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Модель:
The Melnikov House, a building designed by architect Konstantin Melnikov in Moscow for his family (1927-1929), is an icon of the architectural avant-garde. The house was originally built as an experimental cylindrical house to test out Konstantin Melnikov's very own concept of mass construction of residential estates. This book covers the house in its current condition - during its transformation from a family home to the State Melnikovs Museum.
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The Russian Museum was opened in 1895, by a decree of Tsar Alexander III, and as such was the first state owned museum of art in Russia. Housed in the Mikhailovsky Palace (architect C.Rossi), the Museum numbers nearly 400.000 exhibits, and has a huge range of Russian art which rival that of the Tretiakov in Moscow. The exhibits date from ancient icons to the Avant-garde school of painting of the 20th century, and include many landmarks in the history of Russian art, such as Bruillov's 'The Last Day of Pompeii', and Repin's 'The Barge Haulers'.
Модель:
David Sarkisyan conducted scientific activities at the Institute for the Biological Testing of Chemical Compounds (1976-1985), created documentary films at the "Fishka-Film" studio (1989-1999), and was director of the Shchusev Museum of Architecture (1999-2010). In this book, David's life story is told by his family, friends and colleagues: scientists, architects, curators, directors, artists, journalists, art historians and museum staff. The authors of the monograph have collected detailed information on David Sarkisyan's scientific works and his projects at the Museum of Architecture.
Модель:
David Sarkisyan conducted scientific activities at the Institute for the Biological Testing of Chemical Compounds (1976-1985), created documentary films at the "Fishka-Film" studio (1989-1999), and was director of the Shchusev Museum of Architecture (1999-2010). In this book, David's life story is told by his family, friends and colleagues: scientists, architects, curators, directors, artists, journalists, art historians and museum staff. The authors of the monograph have collected detailed information on David Sarkisyan's scientific works and his projects at the Museum of Architecture.
Модель:
The idea of having a home that is not only sustainably built, but also respectful of the environment in which it is situated is becoming more and more popular. Over the last decade or so, architects from around the world have been pushing the boundaries of design and materials to create ever more innovative homes homes that are filled with new ecological solutions and with a low impact on their environment. This superbly illustrated book showcases a truly new concept of housing and some of the most original and avant-garde pieces of contemporary architecture.
Модель:
Acclaimed as the "father of skyscrapers," the quintessentially American icon Frank Lloyd Wright (1867-1959) was an architect of aspiration. He believed in giving cultivated American life its fitting architectural equivalent and applied his idealism to structures across the continent, from suburban homes to churches, offices, skyscrapers, and the celebrated Guggenheim Museum. Wright's work is distinguished by its harmony with humanity and its environment, a philosophy he called organic architecture, and which found its paradigm at Fallingwater, a house in rural Pennsylvania, cited by the American Institute of Architects as "the best all-time work of American architecture." Wright also made a particular mark with his use of industrial materials, and by the simple L or T plan of his Prairie House which became a model for rural architecture across America. Wright was also often involved in many of the interior elements of his buildings, such as the furniture and stained glass, paying particular attention to the balance between individual needs and community activity. Exploring Wright's aspirations to augment American society through architecture, this book offers a concise introduction to his at once technological and Romantic response to the practical challenges of middle-class Americans.
Модель:
Acclaimed as the "father of skyscrapers," the quintessentially American icon Frank Lloyd Wright (1867-1959) was an architect of aspiration. He believed in giving cultivated American life its fitting architectural equivalent and applied his idealism to structures across the continent, from suburban homes to churches, offices, skyscrapers, and the celebrated Guggenheim Museum. Wright's work is distinguished by its harmony with humanity and its environment, a philosophy he called organic architecture, and which found its paradigm at Fallingwater, a house in rural Pennsylvania, cited by the American Institute of Architects as "the best all-time work of American architecture." Wright also made a particular mark with his use of industrial materials, and by the simple L or T plan of his Prairie House which became a model for rural architecture across America. Wright was also often involved in many of the interior elements of his buildings, such as the furniture and stained glass, paying particular attention to the balance between individual needs and community activity. Exploring Wright's aspirations to augment American society through architecture, this book offers a concise introduction to his at once technological and Romantic response to the practical challenges of middle-class Americans.
Модель:
Moscow: A Guide to Soviet Modernist Architecture 1955-1991 provides descriptions of almost 100 buildings from the most underrated period of Soviet architecture. This is the first guide to bring together the architecture made during the three decades between Khrushchev and Gorbachev, from the naive modernism of the "thaw" of the late 1950s through postmodernism. Buildings include the Palace of Youth, the Rossiya cinema, the Pioneer Palace, the Ostankino TV Tower, the TASS headquarters, the "golden brains" of the Academy of Sciences and less well-known structures such as the House of New Life and the Lenin Komsomol Automobile Plant Museum. The authors situate Moscow's postwar architecture within the historical and political context of the Soviet Union, while also referencing developments in international architecture of the period.
Модель:
The "El Lissitzky" exhibition catalogue. The exhibition "El Lissitzky" was the first widescale retrospective of the artist in Russia and a joint project of the State Tretyakov Gallery and the Jewish Museum and Tolerance Center, it took place on two venues at the same time from 16 november 2017 till 18 february 2018. Lissitsky’s early artworks were exhibited at the Jewish Museum and Tolerance Center The early "pre-avant-garde" Lissitzky’s period refers to his activities in the Cultural League (Jewish cultural and public organization).
