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The Serpentine Gallery Pavilion 2003, by the Brazilian architect Oscar Niemeyer, was his first completed, though temporary, structure in the UK. Sited on the Gallery's lawn from June 20th to September 14th, it offered visitors an opportunity to experience a space designed by one of the founding figures of modern architecture.
Oscar Niemeyer : Serpentine Gallery Pavillion 2003
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The Serpentine Gallery Pavilion 2003, by the Brazilian architect Oscar Niemeyer, was his first completed, though temporary, structure in the UK. Sited on the Gallery's lawn from June 20th to September 14th, it offered visitors an opportunity to experience a space designed by one of the founding figures of modern architecture.
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This publication takes readers on a tour from J. Paul Getty's original museum in his home near Malibu to the seemingly endless corridors that run underneath the Getty Center in Los Angeles; from the galleries and storerooms of the J. Paul Getty Museum to the library and special collections of the Getty Research Institute; from the scientific laboratories of the Getty(...)
Inside the Getty : the fascinating story of the Getty - its origins and programs, two campuses, art and architecture, and inner workings
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This publication takes readers on a tour from J. Paul Getty's original museum in his home near Malibu to the seemingly endless corridors that run underneath the Getty Center in Los Angeles; from the galleries and storerooms of the J. Paul Getty Museum to the library and special collections of the Getty Research Institute; from the scientific laboratories of the Getty Conservation Institute to the worldwide philanthropy of the Getty Foundation; and from the public places and programs of the J. Paul Getty Trust to the secret spaces and stories of this landmark organization.
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décembre 2008
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This publication celebrates the third anniversary of School of Architecture at the Vienna University of Applied Arts. 99+ is a collection of selected projects by students in the classes of Zaha Hadid, Greg Lynn and Wolf D. Prix between 2004-08. Along with their design studios, the three star architects Zaha Hadid, Greg Lynn and Wolf D. Prix give students the opportunity(...)
99+ IOA Studios. Hadid, Lynn, Prix, Selected Student Works 2004–8. Design = Thinking
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This publication celebrates the third anniversary of School of Architecture at the Vienna University of Applied Arts. 99+ is a collection of selected projects by students in the classes of Zaha Hadid, Greg Lynn and Wolf D. Prix between 2004-08. Along with their design studios, the three star architects Zaha Hadid, Greg Lynn and Wolf D. Prix give students the opportunity of exploring the manifold cross-border possibilities the parameters of architecture offer.
The Tate Modern handbook
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A new revised edition of "The Tate Modern Handbook*, published in response to the first dramatic re-organisation of the gallery since 2000. Includes a new essay by Andrew Marr, an expanded A–Z of works in the collection, including recent acquisitions, and entries on over 120 artists as well as explanations of key terms in art and museology.
novembre 2006, London
The Tate Modern handbook
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A new revised edition of "The Tate Modern Handbook*, published in response to the first dramatic re-organisation of the gallery since 2000. Includes a new essay by Andrew Marr, an expanded A–Z of works in the collection, including recent acquisitions, and entries on over 120 artists as well as explanations of key terms in art and museology.
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and(...)
août 2007, Minneapolis, London
Building a century of progress : the architecture of Chicago's 1933-34 World's Fair
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and cultural displays, many of which were housed in fifty massive and colorful exhibition halls, the largest architectural project realized in the United States during the Great Depression. In the richly illustrated "Building a century of progress", Lisa D. Schrenk explores the pivotal role of the 1933 Chicago World’s Fair in modern American architecture. She recounts how the exposition’s architectural commission promoted a broad definition of modern architecture, not relying on purely aesthetic characteristics but instead focusing on new design solutions. The fair’s pavilions incorporated recently introduced building materials such as masonite and gypsum board; structural innovations (for example, the first thin-shell concrete roof and the first suspended roof structures built in the United States); and new construction processes, most notably the use of prefabrication. They also featured curiosities like the giant, constantly operating mayonnaise maker and the glass-walled House of Tomorrow, which had no operable windows. Schrenk shows how the halls’ designs reflected cultural and political developments of the period, including the expanding relationships between science, industry, and government; the rise of a corporate consumer culture; and the impact of the Great Depression. Many of the designs provoked intense responses from critics and other prominent architects, including Frank Lloyd Wright and Ralph Adams Cram, fueling heated debates over the appropriate direction for architecture in the United States. Demonstrating the rich diversity of progressive American building design seen at the fair, this book captures a crucial moment in American modernism.
