This comprehensive examination of eighteenth and nineteenth-century architecture explores its extreme diversity within the context of tremendous social, economic and political upheaval. Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories of history, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in both their local and European context.

European Architecture 1750-1890 (Oxford History of Art)

History

Bergdoll, Barry

Europe

Oxford University Press

Written by scholars at the forefront of new thinking, many of whom are rising stars in their fields, the Oxford History of Art series offers substantial and innovative texts that clarify, illuminate, and debate the critical issues at the heart of art history today. Providing a fresh new look at art that moves away from traditional elitist approaches, the series makes use of new research and methodologies, a well as newly accessible and non-canonical works to offer comprehensive coverage of the art world. Lavishly illustrated and superbly designed, the Oxford History of Art brings new substance and verve to the exciting and ubiquitous world of art. Includes, European Architecture 1750-1890, Medieval Architecture, Modern Architecture, Architecture in the United States, and Landscape and Western Architecture.

Oxford History of Art Series - Architecture Set: 5-volume set

Upton, Dell

Coldstream, Nicola

Colquhoun, Alan

Andrews, Malcolm

Arts & Photography

Oxford University Press, USA

Léon Vaudoyer (1803-1872) was, with Felix Duban, Henri Labrouste, and Louis Duc, one of the "romantic" Beaux-Arts architects who challenged both the authority and the philosophy of the French Academy in the years around 1830. The group's insistence on the relevance of French medieval and Renaissance architecture to contemporary design has earned them a reputation as prophets of the historicist point of view that has come to be a fundamental theme of progressive ideologies of design well into our own century. This first book-length study of the youngest member of the group provides a new interpretation of historicism in nineteenth-century French architecture. It addresses the relationship of historicist architecture to the political and cultural forces that shaped the urbanization and industrialization of the French landscape, demonstrating that architecture is not simply a reflection of such forces, but an aspect, even an instrument of them.  Léon Vaudoyer documents Vaudoyer's career and his major commissions, both his well-known works and several previously unknown designs—among them the Monument to General Foy in the Pere Lachaise Cemetery, the Conservatoire des Arts et Metiers in Paris, the lavishly polychromatic Cathedral at Marseille—along with unrealized projects for a new city hall in Avignon and a reconstruction of the Sorbonne.  This richly illustrated study also encompasses the career of Vaudoyer's father A. L. T. Vaudoyer, who was a key figure in the reformulation of the institutions and doctrines of academic architecture during the Revolution, Empire, and Bourbon Restoration. It explores the institutional settings of Vaudoyer's training and practice; the political strategies of his mentors, patrons, and clients; the constituencies that influenced the design, siting, and reception of each of his commissions; and the social and political programs of the institutions for which he designed.

Leon Vaudoyer: Historicism in the Age of Industry

Architecture

Mit Pr

The Thames and Hudson Encyclopaedia of 20th Century Architecture

Magnago Lampugnani, Vittorio

Lampugnani, Vittorio Magnago

Thames and Hudson Ltd.

A timely reevaluation and synthesis of this ecologically minded trailblazer and vibrantly interdisciplinary figure of contemporary design. Famously labeled the "father, poet, and prophet" of green architecture and a proponent of the idea that any project in architecture or design must present new or better ways of living or be deemed immoral, Emilio Ambasz is an award-winning architect, industrial designer, and protean maker of forms. He has invented highly efficient engines, modular furniture, streetlights, flexible pens, expandable suitcases, ergonomic door handles, wrist computers, and 3D posters.&nbsp;In collaboration with Giancarlo Piretti, he created the Vertebra chair, the first automatic ergonomic chair in the world, now part of the permanent collections at the Museum of Modern Art and the Metropolitan Museum of Art in New York. &nbsp; Long a pioneer in architecture, Ambasz has retained a belief in the environment, or rather the larger ecology, as fundamental in viewing the world: as the author notes in the introduction, "his philosophy of 'green over gray' may often have fallen on deaf ears at the height of Postmodernism, but it today seems profoundly relevant." And it is in the context of today that the book considers his work and its three main areas of concentration--architecture, industrial design, curating--with an aim of shining a light on the interdisciplinary nature of the work as a whole. &nbsp; Featuring built and manufactured designs that have achieved iconic fame and challenged others to approach new ways of reconciling architecture and nature, the book also considers Ambasz's work as curator at MoMA and his ongoing influence and legacy.

