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Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains(...)
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Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains(...)
Title:
The universe in the landscape: landforms by Charles Jencks
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Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains his particular approach to the landform. Like the prehistoric earthworks of Britain that have been an inspiration, such as Stonehenge, his landforms contain cosmic symbolism, and they draw together sculpture, epigraphy, water, gardens, scrap metal and architecture. They address perennial themes - identity, patterns of nature, death and the power of life - but in a contemporary way, based on the insights of science. So Jencks portrays universal aspects of DNA, the spacetime warp of a black hole, the extraordinary way cells divide and unite and some basic forms of life. In this publication Jencks seeks to define a new landscape iconography based on forms and themes that may be eternal, in the sense that they crystallise nature's laws, some of which have been recently discovered. To see a world in a grain of sand was a poetic quest of William Blake and, in a different sense, to find the universe in a ritual landscape was a goal of prehistoric cultures. Jencks allies these spiritual affinities with the view of science that stresses the common patterns that underlie all parts of the cosmos, thus making them like our home planet, and the universe in a landscape.
The universe in the landscape: landforms by Charles Jencks
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Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains his particular approach to the landform. Like the prehistoric earthworks of Britain that have been an inspiration, such as Stonehenge, his landforms contain cosmic symbolism, and they draw together sculpture, epigraphy, water, gardens, scrap metal and architecture. They address perennial themes - identity, patterns of nature, death and the power of life - but in a contemporary way, based on the insights of science. So Jencks portrays universal aspects of DNA, the spacetime warp of a black hole, the extraordinary way cells divide and unite and some basic forms of life. In this publication Jencks seeks to define a new landscape iconography based on forms and themes that may be eternal, in the sense that they crystallise nature's laws, some of which have been recently discovered. To see a world in a grain of sand was a poetic quest of William Blake and, in a different sense, to find the universe in a ritual landscape was a goal of prehistoric cultures. Jencks allies these spiritual affinities with the view of science that stresses the common patterns that underlie all parts of the cosmos, thus making them like our home planet, and the universe in a landscape.
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books
books
Publication:
June 2011
June 2011
Subject:
Landscape Architecture, Monographs
Landscape Architecture, Monographs
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books
books
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In this book the cultural critic Marita Sturken argues that over the past two decades, Americans have responded to national trauma through consumerism, kitsch sentiment, and tourist practices in ways that reveal a tenacious investment in the idea of America’s innocence. Sturken investigates the consumerism that followed from the September 11th attacks; the contentious,(...)
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In this book the cultural critic Marita Sturken argues that over the past two decades, Americans have responded to national trauma through consumerism, kitsch sentiment, and tourist practices in ways that reveal a tenacious investment in the idea of America’s innocence. Sturken investigates the consumerism that followed from the September 11th attacks; the contentious,(...)
Subject:
Transportation, Tourism, Migration
Transportation, Tourism, Migration
Publication:
November 2007, Durham
November 2007, Durham
Title:
Tourists of History: memory, kitsch, and consumerism from Oklahoma City to Ground Zero
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In this book the cultural critic Marita Sturken argues that over the past two decades, Americans have responded to national trauma through consumerism, kitsch sentiment, and tourist practices in ways that reveal a tenacious investment in the idea of America’s innocence. Sturken investigates the consumerism that followed from the September 11th attacks; the contentious, ongoing debates about memorials and celebrity-architect designed buildings at Ground Zero; and two outcomes of the bombing of the Alfred P. Murrah Federal Building in Oklahoma City: the Oklahoma City National Memorial and the execution of Timothy McVeigh. Sturken contends that a consumer culture of comfort objects such as World Trade Center snow globes, FDNY teddy bears, and Oklahoma City Memorial t-shirts and branded water, as well as reenactments of traumatic events in memorial and architectural designs, enables a national tendency to see U.S. culture as distant from both history and world politics. A kitsch comfort culture contributes to a “tourist” relationship to history: Americans can feel good about visiting and buying souvenirs at sites of national mourning without having to engage with the economic, social, and political causes of the violent events. While arguing for the importance of remembering tragic losses of life, Sturken is urging attention to a dangerous confluence—of memory, tourism, consumerism, paranoia, security, and kitsch—that promulgates fear to sell safety, offers prepackaged emotion at the expense of critical thought, contains alternative politics, and facilitates public acquiescence in the federal government’s repressive measures at home and its aggressive political and military policies abroad.
