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Art & Architecture
"Throwing clay on a potter's wheel and the seemingly effortless and wonderful way that clay will swell and climb in the hands of a skilled potter is merely the beginning to this most 'natural' and ancient of crafts."--from Throwing Pots
Throwing is a skill that many potters seek to master. It requires patience, time, and lots of practice. In Throwing Pots, Phil Rogers takes the reader through the basic principles of throwing. With the help of step-by-step illustrations, he demonstrates how to make a wide range of pots, from the simple bowl to the more complex forms of teapots and jugs, including lids and spouts. Rogers also discusses the aesthetics of pottery, encouraging readers to assess design and develop a personal style as well as recommending places to see examples of fine quality handthrown pottery.
Now, at last, here is a coherent theory which describes in modern terms an architecture as ancient as human society itself.
Tree houses are no longer just for children. With the growing excitement surrounding tree house architecture, adults around the world are building their own treetop hideaways -- savoring the childhood memories, feelings of nostalgia, and images of fantasy that are evoked by these almost dreamlike constructions. TreeHouses: Living a Dream brings together the most innovative ideas of today's architects and designers, providing readers with a comprehensive exploration of the unique construction methods that allow these amazing structures to adapt to their changing environments.
From Nebraska and Georgia to France and Germany, this book features a variety of projects that include playrooms, weekend retreats, home offices, dining rooms, and more. Each case study includes interior and exterior photography, as well as detailed site and floor plans accompanied by concise, informative text. With more than 350 full-color illustrations, TreeHouses: Living a Dream is sure to help every reader make a reality out of their tree house fantasy.
Treehouses & Playhouses You Can Build shows how average "do-it-yourself" families can easily and affordably bring to life a "Hobbit's Treehouse," a "Pirate's Playhouse," or a "Crow's Nest" in their own backyards! There are a lot of books out there filled with enchanting photos of elaborate treehouses and playhouses built by professionals and costing tens of thousands to build. For the rest of us, there's bit of elbow grease, a lot of imagination, a trip to the hardware store-and Treehouses & Playhouses You Can Build.
Authors David and Jeanie Stiles are the best-selling authors of a number of books on treehouses with sales of over 150,000 copies. They have created another straightforward how-to-build book filled with beautiful hand-drawn step-by-step illustrations that are easy to follow and describe in detail how to create each project. They include tips on budgeting, using basic tools, buying materials, and kid- and adult-friendly instructions! Even for DIY novice types, this book simplifies the building process and inspires families of all types to work together and build cool stuff.
"I am unpacking my library. Yes, I am. . . . Be ready to share with me a bit of the mood--it is certainly not an elegiac mood but, rather, one of anticipation--which these books arouse in a genuine collector. . . . What I am really concerned with is giving you some insight into the relationship of a book collector to his possessions, into collecting rather than a collection." --Walter Benjamin, 1931
What does a library say about the mind of its owner? How do books map the intellectual interests, curiosities, tastes, and personalities of their readers? What does the collecting of books have in common with the practice of architecture? Unpacking My Library provides an intimate look at the personal libraries of twelve of the world's leading architects, alongside conversations about the significance of books to their careers and lives.Photographs of bookshelves--displaying well-loved and rare volumes, eclectic organizational schemes, and the individual touches that make a bookshelf one's own--provide an evocative glimpse of their owner's personal life. Each architect also presents a reading list of top ten influential titles, from architectural history to theory to fiction and nonfiction, that serves as a personal philosophy of literature and history, and advice on what every young architect, scholar, and lover of architecture should read.
An inspiring cross-section of notable libraries, this beautiful book celebrates the arts of reading and collecting.
Unpacking My Library: Architects and Their Books features the libraries of:
Stan Allen
Henry Cobb
Liz Diller & Ric Scofidio
Peter Eisenman
Michael Graves
Steven Holl
Toshiko Mori
Michael Sorkin
Bernard Tschumi
Todd Williams & Billie Tsien
Peter Eisenman's Recommended Titles:
Robert Musil, The Man Without Qualities
Le Corbusier, Vers une Architecture
Thomas Pynchon, Gravity's Rainbow
Robert Venturi, Complexity and Contradiction in Architecture
Rem Koolhaas, Delirious New York
Jacques Derrida, Of Grammatology
Andrea Palladio, The Four Books on Architecture
Walter Benjamin, Illuminations
James Joyce, Finnegans Wake
William Faulkner, Light in August
"Piazza virtuale" by the artist group Van Gogh TV was not only the biggest art project on television ever-from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking television event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of a largely forgotten experiment: It not only documents its radicality of the approach, novel programme ideas and technical innovations. It also allows direct access to videos from the show, which were inaccessible until now, via QR codes.
