Phaidon strana 5 z 55

Detailní pohled na to nejlepší ze současné japonské architektury od konce 80. let do dneška. Zahrnuje práce architektů jako Toyo Ito, SANAA, Atelier Bow-Wow a Kengo Kuma. Text v angličtině. An overview of contemporary Japanese architecture from the late

Welles is one of the legendary film directors whose persona has been created through a myriad of myths and legends. Enfant terrible of American cinema, his groundbreaking entry into Hollywood with "Citizen Kane" propelled him to fame as a young prodigy and unfailing genius. Many studies to date have focused on this aspect of Welles, highlighting his clashes with film studios to paint a turbulent picture of an artist repressed by his producers. In this book, however, by returning to the original works and analysing the primary sources, the authors strip back the myths and rumours (many of which were created and fanned by Welles himself) to draw a realistic portrait of this most remarkable filmmaker at work. Welles possessed an exceptional ability to adapt and radically change the stylistic choices of a film to suit his production conditions.His artistic vision was so intense that the various different methods he used from one film to another, and even during the same film, inescapably led to a work stamped with his seal. Whether in control of every detail or deliberately delegating to his team, meticulously prepared or urgently improvised, Welles delighted in working to extremes and was never afraid to challenge the seemingly insuperable. This book recounts the various stages (from conception and pre-production, through the filming and editing to critical reception) of each of his films from the 1940s to the 1970s, including the celebrated "Citizen Kane", "The Magnificent Ambersons", "Othello", "The Trial" and "Touch of Evil".Discussion of each film is supported by numerous illustrations of screenplays and scripts, contracts, sketches, storyboards, models, production reports, memos, letters and correspondence uncovered by new research in European and American archives. In June 2007, "Citizen Kane" was once again voted the 'best movie ever made' by the American Film Institute. A position it has held since the institution opened its poll in 1998. The film has also been hailed by renowned directors worldwide the best film ever made, repeatedly topping the famous ten-year poll of the British Film Institute decade after decade. It is evident that interest in Welles never wanes and his remarkable body of work continuously attracts new devotees.

Naoto Fukasawa (b.1956) is one of the best-known Japanese product designers working today. After graduating from Tama Art University in 1980, he moved to the United States and worked at IDEO, one of the world's most innovative design companies. In 1997, Fukasawa moved back to Japan to set up the IDEO Tokyo office. During his time at IDEO, he developed his sense for how people perceive and use objects. In 2003, Fukasawa left IDEO to form his own design company Naoto Fukasawa Design. Besides being a consultant for major companies, especially MUJI, he has also set up a new product brand called PLUS MINUS ZERO, a collection of minimal home appliances and products that has achieved worldwide acknowledgement for its user-friendly aesthetics. Moreover, Fukasawa's designs for companies such as Driade and B&,B Italia attracted attention in Europe at the 2005 Milan Furniture Fair, and have continued to do so since. Fukasawa's design philosophy relies on carefully observing what people do and feel in their everyday lives in order to find simple solutions that touch the senses and link to shared memories. By working with the 'iconic' value of a product, be it a watch or a sofa, Fukasawa is able to come up with designs that address the common knowledge about things that people have. His groundbreaking wall-mounted CD player for MUJI in 1999 was based on the image of a kitchen fan and moved away from all the conventions of hi-fi equipment manufacture. It was a simple appliance, restrained in appearance and function, and very different from the numerous black boxes that had become the standard in the market. Interestingly, as Fukasawa's products are based on people's common and not always conscious view of things, his design solutions sometimes swim against the current of received opinions to achieve popularity and success. The LCD TV monitor he designed for PLUS MINUS ZERO reinstates the shape of the cathodic-tube TV set instead of becoming even thinner, his mobile telephone Infobar for KDDI/au has large keypads, referring back to the first models of the 1980s. The book is the first monograph published in English of the work of this innovative designer. Edited by Fukasawa himself and with contributions by writers from East and West, it includes a selection of his products to date, ranging from umbrellas and vases to sofas and telephones. Illustrated with never-before-seen photographs and drawings, Fukasawa's text elucidates the ideas behind each of his projects. Essays by artists, designers, and lecturers, notably Antony Gormley, Jasper Morrison and Bill Moggridge from IDEO, complete the book by giving an account of Fukasawa's design philosophy and of the significance of his work for the contemporary design world.

