71.95
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Summary:
Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution. Grau retells art history as media history, helping us to understand the phenomenon of virtual reality beyond the hype. Grau shows how each epoch used the technical means available to produce maximum illusion. He discusses frescoes such as those in the Villa dei Misteri in Pompeii and the gardens of the Villa Livia near Primaporta, Renaissance and Baroque illusion spaces, and panoramas, which were the most developed form of illusion achieved through traditional methods of painting and the mass image medium before film. Through a detailed analysis of perhaps the most important German panorama, Anton von Werner's 1883 The Battle of Sedan, Grau shows how immersion produced emotional responses. He traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 3-D, Omnimax and IMAX, and the head mounted display with its military origins. He also examines those characteristics of virtual reality that distinguish it from earlier forms of illusionary art. His analysis draws on the work of contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Grau offers not just a history of illusionary space but also a theoretical framework for analyzing its phenomenologies, functions, and strategies throughout history and into the future.
Form:
books
books
Publication:
January 1900, Cambridge, Mass.
January 1900, Cambridge, Mass.
Subject:
Epistemology
Epistemology
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books
books
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$65.95
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Douze ans après « Ecce Logo » (Loco, 2011), Gilles Deléris et Denis Gancel poursuivent leurs réflexions sur le monde des marques, du design, et de la communication. Co-fondateurs de l’agence W réputée pour sa créativité, les auteurs proposent, définitions après définitions, un regard décalé et sans langue de bois sur la vie en agence. Les joies, les doutes, l’esprit de(...)
$65.95
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Douze ans après « Ecce Logo » (Loco, 2011), Gilles Deléris et Denis Gancel poursuivent leurs réflexions sur le monde des marques, du design, et de la communication. Co-fondateurs de l’agence W réputée pour sa créativité, les auteurs proposent, définitions après définitions, un regard décalé et sans langue de bois sur la vie en agence. Les joies, les doutes, l’esprit de(...)
Subject:
Graphic Design and Typography
Graphic Design and Typography
Publication:
October 2023
October 2023
Title:
Ecce Dico : Design & communication abécédaire amoureux et illustré da la vie en agence
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Douze ans après « Ecce Logo » (Loco, 2011), Gilles Deléris et Denis Gancel poursuivent leurs réflexions sur le monde des marques, du design, et de la communication. Co-fondateurs de l’agence W réputée pour sa créativité, les auteurs proposent, définitions après définitions, un regard décalé et sans langue de bois sur la vie en agence. Les joies, les doutes, l’esprit de compagnonnage, le management, la place des femmes, le poison du harcèlement... Gilles Deléris et Denis Gancel partagent leur expérience et leur amour pour le « plus beau métier du monde après la médecine et l’architecture ». Alors qu’Ecce Logo invitait à visiter une galerie d’art contemporain, les auteurs nous conduisent cette fois à parcourir une sorte de dictionnaire fantasque, une folie en forme d’abécédaire inspirée de l’édition 1923 du Petit Larousse illustré. Douze ans après Ecce Logo (Loco, 2011), Gilles Deléris et Denis Gancel poursuivent leurs réflexions sur le monde des marques, du design, et de la communication. Co-fondateurs de l’agence W réputée pour sa créativité, les auteurs proposent, définitions après définitions, un regard décalé et sans langue de bois sur la vie en agence. Les joies, les doutes, l’esprit de compagnonnage, le management, la place des femmes, le poison du harcèlement... Gilles Deléris et Denis Gancel partagent leur expérience et leur amour pour le « plus beau métier du monde après la médecine et l’architecture ». Alors qu’Ecce Logo invitait à visiter une galerie d’art contemporain, les auteurs nous conduisent cette fois à parcourir une sorte de dictionnaire fantasque, une folie en forme d’abécédaire inspirée de l’édition 1923 du Petit Larousse illustré. Cent ans plus tard, ils conçoivent un objet original, qui fait interpréter l’ imaginaire des gravures de l’époque par la puissance de l’intelligence artificielle. Le résultat est tantôt déroutant, tantôt surprenant, parfois kitch, parfois baroque mais donne à voir une esthétique en construction. Avant de se lancer dans la lecture des textes, chacune et chacun pourra tenter de retrouver les évocations qui se cachent derrière chaque lettrine.
