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191 pages : illustrations (chiefly color), plans ; 28 cm
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191 pages : illustrations (chiefly color), plans ; 28 cm
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Berlin : Braun Publishing AG, 2023., ©2023
Berlin : Braun Publishing AG, 2023., ©2023
Title:
Bend & build : architecture with bamboo / Chris van Uffelen.
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191 pages : illustrations (chiefly color), plans ; 28 cm
Bend & build : architecture with bamboo / Chris van Uffelen.
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191 pages : illustrations (chiefly color), plans ; 28 cm
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books
books
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Berlin : Braun Publishing AG, 2023., ©2023
Berlin : Braun Publishing AG, 2023., ©2023
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books
books
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$75.95
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Valerio Olgiati has worked as an architect in Los Angeles, Zurich, and, since 2008, in Flims. He has been a visiting professor at the Eidgenössische Technische Hochschule (Swiss Federal Institute of Technology) in Zurich, the AA in London, and at Cornell University in Ithaca, New York. Since 2002 he has been professor at the Accademia di architettura in Mendrisio and(...)
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Valerio Olgiati has worked as an architect in Los Angeles, Zurich, and, since 2008, in Flims. He has been a visiting professor at the Eidgenössische Technische Hochschule (Swiss Federal Institute of Technology) in Zurich, the AA in London, and at Cornell University in Ithaca, New York. Since 2002 he has been professor at the Accademia di architettura in Mendrisio and(...)
Title:
Dado : built and inhabited by Rudolph Olgiati and Valerio Olgiati
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Valerio Olgiati has worked as an architect in Los Angeles, Zurich, and, since 2008, in Flims. He has been a visiting professor at the Eidgenössische Technische Hochschule (Swiss Federal Institute of Technology) in Zurich, the AA in London, and at Cornell University in Ithaca, New York. Since 2002 he has been professor at the Accademia di architettura in Mendrisio and since autumn 2009 he has held the Kenzo Tange Chair at Harvard. The unmistakable straight lines and independence of his buildings has brought him international attention. The Olgiati’s family estate is located in the historical town center of Flims. Rudolf Olgiati (1910–95) purchased the property, known as Dado, in 1930 and throughout his life used it to realize his architectural thoughts and ideas. Today, the son is living in his father’s house, and in 2008 he set up his much-admired architectural firm on the former site of the barn. This publication portrays the life and work of both architects using the example of the house and studio - that is, through the transformations they have undergone at the hands of their residents over a period of nearly eighty years. It shows personal furniture and objects, the individual layout and design of the spaces, and hence the penchants and attitudes of the two architects. At the same time this unusual portrait documents not only the relationship between father and son but also the characters of two generations and their understanding of architecture and aesthetics.
Dado : built and inhabited by Rudolph Olgiati and Valerio Olgiati
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Valerio Olgiati has worked as an architect in Los Angeles, Zurich, and, since 2008, in Flims. He has been a visiting professor at the Eidgenössische Technische Hochschule (Swiss Federal Institute of Technology) in Zurich, the AA in London, and at Cornell University in Ithaca, New York. Since 2002 he has been professor at the Accademia di architettura in Mendrisio and since autumn 2009 he has held the Kenzo Tange Chair at Harvard. The unmistakable straight lines and independence of his buildings has brought him international attention. The Olgiati’s family estate is located in the historical town center of Flims. Rudolf Olgiati (1910–95) purchased the property, known as Dado, in 1930 and throughout his life used it to realize his architectural thoughts and ideas. Today, the son is living in his father’s house, and in 2008 he set up his much-admired architectural firm on the former site of the barn. This publication portrays the life and work of both architects using the example of the house and studio - that is, through the transformations they have undergone at the hands of their residents over a period of nearly eighty years. It shows personal furniture and objects, the individual layout and design of the spaces, and hence the penchants and attitudes of the two architects. At the same time this unusual portrait documents not only the relationship between father and son but also the characters of two generations and their understanding of architecture and aesthetics.
Form:
books
books
Publication:
March 2010
March 2010
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$38.99
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As WWI drew to a close, change reverberated through the halls of England’s country homes. As the sun set slowly on the British Empire, the shadows lengthened on the lawns of a thousand stately homes. In The Long Weekend, historian Adrian Tinniswood introduces us to the tumultuous, scandalous and glamourous history of English country houses during the years between(...)
