1366 Résultats
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The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions(...)
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The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions(...)
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Art school (propositions for the 21st century)
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The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. This book brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovi, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls.
Art school (propositions for the 21st century)
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The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. This book brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovi, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls.
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livres
livres
Publication:
octobre 2009
octobre 2009
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a(...)
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a(...)
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Blueprint for counter education
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the modernist avant-gardes to postmodernism, from the Bauhaus to Black Mountain College, from Theodor Adorno and Walter Benjamin to Buckminster Fuller and Norman O. Brown—with Herbert Marcuse and Marshall McLuhan serving as points of anchorage. 'Blueprint for Counter Education' thus serves as a vital synthesis of the numerous intellectual currents in the countercultural debate on the radical reform of schools, universities and ways of learning. To accompany this new facsimile edition of the book and posters, an 80-page booklet features a conversation with the original Blueprint creators, Maurice R. Stein, Larry Miller and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin and notes on the design by Adam Michaels of Project Projects.
Blueprint for counter education
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the modernist avant-gardes to postmodernism, from the Bauhaus to Black Mountain College, from Theodor Adorno and Walter Benjamin to Buckminster Fuller and Norman O. Brown—with Herbert Marcuse and Marshall McLuhan serving as points of anchorage. 'Blueprint for Counter Education' thus serves as a vital synthesis of the numerous intellectual currents in the countercultural debate on the radical reform of schools, universities and ways of learning. To accompany this new facsimile edition of the book and posters, an 80-page booklet features a conversation with the original Blueprint creators, Maurice R. Stein, Larry Miller and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin and notes on the design by Adam Michaels of Project Projects.
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livres
livres
Publication:
février 2016
février 2016
Sujet:
Muséologie
Muséologie
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livres
livres
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The German pavilion at the 9th Venice Architecture Biennale offers an overview of more than 35 contemporary architectural projects in Germany which have manifested in peripheral urban areas, suburban spaces, and de-industrialized zones. The projects reveal the transformation and reactivation of banal everyday architecture--business parks, switching stations, water(...)
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The German pavilion at the 9th Venice Architecture Biennale offers an overview of more than 35 contemporary architectural projects in Germany which have manifested in peripheral urban areas, suburban spaces, and de-industrialized zones. The projects reveal the transformation and reactivation of banal everyday architecture--business parks, switching stations, water(...)
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Deutschlandscape : epicentres at the periphery - German pavilion, Venice Biennale 2004
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The German pavilion at the 9th Venice Architecture Biennale offers an overview of more than 35 contemporary architectural projects in Germany which have manifested in peripheral urban areas, suburban spaces, and de-industrialized zones. The projects reveal the transformation and reactivation of banal everyday architecture--business parks, switching stations, water purification plants, and strictly coded and conventional housing types--to open up a new perception of the "deutschlandscape." Here, architectural norms are reworked and given a new aesthetic twist through ironic self-reflection. These built projects by a critical young generation of German architects reveal highly innovative use of new materials, generate suburban "plug-ins" (temporary and mobile architecture), and skillfully rework the familiar to create solutions for hitherto underrepresented yet vital areas on the urban fringe. Accompanying essays and interviews reveal the personal narratives behind the architecture. Contributions include: "urban therapist" Sonja Beeck on dealing with the psychological dimensions of shrinking cities in the former GDR; artist and urbanist Kai Vöckler on the German psychoscape; Omar Akbar of the Bauhaus Dessau on the wider implications of urban sprawl; Peter Cook on tuning suburbia; Angelika Fitz on strategic answers to restrictive building regulations; Peter Wilson on the marketing of place; and Rudolf Stegers on multi-layered meanings behind the architectural image.
