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Charles Rose, architect
Charles Rose, architect
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Charles Rose embraces the vast and varied panorama of the American landscape. Sensitive to his sites, the architect recognizes the poetry of every locale and uses his fascination with place as a central character in his designs. Regionalism, a term at times used to underrate architecture that is seen as too parochial or that eschews universal "truths" (most often those of(...)
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Charles Rose embraces the vast and varied panorama of the American landscape. Sensitive to his sites, the architect recognizes the poetry of every locale and uses his fascination with place as a central character in his designs. Regionalism, a term at times used to underrate architecture that is seen as too parochial or that eschews universal "truths" (most often those of(...)
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Charles Rose, architect
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Charles Rose embraces the vast and varied panorama of the American landscape. Sensitive to his sites, the architect recognizes the poetry of every locale and uses his fascination with place as a central character in his designs. Regionalism, a term at times used to underrate architecture that is seen as too parochial or that eschews universal "truths" (most often those of modernism) in favor of a local style, becomes a practice of the highest order in the hands of Rose, one of America's most accomplished young architects. With both the rigor of geometry and a commitment to ecosensitivity, his work is as attuned to the dense urban fabric of New York City as it is to the rural outback of Wyoming. The profile of his award-winning Camp Paint Rock in Hyattville, Wyoming, follows the contours of a nearby canyon; Roses's adaptive reuse of an industrial structure in New York City's Chelsea neighborhood preserves the existing streetscape while creating a seamless flow between inside and out; and the shape of his United States Port of Entry project in Del Rio, Texas, was determined by the scorching Texan sun and features sustainable landscapes. With surprising use of volumes, materials, and geometries, agile movement of spaces, and an active language of planes and lines, Rose creates dynamic, expressive architecture that reminds us that buildings can be both sensitive to their locale and embrace the timeless principles of geometry, material, light, and shadow.
Charles Rose, architect
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Charles Rose embraces the vast and varied panorama of the American landscape. Sensitive to his sites, the architect recognizes the poetry of every locale and uses his fascination with place as a central character in his designs. Regionalism, a term at times used to underrate architecture that is seen as too parochial or that eschews universal "truths" (most often those of modernism) in favor of a local style, becomes a practice of the highest order in the hands of Rose, one of America's most accomplished young architects. With both the rigor of geometry and a commitment to ecosensitivity, his work is as attuned to the dense urban fabric of New York City as it is to the rural outback of Wyoming. The profile of his award-winning Camp Paint Rock in Hyattville, Wyoming, follows the contours of a nearby canyon; Roses's adaptive reuse of an industrial structure in New York City's Chelsea neighborhood preserves the existing streetscape while creating a seamless flow between inside and out; and the shape of his United States Port of Entry project in Del Rio, Texas, was determined by the scorching Texan sun and features sustainable landscapes. With surprising use of volumes, materials, and geometries, agile movement of spaces, and an active language of planes and lines, Rose creates dynamic, expressive architecture that reminds us that buildings can be both sensitive to their locale and embrace the timeless principles of geometry, material, light, and shadow.
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books
books
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February 2006, New York
February 2006, New York
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sale books
sale books
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books
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$34.95
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Modern Architecture is a landmark text - the first book in which this American architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the(...)
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Modern Architecture is a landmark text - the first book in which this American architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the(...)
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Architecture Monographs
Architecture Monographs
Publication:
March 2008, Princeton, Oxford
March 2008, Princeton, Oxford
Title:
Modern architecture : being the Kahn Lectures for 1930
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Modern Architecture is a landmark text - the first book in which this American architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the development of modern architecture and the career of Frank Lloyd Wright, "Modern Architecture" is a provocative and profound polemic against America's architectural eclecticism, commercial skyscrapers, and misguided urban planning. The book is also a work of savvy self-promotion, in which Wright not only advanced his own concept of an organic architecture but also framed it as having anticipated by decades - and bettered -what he saw as the reductive modernism of his European counterparts. Based on the 1931 original, for which Wright supplied the cover illustration, this edition includes a new introduction that puts "Modern Architecture" in its broader architectural, historical, and intellectual context for the first time. The subjects of these lively lectures -from "Machinery, Materials and Men" to "The Tyranny of the Skyscraper" and "The City" - move from a general statement of the conditions of modern culture to particular applications in the fields of architecture and urbanism at ever broadening scales. Wright's vision in "Modern Architecture" is ultimately to equate the truly modern with romanticism, imagination, beauty, and nature - all of which he connects with an underlying sense of American democratic freedom and individualism.
