Архітектура

The lofty painted ceilings of Europe's palaces and churches rank among the greatest treasures of the Renaissance and Baroque eras. This unique assemblage features brilliant full-color reproductions of some of the finest examples of such art. Drawn from two rare French and German portfolios of the nineteenth century, this unique volume re-creates more than 60 magnificent ceilings from Parisian drawing rooms, German castles, and Italian galleries.

Richly depicting scenes from nature and mythology, this collection abounds in chubby cherubs, ethereal goddesses, heroes in full battle armor, and all manner of animals, both legendary and realistic. In addition, a generous assortment of floral ornaments includes rosettes, garlands, and clusters of acanthus and other decorative leaves and vines. Whether used in their entirety or as individual motifs, these designs will add beauty and sophistication to any art or craft project.

The volume is divided into three chapters: Early Renaissance, High Renaissance and Mannerism. It includes palaces, buildings, villas, churches, hospitals, monasteries, squares, streets, fountains and flights of steps.

The book is completed with drawings and maps.

Среди так называемых «малых искусств», процветавших в эпоху итальянского Возрождения, пожалуй, самым поразительным по своей виртуозности была интарсия, или инкрустация по дереву, в которой бесчисленные кусочки дерева разных пород соединялись вместе, словно пазл, создавая изысканные картины. Мастера интарсии переняли недавно разработанную технику линейной перспективы для изображения своих характерных тем, а именно городских пейзажей, рассматриваемых через арку, и иллюзионистских изображений полуоткрытых шкафов, заполненных литургическим или научным инвентарем. Поначалу эти очаровательные сцены из дерева встречались в основном в церковной обстановке — на хорах и алтарях, а также в ризницах, — но к позднему кватроченто они стали также использоваться для украшения studioli, или личных кабинетов, могущественных светских покровителей. Со временем, в чинквеченто, интарсисты начали раздвигать границы своего материала, создавая фигуративные сцены все большей сложности; Эта амбициозная, но, возможно, и донкихотская попытка соперничать с живописью привела ко многим техническим и эстетическим нововведениям, но также к отказу от естественных преимуществ интарсии и её окончательному упадку как самостоятельного вида искусства.

В этом томе группа известных итальянских историков искусства прослеживает эволюцию интарсии эпохи Возрождения, рассматривая двенадцать важнейших циклов интарсии. К ним относятся знаменитое студио Федерико да Монтефельтро в герцогском дворце в Урбино; ризница Санта-Мария-ин-Органо в Вероне, которую Вазари описал как самую красивую во всей Италии; и хор Санта-Мария-Маджоре в Бергамо, картоны для которого подготовил Лоренцо Лотто. Опираясь на новейшие научные данные и, в некоторых случаях, на вновь обнаруженные документальные свидетельства, авторы объясняют исторический контекст и иконографию этих шедевров, а также их связь с живописью, скульптурой и архитектурой того времени. Их содержательные эссе проиллюстрированы примерно двумястами новыми цветными изображениями, ставшими результатом масштабной фотокампании, проведённой специально для этой работы.

Книга Renaissance Intarsia, достойно заполнившая уникальную главу в истории искусств, станет обязательным чтением для учёных и ценителей искусства, а также мощным источником вдохновения для современных художников и мастеров.

Широкое культурное и идеологическое движение, Возрождение, или Ренессанс, было периодом интенсивного литературного, художественного и научного творчества, охватившего Европу в период между XIV и XVI веками и знаменовавшим собой переход от средневековой к современной концепции интеллектуальной жизни.

В период раннего Возрождения сосредоточившиеся и вскормленные во Флоренции и Италии искусство и культура претерпели радикальное обновление, которое постепенно распространилось по всей Европе различными средствами и стилистическими проявлениями. Возрождение основывалось на обновленном интересе к Древнему миру – от философии до литературы, от мифологии до изобразительного искусства, – неоплатонической философии и гуманизму. Научные интересы включали познание природы и человека, в том числе, его анатомии, и поиск новых технологий. Гармоничное сочетание основных искусств вырастало над уровнем механического воспроизведения, чтобы превратиться в свободное выражение теперь уже консолидированных интеллектуальных прерогатив мастера.

Фундаментальный вклад королевских дворов, правителей, покровителей и деятелей церкви, которые использовали новые стилистические языки для украшения своих дворцов и поместий, был естественным следствием великолепия искусств.

Arthur L. Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing.

This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist. It is of particular interest to architects, interior designers, landscape architects, industrial designers, illustrators, and renderers.

Contents include a review of materials and tools of rendering; handling the pen and building tones; value studies; kinds of outline and their uses; drawing objects in light and shade; handling groups of objects; basic principles of composition; using photographs, study of the work of well-known artists; on-the-spot sketching; representing trees and other landscape features; drawing architectural details; methods of architectural rendering; examination of outstanding examples of architectural rendering; solving perspective and other rendering problems; handling interiors and their accessories; and finally, special methods of working with pen including its use in combination with other media.

