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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort(...)
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort(...)
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The gardener's cottage in Riverside, Illinois: Living in a
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort by Frank Lloyd Wright and landscape architect Jens Jensen. At the center of the estate, itself a National Historic Landmark, sits the Gardener’s Cottage, a small but unassuming masterpiece built for the estate’s gardener and his wife. The cottage matches the architectural aesthetic of the estate, and its naturalistic, stunning gardens reflect the overall emphasis on landscape and nature in Riverside. But what is it truly like to live within a historic work of architectural art? Current owner and gardening writer Cathy Jean Maloney here records her discoveries and personal reflections on living in the Gardener’s Cottage with her family. In The Gardener’s Cottage in Riverside, Illinois, Maloney describes the cottage’s beginnings, providing biographical background and design insight into the house itself and Riverside’s key creators. She also highlights the often overlooked beauty of the cottage and illustrates how it is emblematic of Wright and Jensen’s holistic Prairie Style approach to building and landscape architecture. The size of the Gardener’s Cottage allows us to witness Wright’s aesthetic concerns in small detail and to understand his ideas on a more accessible and livable scale.
The gardener's cottage in Riverside, Illinois: Living in a
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort by Frank Lloyd Wright and landscape architect Jens Jensen. At the center of the estate, itself a National Historic Landmark, sits the Gardener’s Cottage, a small but unassuming masterpiece built for the estate’s gardener and his wife. The cottage matches the architectural aesthetic of the estate, and its naturalistic, stunning gardens reflect the overall emphasis on landscape and nature in Riverside. But what is it truly like to live within a historic work of architectural art? Current owner and gardening writer Cathy Jean Maloney here records her discoveries and personal reflections on living in the Gardener’s Cottage with her family. In The Gardener’s Cottage in Riverside, Illinois, Maloney describes the cottage’s beginnings, providing biographical background and design insight into the house itself and Riverside’s key creators. She also highlights the often overlooked beauty of the cottage and illustrates how it is emblematic of Wright and Jensen’s holistic Prairie Style approach to building and landscape architecture. The size of the Gardener’s Cottage allows us to witness Wright’s aesthetic concerns in small detail and to understand his ideas on a more accessible and livable scale.
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books
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February 2009
February 2009
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Architecture Monographs
Architecture Monographs
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The architecture of Umberto Riva (1928-2021) has, over the span 60 years, distinguished itself by its stimulating complexity. This monograph analyzes, for the first time in a chronologically extended form, his work in the field of interiors and exhibitions; fundamental areas of investigation for the Milanese architect. In domestic spaces in contact with nature, in city(...)
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The architecture of Umberto Riva (1928-2021) has, over the span 60 years, distinguished itself by its stimulating complexity. This monograph analyzes, for the first time in a chronologically extended form, his work in the field of interiors and exhibitions; fundamental areas of investigation for the Milanese architect. In domestic spaces in contact with nature, in city(...)
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Umberto Riva: Interiors and exhibitions
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The architecture of Umberto Riva (1928-2021) has, over the span 60 years, distinguished itself by its stimulating complexity. This monograph analyzes, for the first time in a chronologically extended form, his work in the field of interiors and exhibitions; fundamental areas of investigation for the Milanese architect. In domestic spaces in contact with nature, in city apartments or in public places, the restless and radical character of Riva's work emerges, in which the search for form brings with it a more intimate reflection on living. In the field of displays, the architect instead stages a complex relationship between the works on display, the curatorial narrative and the museum space, proving to be one of the best heirs and a continuation of the Italian museological revolution of the twentieth century.
Umberto Riva: Interiors and exhibitions
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The architecture of Umberto Riva (1928-2021) has, over the span 60 years, distinguished itself by its stimulating complexity. This monograph analyzes, for the first time in a chronologically extended form, his work in the field of interiors and exhibitions; fundamental areas of investigation for the Milanese architect. In domestic spaces in contact with nature, in city apartments or in public places, the restless and radical character of Riva's work emerges, in which the search for form brings with it a more intimate reflection on living. In the field of displays, the architect instead stages a complex relationship between the works on display, the curatorial narrative and the museum space, proving to be one of the best heirs and a continuation of the Italian museological revolution of the twentieth century.
