Architecture Asia, as the official journal of the Architects Regional Council Asia, aims to provide a forum, not only for presenting Asian phenomena and their characteristics to the world, but also for understanding diversity and multiculturalism within Asia from a global perspective.
This issue discusses the topic of globalization and locality through four essays and eleven projects. The essays attempt to observe the tension between the different forces of globalization, which is being widely debated as a distinguishing trend, and also highlight globalization’s impact on local architecture, as well as the various efforts being taken to ensure local identity and distinctive locality in architecture design. The projects, accompanied with full-color photos and text descriptions, demonstrate the many successful attempts in developing design concepts and methods to cope with the globalization trend while maintaining locality. These essays and projects are carefully selected to represent diversity in project locations, and includes locations such as Thailand, India, Japan, and China.
In ancient Indian sciences, the courtyard assumes the central position as Brahmasthana, the nucleus of the living environment. Lying at the genesis of the urban dwelling form in India across geography and time, it provided for an open-to-sky outdoor space while being away from the public eye and thus suited an introverted lifestyle. In this book, the author traces the metaphysical, mythical, socio-cultural, environmental and spatial roles of the courtyard in the domestic architecture of India — from early civilization and Vedic times to Islamic and colonial influences. This volume documents traditional and vernacular courtyard dwelling types across India within diverse climatic, cultural as well as geographic zones of the country. It then discerns the spatial elements constituting the court, and the arts and crafts as well as the elements integral to the court. Illustrated with splendid photographs and representative drawings, the book attempts to understand the presence and resolution, continued use and adaptation as well as the diverse interpretations and abstractions of the courtyard.
Callum Innes is one of the few artists working in abstraction to include watercolour as a major part of his practice. As with many painters, his explorations in this medium form a parallel body of work, an activity taken on as a kind of ‘break’ from his other painting, with different circumstances, conditions and intentions.
“This new body of 50 watercolors feels stronger and more luminous than previous ones. I have kept them sequential in the book, to show how each work informs the next and so on.”
Dr. Balkrishna Doshi (1927–2023) was foremost among the modern Indian architects. An urban planner and educator for over 70 years, Doshi has to his credit outstanding projects ranging from dozens of townships and several educational campuses. Apart from his international fame as an architect, Doshi was equally known as an educator and institution builder. He received several international and national awards and honors, and in 2018 Doshi was selected as the Pritzker Architecture Prize Laureate, internationally known as architecture’s highest honor.
This autobiography captures Doshi’s career from his childhood to his studies in Bombay and London, his work at Atelier Le Corbusier in Paris and collaboration with Louis I Kahn for IIM Ahmedabad. It recounts his meetings with the most remarkable persons in his own and allied fields, and his equally remarkable patrons, and the story of his own family.
Put together, for the first time, from the lifelong diaries and notes maintained by him, Paths Uncharted is a personal recounting of this remarkable journey unfolding over more than 80 years and across all the continents.
Under the professional name ‘Ashley’, Ashley Havinden (1903-1973) was one of the most successful advertising artists and designers working in Britain in the twentieth century. He made his reputation as a graphic designer and the Creative Director of W.S. Crawford, the most progressive advertising agency in the UK since the 1920s. Amongst his highly influential designs were campaigns for clients as diverse as the Milk Marketing Board, Chrysler Cars, Eno’s Fruit Salts, Gillette and Simpsons of Piccadilly. This book marks the centenary of Havinden’s birth, and it draws extensively upon material which has been donated or lent from Ashley Havinden’s estate to the Scottish National Gallery of Modern Art in Edinburgh. Contributors to the book include Michael Havinden, Ashley’s son, who has written a personal account of his father’s life; Alice Strang explores Ashley’s collection of artworks by eminent artist friends; Ann Simpson examines his interior design work; and Richard Hollis discusses his influence on twentieth-century design.
The Scottish National Gallery of Modern Art’s collection of Dada and Surrealism is regarded as one of the best and most complete in the world: it features masterpieces by artists such as Max Ernst, René Magritte, Joan Miró, Paul Delvaux, Yves Tanguy, Alberto Giacometti and Marcel Duchamp. The collection is also rich in archival material, ranging from letters and manuscripts to artists’ books featuring unique drawings and inscriptions. The collection is rich thanks to two major sources: Roland Penrose (1900-1984) and Gabrielle Keiller (1908-1995). A celebrated British artist, author and close confidant of Picasso, Penrose was also a collector, assembling one of the greatest collections of early twentieth-century cubist and surrealist art. Gabrielle Keiller was a collector and friend of Penrose, who had connections with Scotland. Part of Penrose’s collection and Keiller’s whole collection were acquired almost simultaneously by the Scottish National Gallery of Modern Art in 1995.