The book is profusely illustrated with over 300 drawings that include the work of famous illustrators and renderers of architectural subjects such as Rockwell Kent, Charles Dana Gibson, James Montgomery Flagg, Willy Pogany, Reginald Birch, Harry Clarke, Edward Penfield, Joseph Clement Coll, F.L. Griggs, Samuel V. Chamberlain, Louis C. Rosenberg, John Floyd Yewell, Chester B. Price, Robert Lockwood, Ernest C. Peixotto, Harry C. Wilkinson, Bertram Grosvenor Goodhue, and Birch Burdette Long. Best of all, Arthur Guptill enriches the text with drawings of his own.

The world's enthusiasm for Art Nouveau reached its apex at The World Fair in Paris in 1900. There René Binet created the main entrance, "la Porte Monumentale." To coincide with the exposition, Binet published in Esquisses decoratives (1896) the plate designs for the gate, along with other sketches of furniture, jewelry, wallpaper, lighting, stained glass windows, signs, wrought iron, and architectural details.

The entire collection of Binet's sketches for Esquisses decoratives are beautifully presented here in color and black and white. Like his renowned gate, they feature the organic structures and intricate embellishments that mirror the great variety of patterns and ornamentation found in the microcosm of nature and epitomize the Art Nouveau aesthetic. Binet credited scientist and artist Ernst Haeckel's work on radiolarians as his inspiration. Two prominent experts on art and architectural history lend their perspectives to this important work in the realm of the decorative arts.

The wide array of designs presented in this volume offers a wide and varied vision of the latest trends in renovating buildings. Reputed architects suggest ingenious solutions for giving old structures a fresh, renewed look and for creating effective spaces for domestic use. Each project includes a detailed explanation through the use of plans, sketches, notes, construction explanations, materials and photographs.

"The array of buildings by Renzo Piano is staggering in scope and comprehensive in the diversity of scale, material, and form. He is truly an architect whose sensibilities represent the widest range of this and earlier centuries." Such was the description of Renzo Piano given by the Pritzker Prize jury citation as they bestowed the prestigious award on him in 1998.Whereas some architects have a signature style, what sets Piano apart is that he seeks simply to apply a coherent set of ideas to new projects in extraordinarily different ways. "One of the great beauties of architecture is that each time, it is like life starting all over again," Piano says. "Like a movie director doing a love story, a Western, or a murder mystery, a new world confronts an architect with each project." This explains why it takes more than a superficial glance to recognize Piano's fingerprints on such varied projects as the Pompidou Center in Paris (1971-77), the Kansai airport in Osaka, Japan (1990-94), and the Tjibaou Cultural Center in Nouméa, New Caledonia (1993-98). This stunning monograph, illustrated by photographs, sketches, and plans, covers Piano's career to date.

The updated publication includes new photographs of projects completed since the previous edition, such as his The New York Times Building in New York, the Zentrum Paul Klee in Bern, Switzerland, The Morgan Library in New York, as well as some sneak peeks at his current projects, including the 66-story London Bridge Tower, which is set to be Europe's tallest building.

Volume 1 features numerous case studies including the Bari Sports Stadium in Italy and the first stages of the Kansai Airport International Terminal in Japan. Widely acclaimed on publication, the book includes an authoritative introductory essay as well as specially redrawn drawings and plans.

As Peter Buchanan has shown in the first three volumes of Renzo Piano’s complete works, he follows no fashions of form or theory, nor is he limited to a personal idiom. Instead he concerns himself with the specifics and potential of a particular situation and moment, meeting the challenges of the programme, pushing the limits of technology, but always responding sensitively to the topography or urban fabric of the building’s site. This fourth volume on Renzo Piano provides an illuminating study of the architect’s working method, in particular his regard for context, followed by a presentation of his projects from 1989 to 2000. These range from urban works such as the Potsdamer Platz masterplan in Berlin, a science museum in Amsterdam and high-rise towers in Rotterdam and Sydney, to the acclaimed Beyeler Foundation and the Jean-Marie Tjibaou Cultural Centre in New Caledonia, which exemplifies the architect’s sensitivity to site and local tradition, combining traditional materials and techniques with those from the cutting edge of technology.

As Peter Buchanan has shown in the first three volumes of Renzo Piano’s complete works, he follows no fashions of form or theory, nor is he limited to a personal idiom. Instead he concerns himself with the specifics and potential of a particular situation and moment, meeting the challenges of the programme, pushing the limits of technology, but always responding sensitively to the topography or urban fabric of the building’s site. This fourth volume on Renzo Piano provides an illuminating study of the architect’s working method, in particular his regard for context, followed by a presentation of his projects from 1989 to 2000. These range from urban works such as the Potsdamer Platz masterplan in Berlin, a science museum in Amsterdam and high-rise towers in Rotterdam and Sydney, to the acclaimed Beyeler Foundation and the Jean-Marie Tjibaou Cultural Centre in New Caledonia, which exemplifies the architect’s sensitivity to site and local tradition, combining traditional materials and techniques with those from the cutting edge of technology.