Tourists of History: memory, kitsch, and consumerism from Oklahoma City to Ground Zero
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In this book the cultural critic Marita Sturken argues that over the past two decades, Americans have responded to national trauma through consumerism, kitsch sentiment, and tourist practices in ways that reveal a tenacious investment in the idea of America’s innocence. Sturken investigates the consumerism that followed from the September 11th attacks; the contentious, ongoing debates about memorials and celebrity-architect designed buildings at Ground Zero; and two outcomes of the bombing of the Alfred P. Murrah Federal Building in Oklahoma City: the Oklahoma City National Memorial and the execution of Timothy McVeigh. Sturken contends that a consumer culture of comfort objects such as World Trade Center snow globes, FDNY teddy bears, and Oklahoma City Memorial t-shirts and branded water, as well as reenactments of traumatic events in memorial and architectural designs, enables a national tendency to see U.S. culture as distant from both history and world politics. A kitsch comfort culture contributes to a “tourist” relationship to history: Americans can feel good about visiting and buying souvenirs at sites of national mourning without having to engage with the economic, social, and political causes of the violent events. While arguing for the importance of remembering tragic losses of life, Sturken is urging attention to a dangerous confluence—of memory, tourism, consumerism, paranoia, security, and kitsch—that promulgates fear to sell safety, offers prepackaged emotion at the expense of critical thought, contains alternative politics, and facilitates public acquiescence in the federal government’s repressive measures at home and its aggressive political and military policies abroad.
Form:
books
books
Publication:
November 2007, Durham
November 2007, Durham
Subject:
Transportation, Tourism, Migration
Transportation, Tourism, Migration
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books
books
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$94.00
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On the occasion of the exhibition "Archilab 2006" dedicated to the Japenese architecture and entitled "Nested in the city", Hyx publish the catalog of the exhibition in french and english version. They present all the projects of thirty invited architects and a set of critical texts which put in perspective the stakes and the subjects of the exhibition. More than any(...)
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On the occasion of the exhibition "Archilab 2006" dedicated to the Japenese architecture and entitled "Nested in the city", Hyx publish the catalog of the exhibition in french and english version. They present all the projects of thirty invited architects and a set of critical texts which put in perspective the stakes and the subjects of the exhibition. More than any(...)
Publication:
October 2006, Orléans
October 2006, Orléans
Title:
Archilab Japan, Orléans 2006 : nested in the city
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On the occasion of the exhibition "Archilab 2006" dedicated to the Japenese architecture and entitled "Nested in the city", Hyx publish the catalog of the exhibition in french and english version. They present all the projects of thirty invited architects and a set of critical texts which put in perspective the stakes and the subjects of the exhibition. More than any other country, Japan was interested at home, the space domesticates being perceived as a space privileging the thought. Hundred of projects presented in the catalog are built for the greater part. Selected by both curators (Akira Suzuki and Mariko Terada), they offer us a panorama of this architects' new generation which began in the 1990s. The most famous in France are doubtless Shigeru Ban presented to Archilab in 1999 and which was the first one to make approve tubes cardboard as support of his houses and also Kasujo Sejima who saw confiding with Ryue Nishizawa the construction of the Museum of the Louvre to Lens. Symbolic Bow Wow workshop is the Leader of this new generation. After the economic crisis of the end of the 90s, the construction of public establishments of average dimension and the competitions of architecture rarefied. The house thus becomes the space of creation privileged for these architects. That's why, in Tokyo, Jun Aoki, Kazuyo Sejima, Ryue Nishizawa, Takaharu and Yui Tezuka, Mitsuhiko Sato, Taira Nishizawa, Masao Koizumi, Yasuhiro Yamashita, Mikio Tai, Yuki Ishiguro, conceive small houses which embody the way of life of their inhabitants and maybe our future today.
