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Classification:
livres
livres
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$44.95
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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(...)
$44.95
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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(...)
Sujet:
Acoustique
Acoustique
Publication:
décembre 2006, Cambridge / London
décembre 2006, Cambridge / London
Titre:
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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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.
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livres
livres
Publication:
décembre 2006, Cambridge / London
décembre 2006, Cambridge / London
Sujet:
Acoustique
Acoustique
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livres
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Description:
231 pages : illustrations ; 25 cm
Description:
231 pages : illustrations ; 25 cm
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Tokyo ; New York : Kodansha International, 2009.
Tokyo ; New York : Kodansha International, 2009.
Titre:
Just enough : lessons in living green from traditional Japan / Azby Brown.
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Description:
231 pages : illustrations ; 25 cm
Just enough : lessons in living green from traditional Japan / Azby Brown.
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Description:
231 pages : illustrations ; 25 cm
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livres
livres
Publication:
Tokyo ; New York : Kodansha International, 2009.
Tokyo ; New York : Kodansha International, 2009.
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$63.95
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George Nelson (1908-1986) was a pioneering modernist who ranks with such outstanding American designers as Raymond Loewy, Charles Eames, and Eliot Noyes. Nelson's office produced some of the twentieth century's canonical pieces of industrial design, many of which(...)
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George Nelson (1908-1986) was a pioneering modernist who ranks with such outstanding American designers as Raymond Loewy, Charles Eames, and Eliot Noyes. Nelson's office produced some of the twentieth century's canonical pieces of industrial design, many of which(...)
Titre:
George Nelson : the design of modern design
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George Nelson (1908-1986) was a pioneering modernist who ranks with such outstanding American designers as Raymond Loewy, Charles Eames, and Eliot Noyes. Nelson's office produced some of the twentieth century's canonical pieces of industrial design, many of which are still in production: the ball clock, the bubble lamp, and the sling sofa. Nelson also made major contributions to the storage wall, the shopping mall, the multimedia presentation, and the open-plan office system. The author of this definitive biography was given access to Nelson's office archives and personal papers. He also interviewed more than seventy of Nelson's friends, colleagues, employees, and clients, and obtained many previously unpublished images from corporate and private archives. The full range of Nelson's work is represented, from product and furniture design to packaging and graphics to large-scale projects such as the Fairchild house and the 1959 American National Exhibition in Moscow. Because Nelson was a serious and original thinker about design issues, Abercrombie quotes extensively from his published and unpublished writings, offering provocative new material to students of design theory and philosophy.
George Nelson : the design of modern design
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$63.95
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George Nelson (1908-1986) was a pioneering modernist who ranks with such outstanding American designers as Raymond Loewy, Charles Eames, and Eliot Noyes. Nelson's office produced some of the twentieth century's canonical pieces of industrial design, many of which are still in production: the ball clock, the bubble lamp, and the sling sofa. Nelson also made major contributions to the storage wall, the shopping mall, the multimedia presentation, and the open-plan office system. The author of this definitive biography was given access to Nelson's office archives and personal papers. He also interviewed more than seventy of Nelson's friends, colleagues, employees, and clients, and obtained many previously unpublished images from corporate and private archives. The full range of Nelson's work is represented, from product and furniture design to packaging and graphics to large-scale projects such as the Fairchild house and the 1959 American National Exhibition in Moscow. Because Nelson was a serious and original thinker about design issues, Abercrombie quotes extensively from his published and unpublished writings, offering provocative new material to students of design theory and philosophy.
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livres
livres
Publication:
octobre 2000, Cambridge, Mass.
octobre 2000, Cambridge, Mass.
Sujet:
Design, monographies
Design, monographies
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livres
livres
Titre:
Toward an architecture
Toward an architecture
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$36.50
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Published in 1923, Toward an Architecture had an immediate impact on architects throughout Europe and remains a foundational text for students and professionals. Le Corbusier urges readers to cease thinking of architecture as a matter of historical styles and instead open their eyes to the modern world. Simultaneously a historian, critic, and prophet, he provocatively(...)
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Published in 1923, Toward an Architecture had an immediate impact on architects throughout Europe and remains a foundational text for students and professionals. Le Corbusier urges readers to cease thinking of architecture as a matter of historical styles and instead open their eyes to the modern world. Simultaneously a historian, critic, and prophet, he provocatively(...)