Deutschlandscape : epicentres at the periphery - German pavilion, Venice Biennale 2004
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The German pavilion at the 9th Venice Architecture Biennale offers an overview of more than 35 contemporary architectural projects in Germany which have manifested in peripheral urban areas, suburban spaces, and de-industrialized zones. The projects reveal the transformation and reactivation of banal everyday architecture--business parks, switching stations, water purification plants, and strictly coded and conventional housing types--to open up a new perception of the "deutschlandscape." Here, architectural norms are reworked and given a new aesthetic twist through ironic self-reflection. These built projects by a critical young generation of German architects reveal highly innovative use of new materials, generate suburban "plug-ins" (temporary and mobile architecture), and skillfully rework the familiar to create solutions for hitherto underrepresented yet vital areas on the urban fringe. Accompanying essays and interviews reveal the personal narratives behind the architecture. Contributions include: "urban therapist" Sonja Beeck on dealing with the psychological dimensions of shrinking cities in the former GDR; artist and urbanist Kai Vöckler on the German psychoscape; Omar Akbar of the Bauhaus Dessau on the wider implications of urban sprawl; Peter Cook on tuning suburbia; Angelika Fitz on strategic answers to restrictive building regulations; Peter Wilson on the marketing of place; and Rudolf Stegers on multi-layered meanings behind the architectural image.
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livres
livres
Publication:
novembre 2004, Ostfildern
novembre 2004, Ostfildern
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
Titre:
Albert Frey
Albert Frey
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L’architecte Albert Frey (1903–1998) a fait vivre l’utopie moderniste dans le désert. Né à Zurich, il a suivi l’enseignement de Le Corbusier en Europe avant d’émigrer aux États-Unis en 1930, convaincu que l’avenir de l’architecture s’y jouait. En visite à Palm Springs, il tombe sous le charme du désert. C’est là, dans ce paysage aride et vide, qu’il peut envisager(...)
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L’architecte Albert Frey (1903–1998) a fait vivre l’utopie moderniste dans le désert. Né à Zurich, il a suivi l’enseignement de Le Corbusier en Europe avant d’émigrer aux États-Unis en 1930, convaincu que l’avenir de l’architecture s’y jouait. En visite à Palm Springs, il tombe sous le charme du désert. C’est là, dans ce paysage aride et vide, qu’il peut envisager(...)
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Albert Frey
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L’architecte Albert Frey (1903–1998) a fait vivre l’utopie moderniste dans le désert. Né à Zurich, il a suivi l’enseignement de Le Corbusier en Europe avant d’émigrer aux États-Unis en 1930, convaincu que l’avenir de l’architecture s’y jouait. En visite à Palm Springs, il tombe sous le charme du désert. C’est là, dans ce paysage aride et vide, qu’il peut envisager concrètement le parfait avenir moderne. Frey passera le reste de sa carrière à explorer l’harmonie entre l’architecture et la nature: étudiant la façon dont tombent les rayons du soleil et la pluie, fusionnant aluminium, acier et verre dans les rochers et le sable des contrées les plus sauvages de la côte ouest. Sa vision se concentre principalement sur Palm Springs et il profite de la croissance démographique que la ville connaît au lendemain de la guerre pour y créer un bastion du modernisme épuré et lisse qui définit la Californie au milieu du siècle dernier. Cette présentation fidèle de l’architecte suit la carrière prolixe et prestigieuse de Frey depuis ses débuts européens jusqu’à l’apogée de son travail californien, en soulignant ses emprunts à De Stijl, Le Corbusier et au Bauhaus, et en retraçant l’élaboration stylistique, matérielle et géographique de ce «modernisme du désert», unique.
Albert Frey
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L’architecte Albert Frey (1903–1998) a fait vivre l’utopie moderniste dans le désert. Né à Zurich, il a suivi l’enseignement de Le Corbusier en Europe avant d’émigrer aux États-Unis en 1930, convaincu que l’avenir de l’architecture s’y jouait. En visite à Palm Springs, il tombe sous le charme du désert. C’est là, dans ce paysage aride et vide, qu’il peut envisager concrètement le parfait avenir moderne. Frey passera le reste de sa carrière à explorer l’harmonie entre l’architecture et la nature: étudiant la façon dont tombent les rayons du soleil et la pluie, fusionnant aluminium, acier et verre dans les rochers et le sable des contrées les plus sauvages de la côte ouest. Sa vision se concentre principalement sur Palm Springs et il profite de la croissance démographique que la ville connaît au lendemain de la guerre pour y créer un bastion du modernisme épuré et lisse qui définit la Californie au milieu du siècle dernier. Cette présentation fidèle de l’architecte suit la carrière prolixe et prestigieuse de Frey depuis ses débuts européens jusqu’à l’apogée de son travail californien, en soulignant ses emprunts à De Stijl, Le Corbusier et au Bauhaus, et en retraçant l’élaboration stylistique, matérielle et géographique de ce «modernisme du désert», unique.
