Книги о стилях архитектуры

In a career that spanned the first half of this century, Philip Trammell Shutze produced over 750 architectural works. Because his production was so large, this first book to examine his buildings concentrates on the more important ones, which as a body represent an architectural achievement of a very high order of refinement, grace, and beauty.

Although Shutze practiced from 1912 to 1968, covering the period of the ascendancy of modernism through its final triumph, he remained a firmly committed classicist, practicing out of an office in Atlanta where he produced an extraordinary body of monumental commercial and institutional buildings and country villas.

After graduating from Georgia Tech, Shutze stayed a year at Columbia University before he won the prestigious Rome Prize in 1915. Travelling to Rome later that year, he became a member of one of the earliest classes of fellows to occupy the recently completed American Academy on the Janiculum overlooking the city. The magnificent palazzo designed by America's most renowned architectural firm, McKim, Mead, and White, did not, however, please the fellows, who found it "too new," and therefore not authentic (Shutze would later devote much attention to techniques for instantly aging building facades).

With the coming of the First World War, Shutze and most of his classmates stayed in Rome as Red Cross volunteers, but when the war was over they returned to the Academy and to their studies. During his five years in Rome, Shutze immersed himself in learning everything he could about the great buildings of the Renaissance and Baroque periods. He painstakingly measured those buildings as well as the monuments of the Roman Empire, committing the smallest of details to paper and to memory.

Returning to the U.S. in 1920, Shutze worked in New York for Mott Schmidt, who designed townhouses for such families as the Astors, Morgans, and Vanderbilts, and he also worked for F. Burrall Hoffman, whose masterpiece is Villa Vizcaya in Miami. Within a few years, though, he returned to Georgia where he remained as the epitome of the "gentleman architect," designing some of the most beautiful buildings ever to grace the American landscape.

Designer and merchant, collector and tastemaker, Thomas O’Brien has made a career of translating cool notions of modernism into an easy and generous array of modern styles that anyone can attain. Now he introduces readers to a range of those styles - from casual to formal, vintage to urban - alongside stunning photography and charming design stories.

O’Brien carefully describes the design process of his chosen projects, including a downtown New York City loft, a traditional Connecticut estate, and a converted schoolhouse in eastern Long Island. Each home explores a view on the modern design spectrum he has created, as well as the individual choices that make the design unique and its mix essentially American. He explains not only what was at work to create a given style, but how readers can import those practices to their own homes and personal design sensibilities. Important design principles such as architectural authenticity, color relationships, correctness of scale, and informed collecting are threaded through a practical narrative that reads like a master class in interior design.

American Modern is an inspiring design volume that will redefine the way readers think about modern interiors.

Every major architectural style in history, brilliantly rendered in specially commissioned drawings

Architectural Styles is an incomparable guide to the histories and characteristics of building traditions across the centuries and around the globe. Modelled on an architect’s plein air sketchbook, it features hundreds of meticulous drawings by esteemed architectural illustrator Robbie Polley alongside detailed descriptions by Margaret Fletcher.

It begins with the earliest styles of the ancient civilizations – Egypt, Greece and Rome – before travelling through Medieval, Renaissance and Baroque and into the modern world via the panoply of 19th century revivalist styles. Also covered is the traditional architecture of China, India, Japan and Pre-Columbian America. A final section gathers together key architectural elements from different periods – columns, towers, doorways, windows.

Contents List:

Introduction • Ancient and Classical • Medieval and Renaissance • Baroque to Art Nouveau • Modern to Contemporary

About the Author:

Robbie Polley is a renowned architectural illustrator. His drawings have featured in thirty books, including Architecture Inside + Out, also published by Thames & Hudson. Margaret Fletcher is Associate Professor of Architecture at Auburn University.

Sexy, modern, and unabashedly consumer-oriented, Art Deco was a new kind of style, flourishing at a time of rapid technological change and social upheaval

Lacking the philosophical basis of other European design movements, Deco borrowed motifs from numerous sources - Japan, Africa, ancient Egyptian and Mayan cultures, avant-garde European art--simply to create novel visual effects.

Art Deco 1910-1939 surveys the sources and development of the popular style with more than 400 colour illustrations and 40 chapters by numerous design specialists. The authors track Deco around the globe, from Paris to the United States - where it got its biggest boost from mass production - to Northern and Central Europe, Latin America, Japan, India, and New Zealand.