Ecce Dico : Design & communication abécédaire amoureux et illustré da la vie en agence
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Douze ans après « Ecce Logo » (Loco, 2011), Gilles Deléris et Denis Gancel poursuivent leurs réflexions sur le monde des marques, du design, et de la communication. Co-fondateurs de l’agence W réputée pour sa créativité, les auteurs proposent, définitions après définitions, un regard décalé et sans langue de bois sur la vie en agence. Les joies, les doutes, l’esprit de compagnonnage, le management, la place des femmes, le poison du harcèlement... Gilles Deléris et Denis Gancel partagent leur expérience et leur amour pour le « plus beau métier du monde après la médecine et l’architecture ». Alors qu’Ecce Logo invitait à visiter une galerie d’art contemporain, les auteurs nous conduisent cette fois à parcourir une sorte de dictionnaire fantasque, une folie en forme d’abécédaire inspirée de l’édition 1923 du Petit Larousse illustré. Douze ans après Ecce Logo (Loco, 2011), Gilles Deléris et Denis Gancel poursuivent leurs réflexions sur le monde des marques, du design, et de la communication. Co-fondateurs de l’agence W réputée pour sa créativité, les auteurs proposent, définitions après définitions, un regard décalé et sans langue de bois sur la vie en agence. Les joies, les doutes, l’esprit de compagnonnage, le management, la place des femmes, le poison du harcèlement... Gilles Deléris et Denis Gancel partagent leur expérience et leur amour pour le « plus beau métier du monde après la médecine et l’architecture ». Alors qu’Ecce Logo invitait à visiter une galerie d’art contemporain, les auteurs nous conduisent cette fois à parcourir une sorte de dictionnaire fantasque, une folie en forme d’abécédaire inspirée de l’édition 1923 du Petit Larousse illustré. Cent ans plus tard, ils conçoivent un objet original, qui fait interpréter l’ imaginaire des gravures de l’époque par la puissance de l’intelligence artificielle. Le résultat est tantôt déroutant, tantôt surprenant, parfois kitch, parfois baroque mais donne à voir une esthétique en construction. Avant de se lancer dans la lecture des textes, chacune et chacun pourra tenter de retrouver les évocations qui se cachent derrière chaque lettrine.
Form:
books
books
Publication:
October 2023
October 2023
Subject:
Graphic Design and Typography
Graphic Design and Typography
Form:
books
books
Title:
Villa de Rome
Villa de Rome
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Publié à Paris à partir de 1809, le recueil de plans et de vues des villas de la Renaissance et de l'âge baroque de Percier et Fontaine a été soigneusement élaboré à partir des dessins réalisés avant la Révolution, alors qu'ils étaient pensionnaires à l'Académie de France à Rome. Bien que ses auteurs avaient déjà connu le succès avec leurs précédents ouvrages consacrés(...)
$94.00
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Publié à Paris à partir de 1809, le recueil de plans et de vues des villas de la Renaissance et de l'âge baroque de Percier et Fontaine a été soigneusement élaboré à partir des dessins réalisés avant la Révolution, alors qu'ils étaient pensionnaires à l'Académie de France à Rome. Bien que ses auteurs avaient déjà connu le succès avec leurs précédents ouvrages consacrés(...)
Subject:
History until 1900
History until 1900
Publication:
July 2007, Wavre
July 2007, Wavre
Title:
Villa de Rome
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$94.00
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Summary:
Publié à Paris à partir de 1809, le recueil de plans et de vues des villas de la Renaissance et de l'âge baroque de Percier et Fontaine a été soigneusement élaboré à partir des dessins réalisés avant la Révolution, alors qu'ils étaient pensionnaires à l'Académie de France à Rome. Bien que ses auteurs avaient déjà connu le succès avec leurs précédents ouvrages consacrés aux palais et aux maisons de Rome (1798) et aux décorations intérieures (1802), c'est dans cette nouvelle publication qu'ils plaçaient le plus d'ambitions. Car cette suite de gravures exécutées avec le plus grand soin ne vise pas seulement à garder la mémoire de l'émerveillement éprouvé dans les jardins romains, voire de la douceur du séjour ultramontain. L'information qu'elle propose, sur des édifices de tout premier plan, est là pour soutenir la position des deux architectes dans les débats contemporains et pour étayer leur dispositif théorique. II s'agit d'abord de répondre, par de nouvelles références, au développement dans les campagnes de l'empire d'un nouveau type de demeure aristocratique, tout en offrant un antidote au goût alors en plein essor pour les jardins anglais. C'est un choix esthétique et un engagement. Cette leçon d'Italie, cette alliance de vues et de plans, est là pour démontrer que les grandes ordonnances ne s'opposent pas, bien au contraire, au pittoresque, ce qui revient à soutenir les prétentions des architectes dans le domaine de l'art des jardins, face aux succès des jardiniers et des paysagistes. Après un premier livre, qui abordait l'échelle des édifices, puis un second qui traitait de celle du détail, le troisième grand recueil de Percier et Fontaine se focalise sur les grandes compositions, qui étaient alors une des bases du savoir-faire de l'architecte et le fondement du concours du Prix de Rome. Le Choix des plus célèbres maisons de plaisance de Rome et de ses environs, qui compte parmis les plus luxueux et les plus beaux livres d'architecture français, est depuis longtemps introuvable. Cette réédition intégrale de l'édition de 1809 est la première qui rende accessible cette référence majeure pour l'histoire de l'architecture du XIXe siècle, pour l'histoire de l'art des jardins et pour l'histoire de l'enseignement à l'École des beaux-Arts.