With vivid memories of his first visit to the Scottish National Gallery in the 1970s and his initial encounter with Hugo van der Goes’ The Trinity Altarpiece, Rembrandt’s A Woman in Bed, Velázquez’s An Old Woman Cooking Eggs and Degas’ Diego Martelli, Robert Storr discusses the shifting balance of museum collections from historically ‘certified’ classics to art whose status and significance remains in active contention and from singular ‘treasures’ to ensembles that speak to the larger scope of an artist’s endeavor. Also available: Unfinished Paintings: Narratives of the Non-Finito Watson Gordon Lecture 2014 ISBN 9781906270919 ‘The Hardest Kind of Archetype’: Reflections on Roy Lichtenstein The Watson Gordon Lecture 2010 ISBN 9781906270384 Picasso’s ‘Toys for Adults’ Cubism as Surrealism: The Watson Gordon Lecture 2008 ISBN 9781906270261 Sound, Silence, and Modernity in Dutch Pictures of Manners The Watson Gordon Lecture 2007 ISBN 9781906270254 Roger Fry’s Journey From the Primitives to the Post-Impressionists: Watson Gordon Lecture 2006 ISBN 9781906270117
To celebrate the 60th anniversary of the establishment of diplomatic relations between Switzerland and South Korea, this volume offers a unique point of view on the work of Ji-Young Demol Park and Lee Lee Nam. The evocation of nature unfolds through connections interwoven over the centuries between culture and objects, materials, colors, and motifs. Jade- and pine-colored decorated ceramics, cobalt oxide for the horizon, porcelain white as snow or the moon, all feature in the work of both artists, their gazes meeting and reflecting in the landscapes of a great painter of old, Jeong Seon (1676-1759). Despite all their differences, the mountains rendered in ink by Ji-Young Demol Park and Lee Lee Nam’s virtual landscapes are truly united by the uniqueness of their relationship with this cultural heritage as well as the strength of their individual universes, oriented towards the re-enchantment of nature.
Text in English and French.
Through the early works of Andy Warhol and Eduardo Paolozzi, this book traces the development of their deep obsession with the machine. Looking at the way that both artists began in the late 1940s and the years following, the book illustrates their fascination with popular culture and the methods that they used in creating their art. Common to all their methods of making works was their hand-made quality. Only in the 1960s did the artists make the step to mechanical means to create their own artworks, resulting in the iconic images that are integral to our culture. As Warhol said of himself, there is only surface, with nothing underneath.
John Bellany, born 1942, helped change the course of painting in Scotland. His intensely felt paintings of fisherfolk and their precarious life at sea were a direct challenge to the much diluted Scottish colorist tradition and its landscapes and still lifes. The sheer size and raw emotion of Bellany’s canvases, their depictions of a way of life that the artist knew from growing up in a Port Seton fishing family – and their elevation of that life onto a symbolic level – were at odds with the decorative, drawing-room pictures of much contemporary Scottish painting in the 1960s.
This book will mark John Bellany’s seventieth birthday and will accompany the largest and most comprehensive exhibition of John Bellany’s work since the National Galleries of Scotland organized the retrospective in 1986. The fully illustrated catalogue will illustrate paintings, watercolors, drawings and prints from all the key periods of the artist’s career.
This revelatory book concentrates on Scottish women painters and sculptors from 1885, when Fra Newbery became Director of the Glasgow School of Art, until 1965, the year of Anne Redpath’s death. It explores the experience and context of the artists and their place in Scottish art history, in terms of training, professional opportunities and personal links within the Scottish art world. Celebrated painters including Joan Eardley, Margaret Macdonald Mackintosh and Phoebe Anna Traquair are examined alongside lesser-known figures such as Phyllis Bone, Dorothy Johnstone and Norah Neilson Gray, in order to look afresh at the achievements of Scottish women artists of the modern period.
Pioneering Edinburgh photographers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848) together formed one of the most famous partnerships in the history of photography.
Producing highly skilled photographs just four years after the new medium was announced to the world in 1839, their images of people, buildings and scenes in and around Edinburgh offer a fascinating glimpse into 1840s Scotland. Their much-loved prints of the Newhaven fisherfolk are among the first images of social documentary photography.