The book's broad focus encompasses industrial artefacts (the Hindenburg blimp, the Burlington Zephyr locomotive), as well as architecture, furniture, accessories, fashion, jewellery, typography and poster design. Despite the existence of other prominent artistic movements during the 1920s and '30s, the authors tend to hang the Deco label on virtually any object that portrays the effects of technology or employs colour, luxury materials or artificial light in striking ways. It does seem a stretch to include Man Ray's photographs, Sonia Delaunay's textiles and the movie King Kong in the Deco pantheon. But the great strength of Art Deco 1910-1939 is that it reveals the social context of Deco, not just its pretty face.
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‘The best book on Art Deco to have appeared so far, and likely to remain so.’ Bevis Hillier, Literary Review

Art Deco – the style redolent of the flapper girl, the luxury ocean liner, Hollywood film and the skyscraper – came to epitomize the glamour, luxury and hedonism of the Jazz Age. It burst on to the world stage at the 1925 Exposition internationale des art decoratifs et industriels modernes in Paris, and quickly swept across the globe. Its influence was felt everywhere, from the skylines of New York and Shanghai to the design of fashionable eveningwear and plastic radios. Above all, it became the signature style of the pleasure palaces of the age – hotels, cocktail bars, nightclubs and cinemas.

This authoritative publication brings together leading experts to explore the sources, varied forms of expression, distinct visual language and global reach of Art Deco. With its breathtaking illustrations, this lavish volume is the definitive book on what is, arguably, the most popular style of the twentieth century.

About the Authors

Charlotte Benton is an independent architecture and design historian. Her publications include A Different World? E´migre´ Architects in Britain, 1928–1958 (1995).

Tim Benton is Professor of Art History at the Open University. He has also co-curated a number of exhibitions, including Thirties: British Art and Design before the War (1979) and Art and Power (1996).

Ghislaine Wood is a Senior Curator in the V&A’s Research Department. She was curator of touring exhibition Art Deco 1910– 1939 (2003) and deputy curator of the major exhibition Art Nouveau 1890–1914 (V&A 2000).

Art Deco buildings, with their highly ornate façades and dramatic forms, are a vital part of our surroundings.

This wide-ranging exploration of Art Deco architectural design embraces many different times and places in its summary of the movement’s origins, development and influence. Various types of architecture were termed Art Deco, and their antecedents might include Arts and Crafts, fin-de-siècle Vienna, Cubism, Expressionism and the Bauhaus.

Patricia Bayer shows that Art Deco masterpieces can be seen and admired worldwide: from the skyscrapers of New York City to imperial dwellings in Tokyo; from Sydney Harbour Bridge and the Battersea Power Station to movie theatres and diners across America. Post-modernism now uses its motifs and idioms, and many of the original buildings still survive, fully restored to their former glory.

Sumptuously illustrated, this is a comprehensive guide to the best-loved of all 20th-century architectural styles.

By the time of the Paris exhibition of 1925 from which Art Deco took its name, the idea that an interior and its furnishings should form a complete design - a "total look" - dominated the thinking of both designers and their clients. Studios began to emerge to serve the needs of a design and style-conscious middle-class. This text displays the flourishing design ingenuity through contemporary photographs and illustrations of selected interiors complemented with modern photographs of individual pieces. It traces the sylistic evolution and dominant motifs of Deco, the triumph of the 1925 exhibition and the pure "high style" of the Paris ensembliers; the growth of Streamline Moderne offshoots in the US; the international revival of Deco as a decorative style for a new generation of post-modern designers; and the restoration of many Art Deco interiors to their original state.

The unity of art and life was the expressed goal of the Art Nouveau movement, the prelude to modernity. On the basis of shared ideas its adherents strove for a homogenous style, which nonetheless took on manifold variations in its expression. Dr. Gabriele Fahr-Becker pursues this will to style in architecture, interior decor, furniture design, silver and gold-smithery, ceramics and glasswork, graphic arts and painting. The author leads her readers through the diverse national variations of Art Nouveau in Europe and the United States. The significance of the literary and philosophical as well as cultural and political background is explained by means of many theories and writings by artists and their contemporaries. The countless permutations of Art Nouveau are woven into a complex and yet distinctive picture of this artistic movement at the turn of the twentieth century.

For a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau ( New Art ) inflected architecture, design, painting, graphic work, applied arts, and illustration.

Art Nouveau was deliberately nouveau. With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.

At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to handcraftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.

This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudi, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siecle as it is in the trajectory of modernism.

Klaus-Jürgen Sembach is a writer, curator, and former director of the Museum for Industrial Culture in Nuremberg. He has produced numerous publications on architecture, design, photography, and film.

