12071 Résultats
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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975,(...)
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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975,(...)
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Collective Design : Alison & Peter Smithson
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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975, Alison and Peter Smithson, published a series of seven articles in Architectural Design questioning the unity of the architectural form, as well as their commitment as architects. In recognition of the inevitable cultural fragmentation of society, they question the collective dimension of their work and their relationship with the community.
Collective Design : Alison & Peter Smithson
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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975, Alison and Peter Smithson, published a series of seven articles in Architectural Design questioning the unity of the architectural form, as well as their commitment as architects. In recognition of the inevitable cultural fragmentation of society, they question the collective dimension of their work and their relationship with the community.
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livres
livres
Publication:
janvier 2026
janvier 2026
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
Kengo Kuma: New works
Kengo Kuma: New works
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Kengo Kuma is one of Japan’s leading architects and professor emeritus at the University of Tokyo. A prolific writer and philosopher, he proposes architecture that introduces new relationships between nature, technology, and human beings. This book, Kuma’s second monograph following ''Kengo Kuma: Complete Works'', surveys forty projects arranged according to building use,(...)
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Kengo Kuma is one of Japan’s leading architects and professor emeritus at the University of Tokyo. A prolific writer and philosopher, he proposes architecture that introduces new relationships between nature, technology, and human beings. This book, Kuma’s second monograph following ''Kengo Kuma: Complete Works'', surveys forty projects arranged according to building use,(...)
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Kengo Kuma: New works
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Kengo Kuma is one of Japan’s leading architects and professor emeritus at the University of Tokyo. A prolific writer and philosopher, he proposes architecture that introduces new relationships between nature, technology, and human beings. This book, Kuma’s second monograph following ''Kengo Kuma: Complete Works'', surveys forty projects arranged according to building use, with a timely focus on those that respond to natural disasters and the pandemic, build on the importance of local communities, and address our need to come together with others. The projects range in scale and ambition, from Japan’s Olympic Stadium—where Kuma used timber from every region in the country to build the nation’s largest arena—to a small community center in Yusuhara, and a fairytale museum in Denmark. Each celebrates Kuma’s skill using natural materials, as he pushes them to their limits to create exciting and surprising forms. Take for instance, The Exchange, a community center in Sydney, which has wooden “threads” which wrap around the building, giving the impression of a bird’s nest and the UCCA Clay Museum in Yixing, China, with an undulating organic form that mimics a mountain, covered with 3,600 handmade, clay terracotta tiles. In the book’s introductory essay, designer and Harvard University professor Grace La considers Kuma’s evolution since his previous monograph and explores the themes of his work and how they relate to the architecture world today. The projects included in ''Kengo Kuma: New Works''—stadiums and cultural centers, museums and houses, cafés and parks, temples and pavilions—have been chosen by Kuma himself as best representative of this stage in his career. None appear in his previous book.
Kengo Kuma: New works
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Kengo Kuma is one of Japan’s leading architects and professor emeritus at the University of Tokyo. A prolific writer and philosopher, he proposes architecture that introduces new relationships between nature, technology, and human beings. This book, Kuma’s second monograph following ''Kengo Kuma: Complete Works'', surveys forty projects arranged according to building use, with a timely focus on those that respond to natural disasters and the pandemic, build on the importance of local communities, and address our need to come together with others. The projects range in scale and ambition, from Japan’s Olympic Stadium—where Kuma used timber from every region in the country to build the nation’s largest arena—to a small community center in Yusuhara, and a fairytale museum in Denmark. Each celebrates Kuma’s skill using natural materials, as he pushes them to their limits to create exciting and surprising forms. Take for instance, The Exchange, a community center in Sydney, which has wooden “threads” which wrap around the building, giving the impression of a bird’s nest and the UCCA Clay Museum in Yixing, China, with an undulating organic form that mimics a mountain, covered with 3,600 handmade, clay terracotta tiles. In the book’s introductory essay, designer and Harvard University professor Grace La considers Kuma’s evolution since his previous monograph and explores the themes of his work and how they relate to the architecture world today. The projects included in ''Kengo Kuma: New Works''—stadiums and cultural centers, museums and houses, cafés and parks, temples and pavilions—have been chosen by Kuma himself as best representative of this stage in his career. None appear in his previous book.