Villa de Rome
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Publié à Paris à partir de 1809, le recueil de plans et de vues des villas de la Renaissance et de l'âge baroque de Percier et Fontaine a été soigneusement élaboré à partir des dessins réalisés avant la Révolution, alors qu'ils étaient pensionnaires à l'Académie de France à Rome. Bien que ses auteurs avaient déjà connu le succès avec leurs précédents ouvrages consacrés aux palais et aux maisons de Rome (1798) et aux décorations intérieures (1802), c'est dans cette nouvelle publication qu'ils plaçaient le plus d'ambitions. Car cette suite de gravures exécutées avec le plus grand soin ne vise pas seulement à garder la mémoire de l'émerveillement éprouvé dans les jardins romains, voire de la douceur du séjour ultramontain. L'information qu'elle propose, sur des édifices de tout premier plan, est là pour soutenir la position des deux architectes dans les débats contemporains et pour étayer leur dispositif théorique. II s'agit d'abord de répondre, par de nouvelles références, au développement dans les campagnes de l'empire d'un nouveau type de demeure aristocratique, tout en offrant un antidote au goût alors en plein essor pour les jardins anglais. C'est un choix esthétique et un engagement. Cette leçon d'Italie, cette alliance de vues et de plans, est là pour démontrer que les grandes ordonnances ne s'opposent pas, bien au contraire, au pittoresque, ce qui revient à soutenir les prétentions des architectes dans le domaine de l'art des jardins, face aux succès des jardiniers et des paysagistes. Après un premier livre, qui abordait l'échelle des édifices, puis un second qui traitait de celle du détail, le troisième grand recueil de Percier et Fontaine se focalise sur les grandes compositions, qui étaient alors une des bases du savoir-faire de l'architecte et le fondement du concours du Prix de Rome. Le Choix des plus célèbres maisons de plaisance de Rome et de ses environs, qui compte parmis les plus luxueux et les plus beaux livres d'architecture français, est depuis longtemps introuvable. Cette réédition intégrale de l'édition de 1809 est la première qui rende accessible cette référence majeure pour l'histoire de l'architecture du XIXe siècle, pour l'histoire de l'art des jardins et pour l'histoire de l'enseignement à l'École des beaux-Arts.
Form:
books
books
Publication:
July 2007, Wavre
July 2007, Wavre
Subject:
History until 1900
History until 1900
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books
books
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$7.99
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Summary:
The rivalry between the brilliant seventeenth-century Italian architects Gianlorenzo Bernini and Francesco Borromini is the stuff of legend. Possessed of enormous talent and ambition, these two artists -- one trained as a sculptor, the other as a stonecutter -- met as contemporaries in the building yards of St. Peter's in Rome and ended their lives as bitter enemies. Over(...)
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The rivalry between the brilliant seventeenth-century Italian architects Gianlorenzo Bernini and Francesco Borromini is the stuff of legend. Possessed of enormous talent and ambition, these two artists -- one trained as a sculptor, the other as a stonecutter -- met as contemporaries in the building yards of St. Peter's in Rome and ended their lives as bitter enemies. Over(...)