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books
books
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October 2021
October 2021
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Architecture Monographs
Architecture Monographs
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books
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An ongoing program of temporary structures designed by internationally acclaimed architects, The Serpentine Gallery Pavilion for 2009 was designed by Kazuyo Sejima and Ryue Nishizawa, of the leading Japanese architecture practice SANAA. Sejima and Nishizawa created a stunning structure that resembles a reflective cloud or a pool of water, sitting atop a series of delicate(...)
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An ongoing program of temporary structures designed by internationally acclaimed architects, The Serpentine Gallery Pavilion for 2009 was designed by Kazuyo Sejima and Ryue Nishizawa, of the leading Japanese architecture practice SANAA. Sejima and Nishizawa created a stunning structure that resembles a reflective cloud or a pool of water, sitting atop a series of delicate(...)
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Sanaa: Serpentine Gallery pavillion
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An ongoing program of temporary structures designed by internationally acclaimed architects, The Serpentine Gallery Pavilion for 2009 was designed by Kazuyo Sejima and Ryue Nishizawa, of the leading Japanese architecture practice SANAA. Sejima and Nishizawa created a stunning structure that resembles a reflective cloud or a pool of water, sitting atop a series of delicate columns. The metal roof varies in height, wrapping itself around the trees in the park and sweeping down almost to the ground in some places. Open and ephemeral in structure, its reflective materials allow it to sit seamlessly within the natural environment, reflecting both the park and sky. “It works as a field of activity with no walls,” say Sejima and Nishizawa. This publication documents the conception, construction and life of this impressive temporary structure.
Sanaa: Serpentine Gallery pavillion
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An ongoing program of temporary structures designed by internationally acclaimed architects, The Serpentine Gallery Pavilion for 2009 was designed by Kazuyo Sejima and Ryue Nishizawa, of the leading Japanese architecture practice SANAA. Sejima and Nishizawa created a stunning structure that resembles a reflective cloud or a pool of water, sitting atop a series of delicate columns. The metal roof varies in height, wrapping itself around the trees in the park and sweeping down almost to the ground in some places. Open and ephemeral in structure, its reflective materials allow it to sit seamlessly within the natural environment, reflecting both the park and sky. “It works as a field of activity with no walls,” say Sejima and Nishizawa. This publication documents the conception, construction and life of this impressive temporary structure.
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books
books
Publication:
February 2010
February 2010
Subject:
Architecture Monographs
Architecture Monographs
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books
books
Title:
Neighbors: A manifesto. A play for two pavillions and ten conversations. Venice Architecture Biennal
Neighbors: A manifesto. A play for two pavillions and ten conversations. Venice Architecture Biennal
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The Swiss Pavilion at the 18th International Architecture Exhibition of the Venice Biennale exhibits itself and the relations to its immediate surroundings. The exhibition is a conversation over the shared boundary of the pavilions of Switzerland (1952, designed by Bruno Giacometti) and Venezuela (1954, designed by Carlo Scarpa), the only two in the Giardini not fully(...)
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The Swiss Pavilion at the 18th International Architecture Exhibition of the Venice Biennale exhibits itself and the relations to its immediate surroundings. The exhibition is a conversation over the shared boundary of the pavilions of Switzerland (1952, designed by Bruno Giacometti) and Venezuela (1954, designed by Carlo Scarpa), the only two in the Giardini not fully(...)
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Neighbors: A manifesto. A play for two pavillions and ten conversations. Venice Architecture Biennal
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The Swiss Pavilion at the 18th International Architecture Exhibition of the Venice Biennale exhibits itself and the relations to its immediate surroundings. The exhibition is a conversation over the shared boundary of the pavilions of Switzerland (1952, designed by Bruno Giacometti) and Venezuela (1954, designed by Carlo Scarpa), the only two in the Giardini not fully detached: they share one wall. Artist Karin Sander and art historian Philip Ursprung temporarily open this wall and dismantle the gates from the Swiss Pavilion, thus revealing unanticipated connections between the two neighbors, both distant and close. The complementing book offers a manifesto, a play with the two buildings as dramatis personae, and three brief topical essays. Ten conversations with architectural historian Kurt W. Forster, photographers Paolo Gasparini and Guido Giudi, and Venezuelan architects Elisa Silva and Margarita López-Maya round off this volume.
