Книги о стилях архитектуры

William T. Baker is an acclaimed designer of fine custom homes. For the past 17 years he has distinguished himself with his design, craftsmanship and unique architectural details. The result is a range of one-of-a-kind homes, from casual beach houses to primary residences. Bill brings clients into the process to ensure that the end result is more than just 'needs' met, but a vision fulfilled. He believes "the design process should be collaborative, dynamic, gratifying and fun."

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Пролистать книгу New Classicists - William T. Baker & Associates на GoogleBooks.

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Другие книги серии New Classicists:

New Classicists - Richard Manion Architecture

William T Baker - Great American Homes: Volume 1

Great American Homes: Volume 2

New Classicists - Appleton & Associates Inc.

New Classicists - Ken Tate: Selected Houses Volume 1

New Classicists - Ken Tate: Selected Houses Volume 2

New Classicists - Wadia Associates - Residential Architecture of Distinction

New Classicists - Robert Adam and the Search for a Modern Classicism

New Classicists - Architecture of the Cape Cod Summer: The Work of Polhemus Savery DaSilva

New Classicists - A Lyric Architecture: Selected Works of John Malick & Associates

Who made New York the centre of the chic and urbane interior - a city where Andy Warhol entertained in a French Empire salon and Babe Paley served martinis and cigarettes in her taxicab yellow living room? The answer is discovered in the illustrated profiles of nearly 100 interior designers in the two-volumes of "New York Interior Design, 1935-1985", which introduces the Acanthus Press Visual Library. Over 600 photographs, assembled by author Judith Gura, present a visual biography of the city's interior innovators. From the refreshed Francophilia of Eleanor McMillen Brown to the high-tech minimalism of Ward Bennett, volume 1: "Inventors of Tradition" and volume 2: "Masters of Modernism", unfold a glittering panorama of New York's old world duplexes and river and park-view towers.In addition to the work of celebrated tastemakers - Mario Buatta, Billy Baldwin, and Melvin Dwork - Gura uncovers the interiors of once-influential, now-obscure designers whose work played an important role in the development of the New York look. Among these tastemakers are William Pahlmann, the pioneer of contemporary eclecticism in the 1940s; Emily Malino, a 1950s modernist with a soft touch; and the incomparable Barbara d'Arcy, whose trendsetting model rooms for Bloomingdale's electrified the 1960s and the 1970s. Acanthus Press Visual Library presents worlds of culture and design through images.

About the Author
Judith Gura is a professor and faculty member at the New York School of Interior Design, where she directs the design history program. A graduate of Cornell University, she has a Master's degree in Design History from the Bard Graduate Center. She has taught at Pratt Institute and FIT, and has contributed to exhibitions at the Brooklyn Museum, the Whitney Museum and the National Museum of Women in the Arts.

New York City has always been home to the chic and urbane a place where Andy Warhol entertained in his French Empire salon and where Babe Paley served martinis and cigarettes in her taxicab-yellow living room. Who made this city the center of cosmopolitan interior design as we know it today? The answer is found in the lavishly illustrated profiles of the nearly 100 interior designers featured in the two-volumes of New York Interior Design 1935 1985.

Over 600 photographs assembled by author Judith Gura present a visual biography of the city s interior innovators. From the refreshed Francophilia of Eleanor McMillen Brown to the high-tech minimalism of Ward Bennett, New York Interior Design unfolds a glittering panorama of New York s old world duplexes, river and park-view towers, and its minimalist downtown lofts.

Volume I, Inventors of Tradition, highlights the careers and showcases the work of the designers who translated and then transformed European period styles into a new vocabulary for America. In addition to the work of celebrated tastemakers Billy Baldwin, Mario Buatta, and Albert Hadley Gura uncovers the interiors of once-influential, now-obscure designers whose work played an important role in the development of the New York look. Among these practitioners are William Pahlmann, the pioneer of contemporary eclecticism; the glamorous Melanie Kahane, with a fondness for shocking pink and tasteful pizzaz; and the epitome of the southern civility, Joseph Braswell, who believed that a beautiful environment could make its occupants into better people.

Inventors of Tradition is accompanied by Volume II, New York Interior Design, 1935-1985: Masters of Modernism, which examines the work of the designers who moved away from European tradition, incorporated new materials and cutting-edge technologies, and pioneered the architectural approach to interior decorating.

The radical ideas associated with Postmodernism swept through the arts in the 1970s, but have always been hard to summarise.

