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In the councils and magistracies of the Venetian Republic, politicians argued intently over civic building projects in a manner curiously reminiscent of a modern democracy, taking advice from architects, engineers, and the public. Written by a leading authority on Venetian architecture, the book explores the complex dialectic between theory and practice; utopia and(...)
Venice disputed: Marc Antonio Barbaro and venetian architecture
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In the councils and magistracies of the Venetian Republic, politicians argued intently over civic building projects in a manner curiously reminiscent of a modern democracy, taking advice from architects, engineers, and the public. Written by a leading authority on Venetian architecture, the book explores the complex dialectic between theory and practice; utopia and reality; and design and technology that infused these disputes. The bitterly contested debates are seen through the experiences of one particular Venetian nobleman, Marc'Antonio Barbaro (1518-1595). Recognized as a gifted stuccoist and draftsman, Barbaro played a prominent role in the discussions about major state building projects such as Palladio's church of the Redentore, the restoration of the Doge's Palace, and the erection of the Rialto Bridge. He was a distinguished statesman and orator, but his idealistic views about the rhetorical power of classicism frequently clashed with local technological expertise. Venice Disputed recounts not only his public role but also his private life, centered on the now-famous family villa that he and his brother commissioned. Barbaro's compelling story thus weaves together politics, architectural history, and private life in early modern Venice.
Architecture Monographs
Neues Museum
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The Neues Museum - an important mid-nineteenth century example of Neoclassical architecture and the centerpiece of Berlin's Museum Island - was badly damaged during World War II. From 1997-2009, British architect David Chipperfield worked to restore the structure - which was originally completed by Friedrich August Stueler in 1859 - to its pre-war function. Located behind(...)
Architecture Monographs
September 2009
Neues Museum
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The Neues Museum - an important mid-nineteenth century example of Neoclassical architecture and the centerpiece of Berlin's Museum Island - was badly damaged during World War II. From 1997-2009, British architect David Chipperfield worked to restore the structure - which was originally completed by Friedrich August Stueler in 1859 - to its pre-war function. Located behind the Altes Museum, the space housed the Egyptian Collection. Chipperfield's controversial plans followed a principle of conservation (or amalgamation) rather than reconstruction; he preserved the skeleton of the original building, with its elaborate finishes, attractive brickwork, frescoes and ornamentation, merging and contrasting these characteristics with his own subtle interpolations of clean white lines and quiet geometrical structures. The results are astounding, setting new standards in the field and opening up exciting possibilities for museum conversions. This volume celebrates Chipperfield's work in a series of images by the Berlin-based architectural photographer Friederike von Rauch. Von Rauch is well known for her unusual and exacting approach to architectural photography : eschewing digital technology and only using natural light, she presents a crisp and vibrant series of images that eloquently tell the story of Chipperfield's unorthodox but successful restoration.
Architecture Monographs
books
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390 pages : illustrations (chiefly color), plans ; 32 cm
Köln : Verlag der Buchhandlung Walther König, [2018], ©2018
David Chipperfield Architects / editor, Rik Nys ; texts, David Chipperfield, Luis Fernández-Galiano, Fulvio Irace, Rik Nys and Bernhard Schulz ; translation, Adriana Diaz-Enciso, Steven Lindberg, Richard Sadleir.
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390 pages : illustrations (chiefly color), plans ; 32 cm
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Köln : Verlag der Buchhandlung Walther König, [2018], ©2018
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The teachings of Mies van der Rohe and his respect for the effects of space and material has had a great influence on the American architect and artist Gene Summers. Thanks to the technology of the day and Summers’ own creative talents, he was able to help transform Mies’ visions into built structures. For 16 years Gene Summers was a close colleague of Mies, heading(...)
Gene Summers : art / architecture
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The teachings of Mies van der Rohe and his respect for the effects of space and material has had a great influence on the American architect and artist Gene Summers. Thanks to the technology of the day and Summers’ own creative talents, he was able to help transform Mies’ visions into built structures. For 16 years Gene Summers was a close colleague of Mies, heading his office and working with him on many projects including the Seagram Building in New York, Bacardi’s office buildings in Cuba and Mexico, and Krupps’ offices in Essen. Also working independently, Summers created projects for C.F Murphy Associates, such as the McCormick Convention Centre and the Malcolm X College in Chicago. Later with Ridgway Limited, he was responsible for the the acclaimed restoration of the Biltmore Hotels in Los Angeles. Familiar with bronze as a building material, Summers used his knowledge to design elegant furniture and household objects before devoting himself entirely to producing artworks using this medium. This volume is the first presentation of Gene Summers’ architectural and artistic work, surveying the many areas in which he was active. Phyllis Lambert, founder of the Canadian Centre for Architecture president of the International Confederation of Architectural Museums, provides an enlightening introduction to his work.
Architecture Monographs
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Rarely has a Dutch architect so characterized an era as Pierre Cuypers (1827-1921), not only for such landmark buildings as the Rijksmuseum and the Central Station in Amsterdam, but also for his numerous neo-Gothic Catholic churches, which are now intimately associated with the popular conception of Dutch cities and villages. Cuypers' controversial views on restoration,(...)