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livres
livres
Publication:
avril 2017
avril 2017
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
périodiques
périodiques
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Résumé:
ome places or epochs are identified with certain colours: Siena for example, which lent its name to yellowish-brown pig-ments, or the Habsburg era with its Imperial yellow. Tel Aviv, has its White City – a UNESCO World Heritage site designed by Jewish architects who studied at the Bauhaus. White is the colour identified with the Modern Movement, of course, but the(...)
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ome places or epochs are identified with certain colours: Siena for example, which lent its name to yellowish-brown pig-ments, or the Habsburg era with its Imperial yellow. Tel Aviv, has its White City – a UNESCO World Heritage site designed by Jewish architects who studied at the Bauhaus. White is the colour identified with the Modern Movement, of course, but the(...)
Titre:
Detail 12 2016 : colour materials finishes
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ome places or epochs are identified with certain colours: Siena for example, which lent its name to yellowish-brown pig-ments, or the Habsburg era with its Imperial yellow. Tel Aviv, has its White City – a UNESCO World Heritage site designed by Jewish architects who studied at the Bauhaus. White is the colour identified with the Modern Movement, of course, but the coloured interiors of the masters’ houses in Dessau by Walter Gropius show that not everything was reduced to that hue. There are probably just as many colour theories as there are colour tones; but the streets in our towns and cities are rarely characterized by a consistent colour scheme. In this respect, the materials and their surface finishes play a dominant role. In our December issue, we present various architectural concepts that focus on the effects of colour. For example, the Sparren-burg Visitors’ Centre in Bielefeld with its tamped concrete facades enters into a dialogue with the historical surroundings, while the polychrome glazing of Sauerbruch Hutton’s office building in London forms a deliberate counterpoint to the urban environment. As one can see, architecture has to come to terms with colour. There is no such thing as neutrality.
Detail 12 2016 : colour materials finishes
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ome places or epochs are identified with certain colours: Siena for example, which lent its name to yellowish-brown pig-ments, or the Habsburg era with its Imperial yellow. Tel Aviv, has its White City – a UNESCO World Heritage site designed by Jewish architects who studied at the Bauhaus. White is the colour identified with the Modern Movement, of course, but the coloured interiors of the masters’ houses in Dessau by Walter Gropius show that not everything was reduced to that hue. There are probably just as many colour theories as there are colour tones; but the streets in our towns and cities are rarely characterized by a consistent colour scheme. In this respect, the materials and their surface finishes play a dominant role. In our December issue, we present various architectural concepts that focus on the effects of colour. For example, the Sparren-burg Visitors’ Centre in Bielefeld with its tamped concrete facades enters into a dialogue with the historical surroundings, while the polychrome glazing of Sauerbruch Hutton’s office building in London forms a deliberate counterpoint to the urban environment. As one can see, architecture has to come to terms with colour. There is no such thing as neutrality.
Classification:
périodiques
périodiques
Publication:
décembre 2016
décembre 2016
Sujet:
Revues
Revues
Classification:
livres
livres
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$52.00
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An expanded and updated edition of a classic study of the history of modern design. One of the most widely read books on modern design, Nikolaus Pevsner’s landmark work today remains as stimulating as it was when first published in 1936. This expanded edition of Pioneers of Modern Design provides Pevsner’s original text along with significant new and updated(...)
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An expanded and updated edition of a classic study of the history of modern design. One of the most widely read books on modern design, Nikolaus Pevsner’s landmark work today remains as stimulating as it was when first published in 1936. This expanded edition of Pioneers of Modern Design provides Pevsner’s original text along with significant new and updated(...)