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livres
livres
Publication:
septembre 2026
septembre 2026
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
Titre:
BIG Atlas
BIG Atlas
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For over two decades, the pioneering, multidisciplinary Danish firm BIG-Bjarke Ingels Group has created a wide range of projects that give form to the future, standing out for their bold-yet-practical forms, elements of surprise, and people-focused solutions. ''BIG Atlas'' offers an ambitious and all-encompassing survey of more than fifty completed projects from around(...)
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For over two decades, the pioneering, multidisciplinary Danish firm BIG-Bjarke Ingels Group has created a wide range of projects that give form to the future, standing out for their bold-yet-practical forms, elements of surprise, and people-focused solutions. ''BIG Atlas'' offers an ambitious and all-encompassing survey of more than fifty completed projects from around(...)
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Architecture, monographies
Architecture, monographies
Publication:
juin 2026
juin 2026
Titre:
BIG Atlas
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For over two decades, the pioneering, multidisciplinary Danish firm BIG-Bjarke Ingels Group has created a wide range of projects that give form to the future, standing out for their bold-yet-practical forms, elements of surprise, and people-focused solutions. ''BIG Atlas'' offers an ambitious and all-encompassing survey of more than fifty completed projects from around the world, from an energy plant topped with a ski slope and a LEGO Museum that seems to be made out of the famous bricks to the firm’s own recently completed Copenhagen headquarters. Spanning a rich variety of typologies, scales, and materials, the featured projects are brought to life through more than 600 photographs, plans, and drawings. Presented together for the first time, they trace BIG’s transformation into fully integrated design, synthesizing the fields of architecture, interiors, landscape, engineering, planning, and product design to advance more sustainable ways of living within our environments while simultaneously raising the quality of our lives.
BIG Atlas
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For over two decades, the pioneering, multidisciplinary Danish firm BIG-Bjarke Ingels Group has created a wide range of projects that give form to the future, standing out for their bold-yet-practical forms, elements of surprise, and people-focused solutions. ''BIG Atlas'' offers an ambitious and all-encompassing survey of more than fifty completed projects from around the world, from an energy plant topped with a ski slope and a LEGO Museum that seems to be made out of the famous bricks to the firm’s own recently completed Copenhagen headquarters. Spanning a rich variety of typologies, scales, and materials, the featured projects are brought to life through more than 600 photographs, plans, and drawings. Presented together for the first time, they trace BIG’s transformation into fully integrated design, synthesizing the fields of architecture, interiors, landscape, engineering, planning, and product design to advance more sustainable ways of living within our environments while simultaneously raising the quality of our lives.
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livres
livres
Publication:
juin 2026
juin 2026
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
Titre:
The Zaha Hadid interviews
The Zaha Hadid interviews
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This volume gathers 12 conversations between the architect Zaha Hadid (1950–2016) and Hans Ulrich Obrist, conducted between 2001 and 2013. Across these exchanges, Hadid reflects on architecture as a field of experimentation shaped by drawing, exhibition-making, urbanism and new technologies. The interviews trace the evolution of her thinking from early speculative(...)
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This volume gathers 12 conversations between the architect Zaha Hadid (1950–2016) and Hans Ulrich Obrist, conducted between 2001 and 2013. Across these exchanges, Hadid reflects on architecture as a field of experimentation shaped by drawing, exhibition-making, urbanism and new technologies. The interviews trace the evolution of her thinking from early speculative(...)
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The Zaha Hadid interviews
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This volume gathers 12 conversations between the architect Zaha Hadid (1950–2016) and Hans Ulrich Obrist, conducted between 2001 and 2013. Across these exchanges, Hadid reflects on architecture as a field of experimentation shaped by drawing, exhibition-making, urbanism and new technologies. The interviews trace the evolution of her thinking from early speculative projects to the realization of major cultural buildings, including museums and civic spaces across Europe, Asia and the United States. Hadid discusses interior complexity, movement and perception, the testing of ideas through exhibitions and installations and the relationship between architecture, art and performance. She also addresses collaboration, authorship and the challenges of translating radical ideas into built form.