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As WWI drew to a close, change reverberated through the halls of England’s country homes. As the sun set slowly on the British Empire, the shadows lengthened on the lawns of a thousand stately homes. In The Long Weekend, historian Adrian Tinniswood introduces us to the tumultuous, scandalous and glamourous history of English country houses during the years between(...)
Title:
The long weekend: life in the English country house 1918-1939
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As WWI drew to a close, change reverberated through the halls of England’s country homes. As the sun set slowly on the British Empire, the shadows lengthened on the lawns of a thousand stately homes. In The Long Weekend, historian Adrian Tinniswood introduces us to the tumultuous, scandalous and glamourous history of English country houses during the years between World Wars. As estate taxes and other challenges forced many of these venerable houses onto the market, new sectors of British and American society were seduced by the dream of owning a home in the English countryside. Drawing on thousands of memoirs, letters, and diaries, as well as the eye-witness testimonies of belted earls and bibulous butlers, Tinniswood brings the stately homes of England to life as never before, opening the door to a world by turns opulent and ordinary, noble and vicious, and forever wrapped in myth. We are drawn into the intrigues of legendary families such as the Astors, the Churchills and the Devonshires as they hosted hunting parties and balls that attracted the likes of Charlie Chaplin, T.E. Lawrence, and royals such as Edward VIII and Wallis Simpson. We waltz through aristocratic soirées, and watch as the upper crust struggle to fend off rising taxes and underbred outsiders, property speculators and poultry farmers. We gain insight into the guilt and the gingerbread, and see how the image of the country house was carefully protected by its occupants above and below stairs.
The long weekend: life in the English country house 1918-1939
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As WWI drew to a close, change reverberated through the halls of England’s country homes. As the sun set slowly on the British Empire, the shadows lengthened on the lawns of a thousand stately homes. In The Long Weekend, historian Adrian Tinniswood introduces us to the tumultuous, scandalous and glamourous history of English country houses during the years between World Wars. As estate taxes and other challenges forced many of these venerable houses onto the market, new sectors of British and American society were seduced by the dream of owning a home in the English countryside. Drawing on thousands of memoirs, letters, and diaries, as well as the eye-witness testimonies of belted earls and bibulous butlers, Tinniswood brings the stately homes of England to life as never before, opening the door to a world by turns opulent and ordinary, noble and vicious, and forever wrapped in myth. We are drawn into the intrigues of legendary families such as the Astors, the Churchills and the Devonshires as they hosted hunting parties and balls that attracted the likes of Charlie Chaplin, T.E. Lawrence, and royals such as Edward VIII and Wallis Simpson. We waltz through aristocratic soirées, and watch as the upper crust struggle to fend off rising taxes and underbred outsiders, property speculators and poultry farmers. We gain insight into the guilt and the gingerbread, and see how the image of the country house was carefully protected by its occupants above and below stairs.
Form:
books
books
Publication:
May 2016
May 2016
Subject:
History until 1900, Great Britain
History until 1900, Great Britain
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books
books
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Description:
151 pages : color illustrations ; 31 cm
Description:
151 pages : color illustrations ; 31 cm
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Berlin : Gestalten, 2016.
Berlin : Gestalten, 2016.
Title:
I don't have a favourite colour : creating the Vitra Colour & Material Library / Hella Jongerius ; introduction, Alice Rawsthorn ; authors, Hella Jongerius with Sander Manse ; editor, Lucas Verweij.
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151 pages : color illustrations ; 31 cm
I don't have a favourite colour : creating the Vitra Colour & Material Library / Hella Jongerius ; introduction, Alice Rawsthorn ; authors, Hella Jongerius with Sander Manse ; editor, Lucas Verweij.
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151 pages : color illustrations ; 31 cm
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books
books
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Berlin : Gestalten, 2016.
Berlin : Gestalten, 2016.
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xxi, 335 pages : illustrations (some color), maps ; 24 cm
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xxi, 335 pages : illustrations (some color), maps ; 24 cm
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Publication:
New York : Bloomsbury Visual Arts, Bloomsbury Publishing Inc, 2019., ©2019
New York : Bloomsbury Visual Arts, Bloomsbury Publishing Inc, 2019., ©2019
Title:
The Georgian London town house : building, collecting and display / edited by Susanna Avery-Quash and Kate Retford.
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xxi, 335 pages : illustrations (some color), maps ; 24 cm
The Georgian London town house : building, collecting and display / edited by Susanna Avery-Quash and Kate Retford.