Neighbors: A manifesto. A play for two pavillions and ten conversations. Venice Architecture Biennal
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The Swiss Pavilion at the 18th International Architecture Exhibition of the Venice Biennale exhibits itself and the relations to its immediate surroundings. The exhibition is a conversation over the shared boundary of the pavilions of Switzerland (1952, designed by Bruno Giacometti) and Venezuela (1954, designed by Carlo Scarpa), the only two in the Giardini not fully detached: they share one wall. Artist Karin Sander and art historian Philip Ursprung temporarily open this wall and dismantle the gates from the Swiss Pavilion, thus revealing unanticipated connections between the two neighbors, both distant and close. The complementing book offers a manifesto, a play with the two buildings as dramatis personae, and three brief topical essays. Ten conversations with architectural historian Kurt W. Forster, photographers Paolo Gasparini and Guido Giudi, and Venezuelan architects Elisa Silva and Margarita López-Maya round off this volume.
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books
books
Publication:
October 2023
October 2023
Subject:
Biennial
Biennial
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books
books
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$90.00
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Based on the most recent scholarship and taking new material into consideration, this publication devotes itself to these modern classics and in doing so, discusses the progressive concepts of interior space developed by Mies van der Rohe, who invariably understood the interior-design aspect as part of an overall archtiectural plan.
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Based on the most recent scholarship and taking new material into consideration, this publication devotes itself to these modern classics and in doing so, discusses the progressive concepts of interior space developed by Mies van der Rohe, who invariably understood the interior-design aspect as part of an overall archtiectural plan.
Subject:
Architecture Monographs
Architecture Monographs
Publication:
January 2009, Ostfildern
January 2009, Ostfildern
Title:
Mies and modern living interiors, furniture, photography
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Based on the most recent scholarship and taking new material into consideration, this publication devotes itself to these modern classics and in doing so, discusses the progressive concepts of interior space developed by Mies van der Rohe, who invariably understood the interior-design aspect as part of an overall archtiectural plan.
Mies and modern living interiors, furniture, photography
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Based on the most recent scholarship and taking new material into consideration, this publication devotes itself to these modern classics and in doing so, discusses the progressive concepts of interior space developed by Mies van der Rohe, who invariably understood the interior-design aspect as part of an overall archtiectural plan.
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books
books
Publication:
January 2009, Ostfildern
January 2009, Ostfildern
Subject:
Architecture Monographs
Architecture Monographs
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books
books
Title:
Peter Eisenman : feints
Peter Eisenman : feints
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Impregnated with “culture” in the broadest sense, the works of Peter Eisenman reflect many years of important study on the meaning and sense of design. Architecture understood as history, as philosophy, as art, as mathematics, as literature, architecture understood – as it should be that is – as a strict discipline that aims to recover its operational fields, defining(...)
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Impregnated with “culture” in the broadest sense, the works of Peter Eisenman reflect many years of important study on the meaning and sense of design. Architecture understood as history, as philosophy, as art, as mathematics, as literature, architecture understood – as it should be that is – as a strict discipline that aims to recover its operational fields, defining(...)