Ever since they were discovered over a hundred years ago, the paintings and rock engravings deep in the caves of Europe have captured the public imagination, provoking wonder and amazement at their great age, their technical mastery and their sheer b eauty. Some of the oldest art known to man turns out to be highly accomplished, and also to have been made in extremely difficult conditions in absurdly inaccessible locations. These facts have presented a puzzle and a challenge that have never cease d to exercise the imagination of both scholars and the wider public. This interest is kept alive by the beauty, vivacity and realism of these mammoths, bison, horses and other animals, which have the same power and freshness to modern eyes that they must have had for their creators. Jean Clottes' book is the first one to provide a simple, accessible, orderly and easy to use pictorial introduction to this remarkable art.A concise introduction tells the story of the discovery of the caves, and giv es a clear outline of current knowledge and research. It also discusses the modern debates about the meaning and purpose of the art, and sets these debates in the wider context of prehistory.

Josef Albers (1888-1976) has long been admired for his progressive vision as an artist and designer who blurred distinctions between fine and applied art, but rarely has his influence as a teacher been examined with such depth and detail. The German-born artist/educator was a remarkable classroom performer whose colorful language, wit, and dramatic flair held his students spellbound and turned his lessons into high adventure. Whether at the Bauhaus in prewar Germany, Black Mountain College in rural North Carolina during the 1930s and 1940s, or at Yale in the 1950s, Albers-the-teacher was driven by one thing: the desire to open his students' eyes to a different way of perceiving art and, ultimately, life. The son of a house painter and decorator in Germany's northwest Ruhr region, Albers grew up surrounded by artisans and learned at an early age to paint, cut stone, and craft wood. Although his ambition had always been to become an artist, Albers entered teacher's training college at his father's insistence and spent his first professional year teaching six- to fourteen-year-olds in a single-classroom school. Later experience at the Koniglichen Kunstschule in Berlin's rough-and-tumble Alexanderplatz neighborhood and exposure to the city's hothouse cultural atmosphere inspired the young Albers to merge his love for art and education-a decision that would have an impact on generations of artists to come in both Europe and the United States. "Josef Albers: To Open Eyes" takes the reader through Albers's life in teaching-from his first years at the pioneering but politically fraught Bauhaus, to his 1933 emigration to the United States, where he and his wife Anni became founding members and teachers at the experimental start-up Black Mountain College, and again to his 1950 appointment to head up Yale University's newly restructured Department of Design. Throughout his 40 years in education, Albers influenced everyone he encountered not, as one former student says, as a "tour guide of the world of art, but rather as a living embodiment of that world."

It was during the depth of the Great Depression of the late 1920s and 30s, when at least 14 million people were out of work in the USA, that Dorothea Lange (1895-1965) first ventured out on the streets with her camera. In 1935 a report on migrant workers, illustrated with Lange's photographs, came to the attention of Roy Stryker and in response he invited Lange to become a member of the Farm Security Administration (FSA) photographic unit. Like Stryker, Lange believed that photography was a tool of political action, and this was no more apparent then when the federal government responded to the starvation crisis shortly after the San Francisco News received Lange's photographs - it quickly supplied 20,000 pounds of food to feed hungry migrants at the camps. Lange's championing of black migrants can be seen in the photograph "Plantation Overseer"and his Field Hands" of 1936, in which Lange captured the image of a man who exemplified the racist, exploitative and un-democratic attitudes that were rife in Southern plantation life. The evidence of racism revealed in this photograph - and others - is countered by Lange's many dignifying portraits of black subjects. When the bitter years of the Depression were overtaken by the advent of World War II, she continued to demonstrate her opposition to the poor treatment of migrants by opposing the relocation of 110,000 American Japanese to internment camps. She recorded the evacuation in Northern California after being assigned by the War Relocation Authority. In 1955, after a bout of ill health, Lange continued to work on contemporary social issues, namely a photo-essay for "Life" magazine, a sensitive study of the work of a Yugoslav-American public defender, representing those who could not afford to pay their own legal expenses. Lange watched and photographed him on and off for a year, catching the reflective moments of his defendants' body language. Lange was the first woman to be awarded the Guggenheim Fellowship (1941) and was placed on the Honour Roll of the American Society of Magazine Photographers in 1963. She was honoured with major solo exhibitions at the San Francisco Museum of Art (1960) and the Oakland Art Museum (1960) and she began preparing a retrospective at the Museum of Modern Art, New York shortly before she died in 1965.