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Toward an architecture
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Published in 1923, Toward an Architecture had an immediate impact on architects throughout Europe and remains a foundational text for students and professionals. Le Corbusier urges readers to cease thinking of architecture as a matter of historical styles and instead open their eyes to the modern world. Simultaneously a historian, critic, and prophet, he provocatively juxtaposes views of classical Greece and Renaissance Rome with images of airplanes, cars, and ocean liners. Le Corbusier's slogans�such as "the house is a machine for living in"�and philosophy changed how his contemporaries saw the relationship between architecture, technology, and history. This edition includes a new translation of the original text, a scholarly introduction, and background notes that illuminate the text and illustrations. Jean-Louis Cohen is the Sheldon H. Solow Chair in the History of Architecture at New York University's Institute of Fine Arts. He has written extensively on Le Corbusier's work. John Goodman is a translator and art historian. He has rendered some thirty books from French into English.
Toward an architecture
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$36.50
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Published in 1923, Toward an Architecture had an immediate impact on architects throughout Europe and remains a foundational text for students and professionals. Le Corbusier urges readers to cease thinking of architecture as a matter of historical styles and instead open their eyes to the modern world. Simultaneously a historian, critic, and prophet, he provocatively juxtaposes views of classical Greece and Renaissance Rome with images of airplanes, cars, and ocean liners. Le Corbusier's slogans�such as "the house is a machine for living in"�and philosophy changed how his contemporaries saw the relationship between architecture, technology, and history. This edition includes a new translation of the original text, a scholarly introduction, and background notes that illuminate the text and illustrations. Jean-Louis Cohen is the Sheldon H. Solow Chair in the History of Architecture at New York University's Institute of Fine Arts. He has written extensively on Le Corbusier's work. John Goodman is a translator and art historian. He has rendered some thirty books from French into English.
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livres
livres
Publication:
janvier 2007, Los Angeles
janvier 2007, Los Angeles
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$90.00
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Chicago is universally recognized as the cradle of modern architecture. It is known worldwide for the development, beginning in the late 1800s, of the renowned "Chicago School" of commercial building. In the early 1900s, Chicago saw the birth of Wright's "Prairie School" of residential design, which gave rise to the modern, open-plan house we know today. Other(...)
$90.00
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Chicago is universally recognized as the cradle of modern architecture. It is known worldwide for the development, beginning in the late 1800s, of the renowned "Chicago School" of commercial building. In the early 1900s, Chicago saw the birth of Wright's "Prairie School" of residential design, which gave rise to the modern, open-plan house we know today. Other(...)
Publication:
juin 2004, New York
juin 2004, New York
Titre:
Masterpieces of Chicago architecture
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$90.00
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Chicago is universally recognized as the cradle of modern architecture. It is known worldwide for the development, beginning in the late 1800s, of the renowned "Chicago School" of commercial building. In the early 1900s, Chicago saw the birth of Wright's "Prairie School" of residential design, which gave rise to the modern, open-plan house we know today. Other world-renowned architects were also based in Chicago, such as Louis Sullivan, who designed the Chicago Stock Exchange, and Daniel Burnham, architect of the famous Rookery Building of the 1890s. The 1940s were to see the completion of Mies van der Rohe's revolutionary Illinois Institute of Technology and his astonishing Lake Shore Drive apartment buildings. Skidmore Owings & Merrill's landmark Inland Steel Building was finished in 1954, their John Hancock Center in 1970, and their Sears Tower in 1974. Philip Johnson and John Burgee's 190 South LaSalle Street office tower went up in 1987. The 200 illustrations in this volume all come from The Art Institute of Chicago's repository of 150,000 architectural drawings, vintage photographs, models, and building fragments, which comprise one of the most important such archives.
Masterpieces of Chicago architecture
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$90.00
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Chicago is universally recognized as the cradle of modern architecture. It is known worldwide for the development, beginning in the late 1800s, of the renowned "Chicago School" of commercial building. In the early 1900s, Chicago saw the birth of Wright's "Prairie School" of residential design, which gave rise to the modern, open-plan house we know today. Other world-renowned architects were also based in Chicago, such as Louis Sullivan, who designed the Chicago Stock Exchange, and Daniel Burnham, architect of the famous Rookery Building of the 1890s. The 1940s were to see the completion of Mies van der Rohe's revolutionary Illinois Institute of Technology and his astonishing Lake Shore Drive apartment buildings. Skidmore Owings & Merrill's landmark Inland Steel Building was finished in 1954, their John Hancock Center in 1970, and their Sears Tower in 1974. Philip Johnson and John Burgee's 190 South LaSalle Street office tower went up in 1987. The 200 illustrations in this volume all come from The Art Institute of Chicago's repository of 150,000 architectural drawings, vintage photographs, models, and building fragments, which comprise one of the most important such archives.