Subject:
Architecture Monographs
Architecture Monographs
Publication:
May 2006, Milano
May 2006, Milano
Title:
Peter Eisenman : feints
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Impregnated with “culture” in the broadest sense, the works of Peter Eisenman reflect many years of important study on the meaning and sense of design. Architecture understood as history, as philosophy, as art, as mathematics, as literature, architecture understood – as it should be that is – as a strict discipline that aims to recover its operational fields, defining with precision its limits and the potential for a profession that must constantly face destabilising visual and technological systems. Within history and yet outside it so that it can continue, within tradition yet outside of Tradition in order to avoid becoming sterile, the architecture of Peter Eisenman does not aim to console with the simple suggestion of a difficult-to-define aesthetic or the illusion of an evanescent technique. The unpredictability of his work anchors design to individuation and the clarification of its objectives by focussing on the value of the sign understood as a fundamental conceptual expression and not as simple formal distortion. The validity of this formidable theoretical system intended to return a renewed and personal linguistic system to fields of architecture, is confirmed by examining the continued expansion of the territorial system, as evidenced by projects on a territorial scale such as the Memorial of Berlin or the Cultural Centre of Galizia, the most recent projects which demonstrate the vitality of a design system that is constantly renewing itself.
Peter Eisenman : feints
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Impregnated with “culture” in the broadest sense, the works of Peter Eisenman reflect many years of important study on the meaning and sense of design. Architecture understood as history, as philosophy, as art, as mathematics, as literature, architecture understood – as it should be that is – as a strict discipline that aims to recover its operational fields, defining with precision its limits and the potential for a profession that must constantly face destabilising visual and technological systems. Within history and yet outside it so that it can continue, within tradition yet outside of Tradition in order to avoid becoming sterile, the architecture of Peter Eisenman does not aim to console with the simple suggestion of a difficult-to-define aesthetic or the illusion of an evanescent technique. The unpredictability of his work anchors design to individuation and the clarification of its objectives by focussing on the value of the sign understood as a fundamental conceptual expression and not as simple formal distortion. The validity of this formidable theoretical system intended to return a renewed and personal linguistic system to fields of architecture, is confirmed by examining the continued expansion of the territorial system, as evidenced by projects on a territorial scale such as the Memorial of Berlin or the Cultural Centre of Galizia, the most recent projects which demonstrate the vitality of a design system that is constantly renewing itself.
Form:
books
books
Publication:
May 2006, Milano
May 2006, Milano
Subject:
Architecture Monographs
Architecture Monographs
Form:
books
books
Title:
Broken glass: Mies van der Rohe, Edith Farnsworth, and the fight over a modernist masterpiece
Broken glass: Mies van der Rohe, Edith Farnsworth, and the fight over a modernist masterpiece
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In 1945, Edith Farnsworth asked the German architect Mies van der Rohe, already renowned for his avant-garde buildings, to design a weekend home for her outside of Chicago.Their personal and professional collaboration would produce the Farnsworth House, one of the most important works of architecture of all time, a blindingly original structure made up almost entirely of(...)
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In 1945, Edith Farnsworth asked the German architect Mies van der Rohe, already renowned for his avant-garde buildings, to design a weekend home for her outside of Chicago.Their personal and professional collaboration would produce the Farnsworth House, one of the most important works of architecture of all time, a blindingly original structure made up almost entirely of(...)
Title:
Broken glass: Mies van der Rohe, Edith Farnsworth, and the fight over a modernist masterpiece
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In 1945, Edith Farnsworth asked the German architect Mies van der Rohe, already renowned for his avant-garde buildings, to design a weekend home for her outside of Chicago.Their personal and professional collaboration would produce the Farnsworth House, one of the most important works of architecture of all time, a blindingly original structure made up almost entirely of glass and steel. But the minimalist marvel, built in 1951, was plagued by cost overruns and a sudden chilling of the two friends' mutual affection. Though the building became world famous, Edith found it impossible to live in, because of its constant leaks, flooding, and complete lack of privacy. Alienated and aggrieved, she lent her name to a public campaign against Mies, cheered on by Frank Lloyd Wright. Mies, in turn, sued her for unpaid monies. The ensuing lengthy trial heard evidence of purported incompetence by an acclaimed architect, and allegations of psychological cruelty and emotional trauma. A commercial dispute litigated in a rural Illinois courthouse became a trial of modernist art and architecture itself.