Thom Mayne, the founder and principal of the Los Angeles-based firm Morphosis, is one of the most influential architects of his generation practising today and is considered part of an informal "Los Angeles School" of cutting-edge architects mentored by Frank Gehry and which also includes Eric Owen Moss and the late Franklin D. Israel. After completing several small residential projects and renovations, Morphosis first gained widespread recognition in the architecture world with the design of several high-profile restaurants in the Los Angeles area in the mid-1980s: 72 Market Street, a loftlike space in Venice, and Angeli Restaurant and Kate Mantilini Restaurant, whose highly articulated steel-and-wood facades and unconventional plans catapulted Morphosis into the international postmodern and "deconstruction" debates of the 1980s. The firm, however, has always been firmly rooted in its Los Angeles environment, responding to the city's historic openness to architectural experimentation and its resistance to traditional grids and geometric orders. As Val Warke has written, "It is likely that most Morphosis blockbusters are about the contemporary culture of Los Angeles, its manic decentralization." Morphosis's buildings, with their eccentric sculptural forms, their windows and structural elements often pitching at skewed angles, and the beautifully complex plan drawings for which the firm is famous all reflect Thom Mayne's interpretation of an often kinetic, unstable contemporary experience. This book publishes for the first time extensive photographs of all of Morphosis's completed work, from the early residential and restaurant projects in Los Angeles to the most recent work beyond California and the United States - in Canada, Taiwan, Korea, Japan, and Austria. Included are the Cedars Sinai Comprehensive Cancer Center, a showroom for Vecta in Los Angeles, later residential projects - the Lawrence, Crawford, and Blades houses, exhibits at the Walker Art Center and Netherlands Architecture Institute, the Hypo Alpe-Adria-Center in Klagenfurt, Austria, and Toronto Graduate Student Housing in Toronto, Canada. The work in this volume is presented in a clean, almost cinematic layout, with large-format color photographs, including many double-page spreads, illustrating the individual projects. The projects are organized in reverse chronological order, project sections are followed by an essay by Thom Mayne interspersed with commentary by Val Warke. Project credits and a bibliography complete the book.

See where it lies before us in a sun-lighted valley, bright with the winding Arno, and shut in by swelling hills, its domes, and towers, and palaces, rising from the rich country in a glittering heap, and shining in the sun like gold. - Charles Dickens, "Pictures from Italy", 1844. For nearly two centuries, from the era of Dante to that of Michelangelo, the comparatively small but extremely wealthy city of Florence exerted an exceptional influence over the development of western civilization that even today remains the subject of endless study, debate and research. The inspired patronage of Cosimo and Lorenzo de Medici, of Giovanni Rucellai and others, gave rise to seminal architectural works by Brunelleschi and Alberti, Michelozzo and Michelangelo, to name but a few. Joined by their contemporaries from the Pitti, Strozzi, and Pazzi families, the Medici also provoked a renewed study of classical philosophers and the establishment of renowned cultural academies and public libraries. It was during the thirteenth and fourteenth centuries that the modern Italian language of today was developed and disseminated, largely through the three-fold genius of Dante, Petrarch, and Boccaccio. This volume provides a comprehensive and distilled account of the urban history of Florence, from its Roman foundation to the radical transformations due to the new modes of transportation and communication of the nineteenth and twentieth centuries. Avoiding a conventional chronology, the book has a largely thematic organization, identifying important urban nuclei and their modes of growth, as well as the stylistic development of the principal architectural typologies. The book has approximately 350 illustrations, including both historical and newly commissioned photographs, reproductions of famous paintings, maps, and prints, and architectural plans and drawings. Among famous works shown here are the painted views of Bellotto, the eighteenth-century lithographs of Zocchi, the Medici villas painstakingly detailed by Utens, and the famous 'della catena' view of 1472. The first part of the book traces the city's history up to the nineteenth century, the decade of Italian unification. The second part identifies and analyzes in detail the two groups of monumental buildings that have long symbolized the spiritual and the political nuclei of power in Florence: the Piazza del Duomo and the ecclesiastical monuments around it, and the great civic square Piazza della Signoria, which plays the major role in Florence's political history. The third part of the book is a typological discussion of the architecture of the city, including a brief outline of how the city's craftsmen actually constructed its monuments, from obtaining the stone to organizing the guild system. The discussion of Florence's architecture includes its churches, housing, and the most famous and monumental great palaces of the Renaissance - those of the Medici, Strozzi, Rucellai and the Pazzi families - as well as lesser-known contemporaries and successors. This includes an analysis of the development of the rural or suburban villa as a type unto itself, concentrating specifically on the many Medici villas outside Florence, and the later Baroque Palazzi, whose at times restrained facades conceal interiors of extraordinary richness and sumptuous decoration. The final part outlines the momentous changes to the city since the mid-nineteenth century, from the destruction of the walls and the ancient markets to the devastation of the bridges in 1944 and the inundation of 1966, and to reconstruction following each of these disasters. The book concludes with a survey of architecture between the wars and highlights of the modernist period.