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The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of(...)
Egon Eierman / Sep Ruf : Deutsch Pavillons, Brüssel 1958
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The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of the architectural resources, and by the happy combination of men who created it, all so similar in the nature of their thinking: Egon Eiermann and Sep Ruf as architects, Walter Rossow as landscape and garden planner, and Hans Schwippert responsible for the exhibition programme.
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icam print is published every two years. The themes are generated during the icam conferences and imerse in major topics eg. digitizing, education or exhibiting architecture. It contains interviews with key figures of the architecture scene, introduces member institutions and serves as information platform for members.
icam print 01 2006, international confederation of architectural museums
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icam print is published every two years. The themes are generated during the icam conferences and imerse in major topics eg. digitizing, education or exhibiting architecture. It contains interviews with key figures of the architecture scene, introduces member institutions and serves as information platform for members.
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Using more than fifty interviews, award-winning writer Danny Danziger creates a fascinating mosaic of the people behind New York’s magnificent Metropolitan Museum of Art. From the aristocratic, acerbic director of the museum, Philippe de Montebello, to the curators who have a deep knowledge and passionate appreciation of their collections, from the security guards to the(...)
Museum: behind the scenes at the Metropolitain museum of art
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Using more than fifty interviews, award-winning writer Danny Danziger creates a fascinating mosaic of the people behind New York’s magnificent Metropolitan Museum of Art. From the aristocratic, acerbic director of the museum, Philippe de Montebello, to the curators who have a deep knowledge and passionate appreciation of their collections, from the security guards to the philanthropists who keep the museum’s financial life blood flowing, Danziger brings to life this extraordinary world through the words of those who are devoted to making the Met the American institution it surely is.
Museum and gallery
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Thirteen outstanding and recently completed museums and galleries take centre stage in this monograph. All have been chosen for both their sensitivity towards their surroundings and their ability to create a specific experience for the visitor. Included are such projects as Chipperfield's, Museum of Modern Literature in Marbach; Nouvels' Musée du Quai Branly; Zumthor's(...)
juin 2008, Seoul
Museum and gallery
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Thirteen outstanding and recently completed museums and galleries take centre stage in this monograph. All have been chosen for both their sensitivity towards their surroundings and their ability to create a specific experience for the visitor. Included are such projects as Chipperfield's, Museum of Modern Literature in Marbach; Nouvels' Musée du Quai Branly; Zumthor's Kolumba Art Museum; the Ordrupgaard Museum extension by Zaha Hadid; and Steven Holl's Nelson-Atkins Museum of Art. All are surveyed through extensive photographs that are accompanied by plans and elevations.
L'effet papillon, 1989-2007
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Cette publication retrace au travers de ses archives, l'histoire et l'évolution d'un lieu particulier, – le Centre d'édition contemporaine –sa production et sa politique artistiques, et détermine sa place, son statut et son engagement dans le champ de l'art contemporain. La période couverte, 1989-2007, se situe très loin du Centre genevois de gravure contemporaine (fondé(...)
juin 2008, Genève
L'effet papillon, 1989-2007
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Cette publication retrace au travers de ses archives, l'histoire et l'évolution d'un lieu particulier, – le Centre d'édition contemporaine –sa production et sa politique artistiques, et détermine sa place, son statut et son engagement dans le champ de l'art contemporain. La période couverte, 1989-2007, se situe très loin du Centre genevois de gravure contemporaine (fondé dans les années 1960) devenu, en 2001, le Centre d'édition contemporaine. Elle correspond à une phase d'ouverture et de développement à un art contemporain en mutation accélérée. Parcourant ces dix-neuf ans d'activité, cet ouvrage tente de les illustrer et de les commenter, de les cataloguer et de les décrire dans le détail.