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First House
First House examines the first works of key architects from the Modern Movement who taught or studied at Harvard between the late 1930s and early 1950s. Drawings, project descriptions, and details concerning the cost of each building are included.
Almost Nothing
Ludwig Mies van der Rohe (1886-1969) undoubtedly is one of the most significant and influential architects ever. His designs and realized buildings, as well as his thinking and writings, until the present day continue to initiate many controversial debates on achievement and failure in modern architecture. Yet not only architects and urban designers have been inspired or appalled by Mies van der Rohe. This new book demonstrates that his influence reaches far beyond the boundaries of the professional architecture world. Almost Nothing collects work by one-hundred painters, sculptors, photographers, film directors, designers, cartoonists, and architects that comment on or appropriate buildings...
Philip Johnson and His Mischief
In the world of modern art, the idea of appropriation, or the conscious manipulation of the recognised world of another artist, has long been accepted as a legitimate strategy in criticism of the tradition of art authorship, challenging the context of viewing contemporary work and the manipulation of omnipresent media images. The world of art itself is fair game to be pillaged or mined in the production of new art, but there is almost no recognised equivalent aesthetic in architecture. Philip Johnson consistently dealt with the concept of appropriation and used it as a design strategy from the very beginning of his illustrious career. A singular taste-maker, Philip Johnson influenced art, architecture and design during the second half of the 20th century. Philip Johnson and His Mischief: Appropriation in Art and Architecture looks at the concept of appropriation and how Johnson’s style was influenced first by his mentor, Mies van der Rohe, and then by post-modern ideas and artists. This title serves to review Johnson’s body of work and show that, far from being a weakness, his use of appropriation was a major part of his innovative success.
Dwell
At Dwell, we're staging a minor revolution. We think that it's possible to live in a house or apartment by a bold modern architect, to own furniture and products that are exceptionally well designed, and still be a regular human being. We think that good design is an integral part of real life. And that real life has been conspicuous by its absence in most design and architecture magazines.
Dwell
At Dwell, we're staging a minor revolution. We think that it's possible to live in a house or apartment by a bold modern architect, to own furniture and products that are exceptionally well designed, and still be a regular human being. We think that good design is an integral part of real life. And that real life has been conspicuous by its absence in most design and architecture magazines.
Dwell
At Dwell, we're staging a minor revolution. We think that it's possible to live in a house or apartment by a bold modern architect, to own furniture and products that are exceptionally well designed, and still be a regular human being. We think that good design is an integral part of real life. And that real life has been conspicuous by its absence in most design and architecture magazines.
Dwell
At Dwell, we're staging a minor revolution. We think that it's possible to live in a house or apartment by a bold modern architect, to own furniture and products that are exceptionally well designed, and still be a regular human being. We think that good design is an integral part of real life. And that real life has been conspicuous by its absence in most design and architecture magazines.
Contemporary Art About Architecture
An important resource for scholars of contemporary art and architecture, this volume considers contemporary art that takes architecture as its subject. Concentrated on works made since 1990, Contemporary Art About Architecture: A Strange Utility is the first to take up this topic in a sustained and explicit manner and the first to advance the idea that contemporary art functions as a form of architectural history, theory, and analysis. Over the course of fourteen essays by both emerging and established scholars, this volume examines a diverse group of artists in conjunction with the vernacular, canonical, and fantastical structures engaged by their work. I? Manglano-Ovalle, Matthew Barney, M...
Art and the Church: A Fractious Embrace
A vibrant critical exchange between contemporary art and Christianity is being increasingly prompted by an expanding programme of art installations and commissions for ecclesiastical spaces. Rather than 'religious art' reflecting Christian ideology, current practices frequently initiate projects that question the values and traditions of the host space, or present objects and events that challenge its visual conventions. In the light of these developments, this book asks what conditions are favourable to enhancing and expanding the possibilities of church-based art, and how can these conditions be addressed? What viable language or strategies can be formulated to understand and analyse art's...
Off-Modern Catholic Aesthetics
Acknowledgements List of Illustrations Introduction 1 Off-Modern Profiles 2 Unpacking the Dynamics of Catholic Modernisation 3 “The Eclipse of God”: Transplanted Artists 4 “Background Metaphorics”: Exchanges between Art and Religion 5 Structure of the Book 1 Antinomies of Art and Theology. Marie-Alain Couturier and the Contradictions of Modern Sacred Culture Introduction: Couturier’s Conceptual Zig Zags Prelude. Paris, 1953. The Contradictoires Text Sacred Art between the Mechanical and Natural Attitudes 1 Le Saulchoir/Paris, 1918–1930. Catholic Endgame, or the Narrative of Decline 1.1 “Down with the Republic, Long Live the King!”: Couturier’s Romantic Anti-Capitalism and t...