Modern architecture : being the Kahn Lectures for 1930
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Modern Architecture is a landmark text - the first book in which this American architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the development of modern architecture and the career of Frank Lloyd Wright, "Modern Architecture" is a provocative and profound polemic against America's architectural eclecticism, commercial skyscrapers, and misguided urban planning. The book is also a work of savvy self-promotion, in which Wright not only advanced his own concept of an organic architecture but also framed it as having anticipated by decades - and bettered -what he saw as the reductive modernism of his European counterparts. Based on the 1931 original, for which Wright supplied the cover illustration, this edition includes a new introduction that puts "Modern Architecture" in its broader architectural, historical, and intellectual context for the first time. The subjects of these lively lectures -from "Machinery, Materials and Men" to "The Tyranny of the Skyscraper" and "The City" - move from a general statement of the conditions of modern culture to particular applications in the fields of architecture and urbanism at ever broadening scales. Wright's vision in "Modern Architecture" is ultimately to equate the truly modern with romanticism, imagination, beauty, and nature - all of which he connects with an underlying sense of American democratic freedom and individualism.
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books
books
Publication:
March 2008, Princeton, Oxford
March 2008, Princeton, Oxford
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$37.99
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How, in a turbulent century, was Le Corbusier able to reinvent himself at least five times? How was he able to become the Picasso (or Duchamp) of architecture? How was he able to produce work in a regional Art Nouveau mode, then become a leader of the Modern Movement and International Style, then switch to primitive materials and Brutalism before pre-empting(...)
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How, in a turbulent century, was Le Corbusier able to reinvent himself at least five times? How was he able to become the Picasso (or Duchamp) of architecture? How was he able to produce work in a regional Art Nouveau mode, then become a leader of the Modern Movement and International Style, then switch to primitive materials and Brutalism before pre-empting(...)
Title:
Architecture landscape urbanisme 9 : Le Corbusier & the architecture of reinvention
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How, in a turbulent century, was Le Corbusier able to reinvent himself at least five times? How was he able to become the Picasso (or Duchamp) of architecture? How was he able to produce work in a regional Art Nouveau mode, then become a leader of the Modern Movement and International Style, then switch to primitive materials and Brutalism before pre-empting Post-Modernism through Ronchamp and Chandigarh, and pre-empting High-Tech and Complexity Architecture through the Centre Le Corbusier and the Philips Pavilion? How?’ These transformations were helped along by the way Le Corbusier was able to cross ideas from one medium to another. A work of architecture could be considered as a written text, a drawing, a model, a photograph, a sculpture, a painting or a detailed set of plans. Each medium challenged, clarified and refined the idea from different viewpoints. Each medium made use of different neurons, of different parts of his mind. The result? Continuous creation from different perspectives, a continual reinvention of architecture. This book brings together leading scholars to explore Le Corbusier’s tactics of self-reinvention, his relationship to the artistic avant-garde and his work as a multimedia practitioner. It also contains an English-language edition of Le Corbusier's 'Poème de l’Angle Droit', complete with beautiful colour lithographs. Authors include Tim Benton, Peter Carl, Hilde Heynen, Charles Jencks, Mohsen Mostafavi, Daniel Naegele, Fernando Pérez Oyarzun, and Stanislaus von Moos.
Architecture landscape urbanisme 9 : Le Corbusier & the architecture of reinvention
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How, in a turbulent century, was Le Corbusier able to reinvent himself at least five times? How was he able to become the Picasso (or Duchamp) of architecture? How was he able to produce work in a regional Art Nouveau mode, then become a leader of the Modern Movement and International Style, then switch to primitive materials and Brutalism before pre-empting Post-Modernism through Ronchamp and Chandigarh, and pre-empting High-Tech and Complexity Architecture through the Centre Le Corbusier and the Philips Pavilion? How?’ These transformations were helped along by the way Le Corbusier was able to cross ideas from one medium to another. A work of architecture could be considered as a written text, a drawing, a model, a photograph, a sculpture, a painting or a detailed set of plans. Each medium challenged, clarified and refined the idea from different viewpoints. Each medium made use of different neurons, of different parts of his mind. The result? Continuous creation from different perspectives, a continual reinvention of architecture. This book brings together leading scholars to explore Le Corbusier’s tactics of self-reinvention, his relationship to the artistic avant-garde and his work as a multimedia practitioner. It also contains an English-language edition of Le Corbusier's 'Poème de l’Angle Droit', complete with beautiful colour lithographs. Authors include Tim Benton, Peter Carl, Hilde Heynen, Charles Jencks, Mohsen Mostafavi, Daniel Naegele, Fernando Pérez Oyarzun, and Stanislaus von Moos.