Classification:
livres
livres
Publication:
juin 2004, New York
juin 2004, New York
Classification:
livres
livres
Titre:
The education of the eye : painting, landscape, and architecture in eighteenth-century Britain
The education of the eye : painting, landscape, and architecture in eighteenth-century Britain
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"The Education of the Eye" examines the origins of visual culture in eighteenth-century Britain. It claims that at the moment when works of visual art were first displayed and contemplated as aesthetic objects, two competing descriptions of the viewer or spectator promoted two very different accounts of culture. The first was constructed on knowledge, on what one(...)
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"The Education of the Eye" examines the origins of visual culture in eighteenth-century Britain. It claims that at the moment when works of visual art were first displayed and contemplated as aesthetic objects, two competing descriptions of the viewer or spectator promoted two very different accounts of culture. The first was constructed on knowledge, on what one(...)
Titre:
The education of the eye : painting, landscape, and architecture in eighteenth-century Britain
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$30.95
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"The Education of the Eye" examines the origins of visual culture in eighteenth-century Britain. It claims that at the moment when works of visual art were first displayed and contemplated as aesthetic objects, two competing descriptions of the viewer or spectator promoted two very different accounts of culture. The first was constructed on knowledge, on what one already knew, while the second was grounded in the eye itself. Whereas the first was most likely to lead to a socially and politically elite form of visual cutlure, the second, it was held, would almost certainly end up in the chaos of the mob. But there was another route through these conflicting accounts of the visual that preserved the education of the eye while at the same time allowing the eye freedom to enter into the realm of culture. This third route, that of sentimental look, is explored in a series of contexts: the gallery, the pleasure garden, the landscape park, and the country house. This book sets out to reclaim visual culture for the democracy of the eye and to explain how aesthetic contemplation may, once more, be open to all who have eyes to look.
The education of the eye : painting, landscape, and architecture in eighteenth-century Britain
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$30.95
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Résumé:
"The Education of the Eye" examines the origins of visual culture in eighteenth-century Britain. It claims that at the moment when works of visual art were first displayed and contemplated as aesthetic objects, two competing descriptions of the viewer or spectator promoted two very different accounts of culture. The first was constructed on knowledge, on what one already knew, while the second was grounded in the eye itself. Whereas the first was most likely to lead to a socially and politically elite form of visual cutlure, the second, it was held, would almost certainly end up in the chaos of the mob. But there was another route through these conflicting accounts of the visual that preserved the education of the eye while at the same time allowing the eye freedom to enter into the realm of culture. This third route, that of sentimental look, is explored in a series of contexts: the gallery, the pleasure garden, the landscape park, and the country house. This book sets out to reclaim visual culture for the democracy of the eye and to explain how aesthetic contemplation may, once more, be open to all who have eyes to look.
Classification:
livres
livres
Publication:
juillet 2003, Stanford
juillet 2003, Stanford
Sujet:
Théorie du paysage
Théorie du paysage
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livres
livres
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$19.95
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The "Friedrichswerder" is situated next to the Gendarmenmarkt in opposite of the Federal Foreign Office and is the construction site of 47 "Berlin Townhouses".This new city district lies on the historic site of the first city extension from the old town Berlin-Cölln, between 1650 and 1700, and will be redeveloped in following the historic pattern. The aim is to obtain and(...)
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The "Friedrichswerder" is situated next to the Gendarmenmarkt in opposite of the Federal Foreign Office and is the construction site of 47 "Berlin Townhouses".This new city district lies on the historic site of the first city extension from the old town Berlin-Cölln, between 1650 and 1700, and will be redeveloped in following the historic pattern. The aim is to obtain and(...)