Broken glass: Mies van der Rohe, Edith Farnsworth, and the fight over a modernist masterpiece
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In 1945, Edith Farnsworth asked the German architect Mies van der Rohe, already renowned for his avant-garde buildings, to design a weekend home for her outside of Chicago.Their personal and professional collaboration would produce the Farnsworth House, one of the most important works of architecture of all time, a blindingly original structure made up almost entirely of glass and steel. But the minimalist marvel, built in 1951, was plagued by cost overruns and a sudden chilling of the two friends' mutual affection. Though the building became world famous, Edith found it impossible to live in, because of its constant leaks, flooding, and complete lack of privacy. Alienated and aggrieved, she lent her name to a public campaign against Mies, cheered on by Frank Lloyd Wright. Mies, in turn, sued her for unpaid monies. The ensuing lengthy trial heard evidence of purported incompetence by an acclaimed architect, and allegations of psychological cruelty and emotional trauma. A commercial dispute litigated in a rural Illinois courthouse became a trial of modernist art and architecture itself.
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books
books
Publication:
March 2020
March 2020
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$60.00
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''Kengo Kuma: Portland Japanese Garden'' introduces the star Japanese architect's first public project in the United States. Kuma won the Portland Japanese Garden invitational competition by proposing a design that, while executed with contemporary materials and the latest construction technology, also builds on the principles of traditional architecture and(...)
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''Kengo Kuma: Portland Japanese Garden'' introduces the star Japanese architect's first public project in the United States. Kuma won the Portland Japanese Garden invitational competition by proposing a design that, while executed with contemporary materials and the latest construction technology, also builds on the principles of traditional architecture and(...)
Subject:
Landscape Architecture, Monographs
Landscape Architecture, Monographs
Publication:
April 2019
April 2019
Title:
Kengo Kuma: Portland Japanese garden
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''Kengo Kuma: Portland Japanese Garden'' introduces the star Japanese architect's first public project in the United States. Kuma won the Portland Japanese Garden invitational competition by proposing a design that, while executed with contemporary materials and the latest construction technology, also builds on the principles of traditional architecture and craftsmanship. The resulting group of small buildings superbly blends with its magnificent natural environment and provides an outstanding example of Kuma's artistry of seamlessly connecting nature and architecture as well as past and present without falling into the trap of mimicry or sentimentality. The book includes chapters on the reverence of nature and Japanese culture, on architecture and gardens in Japan, on the architecture of Kengo Kuma beyond the garden, and on craftsmanship and design, as well as on the new buildings and the garden itself, which is widely considered the most beautiful such garden outside Japan.
Kengo Kuma: Portland Japanese garden
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''Kengo Kuma: Portland Japanese Garden'' introduces the star Japanese architect's first public project in the United States. Kuma won the Portland Japanese Garden invitational competition by proposing a design that, while executed with contemporary materials and the latest construction technology, also builds on the principles of traditional architecture and craftsmanship. The resulting group of small buildings superbly blends with its magnificent natural environment and provides an outstanding example of Kuma's artistry of seamlessly connecting nature and architecture as well as past and present without falling into the trap of mimicry or sentimentality. The book includes chapters on the reverence of nature and Japanese culture, on architecture and gardens in Japan, on the architecture of Kengo Kuma beyond the garden, and on craftsmanship and design, as well as on the new buildings and the garden itself, which is widely considered the most beautiful such garden outside Japan.
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books
books
Publication:
April 2019
April 2019
Subject:
Landscape Architecture, Monographs
Landscape Architecture, Monographs
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books
books
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Description:
xx, 648 pages : illustrations, maps ; 24 cm
Description:
xx, 648 pages : illustrations, maps ; 24 cm
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Subject:
Publication:
New York : Atheneum ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International, 1994.
New York : Atheneum ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International, 1994.
Title:
The civilization of Europe in the Renaissance / John Hale.
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Description:
xx, 648 pages : illustrations, maps ; 24 cm
The civilization of Europe in the Renaissance / John Hale.
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xx, 648 pages : illustrations, maps ; 24 cm
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books
books
Publication:
New York : Atheneum ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International, 1994.
New York : Atheneum ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International, 1994.
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$39.95
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Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
Publication:
April 2003, Cambridge / London
April 2003, Cambridge / London
Title:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Form:
books
books
Publication:
April 2003, Cambridge / London
April 2003, Cambridge / London
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