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xxi, 335 pages : illustrations (some color), maps ; 24 cm
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books
books
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New York : Bloomsbury Visual Arts, Bloomsbury Publishing Inc, 2019., ©2019
New York : Bloomsbury Visual Arts, Bloomsbury Publishing Inc, 2019., ©2019
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books
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xiv, 266 pages : illustrations ; 25 cm
Description:
xiv, 266 pages : illustrations ; 25 cm
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Publication:
Switzerland : Springer, [2016], ©2016
Switzerland : Springer, [2016], ©2016
Title:
Digital preservation metadata for practitioners : implementing PREMIS / Angela Dappert, Rebecca Squire Guenther, Sébastien Peyrard, editors.
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xiv, 266 pages : illustrations ; 25 cm
Digital preservation metadata for practitioners : implementing PREMIS / Angela Dappert, Rebecca Squire Guenther, Sébastien Peyrard, editors.
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xiv, 266 pages : illustrations ; 25 cm
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books
books
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Switzerland : Springer, [2016], ©2016
Switzerland : Springer, [2016], ©2016
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books
books
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$68.95
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Summary:
Since its founding in 1898, the Art Commission of the City of New York (ACNY) has served as the city’s aesthetic gatekeeper, evaluating all works of art intended for display on city property. And over the years, the commission’s domain has expanded dramatically to include everything from parks and courthouses to trash cans and sidewalks. In "The politics of urban beauty",(...)
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Since its founding in 1898, the Art Commission of the City of New York (ACNY) has served as the city’s aesthetic gatekeeper, evaluating all works of art intended for display on city property. And over the years, the commission’s domain has expanded dramatically to include everything from parks and courthouses to trash cans and sidewalks. In "The politics of urban beauty",(...)
Title:
The politics of urban beauty : New York and its art commission
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Since its founding in 1898, the Art Commission of the City of New York (ACNY) has served as the city’s aesthetic gatekeeper, evaluating all works of art intended for display on city property. And over the years, the commission’s domain has expanded dramatically to include everything from parks and courthouses to trash cans and sidewalks. In "The politics of urban beauty", Michele H. Bogart argues that this unprecedented authority has made the commission host to some complex negotiations — involving artists, architects, business leaders, activists, and politicians — about not only the role of art in urban design, but also the shape and meaning of the city and its public spaces. A former vice president of the ACNY, Bogart tells its story here from an insider’s perspective, tracing the commission’s history from its origins as an outgrowth of progressive reform to its role in New York’s reconstruction after 9/11. Drawing on archival correspondence, drawings, and photographs from commission collections, Bogart presents examples of works — ranging from New Deal murals to Louis Kahn’s unbuilt Memorial to Six Million Jewish Martyrs — that illuminate the ACNY’s role in shaping New York’s identity. The Politics of Urban Beauty is thus a fascinating history of a New York art world that paralleled—and sometimes unpredictably intersected with—the more familiar realm of prominent architects, painters, galleries, and museums. Bogart’s fresh view adds a critical dimension to our understanding of “the city beautiful” and makes an important and lively contribution to the study of art history, urban design, and New York City itself.
The politics of urban beauty : New York and its art commission
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Since its founding in 1898, the Art Commission of the City of New York (ACNY) has served as the city’s aesthetic gatekeeper, evaluating all works of art intended for display on city property. And over the years, the commission’s domain has expanded dramatically to include everything from parks and courthouses to trash cans and sidewalks. In "The politics of urban beauty", Michele H. Bogart argues that this unprecedented authority has made the commission host to some complex negotiations — involving artists, architects, business leaders, activists, and politicians — about not only the role of art in urban design, but also the shape and meaning of the city and its public spaces. A former vice president of the ACNY, Bogart tells its story here from an insider’s perspective, tracing the commission’s history from its origins as an outgrowth of progressive reform to its role in New York’s reconstruction after 9/11. Drawing on archival correspondence, drawings, and photographs from commission collections, Bogart presents examples of works — ranging from New Deal murals to Louis Kahn’s unbuilt Memorial to Six Million Jewish Martyrs — that illuminate the ACNY’s role in shaping New York’s identity. The Politics of Urban Beauty is thus a fascinating history of a New York art world that paralleled—and sometimes unpredictably intersected with—the more familiar realm of prominent architects, painters, galleries, and museums. Bogart’s fresh view adds a critical dimension to our understanding of “the city beautiful” and makes an important and lively contribution to the study of art history, urban design, and New York City itself.