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books
books
Publication:
March 2003, London
March 2003, London
Subject:
Architecture Monographs
Architecture Monographs
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Description:
xv, 508 pages : illustrations (some color), maps ; 28 cm
Description:
xv, 508 pages : illustrations (some color), maps ; 28 cm
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Publication:
Cambridge, Mass. : MIT Press, ©1998.
Cambridge, Mass. : MIT Press, ©1998.
Title:
Competing visions : aesthetic invention and social imagination in Central European architecture, 1867-1918 / Ákos Moravánszky.
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xv, 508 pages : illustrations (some color), maps ; 28 cm
Competing visions : aesthetic invention and social imagination in Central European architecture, 1867-1918 / Ákos Moravánszky.
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xv, 508 pages : illustrations (some color), maps ; 28 cm
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books
books
Publication:
Cambridge, Mass. : MIT Press, ©1998.
Cambridge, Mass. : MIT Press, ©1998.
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127 pages : illustrations (some color) ; 31 cm
Description:
127 pages : illustrations (some color) ; 31 cm
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Barcelona, España : Ediciones Polígrafa, ©1994.
Barcelona, España : Ediciones Polígrafa, ©1994.
Title:
Domènech i Montaner / fotografías, Melba Levick.
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Description:
127 pages : illustrations (some color) ; 31 cm
Domènech i Montaner / fotografías, Melba Levick.
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127 pages : illustrations (some color) ; 31 cm
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books
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Barcelona, España : Ediciones Polígrafa, ©1994.
Barcelona, España : Ediciones Polígrafa, ©1994.
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$24.95
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In this book, David Brown locates jazz music within the broad aesthetic, political, and theoretical upheavals of our time, asserting that modern architecture and urbanism in particular can be strongly influenced and defined by the ways that improvisation is facilitated in jazz. Improvised music consists of diverse properties that fail to register in the(...)
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In this book, David Brown locates jazz music within the broad aesthetic, political, and theoretical upheavals of our time, asserting that modern architecture and urbanism in particular can be strongly influenced and defined by the ways that improvisation is facilitated in jazz. Improvised music consists of diverse properties that fail to register in the(...)
Title:
Noise orders : jazz, improvisation, and architecture
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In this book, David Brown locates jazz music within the broad aesthetic, political, and theoretical upheavals of our time, asserting that modern architecture and urbanism in particular can be strongly influenced and defined by the ways that improvisation is facilitated in jazz. Improvised music consists of diverse properties that fail to register in the object-oriented understanding of composition. As a result, it is often dismissed as noise — an interfering signal. However, Brown asserts, such interference can bear meaning and stimulate change. "Noise orders" identifies how architecture can respond to the inclusive dynamics of extemporaneous movements, variable conceptions of composition, multiple durations, and wide manipulation of resources found in jazz to enable outcomes that far exceed a design’s seeming potential. By exploring overlapping moments between modernism and the cultural dimensions of jazz, "Noise orders" suggests that the discipline of improvisation continues to open and redefine architectural theory and practice, creating a world where designers contribute to emerging environments rather than make predetermined ones. Comparing modern and avant-garde artists and architects with individuals and groups in jazz—including Piet Mondrian and boogie-woogie, John Cage and Rahsaan Roland Kirk, Le Corbusier and Louis Armstrong, and Ludwig Mies van der Rohe and the Association for the Advancement of Creative Musicians (AACM)—Brown examines how jazz can offer alternative design ideas and directions, be incorporated in contemporary architectural practices, and provide insight on how to develop dynamic metropolitan environments. Interdisciplinary in its approace, "Noise orders" argues for a deeper understanding of the infinite potential inherent in both music and architecture.
Noise orders : jazz, improvisation, and architecture
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In this book, David Brown locates jazz music within the broad aesthetic, political, and theoretical upheavals of our time, asserting that modern architecture and urbanism in particular can be strongly influenced and defined by the ways that improvisation is facilitated in jazz. Improvised music consists of diverse properties that fail to register in the object-oriented understanding of composition. As a result, it is often dismissed as noise — an interfering signal. However, Brown asserts, such interference can bear meaning and stimulate change. "Noise orders" identifies how architecture can respond to the inclusive dynamics of extemporaneous movements, variable conceptions of composition, multiple durations, and wide manipulation of resources found in jazz to enable outcomes that far exceed a design’s seeming potential. By exploring overlapping moments between modernism and the cultural dimensions of jazz, "Noise orders" suggests that the discipline of improvisation continues to open and redefine architectural theory and practice, creating a world where designers contribute to emerging environments rather than make predetermined ones. Comparing modern and avant-garde artists and architects with individuals and groups in jazz—including Piet Mondrian and boogie-woogie, John Cage and Rahsaan Roland Kirk, Le Corbusier and Louis Armstrong, and Ludwig Mies van der Rohe and the Association for the Advancement of Creative Musicians (AACM)—Brown examines how jazz can offer alternative design ideas and directions, be incorporated in contemporary architectural practices, and provide insight on how to develop dynamic metropolitan environments. Interdisciplinary in its approace, "Noise orders" argues for a deeper understanding of the infinite potential inherent in both music and architecture.