Titre:
Pioneers of modern design from William Morris to Walter Gropius
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An expanded and updated edition of a classic study of the history of modern design. One of the most widely read books on modern design, Nikolaus Pevsner’s landmark work today remains as stimulating as it was when first published in 1936. This expanded edition of Pioneers of Modern Design provides Pevsner’s original text along with significant new and updated information, enhancing Pevsner’s illuminating account of the roots of Modernism. The book now offers many beautiful colour illustrations; biographies and bibliographies of all major figures; illustrated short essays on key themes, movements, and individuals; a critique of Pevsner’s analysis from today’s perspective; examples of works after 1914 (where the original study ended); a biography detailing Pevsner’s life and achievements; and much more. Pevsner saw Modernism as a synthesis of three main sources: William Morris and his followers, the work of nineteenth-century engineers, and Art Nouveau. The author considers the role of these sources in the work of early Modernists and looks at such masters of the movement as C.F.A. Voysey and Charles Rennie Mackintosh in Britain, Louis Sullivan and Frank Lloyd Wright in America, and Adolf Loos and Otto Wagner in Vienna. The account concludes with a discussion of the radical break with the past represented by the design work of Walter Gropius and his future Bauhaus colleagues.
Pioneers of modern design from William Morris to Walter Gropius
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Résumé:
An expanded and updated edition of a classic study of the history of modern design. One of the most widely read books on modern design, Nikolaus Pevsner’s landmark work today remains as stimulating as it was when first published in 1936. This expanded edition of Pioneers of Modern Design provides Pevsner’s original text along with significant new and updated information, enhancing Pevsner’s illuminating account of the roots of Modernism. The book now offers many beautiful colour illustrations; biographies and bibliographies of all major figures; illustrated short essays on key themes, movements, and individuals; a critique of Pevsner’s analysis from today’s perspective; examples of works after 1914 (where the original study ended); a biography detailing Pevsner’s life and achievements; and much more. Pevsner saw Modernism as a synthesis of three main sources: William Morris and his followers, the work of nineteenth-century engineers, and Art Nouveau. The author considers the role of these sources in the work of early Modernists and looks at such masters of the movement as C.F.A. Voysey and Charles Rennie Mackintosh in Britain, Louis Sullivan and Frank Lloyd Wright in America, and Adolf Loos and Otto Wagner in Vienna. The account concludes with a discussion of the radical break with the past represented by the design work of Walter Gropius and his future Bauhaus colleagues.
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livres
livres
Publication:
mars 2005, New Haven
mars 2005, New Haven
Sujet:
Design d’intérieur
Design d’intérieur
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livres
livres
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$60.00
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In the mid-twentieth century, Black Mountain College attracted a remarkable roster of artists, architects, and musicians. Yet the weaving classes taught by Anni Albers, Trude Guermonprez, and six other faculty members are rarely mentioned or are often treated as mere craft lessons. This was far from the case: the weaving program was the school’s most sophisticated and(...)
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In the mid-twentieth century, Black Mountain College attracted a remarkable roster of artists, architects, and musicians. Yet the weaving classes taught by Anni Albers, Trude Guermonprez, and six other faculty members are rarely mentioned or are often treated as mere craft lessons. This was far from the case: the weaving program was the school’s most sophisticated and(...)
Publication:
octobre 2023
octobre 2023
Titre:
Weaving at Black Mountain College: Anni Albers, Trude Guermonprez and their students
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In the mid-twentieth century, Black Mountain College attracted a remarkable roster of artists, architects, and musicians. Yet the weaving classes taught by Anni Albers, Trude Guermonprez, and six other faculty members are rarely mentioned or are often treated as mere craft lessons. This was far from the case: the weaving program was the school’s most sophisticated and successful design program. About ten percent of all Black Mountain College students took at least one class in weaving, including specialists like textile designers Lore Kadden Lindenfeld and Else Regensteiner, as well as students from other disciplines, like artists Ray Johnson and Robert Rauschenberg and architects Don Page and Claude Stoller. Drawing upon a wealth of unpublished material and archival photographs, Weaving at Black Mountain College rewrites history to show how weaving played a much larger role in the legendary art and design curriculum than previously assumed. The book illustrates dozens of objects from private and public collections, many of which have never been shown in this context. Essays explore connections and networks fostered by Black Mountain weavers; the ways in which weaving at the college was linked to larger discourses about weaving and craft; and Bauhaus influences transmitted by way of Anni Albers. The book also includes works by five contemporary artists that connect and respond to the legacy of weaving at Black Mountain College today.
