Warning: This book will make you want to include a fireplace or stove in almost every room in your home, and the yard too The beauty, alluring warmth, and technological ease and cleanliness of today's hearth products make having a fire faster, easier, safer, and more enticing than ever. This book illustrates the allure, with more than 400 gorgeous color images. It's easy to find your style, visiting hundreds of homes and experiencing the way that they have incorporated fire spaces into their living spaces. There has never been a book like this, with so many wonderful images of fireplaces and stoves. Most are shown within room settings, helping you to envision a fireplace as part of your overall decor. Plus, there's an enormous gallery of close-up images showing fireplace and stove details. You'll have trouble choosing just one
What is style in architecture? "Style is like a feather in a woman's hat, nothing more," said Le Corbusier, expressing most modern architects' low regard for the subject. But Witold Rybczynski disagrees, and in The Look of Architecture, he makes a compelling case for the importance of style to the mother of the arts.
This is a book brimming with sharp observations--that form does not follow function; that the best architecture is not timeless but precisely of its time; that details do not merely complement the architecture--details are the architecture. But the heart of the book illuminates the connection between architecture, interior decoration, and fashion. Style is the language of architecture, Rybczynski writes, and fashion represents the wide--and swirling--cultural currents that shape and direct that language. The two, style and fashion, are intimately linked--indeed, architecture cannot escape fashion. To set these ideas in sharp relief, he shows us how style and fashion have been expressed in the work of major architects--including Frank Gehry, Mies van der Rohe, Charles McKim, Allan Greenberg, Robert Venturi, Enrique Norten, and many others. He helps us see their works anew and ultimately to look afresh at our surroundings.
Style is one of the enduring--and endearing--aspects of architecture, Rybczynski concludes. Furthermore, an architecture that recognizes the importance of style would not be as introspective and self-referential as are so many contemporary buildings. It would be part of the world--not architecture for architects, but for the rest of us.
This book presents the work and the advanced studios of Gregg Pasquarelli in "Versioning 6.0," Galia Solomonoff in "Brooklyn Civic Space," and Mario Gooden in "Global Typologies. It features interviews and the work of the architects along with their studio projects.
Cape May has a visual smorgasbord of Victorian architecture and ornamentation, adorned with sparkling coats of colorful paint. Gorgeous examples of Carpenter Gothic, Gothic Revival, Italianate, Second Empire, Edwardian, American Bracketed Villa, and Stick Styles are presented in color, most dating from the late 1800s to the early 1900s, and all dripping with finely cut wood bric-a-brac. Work by celebrated national architects Samuel Sloan and Frank Furness is featured, along with the area's premier local designer, Stephen Decatur Button. This picture-packed volume of summer cottages and guesthouses is a treasured souvenir for all who have visited New Jersey's southern cape, and an indispensable reference for enthusiasts of Victorian era architecture and exterior ornamentation.
A clear, concise, accessible, copiously illustrated account by one of the world's leading architectural critics of what the Modern Movement really wanted and what it achieved. Christian Norberg-Schulz explains the basic tenets of the new architecture that came into being around the turn of the last century, a timely explanation in view of the many misconceptions currently in circulation.
All the basic principles are investigated and the volume concludes with a summing-up of the endeavors of Modern Architecture.
The book is a collection of drawings, models, and prototypes, which represent the author's progress in making a humanitarian building-making machine for use in re]constructing environments of displacement. As an introduction to the project, the author assembles an architectural program (purpose) for such a device. Short text essays touch upon:
- Conditions in IDP (Internally Displaced Persons) Camps that warrant automated building systems.
- The need for emergency city-making as means of housing displaced urban peoples.
- The lack of architecture/design in environments of displacement.
- The advantages of systems-based approaches to emergency housing as compared to drop-in-place structure solutions.
- A history of architectural instrumentation and tectonic machines which includes common devices such as the manual block press, and uncommon technologies such as Thomas Edison's Monolithic Pour formwork system.