The Zaha Hadid interviews
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This volume gathers 12 conversations between the architect Zaha Hadid (1950–2016) and Hans Ulrich Obrist, conducted between 2001 and 2013. Across these exchanges, Hadid reflects on architecture as a field of experimentation shaped by drawing, exhibition-making, urbanism and new technologies. The interviews trace the evolution of her thinking from early speculative projects to the realization of major cultural buildings, including museums and civic spaces across Europe, Asia and the United States. Hadid discusses interior complexity, movement and perception, the testing of ideas through exhibitions and installations and the relationship between architecture, art and performance. She also addresses collaboration, authorship and the challenges of translating radical ideas into built form.
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livres
livres
Publication:
septembre 2026
septembre 2026
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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« La ville énergivore » retrace l’histoire de la dépendance urbaine moderne envers des sources d’énergie extraites loin des villes et transportées par des infrastructures technologiques sophistiquées. À travers le cas de Montréal au 20e siècle, métropole énergivore d’un pays énergivore, ce livre raconte le déclin du bois et du charbon, autrefois manipulés physiquement(...)
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« La ville énergivore » retrace l’histoire de la dépendance urbaine moderne envers des sources d’énergie extraites loin des villes et transportées par des infrastructures technologiques sophistiquées. À travers le cas de Montréal au 20e siècle, métropole énergivore d’un pays énergivore, ce livre raconte le déclin du bois et du charbon, autrefois manipulés physiquement(...)
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La ville énergivore : Une histoire des transitions énergétiques à Montréal au 20e siècle
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« La ville énergivore » retrace l’histoire de la dépendance urbaine moderne envers des sources d’énergie extraites loin des villes et transportées par des infrastructures technologiques sophistiquées. À travers le cas de Montréal au 20e siècle, métropole énergivore d’un pays énergivore, ce livre raconte le déclin du bois et du charbon, autrefois manipulés physiquement pour le chauffage et la cuisson. Ils sont remplacés par l’hydroélectricité, le gaz naturel et le pétrole, distribués par des réseaux invisibles qui ont alimenté la consommation débridée d’énergie typique de l’après-guerre. Clarence Hatton-Proulx porte notre regard sur les espaces concrets où l’énergie en ville est entreposée, transformée et consommée : les cours à bois et à charbon, les stations-services, les raffineries de pétrole, les appartements et les bungalows de l’île de Montréal. Il analyse les tensions entourant la transition à travers une étude fine de différents acteurs historiques, des locataires aux professions de l’urbain.
La ville énergivore : Une histoire des transitions énergétiques à Montréal au 20e siècle
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« La ville énergivore » retrace l’histoire de la dépendance urbaine moderne envers des sources d’énergie extraites loin des villes et transportées par des infrastructures technologiques sophistiquées. À travers le cas de Montréal au 20e siècle, métropole énergivore d’un pays énergivore, ce livre raconte le déclin du bois et du charbon, autrefois manipulés physiquement pour le chauffage et la cuisson. Ils sont remplacés par l’hydroélectricité, le gaz naturel et le pétrole, distribués par des réseaux invisibles qui ont alimenté la consommation débridée d’énergie typique de l’après-guerre. Clarence Hatton-Proulx porte notre regard sur les espaces concrets où l’énergie en ville est entreposée, transformée et consommée : les cours à bois et à charbon, les stations-services, les raffineries de pétrole, les appartements et les bungalows de l’île de Montréal. Il analyse les tensions entourant la transition à travers une étude fine de différents acteurs historiques, des locataires aux professions de l’urbain.
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livres
livres
Publication:
août 2026
août 2026
Sujet:
Architecture de Montréal
Architecture de Montréal
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livres
livres
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Elle apparaît fragile, la Mémo, posée au milieu de son rond-point. On dit qu'elle ressemble à un vaisseau spatial, que ses lignes sont futuristes. Certains la trouvent belle et moderne, d'autres simplement moche. Même si elle semble étrange, comme atterri sans raison, dans ce site jugé par beaucoup ordinaire, elle est le fruit d'une volonté politique et d'une ambition(...)