Weaving at Black Mountain College: Anni Albers, Trude Guermonprez and their students
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In the mid-twentieth century, Black Mountain College attracted a remarkable roster of artists, architects, and musicians. Yet the weaving classes taught by Anni Albers, Trude Guermonprez, and six other faculty members are rarely mentioned or are often treated as mere craft lessons. This was far from the case: the weaving program was the school’s most sophisticated and successful design program. About ten percent of all Black Mountain College students took at least one class in weaving, including specialists like textile designers Lore Kadden Lindenfeld and Else Regensteiner, as well as students from other disciplines, like artists Ray Johnson and Robert Rauschenberg and architects Don Page and Claude Stoller. Drawing upon a wealth of unpublished material and archival photographs, Weaving at Black Mountain College rewrites history to show how weaving played a much larger role in the legendary art and design curriculum than previously assumed. The book illustrates dozens of objects from private and public collections, many of which have never been shown in this context. Essays explore connections and networks fostered by Black Mountain weavers; the ways in which weaving at the college was linked to larger discourses about weaving and craft; and Bauhaus influences transmitted by way of Anni Albers. The book also includes works by five contemporary artists that connect and respond to the legacy of weaving at Black Mountain College today.
Classification:
livres
livres
Publication:
octobre 2023
octobre 2023
Classification:
livres
livres
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$39.95
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Cuban-born, Mexico-based designer Clara Porset is renowned for her mid-century modern furniture and interior design and for her collaborations with architects such as Luis Barragán and Mario Pani. She was also an accomplished critic and writer. ''Living Design'' collects Porset’s essays, reviews, and lectures to highlight her role as an influential thinker, educator, and(...)
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Cuban-born, Mexico-based designer Clara Porset is renowned for her mid-century modern furniture and interior design and for her collaborations with architects such as Luis Barragán and Mario Pani. She was also an accomplished critic and writer. ''Living Design'' collects Porset’s essays, reviews, and lectures to highlight her role as an influential thinker, educator, and(...)
Titre:
Living design: The writings of Clara Porset
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Cuban-born, Mexico-based designer Clara Porset is renowned for her mid-century modern furniture and interior design and for her collaborations with architects such as Luis Barragán and Mario Pani. She was also an accomplished critic and writer. ''Living Design'' collects Porset’s essays, reviews, and lectures to highlight her role as an influential thinker, educator, and practitioner. This volume insightfully contextualizes the politics that shaped Porset’s design principles, charts the influence of the Bauhaus and Black Mountain College on her work, and reveals the period’s fusion of local adaptations and modernist principles that made Mexico a major center of modernist design. At a time when many practitioners believed that design could only be modernized by replacing hand craftsmanship with mechanization, Porset valued both approaches for their distinctive qualities and urged others to do the same. Through her writings, she encouraged efforts to catalyze local design communities during a period of rapid technological and social change. With essays by historian Randal Sheppard and design curator and scholar Ana Elena Mallet, an introduction by volume editors Zoë Ryan and Valentina Sarmiento Cruz, and explanatory notes on the people and publishing forums in Porset’s circle, ''Living Design'' makes available works never before published in English, and with only limited circulation in the Spanish language, in order to recover an important and neglected voice in global modernism.
Living design: The writings of Clara Porset
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Cuban-born, Mexico-based designer Clara Porset is renowned for her mid-century modern furniture and interior design and for her collaborations with architects such as Luis Barragán and Mario Pani. She was also an accomplished critic and writer. ''Living Design'' collects Porset’s essays, reviews, and lectures to highlight her role as an influential thinker, educator, and practitioner. This volume insightfully contextualizes the politics that shaped Porset’s design principles, charts the influence of the Bauhaus and Black Mountain College on her work, and reveals the period’s fusion of local adaptations and modernist principles that made Mexico a major center of modernist design. At a time when many practitioners believed that design could only be modernized by replacing hand craftsmanship with mechanization, Porset valued both approaches for their distinctive qualities and urged others to do the same. Through her writings, she encouraged efforts to catalyze local design communities during a period of rapid technological and social change. With essays by historian Randal Sheppard and design curator and scholar Ana Elena Mallet, an introduction by volume editors Zoë Ryan and Valentina Sarmiento Cruz, and explanatory notes on the people and publishing forums in Porset’s circle, ''Living Design'' makes available works never before published in English, and with only limited circulation in the Spanish language, in order to recover an important and neglected voice in global modernism.