Internet has changed our lives but it has not yet changed our cities. Any technological revolution takes paired radical transformations in the life styles. If the age of the car and the oil shaped the cities of the 20th century, the society of the information will form those of the 21st century. It is an unstoppable evolution that, nevertheless, it is necessary to be able to lead with criterion. It is a question of taking advantage of the urban experiences accumulated for centuries by the human beings and having present that the growth cannot be unlimited and the energetic resources that our planet offers have expiry date. Vicente Guallart exposes this fascinating process in a book loaded with ideas, information and proposals. As observer, thinker and pioneer of the architecture of the future, Guallart proposes the regeneration of the cities (from the housing to the metropolis) to stimulate a new economy of the urban innovation. A path with destined to the self-sufficiency local resources, and to the global connectivity as knowledge and information. Because the connected self-sufficiency get the cities and the persons who inhabit them been stronger, free and independent.
At the end of the late 1970s, art theorist and critic Rosalind Krauss had written a seminal text entitled "Sculpture in the Expanded Field," in an attempt to both locate and analyze vanguard sculptural practices of the time such as the work of Richard Serra, Robert Smithson, Mary Miss, and Donald Judd whose practices crossed outside of the limits of traditional sculpture and entered into the realms of architecture and landscape through the production of works that she classified as site constructions, marked sites, earthworks and axiomatic structures. Over the past three decades, the boundaries between art and architecture have continued to blur, giving rise to a series of works known as installations whose conceptual, spatial and material trajectories have generated a new and expanding network of relations between the domains of architecture, interiors, sculpture and landscape. At the same time, the range of institutional venues advancing architectural installation practices, such as the PS1 program spawned by the MoMA in New York, the Serpentine Gallery's annual architectural pavilion in London and the Art and Architectural Biennale's in Venice, have provided platforms to intensify the production and reach of contemporary installations. Installations have not only contributed to the advancement of architectural research but have also enabled the redefinition and progressive development of architecture's disciplinary territory allowing architects to explore spatial and tectonic ideas, experiment with emerging technological strategies, and distill perceptual and experiential conditions without the limitations traditionally imposed by the permanence and utility of building. Following the legacy of Rosalind Krauss, EXPANDED FIELD: Installation Architecture Beyond Art by Ila Berman and Douglas Burnham explores the realm of art and architecture across a broad terrain of installation practices, revealing a critical territory that, despite its exuberant proliferation, has been historically defined as a negativity: the progeny of that which is both not-architecture and not-art. Within this book, a wide range of art and architectural works are positioned and mapped as constellations within a newly expanded field suspended between Architecture, Interiors, Sculpture, and Landscape. These four terms are the initial reference points used to elaborate a more extensive taxonomical framework defining twelve distinct territories where the analytical drawings and photographic indexes of seventy-five installation projects are situated. The expanded field diagram is a conceptual framework that operates on many levels. It acts as a lens through which to theorize and classify the trajectories of current installation practices and serves as an infrastructure to organize the content of the book. Along the trajectory from interiors to sculpture, for example, one finds the immersive chromatic environments of Carlos Cruz-Diez, the thermal and radiant atmospheres of Philippe Rahm, the intensely graphic patterned surfaces of J rgen Mayer and Yayoi Kusama, and the interactive mediated light landscapes of Ryoji Ikeda and Julio Le Parc. These are installations intent on foregrounding immersive atmospheric spaces rather than sculptural objects and that collectively define Chromatic/Graphic Immersion, one of the twelve typologies through which the book is organized. Along the path from interiors toward landscape, are situated a different series of installation projects including the undulating orange strata of Bamscape and the pink spongy terrain of Mute Room, two works by Thom Faulders both of which redefine ground as a programmed surface and occupiable topography. These qualities of landscape then merge with the architectonic in the thickened geology of Rip Curl Canyon by Ball-Nogues, the artificial Dunescape by SHoP and the cellular topography of Voromuro developed for the ICA in Boston by Office dA. Based on an exhibition at the Wattis Institute of Contemporary Art, the book EXPANDED FIELD guides one through the world of contemporary installation practice through drawings, images and text that simultaneously expose the techniques through which architects describe and analyze spatial production while providing a context for installation art and architecture that supports both its didactic understanding and immersive experience.
Glaciers, snow and perpetual ice have always fascinated human beings; this is reflected in the exceptional architecture of frigid regions. The task of building in the coldest parts of the world represents both a bare necessity and a special challenge. Thi