Title:
The genius in the design : Bernini, Borromini, and the rivalry that transformed Rome
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The rivalry between the brilliant seventeenth-century Italian architects Gianlorenzo Bernini and Francesco Borromini is the stuff of legend. Possessed of enormous talent and ambition, these two artists -- one trained as a sculptor, the other as a stonecutter -- met as contemporaries in the building yards of St. Peter's in Rome and ended their lives as bitter enemies. Over the course of their careers they became the most celebrated architects of their era, designing some of the most beautiful buildings in the world and transforming the city of Rome. “The Genius in the Design” is an extraordinary tale of how these two men plotted, schemed, and intrigued to get the better of each other. Full of dramatic tension and great insight into personalities, acclaimed writer Jake Morrissey's engrossing and impeccably researched account also shows that this legendary rivalry defined the Baroque style that immediately succeeded the Renaissance and created the spectacular Roman cityscape of today. Almost exactly the same age -- Bernini was born at the end of 1598, Borromini nine months later -- they were as alike and as different as any two men could be, each a potent combination of passion and enterprise, energy and imperfection. Bernini was a precocious talent who as a youth caught the attention of Pope Paul V and became Rome's most celebrated artist, whose patrons included the wealthiest families in Europe. The city's greatest sculptor -- the creator of such masterpieces as Apollo and Daphne and the Ecstasy of St. Teresa -- Bernini would also have been Rome's pre-eminent architect had it not been for Francesco Borromini, the one man whose talent and virtuosity rivalled his own. In contrast to Bernini's easy grace, Borromini was an introvert with a fiery temper who bristled when anyone interfered with his vision; his temperament alienated him from prospective patrons and precipitated his tragic end. Like Mozart and Salieri, these two masters were inextricably linked, their dazzling work prodding the other to greater achievement while taking merciless advantage of each other's missteps. “The Genius in the Design” is their story, a fascinating narrative of beauty and tragedy marked at turns by personal animosity and astonishing artistic achievement.
The genius in the design : Bernini, Borromini, and the rivalry that transformed Rome
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(available to order)
Summary:
The rivalry between the brilliant seventeenth-century Italian architects Gianlorenzo Bernini and Francesco Borromini is the stuff of legend. Possessed of enormous talent and ambition, these two artists -- one trained as a sculptor, the other as a stonecutter -- met as contemporaries in the building yards of St. Peter's in Rome and ended their lives as bitter enemies. Over the course of their careers they became the most celebrated architects of their era, designing some of the most beautiful buildings in the world and transforming the city of Rome. “The Genius in the Design” is an extraordinary tale of how these two men plotted, schemed, and intrigued to get the better of each other. Full of dramatic tension and great insight into personalities, acclaimed writer Jake Morrissey's engrossing and impeccably researched account also shows that this legendary rivalry defined the Baroque style that immediately succeeded the Renaissance and created the spectacular Roman cityscape of today. Almost exactly the same age -- Bernini was born at the end of 1598, Borromini nine months later -- they were as alike and as different as any two men could be, each a potent combination of passion and enterprise, energy and imperfection. Bernini was a precocious talent who as a youth caught the attention of Pope Paul V and became Rome's most celebrated artist, whose patrons included the wealthiest families in Europe. The city's greatest sculptor -- the creator of such masterpieces as Apollo and Daphne and the Ecstasy of St. Teresa -- Bernini would also have been Rome's pre-eminent architect had it not been for Francesco Borromini, the one man whose talent and virtuosity rivalled his own. In contrast to Bernini's easy grace, Borromini was an introvert with a fiery temper who bristled when anyone interfered with his vision; his temperament alienated him from prospective patrons and precipitated his tragic end. Like Mozart and Salieri, these two masters were inextricably linked, their dazzling work prodding the other to greater achievement while taking merciless advantage of each other's missteps. “The Genius in the Design” is their story, a fascinating narrative of beauty and tragedy marked at turns by personal animosity and astonishing artistic achievement.
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March 2005, New York
March 2005, New York
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sale books
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[Place of publication not identified] : Lateral Addition, 2018.
[Place of publication not identified] : Lateral Addition, 2018.
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June 21, 2018 : Listening for Southwest Key in San Diego.
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Description:
1 online resource.
June 21, 2018 : Listening for Southwest Key in San Diego.
Actions:
Description:
1 online resource.
Form:
audio
audio
Publication:
[Place of publication not identified] : Lateral Addition, 2018.
[Place of publication not identified] : Lateral Addition, 2018.
Author:
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