Archilab Japan, Orléans 2006 : nested in the city
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On the occasion of the exhibition "Archilab 2006" dedicated to the Japenese architecture and entitled "Nested in the city", Hyx publish the catalog of the exhibition in french and english version. They present all the projects of thirty invited architects and a set of critical texts which put in perspective the stakes and the subjects of the exhibition. More than any other country, Japan was interested at home, the space domesticates being perceived as a space privileging the thought. Hundred of projects presented in the catalog are built for the greater part. Selected by both curators (Akira Suzuki and Mariko Terada), they offer us a panorama of this architects' new generation which began in the 1990s. The most famous in France are doubtless Shigeru Ban presented to Archilab in 1999 and which was the first one to make approve tubes cardboard as support of his houses and also Kasujo Sejima who saw confiding with Ryue Nishizawa the construction of the Museum of the Louvre to Lens. Symbolic Bow Wow workshop is the Leader of this new generation. After the economic crisis of the end of the 90s, the construction of public establishments of average dimension and the competitions of architecture rarefied. The house thus becomes the space of creation privileged for these architects. That's why, in Tokyo, Jun Aoki, Kazuyo Sejima, Ryue Nishizawa, Takaharu and Yui Tezuka, Mitsuhiko Sato, Taira Nishizawa, Masao Koizumi, Yasuhiro Yamashita, Mikio Tai, Yuki Ishiguro, conceive small houses which embody the way of life of their inhabitants and maybe our future today.
Form:
books
books
Publication:
October 2006, Orléans
October 2006, Orléans
Form:
books
books
Price:
$44.95
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Summary:
We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced(...)
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We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced(...)
Subject:
Acoustics
Acoustics
Publication:
December 2006, Cambridge / London
December 2006, Cambridge / London
Title:
Spaces speak, are you listening ? Experiencing aural architecture
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We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture. The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines--including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others--Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
Spaces speak, are you listening ? Experiencing aural architecture
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Summary:
We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture. The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines--including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others--Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
Form:
books
books
Publication:
December 2006, Cambridge / London
December 2006, Cambridge / London
Subject:
Acoustics
Acoustics
Form:
books
books
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$9.75
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Summary:
Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's(...)
$9.75
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Summary:
Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's(...)
Title:
Greece in spectacular cross-section
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Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's final destination is the great games at Olympia, but he has many adventures and sees many sights along the way : fearsome Athenian warships at the sacred island of Delos; the rich silver mines of Laurion; the hurly-burly of the port and streets of Athens; the splendour of the Agora and the Acropolis; and a visit to the sacred oracle at Delphi. Biesty's Greece is an illustrated tour-de-force, featuring a stunning array of cross-sections, cutaways and explosions. Each drawing highlights Biesty's trademark attention to detail and is backed up by authoritative text and annotations. Biesty's eye for the quirky details of daily life combines with a witty and engaging text to provide an unforgettable window into the world of ancient Greece. Pitched at the 9-12-year-old, this book is destined to bring the ancient world to life for a wide range of readers. No aspect of Greek life is left out... domestic life, religion and the gods, the role of women, children and education, philosophy and learning, myths and legends, government, politics and law, economy and trade, warfare and slavery, the Olympic Games, music and drama, painting, pottery and sculpture, building and architecture, ships and seafaring.
Greece in spectacular cross-section
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$9.75
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Summary:
Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's final destination is the great games at Olympia, but he has many adventures and sees many sights along the way : fearsome Athenian warships at the sacred island of Delos; the rich silver mines of Laurion; the hurly-burly of the port and streets of Athens; the splendour of the Agora and the Acropolis; and a visit to the sacred oracle at Delphi. Biesty's Greece is an illustrated tour-de-force, featuring a stunning array of cross-sections, cutaways and explosions. Each drawing highlights Biesty's trademark attention to detail and is backed up by authoritative text and annotations. Biesty's eye for the quirky details of daily life combines with a witty and engaging text to provide an unforgettable window into the world of ancient Greece. Pitched at the 9-12-year-old, this book is destined to bring the ancient world to life for a wide range of readers. No aspect of Greek life is left out... domestic life, religion and the gods, the role of women, children and education, philosophy and learning, myths and legends, government, politics and law, economy and trade, warfare and slavery, the Olympic Games, music and drama, painting, pottery and sculpture, building and architecture, ships and seafaring.