Form:
books
books
Publication:
February 2006, Minneapolis, London
February 2006, Minneapolis, London
Subject:
Acoustics
Acoustics
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books
books
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$46.95
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Summary:
In "Tower and Office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war(...)
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In "Tower and Office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war(...)
Publication:
October 2005, Cambridge
October 2005, Cambridge
Title:
Tower and office : from Modernist theory to contemporary practice
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In "Tower and Office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war was the source of powerful new structural models and construction methods. The authors examine the ways these technologies have been inflected over the last half century by more subjective and integrated processes of spatial organization. In the first part of the book, Abalos and Herreros focus on the work of Le Corbusier, revealing the degree of complexity achieved in his interpretation of the modern skyscraper. In the second part, they look at the intersection of technical and cultural determinants in the design of high-rise structures since World War II. Among the issues they consider are the evolution of the load-bearing frame, the impact of high-tech systems on tall buildings, and the transparent building skin. In the third part, they address developments in office design and planning, tracing an evolution from the repetitive and homogeneous office skyscraper to the present-day mixed-use structure. Overall they demonstrate how the objective technical analysis associated with modernist architectural theory has given way in recent building practice to a variety of flexible, pragmatic, and environmental approaches. These, they suggest, have opened the way to new urban and architectural forms.
Tower and office : from Modernist theory to contemporary practice
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In "Tower and Office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war was the source of powerful new structural models and construction methods. The authors examine the ways these technologies have been inflected over the last half century by more subjective and integrated processes of spatial organization. In the first part of the book, Abalos and Herreros focus on the work of Le Corbusier, revealing the degree of complexity achieved in his interpretation of the modern skyscraper. In the second part, they look at the intersection of technical and cultural determinants in the design of high-rise structures since World War II. Among the issues they consider are the evolution of the load-bearing frame, the impact of high-tech systems on tall buildings, and the transparent building skin. In the third part, they address developments in office design and planning, tracing an evolution from the repetitive and homogeneous office skyscraper to the present-day mixed-use structure. Overall they demonstrate how the objective technical analysis associated with modernist architectural theory has given way in recent building practice to a variety of flexible, pragmatic, and environmental approaches. These, they suggest, have opened the way to new urban and architectural forms.
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books
books
Publication:
October 2005, Cambridge
October 2005, Cambridge
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books
books
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$29.95
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The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through(...)
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The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through(...)
Title:
Made in Canada : craft and design in the sixties
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The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through ambitious government programs meant to reinforce the country's identity as a modern, sophisticated, and autonomous nation. As well, it documents the demise of a singular notion of modern life and its replacement with a focus on personal identity and consumerism. Changes in the 1960s included the building of modern airports, first space satellite, and new national symbols such as the maple leaf flag. Canadians embraced this heightened sense of individuality and demanded products that were equally individual. As a result pop culture objects sat on cool furniture influenced by Scandinavian modernism while handmade crafts reflected a growing concern with environmental issues. Expo 67 was the turning point - one final expression of optimism before Canada was rocked by social change and varied struggles for identity. Made in Canada examines national dreams and expressions of individuality in thoughtful and illuminating essays. Contributors include Sandra Alfoldy (NSCAD University), Paul Bourassa (Musée des beaux-arts de Québec), Brent Cordner (designer and educator, Toronto), Douglas Coupland (artist and author, Vancouver), Bernard Flaman (Government of Saskatchewan), Rachel Gotlieb (freelance curator and writer, Toronto), Michael Large (Sheridan College Institute of Technology and Advanced Learning), and Michael Prokopow (Design Exchange).