P.J.H Cuypers 1827-1921 the complete works
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Rarely has a Dutch architect so characterized an era as Pierre Cuypers (1827-1921), not only for such landmark buildings as the Rijksmuseum and the Central Station in Amsterdam, but also for his numerous neo-Gothic Catholic churches, which are now intimately associated with the popular conception of Dutch cities and villages. Cuypers' controversial views on restoration, his plea for a revaluation of Gothic architecture and his influence on H.P. Berlage and Michiel de Klerk make him the most important Dutch architect of his time. Not only did he leave a quantitative mark on the built environment of the Netherlands, he elevated the quality of Dutch architecture generally, and established a precedent for the modern architecture firm. This beautifully designed publication unlocks Cuypers' complete oeuvre for the first time. A selection of essays sheds light on the scope and significance of his work, and hundreds of photos, designs and maps make this book definitive and complete. The son of a church painter, Pierre Cuypers (1827-1921) was born in Roermond, the Netherlands. In 1852, he opened a workshop for the manufacture of ecclesiastical art, but quickly moved into architectural work. As well as creating some of Amsterdam's most beloved buildings, he built over 100 churches and restored countless others.
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October 2007, Rotterdam
Architecture Monographs
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Ernst Schwitters (1918-1996) began his career in photography in his teens, converting the family bathroom into a darkroom with the consent of his parents, Kurt and Helma Schwitters, at the age of 15 - by which time Ernst was already experimenting with photograms, following a visit from family friend Man Ray. His father encouraged him to undergo formal training in(...)
The colors of Norway, 1943-1963
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Ernst Schwitters (1918-1996) began his career in photography in his teens, converting the family bathroom into a darkroom with the consent of his parents, Kurt and Helma Schwitters, at the age of 15 - by which time Ernst was already experimenting with photograms, following a visit from family friend Man Ray. His father encouraged him to undergo formal training in photography, but Ernst declined, preferring to teach himself, and by 1930 he was already participating in international exhibitions, having found his preferred subject matter in the landscapes of Norway and England. Having led the Schwitters family's migration from Nazi Germany to Norway, Ernst was to receive great acclaim there for both his landscape and architectural photography, and was also able to establish financial security through assignments for the Norwegian advertising agency SS-UNU-Foto. It is little known that Schwitters is one of color photography's pioneers: he began working with color film in 1943, and within two decades, he had created more than 10,000 slides, many of which have been digitally restored for this new volume. The only monograph on the photographer currently in print, the publication debuts Schwitters' vast oeuvre of color landscape photography, and also includes a fascinating account of the digital restoration process that allowed for their publication here.
Photography monographs
books
Description:
466 pages : illustrations ; 22 cm
Granada : Universidad de Granada ; Córdoba : Universidad de Córdoba, 2009.
Mezquita de Córdoba : su estudio arqueológico en el siglo XX = The Mosque of Cordoba : twentieth-century archaeological explorations / Antonio Fernández-Puertas.
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466 pages : illustrations ; 22 cm
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Granada : Universidad de Granada ; Córdoba : Universidad de Córdoba, 2009.
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152 pages : illustrations ; 31 cm.
Basel : Verlag Schweizerische Gesellschaft für Ur- und Frühgeschichte, 1986.
Die Villa von Stutheien/Hüttwilen TG : ein Gutshof der mittleren Kaiserzeit / Katrin Roth-Rubi ; mit Beiträgen von J. Bürgi, M. Hartmann und D. Markert.
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152 pages : illustrations ; 31 cm.
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Basel : Verlag Schweizerische Gesellschaft für Ur- und Frühgeschichte, 1986.
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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of(...)
The museum of drawers 1970-1977
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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of art, many of which were made especially for the Museum of Drawers. The list of artists represented includes such influential pioneers as Joseph Beuys, Marcel Duchamp, Hannah Hoch, Meret Oppenheim, Pablo Picasso, and Andy Warhol. Following a first presentation as a work-in-progress at the documenta 5 in Kassel (Germany) in 1972, the Museum of Drawers caused sensation internationally. It has been shown several times in New York, including a presentation at the Museum of Modern Art (MoMA) in 1999, and at many museums around the world. After its restoration it is now part of the permanent collection of the Kunsthaus, Zurich. This new book is a comprehensive documentation of this extraordinary object. It shows all twenty drawers with their content as well as each of the 500 miniature art works individually and in true size. Essays on the history and importance of the entire work and concept complement the images.
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L'apparition de la céramique ornementale dans l'architecture parisienne fut aussi soudaine qu'éphémère. S'est répandue, dans la capitale, une profusion de formes et de couleurs, qui pour procéder de considérations parfois austères, n'en constitue pas moins l'un des attraits les plus pittoresques de la Belle Époque. Ces façades luisantes, ces recoins(...)
November 1998, Paris
Paris céramique : les couleurs de la rue
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L'apparition de la céramique ornementale dans l'architecture parisienne fut aussi soudaine qu'éphémère. S'est répandue, dans la capitale, une profusion de formes et de couleurs, qui pour procéder de considérations parfois austères, n'en constitue pas moins l'un des attraits les plus pittoresques de la Belle Époque. Ces façades luisantes, ces recoins bigarrés enchanteront toujours les "piétons de Paris", avides de trouvailles et de cette poésie cocasse dont le grand billard haussmanien les a si souvent sevrés. C'est à ces amoureux-là que s'adresse cet ouvrage.
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November 1998, Paris