Postmodernism: Style and Subversion presents the movement as not merely an aesthetic vocabulary, but also as a subversive attitude a new way of looking at the world. Bringing together practitioners, theorists and critics, this groundbreaking book assesses the impact of the phenomenon on all areas of art and design. It covers architecture, interiors and urban planning; product, graphic and furniture design; the fashion and style industries; and photography, film, television and video everything from MTV and Grace Jones, to White Noise and Bladerunner, Thierry Mugler and Commes des Garcons.

Often described as Prince Charles's favourite architect, Quinlan Terry is at home in every traditional style, from Classical Greek to Roman, Gothic to Renaissance, and Baroque to Neo-classical. With intense new interest in classical design, there is a high demand for a compilation of Terry's work, a volume that showcases the ideas and creations of one of the world's most daring traditionalist designers.

At the pinnacle of his career — this year's winner of the Driehaus Prize, classical architecture's highest honour — Quinlan Terry is one of the most celebrated practitioners of the form and also perhaps the most radical.

Radical Classicism contains hundreds of lavish colour illustrations and thirty of Terry's designs, including staterooms at Downing Street #10, a library and residential building at Cambridge University, a cathedral in Essex, a church in Bishopsgate, four buildings in Williamsburg, Va., townhouses in London, and ten large country houses in England, Germany, and the U.S. Buildings featured include Juniper Hill in Buckinghamshire; Ionic Villa, Corinthian Villa, and Regency Villa in Regents Park, London; Abercrombie House in Kentucky; Latourette Farm, New Jersey; Highland Park House, Dallas, Texas.

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.

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.

Illustrated on nearly every page with color photographs, reproductions of art, drawings, or maps, this overview of Romanesque art and architecture is a visual feast of Western culture during the spread of Christianity, revealed here in hundreds of paintings, religious objects and sculpture, and buildings that have stood for nearly a thousand years.

By the end of the first millennium, both Christianity and Roman architecture were established throughout Europe. As the empire collapsed and Rome withdrew, the architectural traditions left behind — most notably the round arch — were the foundation of what became essentially Christian architecture. Later classified as Romanesque, this style of art and building flourished with the expanding influence of Christianity and monastic culture through the mid-13th century. In sections that explore the evolution of the Romanesque in various regions, this book spotlights such buildings as the fanciful gingerbread collegiate cathedral of St. George in Limburg an der Lahn, Germany, and the picturesque pilgrims' bridge across the Somport in Puente de la Reina, France. Here too are apocalyptic visions in manuscript illuminations in Christian Spain, "tainted" as they were by Moorish influences, and a stunning cathedral-shaped reliquary from Cologne that is domed, gilded, and peopled with saints carved from walrus tusk.

Showcases over 40 conservatories, greenhouses and sun lounges in Belgium and The Netherlands.

An investigative record of the architectural movement emblematic of the Soviet Orient.

After World War II, Tashkent, Uzbekistan, was designated as the capital of the Soviet Orient, a vitrine of socialism in the East. Conceived by both local and Moscow architects, the distinctive quality of Tashkent modernism (1964-91) emerges from the tension between the Soviet Union's ambition for the city and the locals' endeavor to retain their city's character.

This volume is an outgrowth of the Tashkent Modernism XX/XXI project, a research and preservation effort organized around a conference and exhibition held in 2023. The conference's title, "Where in the World Is Tashkent," was drawn from the 2000 American Institute of Architects conference "Where in the World Is Chicago," and its organizers shared a similar aim in re-situating the city of Tashkent as a paradigm for modernist architecture.

The book consists of two interwoven layers. The first section contains a series of written and visual essays, while the second includes 15 building monographs, detailing their histories, protection inventories and intervention strategies. Case studies include the Cosmonauts metro station and the Tashkent outpost of the Vladimir Lenin museum. Altogether, the volume explores key themes related to the architectural, social and cultural history of Tashkent and its current condition. More than just another "peripheral case" of multiple modernities or a white spot on the world map of architectural modernism of the 20th century, this architecture--being relevant to the global cultural scene--reflects the colonial, postcolonial and, at the same time, decolonial aspects of the Soviet social and cultural experiment.