Twenty-plus years after the initial publication of Wabi-Sabi: for Artists, Designers, Poets & Philosophers, Leonard Koren is back with further insights into this seminal aesthetic paradigm. An important book for art and design theorists, and other thoughtful creators.
Our societies frequently proclaim their enormous esteem for culture. Music, film, literature and the visual arts enjoy high prestige and are viewed by many as getting close to the meaning of life. But what is culture really for?
This book proposes that works of culture were all made, in one way or another, with the idea of improving the way we live. The book connects a range of cultural masterpieces with our own pains and dilemmas around love, work and society, and invites us to see culture as a resource with which to address the complex agonies of being human. It provides us with enduring keys to unlocking culture as a way of transforming our lives.
"Mr. Stilgoe does not ask that we take his book outdoors with us; he believes that reading and experiencing landscapes are activities that should be kept separate. But, as I learned in his book, the hollow storage area in a car driver's door was once a holster, the 'secure nesting place of a pistol.' I recommend you stow your copy there."
--The Wall Street Journal
Landscape, John Stilgoe tells us, is a noun. From the old Frisian language (once spoken in coastal parts of the Netherlands and Germany), it meant shoveled land: landschop. Sixteenth-century Englishmen misheard or mispronounced this as landskep, which became landskip, then landscape, designating the surface of the earth shaped for human habitation. In What Is Landscape? Stilgoe maps the discovery of landscape by putting words to things, zeroing in on landscape's essence but also leading sideways expeditions through such sources as children's picture books, folklore, deeds, antique terminology, out-of-print dictionaries, and conversations with locals. ("What is that?" "Well, it's not really a slough, not really, it's a bayou...") He offers a highly original, cogent, compact, gracefully written narrative lexicon of landscape as word, concept, and path to discoveries.
What Is Landscape? is an invitation to walk, to notice, to ask: to see a sandcastle with a pinwheel at the beach and think of Dutch windmills--icons of triumph, markers of territory won from the sea; to walk in the woods and be amused by the Elizabethans' misuse of the Latin silvaticus (people of the woods) to coin the word savages; to see in a suburban front lawn a representation of the meadow of a medieval freehold.
Discovering landscape is good exercise for body and for mind. This book is an essential guide and companion to that exercise--to understanding, literally and figuratively, what landscape is.
A lexicon and guide for discovering the essence of landscape.
"Mr. Stilgoe does not ask that we take his book outdoors with us; he believes that reading and experiencing landscapes are activities that should be kept separate. But, as I learned in his book, the hollow storage area in a car driver's door was once a holster, the 'secure nesting place of a pistol.' I recommend you stow your copy there."
--The Wall Street Journal
Landscape, John Stilgoe tells us, is a noun. From the old Frisian language (once spoken in coastal parts of the Netherlands and Germany), it meant shoveled land: landschop. Sixteenth-century Englishmen misheard or mispronounced this as landskep, which became landskip, then landscape, designating the surface of the earth shaped for human habitation. In What Is Landscape? Stilgoe maps the discovery of landscape by putting words to things, zeroing in on landscape's essence but also leading sideways expeditions through such sources as children's picture books, folklore, deeds, antique terminology, out-of-print dictionaries, and conversations with locals. ("What is that?" "Well, it's not really a slough, not really, it's a bayou...") He offers a highly original, cogent, compact, gracefully written narrative lexicon of landscape as word, concept, and path to discoveries.
What Is Landscape? is an invitation to walk, to notice, to ask: to see a sandcastle with a pinwheel at the beach and think of Dutch windmills--icons of triumph, markers of territory won from the sea; to walk in the woods and be amused by the Elizabethans' misuse of the Latin silvaticus (people of the woods) to coin the word savages; to see in a suburban front lawn a representation of the meadow of a medieval freehold.