Form:
books
books
Publication:
September 2006, Oxford, New York
September 2006, Oxford, New York
Subject:
Children's Books
Children's Books
Form:
journals and magazines
journals and magazines
Title:
Quaderns 238 : hyperurban
Quaderns 238 : hyperurban
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The previous issue of "Quaderns" dealt with urban dysfunction or, rather, with the dysfunctionality of the suburban model and of the elements attendant on this dysfunctionality: the increase in mobility based on private transport, the appearance of shopping and leisure centres linked to road networks, the development of a mortgage system geared towards the purchase of(...)
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The previous issue of "Quaderns" dealt with urban dysfunction or, rather, with the dysfunctionality of the suburban model and of the elements attendant on this dysfunctionality: the increase in mobility based on private transport, the appearance of shopping and leisure centres linked to road networks, the development of a mortgage system geared towards the purchase of(...)
Subject:
Magazines
Magazines
Publication:
January 1900, Barcelona
January 1900, Barcelona
Title:
Quaderns 238 : hyperurban
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The previous issue of "Quaderns" dealt with urban dysfunction or, rather, with the dysfunctionality of the suburban model and of the elements attendant on this dysfunctionality: the increase in mobility based on private transport, the appearance of shopping and leisure centres linked to road networks, the development of a mortgage system geared towards the purchase of the family home, and the social and environmental consequences of the extension across the territory of low-density urban sprawl. This issue sets out to address the opposite pole of dysfunctionality. On the basis of the paradox established by the images of scenes one and two, it aims to draw out an itinerary that takes in various places where the urban phenomenon approaches a degree of paroxysm. It explores situations that are brought about in very specific contexts of the city and that respond to the idea of the hyperurban, of the urban taken to the extreme of its spatial and signic saturation: city-centre districts, busy markets, plots so tiny as to be almost non-existent, the marginal occupation of residual spaces in the centre which are too small to be of any interest to the speculators... In short, a whole series of situations with conditions of density, concentration and intensity of use that are well in excess of the levels usually found in the urban fabric. It is between the suburban unconscious and hyperurban over-reality that the most plausible forms of a possible city are likely to be found.
Quaderns 238 : hyperurban
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Summary:
The previous issue of "Quaderns" dealt with urban dysfunction or, rather, with the dysfunctionality of the suburban model and of the elements attendant on this dysfunctionality: the increase in mobility based on private transport, the appearance of shopping and leisure centres linked to road networks, the development of a mortgage system geared towards the purchase of the family home, and the social and environmental consequences of the extension across the territory of low-density urban sprawl. This issue sets out to address the opposite pole of dysfunctionality. On the basis of the paradox established by the images of scenes one and two, it aims to draw out an itinerary that takes in various places where the urban phenomenon approaches a degree of paroxysm. It explores situations that are brought about in very specific contexts of the city and that respond to the idea of the hyperurban, of the urban taken to the extreme of its spatial and signic saturation: city-centre districts, busy markets, plots so tiny as to be almost non-existent, the marginal occupation of residual spaces in the centre which are too small to be of any interest to the speculators... In short, a whole series of situations with conditions of density, concentration and intensity of use that are well in excess of the levels usually found in the urban fabric. It is between the suburban unconscious and hyperurban over-reality that the most plausible forms of a possible city are likely to be found.
Form:
journals and magazines
journals and magazines
Publication:
January 1900, Barcelona
January 1900, Barcelona
Subject:
Magazines
Magazines
Form:
books
books
Price:
$23.00
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Summary:
On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a(...)
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a(...)
Title:
Bark
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman’s own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman’s photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed.
Bark
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman’s own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman’s photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed.
Form:
books
books
Publication:
October 2017
October 2017
Subject:
Critical Theory
Critical Theory
Form:
books
books
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$42.00
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Summary:
The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is(...)
$42.00
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Summary:
The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is(...)