Titre:
7 townhouses for berlin / stadthäuser für Berlin : soberly sensually
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The "Friedrichswerder" is situated next to the Gendarmenmarkt in opposite of the Federal Foreign Office and is the construction site of 47 "Berlin Townhouses".This new city district lies on the historic site of the first city extension from the old town Berlin-Cölln, between 1650 and 1700, and will be redeveloped in following the historic pattern. The aim is to obtain and recapture the living in this old city district. This Type of urban housing gives the possibility to live in the historic center of the city and, at the same time, to have the advantage of living in a house with garden. A long and narrow shape creates the typicall characteristic of these lots. The senat department of the city decided not to restrain the ambitions for individual design of the houses. Just the size of the lots and the number of levels were regulated. So almost every kind of desired design for the clients is satisfiable. Every client could choose his own architect. The berlin sized architect Johanne Nalbach builds seven of these house. They are under construction yet and will be finished in 2007. The Townhouses by Johanne Nalbach The Townhouses are characterized by the integration into the urban context. The two houses on the Oberwallstrasse represent the dialog with the city. The urban space demands a higher grade of restrain of material and colour of the facades. The other side of the new city district, is dominated by the strong neighbourhood of the Federal Foreign Office. Five of the houses by Johanne Nalbach are situated in this green area in front of the former Reichsbankgebäude. According to the architect the urban context gives the strength to a more individual design on this side for the houses and functions as a contrast to the regular historic façade of the 30s. The houses show the individuality of the clients and the influences of the regional and traditional culture through the articulation and choice of the materials of the facade. Representative living in the center of berlin with garden, roof terraces, living and working consolidated – the aim was to reach the most flexible possibilities of living. Level high windows dominate the design of the façade and submit the light to reach as far as possible into the depth of the houses. The center of the house is characterized by an open fireplace. The room´s altitude of 4 m and the vertical views produce a spatial liberality and emphasize the vertical idea of these houses. The linearity of the single run staircase, the free spaces and the galleries are the instruments to procure unconventional experiences of space.
7 townhouses for berlin / stadthäuser für Berlin : soberly sensually
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$19.95
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The "Friedrichswerder" is situated next to the Gendarmenmarkt in opposite of the Federal Foreign Office and is the construction site of 47 "Berlin Townhouses".This new city district lies on the historic site of the first city extension from the old town Berlin-Cölln, between 1650 and 1700, and will be redeveloped in following the historic pattern. The aim is to obtain and recapture the living in this old city district. This Type of urban housing gives the possibility to live in the historic center of the city and, at the same time, to have the advantage of living in a house with garden. A long and narrow shape creates the typicall characteristic of these lots. The senat department of the city decided not to restrain the ambitions for individual design of the houses. Just the size of the lots and the number of levels were regulated. So almost every kind of desired design for the clients is satisfiable. Every client could choose his own architect. The berlin sized architect Johanne Nalbach builds seven of these house. They are under construction yet and will be finished in 2007. The Townhouses by Johanne Nalbach The Townhouses are characterized by the integration into the urban context. The two houses on the Oberwallstrasse represent the dialog with the city. The urban space demands a higher grade of restrain of material and colour of the facades. The other side of the new city district, is dominated by the strong neighbourhood of the Federal Foreign Office. Five of the houses by Johanne Nalbach are situated in this green area in front of the former Reichsbankgebäude. According to the architect the urban context gives the strength to a more individual design on this side for the houses and functions as a contrast to the regular historic façade of the 30s. The houses show the individuality of the clients and the influences of the regional and traditional culture through the articulation and choice of the materials of the facade. Representative living in the center of berlin with garden, roof terraces, living and working consolidated – the aim was to reach the most flexible possibilities of living. Level high windows dominate the design of the façade and submit the light to reach as far as possible into the depth of the houses. The center of the house is characterized by an open fireplace. The room´s altitude of 4 m and the vertical views produce a spatial liberality and emphasize the vertical idea of these houses. The linearity of the single run staircase, the free spaces and the galleries are the instruments to procure unconventional experiences of space.
Classification:
livres
livres
Publication:
décembre 2006, Berlin
décembre 2006, Berlin
Sujet:
petits formats
petits formats
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livres
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Description:
327 pages : illustrations (chiefly color) ; 30 cm
Description:
327 pages : illustrations (chiefly color) ; 30 cm
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Publication:
Marfa, Texas : Chinati Foundation ; New Haven : in association with Yale University Press, [2010]
Marfa, Texas : Chinati Foundation ; New Haven : in association with Yale University Press, [2010]
Titre:
Chinati : the vision of Donald Judd / Marianne Stockebrand ; contributions by Rudi Fuchs [and others].
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Description:
327 pages : illustrations (chiefly color) ; 30 cm
Chinati : the vision of Donald Judd / Marianne Stockebrand ; contributions by Rudi Fuchs [and others].
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Description:
327 pages : illustrations (chiefly color) ; 30 cm
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livres
livres
Publication:
Marfa, Texas : Chinati Foundation ; New Haven : in association with Yale University Press, [2010]
Marfa, Texas : Chinati Foundation ; New Haven : in association with Yale University Press, [2010]
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livres
livres
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$36.00
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort(...)
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort(...)