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Elle apparaît fragile, la Mémo, posée au milieu de son rond-point. On dit qu'elle ressemble à un vaisseau spatial, que ses lignes sont futuristes. Certains la trouvent belle et moderne, d'autres simplement moche. Même si elle semble étrange, comme atterri sans raison, dans ce site jugé par beaucoup ordinaire, elle est le fruit d'une volonté politique et d'une ambition(...)
Titre:
Colboc Franzen & Associés: Médiathèque de Montauban
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Elle apparaît fragile, la Mémo, posée au milieu de son rond-point. On dit qu'elle ressemble à un vaisseau spatial, que ses lignes sont futuristes. Certains la trouvent belle et moderne, d'autres simplement moche. Même si elle semble étrange, comme atterri sans raison, dans ce site jugé par beaucoup ordinaire, elle est le fruit d'une volonté politique et d'une ambition culturelle et urbaine : celles de valoriser l'ordinaire du périurbain. Cet ouvrage conte l'histoire de cette création, à travers les textes des bibliothécaires Anne Verneuil, Bernard Mnich et Ann-Sarah Laroche, de l'architecte Benjamin Colboc, de l'ingénieur structure Marc Malinowsky et de l'acousticien Jean-Paul Lamoureux.
Colboc Franzen & Associés: Médiathèque de Montauban
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Elle apparaît fragile, la Mémo, posée au milieu de son rond-point. On dit qu'elle ressemble à un vaisseau spatial, que ses lignes sont futuristes. Certains la trouvent belle et moderne, d'autres simplement moche. Même si elle semble étrange, comme atterri sans raison, dans ce site jugé par beaucoup ordinaire, elle est le fruit d'une volonté politique et d'une ambition culturelle et urbaine : celles de valoriser l'ordinaire du périurbain. Cet ouvrage conte l'histoire de cette création, à travers les textes des bibliothécaires Anne Verneuil, Bernard Mnich et Ann-Sarah Laroche, de l'architecte Benjamin Colboc, de l'ingénieur structure Marc Malinowsky et de l'acousticien Jean-Paul Lamoureux.
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livres
livres
Publication:
octobre 2013
octobre 2013
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$35.00
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Álvaro Siza designed and built (1960-63) the Lordelo do Ouro Cooperative Building in Porto by appointment of the national federative cooperative movement in Portugal. The building has seldom been considered throughout almost four decades of critical reviews about Siza’s worldwide renowned work. That was probably due to the deteriorated aspect it was reduced to, in fact(...)
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Álvaro Siza designed and built (1960-63) the Lordelo do Ouro Cooperative Building in Porto by appointment of the national federative cooperative movement in Portugal. The building has seldom been considered throughout almost four decades of critical reviews about Siza’s worldwide renowned work. That was probably due to the deteriorated aspect it was reduced to, in fact(...)
Sujet:
Architecture, monographies
Architecture, monographies
Publication:
août 2019
août 2019
Titre:
Alvaro Siza's Lordelo do Ouro Cooperative Building
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Álvaro Siza designed and built (1960-63) the Lordelo do Ouro Cooperative Building in Porto by appointment of the national federative cooperative movement in Portugal. The building has seldom been considered throughout almost four decades of critical reviews about Siza’s worldwide renowned work. That was probably due to the deteriorated aspect it was reduced to, in fact few years after its completion the management fired the architect and operated heavy alterations. Nowadays, because of socio-economic changes, which were not matched, the Cooperative lies almost abandoned. No doubt that the building looks poor, nevertheless the robustness of its spatial and structural organization has preserved most of its intrinsic quality, which is still there just waiting to be rediscovered and once again fully appreciated.