Classification:
livres
livres
Publication:
novembre 2024
novembre 2024
Sujet:
Design, monographies
Design, monographies
Classification:
livres
livres
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$56.95
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Après l'Art Nouveau et l'Art Déco, est fondée en 1929 l'U.A.M. (Union des Artistes modernes) qui réunit tous les grands créateurs de l'époque. L' « équipement » moderne se substitue à l'ornementation des salons décorés de « bibelots ». Il s'agit à présent de « désencombrer » l'espace intérieur.. A travers une quinzaine d'essais d'historiens de l'art, ce catalogue explore(...)
$56.95
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Résumé:
Après l'Art Nouveau et l'Art Déco, est fondée en 1929 l'U.A.M. (Union des Artistes modernes) qui réunit tous les grands créateurs de l'époque. L' « équipement » moderne se substitue à l'ornementation des salons décorés de « bibelots ». Il s'agit à présent de « désencombrer » l'espace intérieur.. A travers une quinzaine d'essais d'historiens de l'art, ce catalogue explore(...)
Titre:
Intérieurs modernes 1920-1930
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Prix:
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Résumé:
Après l'Art Nouveau et l'Art Déco, est fondée en 1929 l'U.A.M. (Union des Artistes modernes) qui réunit tous les grands créateurs de l'époque. L' « équipement » moderne se substitue à l'ornementation des salons décorés de « bibelots ». Il s'agit à présent de « désencombrer » l'espace intérieur.. A travers une quinzaine d'essais d'historiens de l'art, ce catalogue explore toutes les facettes de l'intérieur moderne en France dans les années 1920-1930 : son héritage des arts décoratifs, son articulation avec les avant-gardes internationales, tel que le Bauhaus ; sa dimension syncrétique impliquant toutes les dimensions de la création ; l'esthétique de la machine et les métaphores de la modernité tel que le paquebot ; la nature comme artifice décoratif. Trois créations architecturales majeures sont également analysées : la villa Noailles de Robert Mallet-Stevens, la Maison de Verre de Pierre Chareau et la villa E-1027 d'Eileen Gray. Enfin, entre design et mode, la mise en mouvement des corps redessine également une nouvelle figure de la femme moderne, aux avant-postes de la création. La transformation de l'espace intérieur trouvera également dans le cinéma un dispositif d'exposition et un outil de communication privilégié de ces changements de paradigme dans la perception de l'intérieur. Le catalogue qui explore une décennie de design met en avant la richesse de la collection du Musée national d'art moderne qui prête l'essentiel des œuvres et des objets de l'exposition.
Intérieurs modernes 1920-1930
Actions:
Prix:
$56.95
(disponible sur commande)
Résumé:
Après l'Art Nouveau et l'Art Déco, est fondée en 1929 l'U.A.M. (Union des Artistes modernes) qui réunit tous les grands créateurs de l'époque. L' « équipement » moderne se substitue à l'ornementation des salons décorés de « bibelots ». Il s'agit à présent de « désencombrer » l'espace intérieur.. A travers une quinzaine d'essais d'historiens de l'art, ce catalogue explore toutes les facettes de l'intérieur moderne en France dans les années 1920-1930 : son héritage des arts décoratifs, son articulation avec les avant-gardes internationales, tel que le Bauhaus ; sa dimension syncrétique impliquant toutes les dimensions de la création ; l'esthétique de la machine et les métaphores de la modernité tel que le paquebot ; la nature comme artifice décoratif. Trois créations architecturales majeures sont également analysées : la villa Noailles de Robert Mallet-Stevens, la Maison de Verre de Pierre Chareau et la villa E-1027 d'Eileen Gray. Enfin, entre design et mode, la mise en mouvement des corps redessine également une nouvelle figure de la femme moderne, aux avant-postes de la création. La transformation de l'espace intérieur trouvera également dans le cinéma un dispositif d'exposition et un outil de communication privilégié de ces changements de paradigme dans la perception de l'intérieur. Le catalogue qui explore une décennie de design met en avant la richesse de la collection du Musée national d'art moderne qui prête l'essentiel des œuvres et des objets de l'exposition.
