Painting in stone: Architecture and the poetics of marble from antiquity to the englightenment
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Spanning almost five millennia, this volume tells a new history of premodern architecture through the material of precious stone. Illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia(...)
Painting in stone: Architecture and the poetics of marble from antiquity to the englightenment
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$54.00
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Spanning almost five millennia, this volume tells a new history of premodern architecture through the material of precious stone. Illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia revival in 19th-century England. Poetry, the lens for understanding costly marbles as an artistic medium, summoned a spectrum of imaginative associations and responses, from princes and patriarchs to the populace. Three salient themes sustained this “lithic imagination”: marbles as images of their own elemental substance according to premodern concepts of matter and geology; the perceived indwelling of astral light in earthly stones; and the enduring belief that colored marbles exhibited a form of natural—or divine—painting, thanks to their vivacious veining, rainbow palette, and chance images.
Matériaux et éclairage
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Zurich’s Museum Rietberg, one of Europe’s most renowned museums of non-Western art, has undertaken an extensive exhibition project to explore the thoroughly ambivalent history of its own collection. The essays in this illustrated reader published in conjunction with the exhibition investigate the pathways along which objects traveled to the museum. They shed light on how(...)
Pathways of art: How objects get to the museum
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Zurich’s Museum Rietberg, one of Europe’s most renowned museums of non-Western art, has undertaken an extensive exhibition project to explore the thoroughly ambivalent history of its own collection. The essays in this illustrated reader published in conjunction with the exhibition investigate the pathways along which objects traveled to the museum. They shed light on how the meaning of these artifacts has shifted in the course of the transfers. And they demonstrate the importance of provenance research for learning comprehensively about and taking a critical approach in the assessment of the complex biographies of artifacts. This publication offers an important contribution to the current debate about the status and impact of non-European art in the global North. It aims to foster awareness of the colonial and postcolonial contexts of trading and collecting such artworks and to help establish new museum narratives.
Muséologie
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Gianni Pettena was a founding member of the radical Florentine architecture movement in the 1960s and 1970s, albeit always maintaining an independent position. As well as critiquing modernist functionalism, he frequented galleries, artists, and critics of the day, and became noted for his purposeful reluctance to actual design. Pettena’s youthful work in the United States(...)
Tutto, tutto, tutto...o quasi
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Gianni Pettena was a founding member of the radical Florentine architecture movement in the 1960s and 1970s, albeit always maintaining an independent position. As well as critiquing modernist functionalism, he frequented galleries, artists, and critics of the day, and became noted for his purposeful reluctance to actual design. Pettena’s youthful work in the United States and assiduous frequentation of (an)architects such as Buckminster Fuller and James Wines, who early on paid attention to ecology, the suburbs and "to making insignificant places significant," may be interpreted in this light. More generally, the uniqueness of his long career is informed by his rejection of discipline-based roles and methodologies, creating temporary works while constantly seeking alliances with conceptual art, Austrian radical design, Land Art and experimental music. This book documents (almost) all of his works, backed up by an extensive anthology of his writings.
Design, monographies
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Bitterfeld’s county museum, Kreismuseum Bitterfeld, contains a black box with herbaria dating from 1931. This collection, compiled by botanist Hans Weber, is an inventory of the flora gathered in the nearby Goitzsche region, a forested area of floodplain. It was not long before the plant life collected here was forced to give way to society’s demand for brown coal. Taking(...)
Vegetation under power: heat, breath, growth
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Bitterfeld’s county museum, Kreismuseum Bitterfeld, contains a black box with herbaria dating from 1931. This collection, compiled by botanist Hans Weber, is an inventory of the flora gathered in the nearby Goitzsche region, a forested area of floodplain. It was not long before the plant life collected here was forced to give way to society’s demand for brown coal. Taking the herbaria as its starting point, this book interweaves stories about Bitterfeld’s energy-defined landscape with the modern legacy of the Bauhaus. Using archival documents, physical interventions, and field studies, the book proposes a new reading of the Bauhaus’s modernist motto ”Light! Air! Sun!“ recast as ”Heat, Breath, Growth“. The book thus points up the downside of resource extraction and environmental destruction in the ”clean modern age“, while also identifying movements in search of a nature-based culture characterized by care and stewardship.
Architecture contemporaine
John Pawson: katalog
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British architect John Pawson (born 1949) is a master of minimalism. His buildings and objects are defined by his devotion to simplicity and the art of “leaving out,” and by their purity of space, proportion, light and material. Influenced by Japanese culture and minimalist sculpture, Pawson defines his idea of the minimum as a perfection and quality that arises when(...)
John Pawson: katalog
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British architect John Pawson (born 1949) is a master of minimalism. His buildings and objects are defined by his devotion to simplicity and the art of “leaving out,” and by their purity of space, proportion, light and material. Influenced by Japanese culture and minimalist sculpture, Pawson defines his idea of the minimum as a perfection and quality that arises when every detail and connection is reduced to only that which is essential. With models, large-format photographs, material studies and objects, this publication provides an overview of Pawson’s work and demonstrates the phenomenon of “emptiness.” Among the projects presented are the Cistercian monastery Novy Dvur in Czech Republic (2004), the footbridge Sackler Crossing in London (2006), the Stone House for La Triennale di Milano (2010) and the St. Moritz church in Augsburg, currently in its planning stages.