Alvaro Siza's Lordelo do Ouro Cooperative Building
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Álvaro Siza designed and built (1960-63) the Lordelo do Ouro Cooperative Building in Porto by appointment of the national federative cooperative movement in Portugal. The building has seldom been considered throughout almost four decades of critical reviews about Siza’s worldwide renowned work. That was probably due to the deteriorated aspect it was reduced to, in fact few years after its completion the management fired the architect and operated heavy alterations. Nowadays, because of socio-economic changes, which were not matched, the Cooperative lies almost abandoned. No doubt that the building looks poor, nevertheless the robustness of its spatial and structural organization has preserved most of its intrinsic quality, which is still there just waiting to be rediscovered and once again fully appreciated.
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livres
livres
Publication:
août 2019
août 2019
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$59.95
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"Suspensions of Perception" is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to(...)
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"Suspensions of Perception" is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to(...)
Titre:
Suspensions of perception : attention, spectacle, and modern culture
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"Suspensions of Perception" is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters--Manet, Seurat, and Cézanne--who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception--in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.
Suspensions of perception : attention, spectacle, and modern culture
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"Suspensions of Perception" is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters--Manet, Seurat, and Cézanne--who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception--in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.
Classification:
livres
livres
Publication:
octobre 1999, Cambridge
octobre 1999, Cambridge
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Prix:
$52.50
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The dominant architectures in our culture of development consist of generic protocols for building offices, airports, houses, and highways. For Keller Easterling these organizational formats are not merely the context of design efforts. They are the design. Bridging the gap between architecture and infrastructure, Easterling views architecture as part of an ecology of(...)
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The dominant architectures in our culture of development consist of generic protocols for building offices, airports, houses, and highways. For Keller Easterling these organizational formats are not merely the context of design efforts. They are the design. Bridging the gap between architecture and infrastructure, Easterling views architecture as part of an ecology of(...)
Titre:
Organization space : landscapes, highways, and houses in America
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The dominant architectures in our culture of development consist of generic protocols for building offices, airports, houses, and highways. For Keller Easterling these organizational formats are not merely the context of design efforts. They are the design. Bridging the gap between architecture and infrastructure, Easterling views architecture as part of an ecology of interrelationships and linkages, and she treats the expression of organizational character as part of the architectural endeavor. Easterling also makes the case that these organizational formats are improvisational and responsive to circumstantial change, to mistakes, anomalies, and seemingly illogical market forces. By treating these irregularities opportunistically, she offers architects working within the customary development protocols new sites for making and altering space. By showing the reciprocal relations between systems of thinking and modes of designing, Easterling establishes unexpected congruencies between natural and built environments, virtual and physical systems, highway and communication networks, and corporate and spatial organizations. She frames her unconventional notion of site not in terms of singular entities, but in terms of relationships between multiple sites that are both individually and collectively adjustable.
Organization space : landscapes, highways, and houses in America
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The dominant architectures in our culture of development consist of generic protocols for building offices, airports, houses, and highways. For Keller Easterling these organizational formats are not merely the context of design efforts. They are the design. Bridging the gap between architecture and infrastructure, Easterling views architecture as part of an ecology of interrelationships and linkages, and she treats the expression of organizational character as part of the architectural endeavor. Easterling also makes the case that these organizational formats are improvisational and responsive to circumstantial change, to mistakes, anomalies, and seemingly illogical market forces. By treating these irregularities opportunistically, she offers architects working within the customary development protocols new sites for making and altering space. By showing the reciprocal relations between systems of thinking and modes of designing, Easterling establishes unexpected congruencies between natural and built environments, virtual and physical systems, highway and communication networks, and corporate and spatial organizations. She frames her unconventional notion of site not in terms of singular entities, but in terms of relationships between multiple sites that are both individually and collectively adjustable.
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livres
livres
Publication:
novembre 1999, Cambridge
novembre 1999, Cambridge
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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From Vaux-le-Vicomte to Versailles, the buildings of Louis Le Vau shaped the image of French court society. None, however, has had as dramatic an effect as Mazarin's Collège (1661-70), the Parisian landmark that now houses the Institut de France. In this first English-language book on Louis XIV's celebrated architect, Hilary Ballon deftly portrays the brilliance and(...)