Made in Canada : craft and design in the sixties
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The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through ambitious government programs meant to reinforce the country's identity as a modern, sophisticated, and autonomous nation. As well, it documents the demise of a singular notion of modern life and its replacement with a focus on personal identity and consumerism. Changes in the 1960s included the building of modern airports, first space satellite, and new national symbols such as the maple leaf flag. Canadians embraced this heightened sense of individuality and demanded products that were equally individual. As a result pop culture objects sat on cool furniture influenced by Scandinavian modernism while handmade crafts reflected a growing concern with environmental issues. Expo 67 was the turning point - one final expression of optimism before Canada was rocked by social change and varied struggles for identity. Made in Canada examines national dreams and expressions of individuality in thoughtful and illuminating essays. Contributors include Sandra Alfoldy (NSCAD University), Paul Bourassa (Musée des beaux-arts de Québec), Brent Cordner (designer and educator, Toronto), Douglas Coupland (artist and author, Vancouver), Bernard Flaman (Government of Saskatchewan), Rachel Gotlieb (freelance curator and writer, Toronto), Michael Large (Sheridan College Institute of Technology and Advanced Learning), and Michael Prokopow (Design Exchange).
Form:
books
books
Publication:
February 2005, Montreal
February 2005, Montreal
Subject:
Architecture in Canada
Architecture in Canada
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books
books
Title:
Building Brasilia
Building Brasilia
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$82.00
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‘From nothing; from nothing to construction.’ Thus Marcel Gautherot, the ideal architectural photographer, recalled his epic undertaking in the late 1950s – photographing every step of the construction of the city of Brasilia, from untouched grassland to modern capital. Gautherot had studied architecture and design, and was influenced by Le Corbusier and other(...)
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‘From nothing; from nothing to construction.’ Thus Marcel Gautherot, the ideal architectural photographer, recalled his epic undertaking in the late 1950s – photographing every step of the construction of the city of Brasilia, from untouched grassland to modern capital. Gautherot had studied architecture and design, and was influenced by Le Corbusier and other(...)
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Building Brasilia
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‘From nothing; from nothing to construction.’ Thus Marcel Gautherot, the ideal architectural photographer, recalled his epic undertaking in the late 1950s – photographing every step of the construction of the city of Brasilia, from untouched grassland to modern capital. Gautherot had studied architecture and design, and was influenced by Le Corbusier and other modernist architects as well as the political radicalism of the interwar period. Postwar, however, he devoted his life to travel and photography, taking with him the formal rigour of modernism but also a sympathy for ordinary people that was to help him in his work. After moving to Brazil in 1940, he forged many friendships and partnerships, most notably with Oscar Niemeyer, the chief architect of Brasilia. Indeed, Gautherot recorded most of Niemeyer’s work as his photographer of choice. It was, however, in Brasilia – the high point of the careers of both Niemeyer and chief urban planner Lucio Costa – that the photographer’s art of light and shadow reached its zenith. Gautherot repeatedly visited Brasilia, photographing not only every stage of construction, but also the faces and homes of the workers who worked on the construction sites and satellite cities in the making. The result is a monumental photo essay on this triumph of urban planning and architecture. Here, for the first time, the photographs are collected to form a portfolio of Gautherot’s work in Brasilia, and it pays due tribute to this great Franco-Brazilian artist in the centenary of his birth and on the fiftieth anniversary of Brasilia’s inauguration.
Building Brasilia
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‘From nothing; from nothing to construction.’ Thus Marcel Gautherot, the ideal architectural photographer, recalled his epic undertaking in the late 1950s – photographing every step of the construction of the city of Brasilia, from untouched grassland to modern capital. Gautherot had studied architecture and design, and was influenced by Le Corbusier and other modernist architects as well as the political radicalism of the interwar period. Postwar, however, he devoted his life to travel and photography, taking with him the formal rigour of modernism but also a sympathy for ordinary people that was to help him in his work. After moving to Brazil in 1940, he forged many friendships and partnerships, most notably with Oscar Niemeyer, the chief architect of Brasilia. Indeed, Gautherot recorded most of Niemeyer’s work as his photographer of choice. It was, however, in Brasilia – the high point of the careers of both Niemeyer and chief urban planner Lucio Costa – that the photographer’s art of light and shadow reached its zenith. Gautherot repeatedly visited Brasilia, photographing not only every stage of construction, but also the faces and homes of the workers who worked on the construction sites and satellite cities in the making. The result is a monumental photo essay on this triumph of urban planning and architecture. Here, for the first time, the photographs are collected to form a portfolio of Gautherot’s work in Brasilia, and it pays due tribute to this great Franco-Brazilian artist in the centenary of his birth and on the fiftieth anniversary of Brasilia’s inauguration.
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books
books
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December 2010
December 2010
Subject:
Photography monographs
Photography monographs
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$80.95
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These(...)
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These(...)
Subject:
Photography monographs
Photography monographs
Publication:
September 2010
September 2010
Title:
Cosmic communist constructions photographed
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR : a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.
Cosmic communist constructions photographed
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(available to order)
Summary:
Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR : a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.
Form:
books
books
Publication:
September 2010
September 2010
Subject:
Photography monographs
Photography monographs