"The array of buildings by Renzo Piano is staggering in scope and comprehensive in the diversity of scale, material, and form. He is truly an architect whose sensibilities represent the widest range of this and earlier centuries." Such was the description of Renzo Piano given by the Pritzker Prize jury citation as they bestowed the prestigious award on him in 1998.

Whereas some architects have a signature style, what sets Piano apart is that he seeks simply to apply a coherent set of ideas to new projects in extraordinarily different ways. "One of the great beauties of architecture is that each time, it is like life starting all over again," Piano says. "Like a movie director doing a love story, a Western, or a murder mystery, a new world confronts an architect with each project." This explains why it takes more than a superficial glance to recognize Piano’s fingerprints on such varied projects as the Pompidou Center in Paris (1971-77), the Kansai airport in Osaka, Japan (1990-94), and the Tjibaou Cultural Center in Nouméa, New Caledonia (1993-1998).

This stunning monograph, illustrated by photographs, sketches, and plans, covers Piano’s career to date. Also included are sneak peeks at Piano’s current projects, including the New York Times Tower, a 52-story skyscraper to be built in Times Square, and the 80-story London Bridge Tower, which is set to be Europe’s tallest building.

Другие книги серии XL

Frank Lloyd Wright, Complete Works, Vol. 1, 1885–1916

Frank Lloyd Wright, Complete Works, Vol.2, 1917-1942

Frank Lloyd Wright, Complete Works, Vol.3, 1943-1959

Zaha Hadid, Complete Works 1979–2009

Santiago Calatrava. Complete Works 1979-2007

Ando. Complete Works, Updated Version 2010

Shigeru Ban, Complete Works 1985-2010

Jean Nouvel by Jean Nouvel, Complete Works 1970-2008

Микеланджело: Полное собрание произведений

Ein spektakulärer Überblick über die schönsten Museumsbauten des Pritzker-Preisträgers.

Pritzker-Preisträger Renzo Piano gilt als der führende Architekt für Museumsbauten, herausragende Kunstinstutionen weltweit haben ihm ihre Sammlungen anvertraut. 18 seiner Museumsentwürfe aus den letzten 35 Jahren stellt der großformatige Band anhand von atmosphärisch dichten Fotos und präzisen Architekturzeichnungen und Grundrissen vor.

Der Bogen spannt sich vom damals revolutionären Centre Pompidou (1977), bis hin zu noch nicht fertig gestellten Projekten, etwa dem Los Angeles County Museum of Art, dem Art Institute of Chicago (Eröffnung 2009) oder dem geplanten Museum für zeitgenössische Kunst in Sarajevo. Meilensteine der Museumsarchitektur werden ausführlich präsentiert: die Menil Collection in Houston, die Fondation Beyeler in Riehen bei Basel, das Zentrum Paul Klee in Bern, das Nasher Sculpture Center in Dallas und die Erweiterung der Pierpoint Morgan Library in New York. Eine Einführung von Victoria Newhouse diskutiert zentrale Elemente von Pianos Ästhetik – natürliches Licht, Transparenz und die Piazza als öffentlicher Treffpunkt.

 

In this small, but sharply-pointed book, renowned theorist Sanford Kwinter addresses the sometimes subtle, sometimes brutal transformations that characterized the modernization processes set into motion at the turn of the millennium.

From the strange appearance of the 'Trojan Horse' that was the Centre Pompidou which served as the harbinger and template of the new idea of "Europe", through the dot.com bubble of the late 1990s, to the destruction of the World Trade Center Towers in New York, a new world came into being that design thinking has yet to fully take into account.

The City is here seen not only as the last frontier of human history currently under threat of total eclipse, it is the indomitable form of collective experience upon which one can count as assuredly as one can on death and taxes.

Requiem, to quote from Thomas Daniell's introduction, is first and foremost redemptive: "Kwinter's most negative assessments of the city are driven by a deep commitment to its sublime potentials--a desire to sacralize the most profane and fecund of human creations"

Research building is a very comprehensive architectural structure, and it must meet requirements on aspects of functional area, technical equipment, economic cost and law. They represent innovative means of production - that is why the design of research building is always changing.

According to the changes in the field of scientific research, the challenges faced by research architecture are how to make the high-tech equipments merged into the environment with better communication and how to integrate the institution itself into the atmosphere of communication and interaction through design. The former strictly functional organization is bound to be replaced by the beneficial communication cycle.

This book presents us that technical improvements are not necessarily the key to the design of great research buildings. The best research buildings position the researchers as the most creative agents in the process of scientific experiments. The building is not a machine which the scientists manipulate but a tooth at the macroscopic level. Meanwhile it is also a cultural construction with collaborative cohesion and creating imaginative.