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From Vaux-le-Vicomte to Versailles, the buildings of Louis Le Vau shaped the image of French court society. None, however, has had as dramatic an effect as Mazarin's Collège (1661-70), the Parisian landmark that now houses the Institut de France. In this first English-language book on Louis XIV's celebrated architect, Hilary Ballon deftly portrays the brilliance and(...)
Titre:
Louis Le Vau : Mazarin's Collège, Colbert's revenge
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Résumé:
From Vaux-le-Vicomte to Versailles, the buildings of Louis Le Vau shaped the image of French court society. None, however, has had as dramatic an effect as Mazarin's Collège (1661-70), the Parisian landmark that now houses the Institut de France. In this first English-language book on Louis XIV's celebrated architect, Hilary Ballon deftly portrays the brilliance and controversy of Le Vau's late career through an exploration of this masterpiece, a hybrid of baroque and classical styles. She tracks the design and construction of the Collège on the basis of splendid drawings, fully illustrated here, integrating into this account previously unknown dimensions of Le Vau's creative personality, his financial entanglements, and his feuds with government leaders. The story of the Collège begins in 1661 with the death of Cardinal Mazarin, who left an extravagant sum of money for a school to be built in his memory. Le Vau responded with an ambitious architectural tribute intended to launch the development of Paris in a new artistic direction. As Ballon shows, many personal factors figured into the final product, including Le Vau's activities as a real estate developer and entrepreneur, and his explosive response to the Italian baroque master Gianlorenzo Bernini, who visited Paris in 1665. The project ended up significantly over budget, and officials charged Le Vau shortly after his death with embezzling funds. The chief minister, Jean-Baptiste Colbert, led the attack on Le Vau, turning the ethical scandal into an aesthetic crusade to maintain a "classical" look for central Paris. By relating the intriguing context in which the Collège was created, Ballon explains why traditional definitions of the baroque and classical styles have failed to offer a cohesive understanding of the building. Her examination of the elements informing Le Vau's personal style and his relationship with Colbert brings into sharper focus the phenomenon of royal patronage and opens a new perspective on the development of French classicism at a turning point in Parisian architectural history.
Louis Le Vau : Mazarin's Collège, Colbert's revenge
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Prix:
$59.25
(disponible sur commande)
Résumé:
From Vaux-le-Vicomte to Versailles, the buildings of Louis Le Vau shaped the image of French court society. None, however, has had as dramatic an effect as Mazarin's Collège (1661-70), the Parisian landmark that now houses the Institut de France. In this first English-language book on Louis XIV's celebrated architect, Hilary Ballon deftly portrays the brilliance and controversy of Le Vau's late career through an exploration of this masterpiece, a hybrid of baroque and classical styles. She tracks the design and construction of the Collège on the basis of splendid drawings, fully illustrated here, integrating into this account previously unknown dimensions of Le Vau's creative personality, his financial entanglements, and his feuds with government leaders. The story of the Collège begins in 1661 with the death of Cardinal Mazarin, who left an extravagant sum of money for a school to be built in his memory. Le Vau responded with an ambitious architectural tribute intended to launch the development of Paris in a new artistic direction. As Ballon shows, many personal factors figured into the final product, including Le Vau's activities as a real estate developer and entrepreneur, and his explosive response to the Italian baroque master Gianlorenzo Bernini, who visited Paris in 1665. The project ended up significantly over budget, and officials charged Le Vau shortly after his death with embezzling funds. The chief minister, Jean-Baptiste Colbert, led the attack on Le Vau, turning the ethical scandal into an aesthetic crusade to maintain a "classical" look for central Paris. By relating the intriguing context in which the Collège was created, Ballon explains why traditional definitions of the baroque and classical styles have failed to offer a cohesive understanding of the building. Her examination of the elements informing Le Vau's personal style and his relationship with Colbert brings into sharper focus the phenomenon of royal patronage and opens a new perspective on the development of French classicism at a turning point in Parisian architectural history.
Classification:
livres
livres
Publication:
janvier 1900, Princeton
janvier 1900, Princeton
Sujet:
Architecture, monographies
Architecture, monographies