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Given its geographical location, developed resources and multicultural history, Tashkent, the capital of Uzbekistan, continues to be one of the most important centers of Central Asia. Since the Soviet era, numerous efforts were made to conserve and restore architectural monuments that speak to the rich ancient and medieval history of the region. By contrast, the modernist architecture of the 1960s–1980s, which articulated the idea of a modern, forward-looking society, was never perceived as heritage. With the arrival of the market economy and after the independence of Uzbekistan in 1991, the architecture of the previous three decades, which focused on social issues and economy of means, lost relevance. Today, this modernist layer of Tashkent is gaining recognition as a unique artistic, cultural and social phenomenon that is best equipped to reveal the specific character of the modernization of Soviet Central Asia. More than just another “peripheral case” of multiple modernities or a point on the global map of twentieth-century architectural modernism, this architecture is relevant to the global cultural scene, reflecting the radical aspects of the Soviet social and cultural experiment.

This publication combines the materials of the Tashkent Modernism XX/XXI project, for which an international team of architects, historians and restoration experts joined forces on recording and restoring the city’s modernist legacy. This comprehensive book presents research results alongside insights that contextualize the work in a broader framework of Soviet and Uzbekistan history. It provides a strategic plan for conservation and adaptation of this important architectural heritage which resonates with preservation ambitions of modernist architectures on a global scale.

The publication consists of two parts. The first part contains a series of written and visual essays, while the second encompasses twelve building monographs that present histories, protection inventories and intervention strategies for the selected buildings.

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Edited by Boris Chukhovich, Davide Del Curto, Ekaterina Golovatyuk
Foreword by Saida Mirziyoyeva, Gayane Umerova
Preface by Francesco Bandarin
Interview with Rem Koolhaas
With photographs by Armin Linke
With essays by Sofia Celli, Boris Chukhovich, Davide Del Curto, Federica Deo, Ekaterina Golovatyuk, Nicola Russi

Terry Farrell was one of the pioneers of the Postmodern style, as seen in his iconic early TV-am building. This is the first book to focus on his interiors, where he consciously developed that style in its heyday and beyond.

As well as the original design for TV-am, the book includes 19 of his most striking interiors, such as the Charles Jencks House, The Dean Gallery, Edinburgh, and Charing Cross Station. Divided into three chapters on home interiors, gallery and museum interiors and workplace interiors, the book shows how Farrell’s designs have been influenced by his work as one of the world’s foremost urban planners and how they are integrated with their urban context.

Terry Farrell Interiors and the Legacy of Postmodernism will appeal to all those interested in contemporary architecture and interior design. It serves as a unique and invaluable document of the Postmodern era and makes Farrell’s argument for the continuing legacy of Postmodernist architecture.

 Terry Farrell is a widely renowned architect whose work can be found all over the world and includes such major works as the MI6 building and the Charing Cross redevelopment in London, The Peak in Hong Kong and Incheon International Airport in South Korea.

Easily the most recognizable architectural style in America, with its brick or shingled facades trimmed in white and ornamented with restrained classical detail, the Colonial Revival emerged in the late nineteenth century and is still the basis for classical design today. The American Style surveys the evolution of the Colonial Revival from the 1890s to the present, focusing on the period from 1900 to the 1930s when New York City was a major center of architecture and decorative arts. Leading architects, including McKim Mead & White, Delano & Aldrich, and Mott B. Schmidt, used its vocabulary for private residences and clubs as well as institutional buildings - banks, schools, churches, and museums.

Richly illustrated with archival photographs and objects from the collections of the Museum of the City of New York and other major institutions, The American Style will be the definitive record of an enduring aesthetic in architecture and decorative arts.

Once in every generation comes a scholar who is a master of both the documentary evidence and the buildings themselves. Such a man is Christoph Luitpold Frommel who, after winning a world-wide reputation, here distils his learning into a new synthesis that is both up-to-date and securely based on primary sources.

The book is not only illustrated throughout with photographs, drawings, plans and reconstructions, but social context, technical innovation and aesthetic judgement are all given due weight, with particular emphasis on the way in which each architect balanced individual inspiration with the accepted canon.

Christoph Luitpold Frommel was born in 1933 and has held academic posts in Germany (Bonn University), the USA (Institute of Advanced Study, Princeton, and the University of California, Berkeley) and Italy (La Sapienza, Rome). He was Director of the Bibliotheca Herziana, Rome, from 1980 to 2001.

• A definitive account of the most innovative and most influential 150 years in the history of architecture
• A work that brings scholarship in English into line with the most advanced continental research
• Over 300 photographs, architects’ drawings and plans
• Authoritative, readable, deeply considered
• The fruit of a lifetime’s study