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De stoel van Rietveld
The Red-Blue Chair by furniture designer and architect Gerrit Rietveld belongs, along with the 'Barcelona Chair' by Mies van der Rohe and the 'Chaise Longue' by Le Corbusier, to the most famous pieces of modern furniture in the world. Since 2006 the'Red-Blue Chair' has figured as the visual icon of 'De Stijl' in the canon of Dutch history. The chair is found in important museum collections all over the world. Rietveld's Chair is the result of an investigation into the genesis and development, use and reception of this modern classic by art historian Marijke Kuper. The book presents new facts and visual materials as well as an overview of all the prewar examples of the chair discovered thus far. It is an openended overview, because there is still a chance that an unknown original model of the'Red-Blue Chair', or one presumed lost, could suddenly surface somewhere. Exhibition: Central Museum, Utrecht (20.10.2010-11.01.2011).
2G N. 39/40 GERRIT TH. RIETVELD
Although internationally known for his furniture, for his iconic Schröder House and for his relationship to the members of De Stijl, Gerrit Th. Rietveld developed a prolific career as an architect after his Neo-Plasticist phase in the 1920s. This double issue of 2G. Revista internacional de arquitectura takes another look at Rietveld's domestic built work from his first Neo-Plasticist buildings of the 1920s to his death in 1964. In it we discover a trajectory which, without renouncing the Neo-Plasticist precepts of his early days, gradually takes on a more domestic and everyday cast in direct rapport with his clients. Along with his endeavours as a cabinetmaker, the issue of suburban single-family housing constituted a fundamental mainstay in his trajectory, one in which the everyday is intermingled with spatial exploration. The revisit to this less-known oeuvre of Rietveld's is preceded by essays by Marijke Kuper (editor of this issue), Hans Ibelings and Wim Quist, and culminates in the nexus section with various texts by the architect himself.
2G : revista internacional de arquitectura
Although internationally known for his furniture, for his iconic Schröder House and for his relationship to the members of De Stijl, Gerrit Th. Rietveld developed a prolific career as an architect after his Neo-Plasticist phase in the 1920s. This double issue of 2G. Revista internacional de arquitectura takes another look at Rietveld's domestic built work from his first Neo-Plasticist buildings of the 1920s to his death in 1964. In it we discover a trajectory which, without renouncing the Neo-Plasticist precepts of his early days, gradually takes on a more domestic and everyday cast in direct rapport with his clients. Along with his endeavours as a cabinetmaker, the issue of suburban single-family housing constituted a fundamental mainstay in his trajectory, one in which the everyday is intermingled with spatial exploration. The revisit to this less-known oeuvre of Rietveld's is preceded by essays by Marijke Kuper (editor of this issue), Hans Ibelings and Wim Quist, and culminates in the nexus section with various texts by the architect himself.
Gerrit Th. Rietveld
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Charles and Ray Eames
Charles and Ray Eames, perhaps the most famous design partnership of 20th-century America, did pioneering work in furniture, film, architecture, and exhibition design. Now Pat Kirkham interprets their work in depth, probing the lives behind the designs and the nature of the collaboration. 221 illustrations, 16 in color.
Makers of 20th-Century Modern Architecture
Makers of 20th-Century Modern Architecture is an indispensable reference book for the scholar, student, architect or layman interested in the architects who initiated, developed, or advanced modern architecture. The book is amply illustrated and features the most prominent and influential people in 20th-century modernist architecture including Wright, Eisenman, Mies van der Rohe and Kahn. It describes the milieu in which they practiced their art and directs readers to information on the life and creative activities of these founding architects and their disciples. The profiles of individual architects include critical analysis of their major buildings and projects. Each profile is completed by a comprehensive bibliography.
Recovering Landscape
The past decade has been witness to a remarkable resurgence of interest in landscape. While this recovery invokes a return of past traditions and ideas, it also implies renewal, invention, and transformation. Recovering Landscape collects a number of essays that discuss why landscape is gaining increased attention today, and what new possibilities might emerge from this situation. Themes such as reclamation, urbanism, infrastructure, geometry, representation, and temporality are explored in discussions drawn from recent developments not only in the United States but also in the Netherlands, France, India, and Southeast Asia. The contributors to this collection, all leading figures in the field of landscape architecture, include Alan Balfour, Denis Cosgrove, Georges Descombes, Christophe Girot, Steen Hoyer, David Leatherbarrow, Bart Lootsma, Sebastien Marot, Anuradha Mathur, Marc Treib, and Alex Wall.
Le Corbusier, the Noble Savage
Vogt's investigation of LC's early life and education not only reveals important, previously unacknowledged influences on specific projects such as the League of Nations headquarters and the Villa Savoye, but also suggests why LC throughout his career preferred to lift buildings above the ground, to give them the appearance of "floating." This tendency had decisive consequences for buildings associated with the modern movement and continues to influence architecture today.
Common ground
Integration of designing and making are presented here as the common ground between contemporary craft, architecture, and the decorative arts. This perspective offers a nuanced understanding of craft. A photo essay documenting the integration of craft and architecture at the Fuji Pavilion in the Montreal Botanical Garden is also included.
Women's Places
What was different about the environments that women created as architects, designers and clients at a time when they were gaining increasing political and social status in a male world? Through a series of case studies, Women's Places: Architecture and Design 1860-1960, examines in detail the professional and domestic spaces created by women who had money and the opportunity to achieve their ideal. Set against a background of accepted notions of modernity relating to design and architecture of the late 19th and early 20th centuries, this book provides a fascinating insight into women's social aspirations and identities. It offers new information and new interpretations in the study of gender, material culture and the built environment in the period 1860-1960.