Emilio Ambasz: Curating a New Nature

History & Criticism

Rizzoli

This in-depth look at Mies van der Rohe's early career is the first to examine the architect's work in Europe in terms of specific historical and cultural context, rather than the more abstract and formal arguments of the International Style. While earlier studies have described a fundamental break between Mies's neo-classical work prior to 1919 and the more avant-garde work of the 1920s, recent research demonstrates that the transformation was much more gradual. Here 11 scholars and architectural historians explore particular aspects of Mies's work, together shedding new light on the continual interplay of tradition and innovation, nature and abstraction, in the evolution of his design theories and methods. With a wealth of photographs and drawings, many not previously published, this book conveys for the first time the dynamic intellectual ferment of this formative period in the life of one of architecture's towering figures. Published to accompany a groundbreaking 2001 exhibition at The Museum of Modern Art, New York.

Mies van der Rohe: Mies In Berlin

Bletter, Rosemarie Haag

van der Rohe, Mies

Collections, Catalogs & Exhibitions

The Museum of Modern Art, New York

Now in Paperback Winner of the Society of Architectural Historians 2002 Philip Johnson Award for Excellence This in-depth look at Mies van der Rohe's early career is the first to examine the architect's work in Europe in terms of its specific historical and cultural contexts, rather than the more formal arguments of the International Style. While earlier studies have described a fundamental break between Mies's neoclassical work prior to 1919 and the more avant-garde work of the 1920s, recent research demonstrates that the transformation was much more gradual. Here 11 scholars and architectural historians explore particular aspects of Mies's work, together shedding new light on the continual interplay of tradition and innovation, nature and abstraction, in the evolution of his design theories and methods. With a wealth of photographs and drawings, many not previously published, this book conveys the dynamic intellectual ferment of this formative period in the life of one of architecture's towering figures. This volume is published to accompany a groundbreaking 2001 exhibition at The Museum of Modern Art, New York.

Mies In Berlin

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.

Bauhaus 1919-1933: Workshops for Modernity

FOSTER, HAL

MEHRING, Christine

Lupton, Ellen

Mertins, Detlef

Kinchin, Juliet

Huyssen, Andreas

Potts, Alex

Dickerman, Leah

Nisbet, Peter

Buchloh, Benjamin

Jennings, Michael

De Michelis, Marco

Doherty, Brigid

Haxthausen, Charles

Paret, Monty

Schwarz, Frederic

Smith, T’ai

Reference

In the fall of 2009, The Museum of Modern Art and MoMA PS1 selected five interdisciplinary teams of architects, engineers and landscape designers to propose solutions to the effects of climate change on New York's waterfront. The resulting proposals, exhibited at MoMA in 2010 in the exhibition Rising Currents: Projects for New York's Waterfront, emphasize "soft" infrastructure interventions that would make New York City and its surrounding areas more ecologically sound and more resilient in responding to rising sea levels and storm surges. These innovative projects include the creation of salt- and freshwater wetlands, a Venice-like aqueous landscape, habitable piers and man-made islands, and a protective reef of living oysters. Published to document the exhibition, Rising Currents: Projects for New York's Waterfront presents these five projects in detail through essays that summarize the innovative workshop and exhibition, the dialogues they engendered with outside experts and political figures involved in regional planning, and the climate change and urban planning implications of the proposed solutions.

Rising Currents: Projects for New York's Waterfront

Nordenson, Guy

Oppenheimer, Michael

The Photographs of Edouard Baldus

This is a study of landscape and architectural photographer, Edouard Baldus (1813-1889), a central figure in early French photography. His greatest achievements were his two railroad albums in which he addressed the influence of technology.

Centre Canadien D'Architecture

DANIEL, Malcolm

Baldus, Edouard-Denis

Musee National Des Monuments Francais (Paris, France)

Metropolitan Museum Of Art (new York, N.y.)

Photography & Video

Metropolitan Museum of Art

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