Discovering landscape is good exercise for body and for mind. This book is an essential guide and companion to that exercise--to understanding, literally and figuratively, what landscape is.
The first complete English translation of Nadar's intelligent and witty memoir, a series of vignettes that capture his experiences in the early days of photography.
Celebrated nineteenth-century photographer--and writer, actor, caricaturist, inventor, and balloonist--Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of "written photographs"), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation.
In When I Was a Photographer (Quand j'étais photographe), Nadar tells us about his descent into the sewers and catacombs of Paris, where he experimented with the use of artificial lighting, and his ascent into the skies over Paris in a hot air balloon, from which he took the first aerial photographs. He recounts his "postal photography" during the 1870-1871 Siege of Paris--an amazing scheme involving micrographic images and carrier pigeons. He describes technical innovations and important figures in photography, and offers a thoughtful consideration of society and culture; but he also writes entertainingly about such matters as Balzac's terror of being photographed, the impact of a photograph on a celebrated murder case, and the difference between male and female clients. Nadar's memoir captures, as surely as his photographs, traces of a vanished era.
From the acclaimed author of Blue, a beautifully illustrated history of the color white in visual culture, from antiquity to today
As a pigment, white is often thought to represent an absence of color, but it is without doubt an important color in its own right, just like red, blue, green, or yellow--and, like them, white has its own intriguing history. In this richly illustrated book, Michel Pastoureau, a celebrated authority on the history of colors, presents a fascinating visual, social, and cultural history of the color white in European societies, from antiquity to today. Illustrated throughout with a wealth of captivating images ranging from the ancient world to the twenty-first century, White examines the evolving place, perception, and meaning of this deceptively simple but complex hue in art, fashion, literature, religion, science, and everyday life across the millennia. Before the seventeenth century, white's status as a true color was never contested. On the contrary, from antiquity until the height of the Middle Ages, white formed with red and black a chromatic triad that played a central role in life and art. Nor has white always been thought of as the opposite of black. Through the Middle Ages, the true opposite of white was red. White also has an especially rich symbolic history, and the color has often been associated with purity, virginity, innocence, wisdom, peace, beauty, and cleanliness. With its striking design and compelling text, White is a colorful history of a surprisingly vivid and various color.
Why would an architect reach for a pencil when drawing software and AutoCAD are a click away? Use a ruler when 3D-scanners and GPS devices are close at hand? In Why Architects Still Draw, Paolo Belardi offers an elegant and ardent defense of drawing by hand as a way of thinking. Belardi is no Luddite; he doesn't urge architects to give up digital devices for watercolors and a measuring tape. Rather, he makes a case for drawing as the interface between the idea and the work itself.
A drawing, Belardi argues, holds within it the entire final design. It is the paradox of the acorn: a project emerges from a drawing--even from a sketch, rough and inchoate--just as an oak tree emerges from an acorn. Citing examples not just from architecture but also from literature, chemistry, music, archaeology, and art, Belardi shows how drawing is not a passive recording but a moment of invention pregnant with creative possibilities.
Moving from the sketch to the survey, Belardi explores the meaning of measurement in a digital era. A survey of a site should go beyond width, height, and depth; it must include two more dimensions: history and culture. Belardi shows the sterility of techniques that value metric exactitude over cultural appropriateness, arguing for an "informed drawing" that takes into consideration more than meters or feet, stone or steel. Even in the age of electronic media, Belardi writes, drawing can maintain its role as a cornerstone of architecture.
A lucid and wide-ranging meditation on why photography is unique among the picture-making arts.
Photography matters, writes Jerry Thompson, because of how it works--not only as an artistic medium but also as a way of knowing. With this provocative observation, Thompson begins a wide-ranging and lucid meditation on why photography is unique among the picture-making arts. He constructs an argument that moves with natural logic from Thomas Pynchon (and why we read him for his vision and not his command of miscellaneous facts) to Jonathan Swift to Plato to Emily Dickinson (who wrote "Tell all the Truth but tell it slant") to detailed readings of photographs by Eugène Atget, Garry Winogrand, Marcia Due, Walker Evans, and Robert Frank. Forcefully and persuasively, he argues for photography as a medium whose business is not constructing fantasies pleasing to the eye or imagination, but describing the world in the toughest and deepest way.