Shigeru Ban (b.1957), based in Japan, is a rising star among world-class architects. Matilda McQuaid, with a foreword by Frei Otto Shigeru Ban (b.1957), based in Japan, is a rising star among young, world-class architects Documents 32 projects, includin

This book is a study of a recurring phenomenon in the history of changing taste in the visual arts, namely the feeling that older and less sophisticated (i.e. 'primitive') works are somehow morally and aesthetically superior to later works that have become soft and decadent. Gombrich traces this idea back to classical antiquity and links it both with Cicero's observation that over-indulgence of the senses leads to a feeling of disgust, and with the profoundly influential metaphor comparing the development of art to that of a living organism. Like an organism, art has been thought to grow to maturity, then decay and die, and successive generations of artists and critics have preferred the alleged strength, nobility and sincerity of earlier styles to the more refined later styles with their corrupting and meretricious appeal to the senses. Summing up more than forty years of study and reflection on this theme, the book presents a closely argued narrative supported by extensive quotations that document with precision the role of authors, critics and artists in shaping and changing opinion. After reviewing the classical authors whose writings largely set the terms of the debate, Gombrich then charts its progress from its revival in the eighteenth century, documenting the often subtle shifts of taste and judgement that frequently focus on the pivotal role of Raphael in the history of art. In the final chapters, he turns to the truly revolutionary primitivism of the twentieth century, analysing the momentous shifts of taste of which he has himself been an eyewitness. Important both as a personal testament and as a documentary anthology, this last book from one of the world's most distinguished art historians provides a deep and revealing insight into the history and psychology of taste.

This striking new publication, a sequel to Phaidon's 2000 publication "South Southeast", is a selection of Steve McCurry's most astounding and powerful portraits from South and Southeast Asia. McCurry takes photographs all over the world, for "National Geographic" magazine and his own projects, but it is the people, places, colours and forms of Afghanistan, India, Sri Lanka, Cambodia and Myanmar (Burma) that have inspired his most sublime images - photographs which transcend their original editorial purpose to become classics of photography. Like "South Southeast", this book features a remarkable range of photographs with brief captions and a short essay introduces the book.

Steve McCurry has covered many areas of international and civil conflict, including the Iran-Iraq war, Beirut, Cambodia, the Philippines and the Gulf war, but his continuing coverage of Afghanistan is perhaps his greatest achievement. It was with his first images of Afghanistan that McCurry established his reputation as a photojournalist. In 1979, disguised in native dress, McCurry crossed the Pakistan border into rebel-controlled Afghanistan, shortly before Soviet troops invaded in support of t he failing Marxist government. When he emerged, he had rolls of film sewn into his clothes, images which would be published around the world as among the first to show the conflict there. His coverage won him the Robert Capa Gold Medal for Best Photo graphic Reporting from Abroad, an award dedicated to photographers exhibiting exceptional courage and enterprise. Throughout his career McCurry has returned to Afghanistan time and time again - under different regimes and at times of civil unrest - t o document the people, the landscape and the heritage of this troubled, yet captivating, country. Each image is accompanied by a brief text providing geographical and historical background.

Los Angeles-based Jorge Pardo (b. 1963) is an artist whose work crosses the boundaries of art, design, and architecture to redefine notions of space and utility. His work re-examines the rules of modernism by incorporating elements of Minimalism and his personal responses to everyday objects and settings. Works by Pardo can be found in the world's most prestigious museums, and several of his permanent public projects can be seen around the world, including PIER, which he built for the 1997 Skulpture Projekte in Munster, and MOUNTAIN BAR, which he designed in 2003 for the Chinatown neighborhood in Los Angeles. This is the first monograph of this scale and scope on Jorge Pardo's work.

Presents an all-in-one fold-and-send writing pad featuring the secret world of young ballerinas by Jean-Jacques Sempe, one of the world's best-loved illustrators.

A selection of 100 of the most significant emerging artists today.Sergio Edelsztein, Jens Hoffmann, Lisette Lagnado, Midori Matsui, Shamim Momin, Pi Li, Gloria Sutton, Olesya Turkina, Philippe Vergne, and The Wrong Gallery. An exhibition-in-a-book that

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