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Modelling Time: The Permanent Collection 1925–2014 chronicles the exhibition Model as Ruin at the House of Artists in Oslo, November 1 – December 15, 2013. Together with master students from the Oslo School of Architecture and Design, Mari Hvattum and Mari Lending brought a unique, modernist model collection out of the archives, re-exhibiting it at the venue that once(...)
Modelling time: the permanent collection 1925-2014
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Modelling Time: The Permanent Collection 1925–2014 chronicles the exhibition Model as Ruin at the House of Artists in Oslo, November 1 – December 15, 2013. Together with master students from the Oslo School of Architecture and Design, Mari Hvattum and Mari Lending brought a unique, modernist model collection out of the archives, re-exhibiting it at the venue that once hosted its biggest ever display in 1931. The collection testifies to a different modernism; not white and austere but colourful, diverse, and full of detail. Modelling Time gives an in-depth portrayal of the so-called ‘Permanent Collection’ of Norwegian scale models, photographs and drawings, tracing its international trajectory of exhibitions from Brussels in 1927 to its last appearance at the World’s Fair in New York in 1939. The book documents the collection’s heydays as part of a vivid international modernist culture, as well as its archival diaspora as it falls into oblivion after WWII. In an extensive, archive-based essay editors Lending and Hvattum give the full context of the collection, while Juliane Derry and Jorge Otero-Pailos look into the models’ materiality and issues of decay. Model scholars and architecture curators Barry Bergdoll, Carson Chan, Pippo Ciorra, Oliver Elser, Juliet Koss, Andres Lepik, Adam Lowe, Wallis Miller, Jorge Otero-Pailos, Léa-Catherine Szacka, and Victor Plathe Tschudi presents a variety of perspectives inspired by the Oslo collection.
Maquettes
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Set amid the imperial extravagances of the American Renaissance to the Roaring Twenties (1890-1935), an era redolent with the well-publicized achievements of such famed designers as Stanford White, Richard Morris Hunt, Carrère & Hastings, and John Russell Pope, it astounds one to learn that the one authentic genius among them was a publicity-shy Philadelphian without any(...)
American Splendor : the residential architecture of Horace Trumbauer
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Set amid the imperial extravagances of the American Renaissance to the Roaring Twenties (1890-1935), an era redolent with the well-publicized achievements of such famed designers as Stanford White, Richard Morris Hunt, Carrère & Hastings, and John Russell Pope, it astounds one to learn that the one authentic genius among them was a publicity-shy Philadelphian without any kind of social connections whose formal education did not extend beyond the 10th grade. Yet the supremacy of Horace Trumbauer in the field of classically-inspired residential design is acknowledged by such diverse voices as art connoisseur Joseph Duveen, modernist icon Philip Johnson, and author Aldous Huxley. "American Splendor: The Residential Architecture of Horace Trumbauer," will place the achievements of this master creator of the American Great House before a wider and more discerning public. Working with clients whose names comprise a veritable who's who of America's industrial and financial moguls, Trumbauer's prodigious body of work graced both the exclusive enclaves of Newport, Rhode Island, Long Island, Philadelphia's Main Line and Elkins Park, and the vaunted precincts of New York's Fifth Avenue and Washington DC's Embassy Row. Allied with the finest landscape designers and interior decorators of his time, Trumbauer's elegant mansions represent the ultimate expression of a nation's ambition for grandeur and supremacy since those of the Italian Renaissance. Devoid of any wish for personal fame or artistic recognition, he hoped that his work would ultimately speak for itself. As "American Splendor: The Residential Architecture of Horace Trumbauer" demonstrates, it most certainly and eloquently does. In this first monograph on Horace Trumbauer, American Splendor introduces the genius of this American master architect to the world.
Histoire jusqu’à 1900
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Since the first edition of "Edible Estates : Attack on the Front Lawn" was published in 2008, interest in edible gardening has exploded across the United States and abroad. This greatly expanded second edition of the book documents the eight Edible Estates regional prototype gardens that author Fritz Haeg has planted in California, Kansas, Texas, Maryland, New Jersey, New(...)
Edible estates : attack on the front lawn, 2nd edition
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Since the first edition of "Edible Estates : Attack on the Front Lawn" was published in 2008, interest in edible gardening has exploded across the United States and abroad. This greatly expanded second edition of the book documents the eight Edible Estates regional prototype gardens that author Fritz Haeg has planted in California, Kansas, Texas, Maryland, New Jersey, New York and England, and includes personal accounts from the homeowner-gardeners about the pleasures and challenges of publicly growing food where they live. Ten "Reports from Coast to Coast" tell the stories of others who have planted their own edible front yards in towns and cities across the country. In addition to essays by landscape architect and scholar Diana Balmori, edible-landscaping pioneer Rosalind Creasy, bestselling author and sustainable-food advocate Michael Pollan and artist and writer Lesley Stern, this edition features updated text by Haeg (including his observations on the Obama White House vegetable garden); a contribution from Mannahatta author Eric W. Sanderson; and Growing Power founder, MacArthur Fellow and urban farmer Will Allen's never-before-published Declaration of the Good Food Revolution. This is not a comprehensive how-to book, nor a showcase of impossibly perfect gardens. The stories presented here are intended to reveal something about how we are living today and to inspire readers to plant their own versions of an Edible Estate. If we see that our neighbor's typical grassy lawn instead can be a beautiful food garden, perhaps we will begin to look at the city around us with new eyes. Our private land can be a public model for the world in which we would like to live.