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When architect Rafael Vinoly was commissioned to design a major new centre for the arts at Duke University, he set about creating his first museum in North America and the first stand-alone museum in Duke's eighty-year history. The resulting 65,000-square-foot building has changed the cultural landscape of the university and indeed the Southeast. This book(...)
Architecture, monographies
octobre 2005, Durham, North Carolina
The Nasher Museum of Art at Duke University : Rafael Vinoly Architects
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$22.50
(disponible en magasin)
Résumé:
When architect Rafael Vinoly was commissioned to design a major new centre for the arts at Duke University, he set about creating his first museum in North America and the first stand-alone museum in Duke's eighty-year history. The resulting 65,000-square-foot building has changed the cultural landscape of the university and indeed the Southeast. This book documents the genesis and design of the new museum, which opens on October 2, 2005. The building is named in honor of the family of Raymond D. Nasher, an internationally prominent art collector who graduated from Duke in 1943. The brilliant core of the Nasher at Duke is a 13,000-square-foot glass and steel canopy rising to a height of 45 feet above the central gallery space. The faceted roof soars above the irregular pentagonal great hall, where five concrete pavilions fan out at different angles. The pavilions will house three large gallery spaces, an auditorium, offices, university and community classrooms, a museum shop, and a café with outdoor seating overlooking a sculpture garden. Set in the forest on Duke's campus, the museum's full-height glass walls and green slate floor connect the pavilions and further blur the division between building and nature. With an essay by art historian Annabel Jane Wharton, a design statement by architect Rafael Vinoly, a foreword by museum namesake Raymond D. Nasher, and photographs by Brad Feinknopf and Jerry Blow, this book documents the building that will become a cornerstone for cultural activities for the university and the public.
Architecture, monographies
$40.95
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Jerusalem currently stands at the center of a violent controversy that threatens the stability of both the Middle East and the world. This volatility, observes Annabel Jane Wharton, is only the most recent manifestation of a centuries-old obsession with the control of the Holy City—military occupation and pilgrimage being two familiar forms of “ownership.” Wharton makes(...)
Selling Jerusalem : relics, replicas, theme parks
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Jerusalem currently stands at the center of a violent controversy that threatens the stability of both the Middle East and the world. This volatility, observes Annabel Jane Wharton, is only the most recent manifestation of a centuries-old obsession with the control of the Holy City—military occupation and pilgrimage being two familiar forms of “ownership.” Wharton makes the innovative argument here that the West has also sought to possess Jerusalem by acquiring its representations. From relics of the True Cross and Templar replicas of the Holy Sepulchre to Franciscan recreations of the Passion to nineteenth-century mass-produced prints and contemporary theme parks, Wharton describes the evolving forms by which the city has been possessed in the West. She also maps those changing embodiments of the Holy City against shifts in the western market. From the gift-and-barter economy of the early Middle Ages to contemporary globalization, both money and the representations of Jerusalem have become progressively incorporeal, abstract, illusionistic, and virtual.
Arch Moyen-Orient
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Buildings are not benign; rather, they commonly manipulate and abuse their human users. Architectural Agents makes the case that buildings act in the world independently of their makers, patrons, owners, or occupants. And often they act badly.Treating buildings as bodies, Annabel Jane Wharton writes biographies of symptomatic structures in order to diagnose their(...)
Architectural agents: The delusional, abusive, addictive. Lives of buildings
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Buildings are not benign; rather, they commonly manipulate and abuse their human users. Architectural Agents makes the case that buildings act in the world independently of their makers, patrons, owners, or occupants. And often they act badly.Treating buildings as bodies, Annabel Jane Wharton writes biographies of symptomatic structures in order to diagnose their pathologies. The violence of some sites is rooted in historical trauma; the unhealthy spatial behaviors of other spaces stem from political and economic ruthlessness. The places examined range from the Cloisters Museum in New York City and the Palestine Archaeological Museum (renamed the Rockefeller Museum) in Jerusalem to the grand Hostal de los Reyes CatOlicos in Santiago de Compostela, Spain, and Las Vegas casino resorts.
Théorie de l’architecture