The best of the existing European Art Nouveau buildings, monuments and interiors are celebrated in this lavish book by one of Japan’s leading photographers.

Art Nouveau, which flourished throughout Europe in the late 19th and early 20th centuries, was one of the most significant movements in the history of decorative arts and architecture. Born of a reaction to the rise of industrialism and inspired by aesthetes such as Ruskin and Morris, it was a style that rapidly became recognized the world over, propagated by such architects as Gaudí, Guimard and Olbrich.

Although it flowered only briefly, and while a great many of its creations were destroyed, there remain throughout Europe myriad examples of Art Nouveau’s sinuous forms and organically inspired beauty, the best of which are captured in this book, the ultimate pictorial record of one of the most distinctive architectural styles ever.

This book has over 300 stunning photographs covering the late 1880's to the early 1900's. It features buildings, furniture, metalwork, jewellery, glass etc

Arts in the ‘20s includes a magnificent selection of architecture, interiors, furniture, and decorative objects produced in Europe during the 1920s. Originally published in 1930, this book has since become extremely rare and sought after. This new edition, following the format of the original, has over 800 images organized in six sections: architecture; interiors and furniture; metal and jewelry; ceramics; glass; lace, embroidery, textiles, printed paper and leather. Arts in the ‘20s presents projects realized by the most important architects and designers of the time: Edgar Brandt, Josef Hoffmann, Le Corbusier, Émile-Jacques Ruhlmann, Eliel Saarinen, Gio Ponti, as well as offerings from renown firms such as Baccarat, Cartier, Daum, Moser and Royal Copenhagen. The works of lesser known artists, and an introductory text and opinionated captions by art critic Roberto Papini, help to illustrate the stylistic movements and preoccupations of the period. This exquisitely produced treasury of restored images, printed in duotone on ivory colored paper, will be prized by bibliophiles, collectors, and connoisseurs in a broad range of artistic disciplines.

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A comprehensive monograph on the most lavish, whimsical, and inventive era in the history of architecture, from the cathedrals of Rome to the palaces of Russia.

This book, beautifully illustrated and written by two authorities on sixteenth- and seventeenth-century art and architecture, leads the reader through the major styles and trends of Baroque architecture throughout Europe and beyond, and p provides a fascinating account of how the Baroque developed in relation to the unique urban culture of each nation where the style became popular. To admire the undulating fasade of Rome's San Carlo alle Quattro Fontane, to walk through the Palace of Versailles' lavish succession of rooms, or to marvel at the seemingly endless array of columns and windows in St. Petersburg's Winter Palace is to observe architecture in the act of glorifying the key powers of the dayâthe empire, wealth, the Church, and even mankindâs inventiveness. In-depth coverage of the architecture of France and Italy is coupled with serious analysis on how the style developed in Spain, Portugal, Poland, Russia, and Scandinavia, as well as in the Spanish and Portuguese colonies in the Americas. Giving the richest and most complete account of its history to date, this is an essential introduction to Baroque architecture for the general reader.

During the baroque period, architecture and the other fine arts were the instruments of a staging of world theater on a grand scale. The baroque art of the popes in Rome, the displays of power and opulence in the court of the Sun King, Louis XIV, and Dutch painting they all reflect different aspects of the underlying tension between pleasure in life and fear of death that was such a prominent feature of the baroque world view. This volume portrays the entire span of the fine arts of the baroque era, from rich splendor to religious asceticism.

For this work, editor Rolf Toman has gathered contributions from seven renowned authors with great expertise in the fields of architecture and art history to work with him. Taken as a whole, they give us a multi-faceted picture of baroque art in all its forms.

This stunning book offers insider access to Lake Maggiore's Borromeo Palace, a resplendent achievement of baroque Italian architecture. This is a perfect volume for classic Italian art and architecture lovers.

In a unique natural setting--the Isola Bella island on Lake Maggiore, surrounded by the Alps -- stands the sumptuous palace built, and still owned, by the Borromeo family. Photographs guide the readers through the halls of the palace, which overlooks the lake and offers charming views. The halls and rooms are furnished with luxury furniture, marble, and stucco decorations, and enriched with ancient sculptures, armory, and a valuable collection of six Flemish tapestries woven in gold and silk. A large painting collection can be admired in General Berthier's gallery.

About the Authors:

Stefano Zuffi is an independent art historian focusing on art of the Renaissance and baroque periods. Massimo Listri is an Italian photographer who specializes in architectural photography. Already a longtime collaborator of FMR magazine, he has published several books and exhibited his photographs in Italy and abroad.