Classification:
livres
livres
Publication:
octobre 2022
octobre 2022
Sujet:
Design, époques et styles
Design, époques et styles
Classification:
livres
livres
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$22.99
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Résumé:
Have you ever wondered where rocking chairs came from, or why cheap plastic chairs are suddenly everywhere? In "Now I sit me down", the distinguished architect and writer Witold Rybczynski chronicles the history of the chair from the folding stools of pharaonic Egypt to the ubiquitous stackable monobloc chairs of today. He tells the stories of the inventor of the bentwood(...)
$22.99
(disponible sur commande)
Résumé:
Have you ever wondered where rocking chairs came from, or why cheap plastic chairs are suddenly everywhere? In "Now I sit me down", the distinguished architect and writer Witold Rybczynski chronicles the history of the chair from the folding stools of pharaonic Egypt to the ubiquitous stackable monobloc chairs of today. He tells the stories of the inventor of the bentwood(...)
Titre:
Now I sit me down: from klismos to plastic chair, a natural history
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$22.99
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Résumé:
Have you ever wondered where rocking chairs came from, or why cheap plastic chairs are suddenly everywhere? In "Now I sit me down", the distinguished architect and writer Witold Rybczynski chronicles the history of the chair from the folding stools of pharaonic Egypt to the ubiquitous stackable monobloc chairs of today. He tells the stories of the inventor of the bentwood chair, Michael Thonet, and of the creators of the first molded-plywood chair, Charles and Ray Eames. He reveals the history of chairs to be a social history—of different ways of sitting, of changing manners and attitudes, and of varying tastes. The history of chairs is the history of who we are. We learn how the ancient Chinese switched from sitting on the floor to sitting in a chair, and how the iconic chair of Middle America—the BarcaLounger—traces its roots back to the Bauhaus. Rybczynski weaves a rich tapestry that draws on art and design history, personal experience, and historical accounts. And he pairs these stories with his own delightful hand-drawn illustrations: colonial rockers and English cabrioles, languorous chaise longues and no-nonsense ergonomic task chairs—they’re all here. The famous Danish furniture designer Hans Wegner once remarked, “A chair is only finished when someone sits in it.” As Rybczynski tells it, the way we choose to sit and what we choose to sit on speak volumes about our values, our tastes, and the things we hold dear.
Now I sit me down: from klismos to plastic chair, a natural history
Actions:
Prix:
$22.99
(disponible sur commande)
Résumé:
Have you ever wondered where rocking chairs came from, or why cheap plastic chairs are suddenly everywhere? In "Now I sit me down", the distinguished architect and writer Witold Rybczynski chronicles the history of the chair from the folding stools of pharaonic Egypt to the ubiquitous stackable monobloc chairs of today. He tells the stories of the inventor of the bentwood chair, Michael Thonet, and of the creators of the first molded-plywood chair, Charles and Ray Eames. He reveals the history of chairs to be a social history—of different ways of sitting, of changing manners and attitudes, and of varying tastes. The history of chairs is the history of who we are. We learn how the ancient Chinese switched from sitting on the floor to sitting in a chair, and how the iconic chair of Middle America—the BarcaLounger—traces its roots back to the Bauhaus. Rybczynski weaves a rich tapestry that draws on art and design history, personal experience, and historical accounts. And he pairs these stories with his own delightful hand-drawn illustrations: colonial rockers and English cabrioles, languorous chaise longues and no-nonsense ergonomic task chairs—they’re all here. The famous Danish furniture designer Hans Wegner once remarked, “A chair is only finished when someone sits in it.” As Rybczynski tells it, the way we choose to sit and what we choose to sit on speak volumes about our values, our tastes, and the things we hold dear.
Classification:
livres
livres
Publication:
août 2017
août 2017
Sujet:
Théorie du design
Théorie du design