Title:
icam print 02 december 2007 International confederation of architectural museums
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The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is only superficially a decisive issue. If one considers the lengths taken by the custodian's of Le Corbusier's estate to secure a suitable new home for what is without doubt a painting of artistic note, and so a market value and with it a place in an art history context, then it is worth waiting to see the place conceded on the art market one day to project-related sketches and drawings by contemporary star architects. The whole history of the conception and realisation of important works of architecture within a context of culture history ought to feature more prominently in the collection policy of icam members to ensure its suitability for research purposes. It remains to be seen what price is attributed to these comprehensive documents, these convolutes, in the competition between private collectors. This notwithstanding, the 'market' for collecting is just as crucial to icam members as the continuing debate on 'originals', and safeguarding them in times of digital architecture production. icamprint will focus increasingly on these and related issues, opening the discussion to all of the member institutions, to develop into an indispensable medium providing orientation on key issues for all icam members.
icam print 02 december 2007 International confederation of architectural museums
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$42.00
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Summary:
The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is only superficially a decisive issue. If one considers the lengths taken by the custodian's of Le Corbusier's estate to secure a suitable new home for what is without doubt a painting of artistic note, and so a market value and with it a place in an art history context, then it is worth waiting to see the place conceded on the art market one day to project-related sketches and drawings by contemporary star architects. The whole history of the conception and realisation of important works of architecture within a context of culture history ought to feature more prominently in the collection policy of icam members to ensure its suitability for research purposes. It remains to be seen what price is attributed to these comprehensive documents, these convolutes, in the competition between private collectors. This notwithstanding, the 'market' for collecting is just as crucial to icam members as the continuing debate on 'originals', and safeguarding them in times of digital architecture production. icamprint will focus increasingly on these and related issues, opening the discussion to all of the member institutions, to develop into an indispensable medium providing orientation on key issues for all icam members.
Form:
books
books
Publication:
October 2007, Vienna
October 2007, Vienna
Subject:
Museology
Museology
Form:
books
books
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Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private(...)
$80.50
(available to order)
Summary:
Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private(...)
Title:
Sir William Chambers : architect to George III
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Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private commissions throughout the British Isles. Because of his eclectic neo-Palladian style, seminal Treatise on Civil Architecture (1759), and longterm influence through his numerous pupils, Chambers was regarded as one of the two greatest architects of late eighteenth-century Britain, sharing the honor with the more prolific Robert Adam. In this wide-ranging book, leading scholars of the period present current research on Chambers' Scandinavian and French connections; his Italian studies and projects; his relationship with British royalty; his commissioned buildings, interiors, and gardens; his furniture and metalwork designs; and his Treatise. Chambers designed and commanded works at Buckingham House, Kew, Richmond, and Windsor Castle, and was commissioned in 1774 to design the public offices at Somerset House in London. Charged with creating "an object of national splendour as well as convenience," Chambers met the challenge with a building equal to the best of those created by the French architects with whom he had trained. Selecting the highest quality materials, ornamentation, and painted decoration for Somerset House, Chambers' building showcased the best in British craftsmanship. This book was the catalogue for a William Chambers exhibition mounted in fall 1996 by the Courtauld Institute Galleries at Somerset House, their new home.
Sir William Chambers : architect to George III
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$80.50
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Summary:
Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private commissions throughout the British Isles. Because of his eclectic neo-Palladian style, seminal Treatise on Civil Architecture (1759), and longterm influence through his numerous pupils, Chambers was regarded as one of the two greatest architects of late eighteenth-century Britain, sharing the honor with the more prolific Robert Adam. In this wide-ranging book, leading scholars of the period present current research on Chambers' Scandinavian and French connections; his Italian studies and projects; his relationship with British royalty; his commissioned buildings, interiors, and gardens; his furniture and metalwork designs; and his Treatise. Chambers designed and commanded works at Buckingham House, Kew, Richmond, and Windsor Castle, and was commissioned in 1774 to design the public offices at Somerset House in London. Charged with creating "an object of national splendour as well as convenience," Chambers met the challenge with a building equal to the best of those created by the French architects with whom he had trained. Selecting the highest quality materials, ornamentation, and painted decoration for Somerset House, Chambers' building showcased the best in British craftsmanship. This book was the catalogue for a William Chambers exhibition mounted in fall 1996 by the Courtauld Institute Galleries at Somerset House, their new home.