Titre:
The gardener's cottage in Riverside, Illinois: Living in a
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort by Frank Lloyd Wright and landscape architect Jens Jensen. At the center of the estate, itself a National Historic Landmark, sits the Gardener’s Cottage, a small but unassuming masterpiece built for the estate’s gardener and his wife. The cottage matches the architectural aesthetic of the estate, and its naturalistic, stunning gardens reflect the overall emphasis on landscape and nature in Riverside. But what is it truly like to live within a historic work of architectural art? Current owner and gardening writer Cathy Jean Maloney here records her discoveries and personal reflections on living in the Gardener’s Cottage with her family. In The Gardener’s Cottage in Riverside, Illinois, Maloney describes the cottage’s beginnings, providing biographical background and design insight into the house itself and Riverside’s key creators. She also highlights the often overlooked beauty of the cottage and illustrates how it is emblematic of Wright and Jensen’s holistic Prairie Style approach to building and landscape architecture. The size of the Gardener’s Cottage allows us to witness Wright’s aesthetic concerns in small detail and to understand his ideas on a more accessible and livable scale.
The gardener's cottage in Riverside, Illinois: Living in a
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort by Frank Lloyd Wright and landscape architect Jens Jensen. At the center of the estate, itself a National Historic Landmark, sits the Gardener’s Cottage, a small but unassuming masterpiece built for the estate’s gardener and his wife. The cottage matches the architectural aesthetic of the estate, and its naturalistic, stunning gardens reflect the overall emphasis on landscape and nature in Riverside. But what is it truly like to live within a historic work of architectural art? Current owner and gardening writer Cathy Jean Maloney here records her discoveries and personal reflections on living in the Gardener’s Cottage with her family. In The Gardener’s Cottage in Riverside, Illinois, Maloney describes the cottage’s beginnings, providing biographical background and design insight into the house itself and Riverside’s key creators. She also highlights the often overlooked beauty of the cottage and illustrates how it is emblematic of Wright and Jensen’s holistic Prairie Style approach to building and landscape architecture. The size of the Gardener’s Cottage allows us to witness Wright’s aesthetic concerns in small detail and to understand his ideas on a more accessible and livable scale.
Classification:
livres
livres
Publication:
février 2009
février 2009
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
Titre:
Gunnar Asplund
Gunnar Asplund
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Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive(...)
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Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive(...)
Titre:
Gunnar Asplund
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Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive understanding of the relationship between architecture and its surrounding landscape. His abilities are amply demonstrated in masterpieces like the Woodland Cemetery. In 1915 Asplund and Sigurd Lewerentz won the competition to plan a new cemetery for Stockholm. Their romantic plan, in which a symbolically straight, narrow pathway abruptly curves blindly away into the forest, and with open fields capped by burial-mound-like hillocks, earned both of them further commissions for buildings within the cemetery. Asplund’s Woodland Chapel of 1920 is tucked into the forest and uses classical elements such as Doric columns, but sparingly and in unusual ways, while manipulating scale in ways that further the spiritual and contemplative nature of the building. The Crematorium and Monument Hall of 1935 are dignified and powerful, unornamented but not austere, to offer comfort to those who use them. The Gothenburg Law Courts, another critical work which was finally completed in 1937, shows how Asplund relates the architecture of Modernism to a historical plan and façade. Buildings such as the architect’s own summer house at Stennäs and the crematoria at Kviberg and Skövde, dating from the later part of his life when he had begun to embrace Modernism, still show traditional classical and vernacular influences and are evidence that not all forms of Modernism constituted a fresh start.
Gunnar Asplund
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Résumé:
Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive understanding of the relationship between architecture and its surrounding landscape. His abilities are amply demonstrated in masterpieces like the Woodland Cemetery. In 1915 Asplund and Sigurd Lewerentz won the competition to plan a new cemetery for Stockholm. Their romantic plan, in which a symbolically straight, narrow pathway abruptly curves blindly away into the forest, and with open fields capped by burial-mound-like hillocks, earned both of them further commissions for buildings within the cemetery. Asplund’s Woodland Chapel of 1920 is tucked into the forest and uses classical elements such as Doric columns, but sparingly and in unusual ways, while manipulating scale in ways that further the spiritual and contemplative nature of the building. The Crematorium and Monument Hall of 1935 are dignified and powerful, unornamented but not austere, to offer comfort to those who use them. The Gothenburg Law Courts, another critical work which was finally completed in 1937, shows how Asplund relates the architecture of Modernism to a historical plan and façade. Buildings such as the architect’s own summer house at Stennäs and the crematoria at Kviberg and Skövde, dating from the later part of his life when he had begun to embrace Modernism, still show traditional classical and vernacular influences and are evidence that not all forms of Modernism constituted a fresh start.
Classification:
livres
livres
Publication:
octobre 2004, London
octobre 2004, London
Sujet:
Architecture, monographies
Architecture, monographies