Architecture, monographies
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Covering an array of films that ranges from early classics to contemporary star vehicles, this volume features detailed analyses of forty-six key scenes from productions shot on location across the city, as well as spotlight essays in which contributors with expertise in German studies, urban history, and film studies focus on issues central to understanding Berlin(...)
World film locations : Berlin
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Covering an array of films that ranges from early classics to contemporary star vehicles, this volume features detailed analyses of forty-six key scenes from productions shot on location across the city, as well as spotlight essays in which contributors with expertise in German studies, urban history, and film studies focus on issues central to understanding Berlin cinema. Among the topics discussed are the roles of rubble, construction sites, and music in films set and shot in Berlin, as well as key personalities, including Marlene Dietrich and Leni Riefenstahl. With the help of full-color illustrations that include film stills and contemporary location shots, World Film Locations: Berlin cinematically maps the city’s long twentieth century, taking readers behind the scenes and shedding new light on the connections between many favorite and possibly soon to be favorite films.
Barney Kulok : building
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In September 2011, Barney Kulok was granted permission to create photographs at the construction site of Louis I. Kahn’s Four Freedoms Park in New York City, commissioned in 1970 as a memorial to Franklin D. Roosevelt. The last design Kahn completed before his untimely death in 1974, Four Freedoms Park became widely regarded as one of the great unbuilt masterpieces of(...)
Barney Kulok : building
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In September 2011, Barney Kulok was granted permission to create photographs at the construction site of Louis I. Kahn’s Four Freedoms Park in New York City, commissioned in 1970 as a memorial to Franklin D. Roosevelt. The last design Kahn completed before his untimely death in 1974, Four Freedoms Park became widely regarded as one of the great unbuilt masterpieces of twentieth-century architecture. Forty years after the original commission, it is finally being completed in 2012. Unbuilt is at once a historical record and a multilayered visual investigation of form and the subtleties of texture—elements that were of fundamental importance to Kahn’s phenomenal achievements. As architect Steven Holl writes, “Kulok’s photographs free the subject matter from a literal interpretation of the site. They stand as ‘Equivalents’ to the words about material, light and shadow that Louis Kahn often spoke.”
Monographies photo
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The standing of the Yale Center for British Art as one of the world's great museums and study centers finds expression in its remarkable building, designed by Louis I. Kahn (1901-1974). In this important and innovative volume, two architects offer a plan to ensure the proper stewardship of the building in order to preserve its essence as a great architectural structure.(...)
Louis I. Kahn and the Yale center for British art
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The standing of the Yale Center for British Art as one of the world's great museums and study centers finds expression in its remarkable building, designed by Louis I. Kahn (1901-1974). In this important and innovative volume, two architects offer a plan to ensure the proper stewardship of the building in order to preserve its essence as a great architectural structure. Peter Inskip and Stephen Gee describe the design, construction, and subsequent renovation of the building; assess its cultural significance; analyze the materials that comprise it (steel, concrete, glass, white oak, and travertine); and shed light on its evolution over the four decades since it was built. Drawing on their extensive experience developing conservation plans for both historic sites and modern buildings, they propse a series of policies for the Center's conservation into the future.
Architecture, monographies
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Long a pioneer in architecture, Emilio Ambasz has retained a belief in the environment, or rather the larger ecology, as fundamental in viewing the world: as the author notes in the introduction, "his philosophy of ‘green over gray’ may often have fallen on deaf ears at the height of Postmodernism, but it today seems profoundly relevant." And it is in the context of today(...)
Emilio Ambasz: Curating a new nature
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Long a pioneer in architecture, Emilio Ambasz has retained a belief in the environment, or rather the larger ecology, as fundamental in viewing the world: as the author notes in the introduction, "his philosophy of ‘green over gray’ may often have fallen on deaf ears at the height of Postmodernism, but it today seems profoundly relevant." And it is in the context of today that the book considers his work and its three main areas of concentration—architecture, industrial design, curating—with an aim of shining a light on the interdisciplinary nature of the work as a whole. Featuring built and manufactured designs that have achieved iconic fame and challenged others to approach new ways of reconciling architecture and nature, the book also considers Ambasz’s work as curator at MoMA and his ongoing influence and legacy.
Architecture, monographies
Tim Burton
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Tim Burton has reinvented Hollywood genre filmmaking over the past three decades. With a visual style inspired by the aesthetics of animation and silent comedy, Burton's work melds the exotic, the horrific and the comic, manipulating expressionism and fantasy with the skill of a graphic novelist. Published to accompany a major career retrospective at The Museum of Modern(...)
Tim Burton
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Tim Burton has reinvented Hollywood genre filmmaking over the past three decades. With a visual style inspired by the aesthetics of animation and silent comedy, Burton's work melds the exotic, the horrific and the comic, manipulating expressionism and fantasy with the skill of a graphic novelist. Published to accompany a major career retrospective at The Museum of Modern Art, this volume considers Burton's career as an artist and filmmaker. It narrates the evolution of his creative practices, following the current of his visual imagination from his earliest childhood drawings through his mature oeuvre. Illustrated with works on paper, moving-image stills, drawn and painted concept art, puppets and maquettes, storyboards and examples of his work as a graphic artist for his non-film projects, this volume sheds new light on Burton and presents previously unseen works from the artist's personal archive.