Form:
books
books
Publication:
October 1996, New Haven, London
October 1996, New Haven, London
Subject:
sale books
sale books
Form:
books
books
Price:
$45.95
(available to order)
Summary:
Even when an architectural drawing does not show any human figures, we can imagine many different characters just off the page: architects, artists, onlookers, clients, builders, developers, philanthropists—working, observing, admiring, arguing. In ''Stories from architecture,'' Philippa Lewis captures some of these personalities through reminiscences, anecdotes,(...)
$45.95
(available to order)
Summary:
Even when an architectural drawing does not show any human figures, we can imagine many different characters just off the page: architects, artists, onlookers, clients, builders, developers, philanthropists—working, observing, admiring, arguing. In ''Stories from architecture,'' Philippa Lewis captures some of these personalities through reminiscences, anecdotes,(...)
Title:
Stories from architecture: Behind the lines at Drawing Matter
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Even when an architectural drawing does not show any human figures, we can imagine many different characters just off the page: architects, artists, onlookers, clients, builders, developers, philanthropists—working, observing, admiring, arguing. In ''Stories from architecture,'' Philippa Lewis captures some of these personalities through reminiscences, anecdotes, conversations, letters, and monologues that collectively offer the imagined histories of twenty-five architectural drawings. Some of these untold stories are factual, like Frank Lloyd Wright’s correspondence with a Wisconsin librarian regarding her $5,000 dream home, or letters written by the English architect John Nash to his irascible aristocratic client. Others recount a fictional, if credible, scenario by placing these drawings—and with them their characters—into their immediate social context. For instance, the dilemmas facing a Regency couple who are considering a move to a suburban villa; a request from the office of Richard Neutra for an assistant to measure Josef von Sternberg’s Rolls-Royce so that the director’s beloved vehicle might fit into the garage being designed by his architect; a teenager dreaming of a life away from parental supervision by gazing at a gadget-filled bachelor pad in Playboy magazine; even a policeman recording the ground plans of the house of a murder scene. The drawings, reproduced in color, are all sourced from the Drawing Matter collection in Somerset, UK, and are fascinating objects in themselves; but Lewis shifts our attention beyond the image to other possible histories that linger, invisible, beyond the page, and in the process animates not just a series of archival documents but the writing of architectural history.
Stories from architecture: Behind the lines at Drawing Matter
Actions:
Price:
$45.95
(available to order)
Summary:
Even when an architectural drawing does not show any human figures, we can imagine many different characters just off the page: architects, artists, onlookers, clients, builders, developers, philanthropists—working, observing, admiring, arguing. In ''Stories from architecture,'' Philippa Lewis captures some of these personalities through reminiscences, anecdotes, conversations, letters, and monologues that collectively offer the imagined histories of twenty-five architectural drawings. Some of these untold stories are factual, like Frank Lloyd Wright’s correspondence with a Wisconsin librarian regarding her $5,000 dream home, or letters written by the English architect John Nash to his irascible aristocratic client. Others recount a fictional, if credible, scenario by placing these drawings—and with them their characters—into their immediate social context. For instance, the dilemmas facing a Regency couple who are considering a move to a suburban villa; a request from the office of Richard Neutra for an assistant to measure Josef von Sternberg’s Rolls-Royce so that the director’s beloved vehicle might fit into the garage being designed by his architect; a teenager dreaming of a life away from parental supervision by gazing at a gadget-filled bachelor pad in Playboy magazine; even a policeman recording the ground plans of the house of a murder scene. The drawings, reproduced in color, are all sourced from the Drawing Matter collection in Somerset, UK, and are fascinating objects in themselves; but Lewis shifts our attention beyond the image to other possible histories that linger, invisible, beyond the page, and in the process animates not just a series of archival documents but the writing of architectural history.
Form:
books
books
Publication:
October 2021
October 2021
Subject:
Architectural Theory
Architectural Theory