Form:
books
books
Publication:
November 2006, Chicago, London
November 2006, Chicago, London
Subject:
Urban Theory
Urban Theory
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books
books
Title:
John Divola : three acts
John Divola : three acts
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$60.00
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that(...)
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Summary:
In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that(...)
Title:
John Divola : three acts
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$60.00
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that referenced “action painting” as readily as the graffiti that was fast becoming a cultural phenomenon. The following year, Divola began the Los Angeles International Airport Noise Abatement series, photographing a condemned neighborhood bought out by the airport to serve as a noise buffer for new runways.An extensive catalog of break-ins, the photographs record the evidence of violent entries: shattered windows, doors torn from hinges, a crowbar resting in the jamb of a door pried open. The final installment in this book, the Zuma series, is the artist’s documentation of the destruction of an abandoned beachfront property. While employing similar strategies of painting and intervention, the Zuma images add variation and complexity to Divola’s established themes as they incorporate color, elements of nature, and meditation on change. These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola’s art practice shares a tradition with conceptual artists such as Bruce Nauman, whose photographs are considered to be performance or sculpture, and Robert Smithson, who used photography to investigate the built environment.
John Divola : three acts
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$60.00
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Summary:
In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that referenced “action painting” as readily as the graffiti that was fast becoming a cultural phenomenon. The following year, Divola began the Los Angeles International Airport Noise Abatement series, photographing a condemned neighborhood bought out by the airport to serve as a noise buffer for new runways.An extensive catalog of break-ins, the photographs record the evidence of violent entries: shattered windows, doors torn from hinges, a crowbar resting in the jamb of a door pried open. The final installment in this book, the Zuma series, is the artist’s documentation of the destruction of an abandoned beachfront property. While employing similar strategies of painting and intervention, the Zuma images add variation and complexity to Divola’s established themes as they incorporate color, elements of nature, and meditation on change. These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola’s art practice shares a tradition with conceptual artists such as Bruce Nauman, whose photographs are considered to be performance or sculpture, and Robert Smithson, who used photography to investigate the built environment.
Form:
books
books
Publication:
May 2006, New York
May 2006, New York
Subject:
Photography monographs
Photography monographs
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books
books
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$37.50
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Summary:
Toward the end of the sixteenth century, and throughout the seventeenth, thinking in spatial terms assumed extraordinary urgency among Russia's ruling elites. The two great developments of this era in Russian history - the enserfment of the peasantry and the conquest of a vast Eastern empire-fundamentally concerned spatial control and concepts of movements across the(...)
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Summary:
Toward the end of the sixteenth century, and throughout the seventeenth, thinking in spatial terms assumed extraordinary urgency among Russia's ruling elites. The two great developments of this era in Russian history - the enserfment of the peasantry and the conquest of a vast Eastern empire-fundamentally concerned spatial control and concepts of movements across the(...)
Title:
Cartographies of tsardom : the land and its meaning in seventeenth-century Russia
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Toward the end of the sixteenth century, and throughout the seventeenth, thinking in spatial terms assumed extraordinary urgency among Russia's ruling elites. The two great developments of this era in Russian history - the enserfment of the peasantry and the conquest of a vast Eastern empire-fundamentally concerned spatial control and concepts of movements across the land. In "Cartographies of tsardom", Valerie Kivelson explores how these twin themes of fixity and mobility obliged Russians, from tsar to peasant, to think in spatial terms. She builds her case through close study of two very different kinds of maps: the hundreds of local maps hand-drawn by amateurs as evidence in property litigations, and the maps of the new territories that stretched from the Urals to the Pacific. In both the simple maps that local residents drafted and in the more formal maps of the newly conquered Siberian spaces, Kivelson shows that the Russians saw the land (be it a peasant's plot or the Siberian taiga) as marked by the grace of divine providence. She argues that the unceasing tension between fixity and mobility led to the emergence in Eurasia of an empire quite different from that in North America. In her words, the Russian empire that took shape in the decades before Peter the Great proclaimed its existence was a “spacious mantle,” a “patchwork quilt of difference under a single tsar” that granted religious and cultural space to non-Russian, non-Orthodox populations even as it strove to tie them down to serve its own growing fiscal needs. The unresolved, perhaps unresolvable, tension between these contrary impulses was both the strength and the weakness of empire in Russia.