Модель:
The "El Lissitzky" exhibition catalogue. The exhibition "El Lissitzky" was the first widescale retrospective of the artist in Russia and a joint project of the State Tretyakov Gallery and the Jewish Museum and Tolerance Center, it took place on two venues at the same time from 16 november 2017 till 18 february 2018. Lissitsky’s early artworks were exhibited at the Jewish Museum and Tolerance Center The early "pre-avant-garde" Lissitzky’s period refers to his activities in the Cultural League (Jewish cultural and public organization).
Модель:
Moscow: A Guide to Soviet Modernist Architecture 1955-1991 provides descriptions of almost 100 buildings from the most underrated period of Soviet architecture. This is the first guide to bring together the architecture made during the three decades between Khrushchev and Gorbachev, from the naive modernism of the "thaw" of the late 1950s through postmodernism. Buildings include the Palace of Youth, the Rossiya cinema, the Pioneer Palace, the Ostankino TV Tower, the TASS headquarters, the "golden brains" of the Academy of Sciences and less well-known structures such as the House of New Life and the Lenin Komsomol Automobile Plant Museum. The authors situate Moscow's postwar architecture within the historical and political context of the Soviet Union, while also referencing developments in international architecture of the period.
Модель:
Moscow: A Guide to Soviet Modernist Architecture 1955-1991 provides descriptions of almost 100 buildings from the most underrated period of Soviet architecture. This is the first guide to bring together the architecture made during the three decades between Khrushchev and Gorbachev, from the naive modernism of the "thaw" of the late 1950s through postmodernism. Buildings include the Palace of Youth, the Rossiya cinema, the Pioneer Palace, the Ostankino TV Tower, the TASS headquarters, the "golden brains" of the Academy of Sciences and less well-known structures such as the House of New Life and the Lenin Komsomol Automobile Plant Museum. The authors situate Moscow's postwar architecture within the historical and political context of the Soviet Union, while also referencing developments in international architecture of the period.
Модель:
The majority of the paintings and drawings published in this catalogue of a Russian Museum exhibition date to the first few decades of the twentieth century, overlapping with the avant-garde; others were done in mid century, still others as late as the eighties. The style is basically representative in the works of such artists as Konstantin Yuon, Vasilii Chekrygin, Nicholas Roerich, Konstantin Rozhdestvenskii, Iosif Gurvich, Nicola Benois, Valery Kondratiev, Kuzma Petrov-Vodkin, and Alexander Labas. Mikhail Matiushin, Kandinskii, Malevich, Pavel Filonov, Nikolai Suetin, Natalia Goncharova, Ivan Kudriashev, and the Amaravella circle, on the other hand, aproached the theme in abstract forms. What unites all these varied artists is their endeavor to imagine other worlds in art. Quotations from the artists and a detailed introduction give some idea of the philosophies behind their art (e.g., Suprematism). On a visual and aesthetic level the works are often beautiful if eerie.
Модель: Республика
Richly illustrated with vintage, powerfully graphic, and often glamorous imagery, Building Bacardi tells the story of the iconic brand’s love affair with high design. Anyway you drink it … Bacardi rum is the mixable one. Bacardi is best known for its rum and trademark bat logo, yet the famed spirits company has also been a force in the development of avant-garde art and architecture. True to the company slogan, Bacardi has asserted its corporate identity through buildings designed by a potent mix of modern architects with varying, sometimes radically different approaches to architecture. Corporate headquarters, distilleries, bottling plants, and executives’ private homes have shaped and reflected Bacardi’s position as a regional upstart, a national icon, and a global corporation with outposts in such places as Bermuda, Brazil, Cuba, Mexico, and the United States. Building Bacardi is the first book to explore the twentieth-century architectural legacy of the company.
Модель:
Try and imagine what a museum of creativity looks like. This book tells of a challenging exhibition held in one of the major Russian museums-the Tretyakov Gallery in Moscow. Arseniy Zhilyaev created a conceptual project for an imaginary museum. The viewer sees into the future after the liberation/revolution and is confronted with a radically different outlook on the history of twentieth-century art. At the core of the exhibition, there turns out to be a complex dialectic in the relationship between museum and artist: how does an artists work come to be exhibited in a museum? When and why does an artist engage in artistic creation outside the museum walls? Is the museum the space in which a "happening" takes place? The book includes texts by Russian and foreign art critics as well as a number of previously untranslated Soviet avant-garde texts about museums and proletarian folklore. 0
Модель:
Try and imagine what a museum of creativity looks like. This book tells of a challenging exhibition held in one of the major Russian museums-the Tretyakov Gallery in Moscow. Arseniy Zhilyaev created a conceptual project for an imaginary museum. The viewer sees into the future after the liberation/revolution and is confronted with a radically different outlook on the history of twentieth-century art. At the core of the exhibition, there turns out to be a complex dialectic in the relationship between museum and artist: how does an artists work come to be exhibited in a museum? When and why does an artist engage in artistic creation outside the museum walls? Is the museum the space in which a "happening" takes place? The book includes texts by Russian and foreign art critics as well as a number of previously untranslated Soviet avant-garde texts about museums and proletarian folklore. 0