Cartographies of tsardom : the land and its meaning in seventeenth-century Russia
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Toward the end of the sixteenth century, and throughout the seventeenth, thinking in spatial terms assumed extraordinary urgency among Russia's ruling elites. The two great developments of this era in Russian history - the enserfment of the peasantry and the conquest of a vast Eastern empire-fundamentally concerned spatial control and concepts of movements across the land. In "Cartographies of tsardom", Valerie Kivelson explores how these twin themes of fixity and mobility obliged Russians, from tsar to peasant, to think in spatial terms. She builds her case through close study of two very different kinds of maps: the hundreds of local maps hand-drawn by amateurs as evidence in property litigations, and the maps of the new territories that stretched from the Urals to the Pacific. In both the simple maps that local residents drafted and in the more formal maps of the newly conquered Siberian spaces, Kivelson shows that the Russians saw the land (be it a peasant's plot or the Siberian taiga) as marked by the grace of divine providence. She argues that the unceasing tension between fixity and mobility led to the emergence in Eurasia of an empire quite different from that in North America. In her words, the Russian empire that took shape in the decades before Peter the Great proclaimed its existence was a “spacious mantle,” a “patchwork quilt of difference under a single tsar” that granted religious and cultural space to non-Russian, non-Orthodox populations even as it strove to tie them down to serve its own growing fiscal needs. The unresolved, perhaps unresolvable, tension between these contrary impulses was both the strength and the weakness of empire in Russia.
Form:
books
books
Publication:
September 2006, Ithaca, London
September 2006, Ithaca, London
Subject:
History until 1900
History until 1900
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books
books
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$79.95
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The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens,(...)
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Summary:
The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens,(...)
Subject:
Gardens
Gardens
Publication:
December 2001, Philadelphia
December 2001, Philadelphia
Title:
La Foce : a garden and landscape in Tuscany
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$79.95
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The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens, Origo and her husband, Antonio, purchased the dilapidated villa in 1924, soliciting the help of English architect and family friend Cecil Pinsent to reawaken the natural magic of the property. Pinsent designed the structure of simple, elegant, box-edged beds and green enclosures that give shape to the Origos' shrubs, perennials, and vines, and created a garden of soaring cypress walks, native cyclamen, lawns, and wildflower meadows. Today the garden is a place of unusual and striking beauty, a green oasis in the barren Siena countryside. Situated in the Val d'Orcia, a wide valley in southeastern Tuscany that seems to exist on a larger, wilder scale than the rest of the Tuscan landscape, it is run by Benedetta and Donata Origo, and is open to the public one day a week. "La Foce : a garden and landscape in Tuscany" includes a historical essay and memoir by the daughter of La Foce's creators, Antonio and Iris Origo, along with photographs, sketches, and a critical analysis of the gardens. The volume not only focuses on the beauty of the gardens themselves and their indisputable merit as fascinating works of landscape architecture but also sees them within the context of both the larger Tuscan topography and the wider landscape of geography and history.
La Foce : a garden and landscape in Tuscany
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$79.95
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The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens, Origo and her husband, Antonio, purchased the dilapidated villa in 1924, soliciting the help of English architect and family friend Cecil Pinsent to reawaken the natural magic of the property. Pinsent designed the structure of simple, elegant, box-edged beds and green enclosures that give shape to the Origos' shrubs, perennials, and vines, and created a garden of soaring cypress walks, native cyclamen, lawns, and wildflower meadows. Today the garden is a place of unusual and striking beauty, a green oasis in the barren Siena countryside. Situated in the Val d'Orcia, a wide valley in southeastern Tuscany that seems to exist on a larger, wilder scale than the rest of the Tuscan landscape, it is run by Benedetta and Donata Origo, and is open to the public one day a week. "La Foce : a garden and landscape in Tuscany" includes a historical essay and memoir by the daughter of La Foce's creators, Antonio and Iris Origo, along with photographs, sketches, and a critical analysis of the gardens. The volume not only focuses on the beauty of the gardens themselves and their indisputable merit as fascinating works of landscape architecture but also sees them within the context of both the larger Tuscan topography and the wider landscape of geography and history.
Form:
books
books
Publication:
December 2001, Philadelphia
December 2001, Philadelphia
Subject:
Gardens
Gardens