In the space of four and a half years Hill and Adamson produced several thousand prints encompassing landscapes, architectural views, tableaux vivants from Scottish literature and an impressive suite of portraits featuring key members of Edinburgh society.
Anne M. Lyden, International Photography Curator at the National Galleries of Scotland, discusses the dynamic dispute that brought these two men together and reveals their perfect chemistry as the first professional partnership in Scottish photography.
Illustrated with around 100 masterpieces from the Galleries’ unique, vast collection of the duo’s ground-breaking work.
This absorbing introduction to the story of Rembrandt s rampant fame and influence in Britain is filled with beautiful images. The story of ‘Rembrandt mania’ began in 18th-century Britain with passionate, and often eccentric, collectors acquiring artworks by any and every means. As the craze for Rembrandt ebbed and flowed, each new wave of enthusiasm brought him ever-greater fame and influence, and collectors became increasingly ingenious. This master’s impact not only on collectors and the public but also on British artists over the last four centuries is explored, with lavish paintings, drawings and prints from artists such as Henry Raeburn, Joshua Reynolds and James Abbott McNeill Whistler shown alongside some of Rembrandt’s most famous masterpieces.
This book brings together over 160 of the finest surrealist artworks by legendary artists including Salvador Dalí, Max Ernst, René Magritte, Joan Miró and Man Ray. The works hail from the four renowned and extraordinary private collections of Edward James, Roland Penrose, Gabrielle Keiller and Ulla and Heiner Pietzsch, and together offer a superb overview of surrealist art.
Ten essays explore the different origins, historical contexts and creative urges behind these collections. Artworks, perhaps more than anything else that one can acquire, are objects of desire and surrealist artworks even more so. The sheer quality of the works acquired (and, in the case of the Pietzsches, still being acquired) is astonishing and, while passionate about their private visions, all the collectors have been mindful of contributing something to the public good.
The collections complement each other to an extraordinary degree and allow us to follow some of the artists’ careers from beginning to end. By uniting them, exciting new juxtapositions emerge along with a fuller and richer picture of the surrealist movement as a whole.
The ‘Two Roberts’: Robert Colquhoun (1914-1962) and Robert MacBryde (1913-1966), were two of the most important and celebrated Scottish artists of the twentieth century. Colquhoun studied at Glasgow School of Art where he met Robert MacBryde. The two became lovers. They were part of a celebrated Soho group that included Francis Bacon and Lucian Freud. Their post-cubist work – much influenced by Picasso – became enormously successful. In the 1950s they established worldwide reputations. Colquhoun’s drinking and temperament caught up with him and he died almost penniless in 1962. MacBryde was killed in a car accident four years later. This catalogue with over 90 illustrations accompanies the only show to ever exhibit both artists together. The authors refer to previously unpublished letters and explore the ‘Two Roberts’ individual art practice as well as works the two executed together.
Unfinished paintings can be seen in many of the world’s great collections, including that of the National Gallery of Scotland: they fascinate the viewer and raise intriguing questions. What circumstances left them incomplete? What do they tell us about the ways that painters worked? How do we define ‘finish’, and when did an artist consider a work to be finished? These and other questions will be considered by David Bomford, in an exploration of the non-finito from the Renaissance to the 20th century. The Watson Gordon Lecture Series: The Watson Gordon Lectures, established in 2006, typify the long-standing collaboration between the University of Edinburgh and the National Galleries of Scotland. Each lecture is by a leading scholar and reveals new research on a focused topic. The lectures are delivered and published annually, and now number eight titles in the series. Also available: ‘The Hardest Kind of Archetype’: Reflections on Roy Lichtenstein ISBN 9781906270384 Picasso’s ‘Toys for Adults’, Cubism as Surrealism ISBN 9781906270261 Roger Fry’s Journey: From Primitives to the Post-Impressionists ISBN 9781906270117 Sound, Silence, and Modernity in Dutch Pictures of Manners ISBN 9781906270254
Founded in 2009 in Shanghai, Z+T STUDIO approaches landscape design as a way to enhance happiness and address a yearning for a better life. Their work provides a lasting aesthetic experience at a harmonious scale, with streamlined materials and notable craftsmanship. This book presents 18 key landscape design projects completed by Z+T STUDIO between 2009 and 2018. The recipient of numerous national and international awards, their outstanding work represents the highest level of expertise in China and the world’s landscape design industry. Included here are project overviews, design concept overviews, and on-site photos, in addition to detailed node drawings and construction process records. Each project is discussed in separate chapters with a wealth of color illustrations. This book provides new ideas for readers in the landscape design industry and students of landscape design.
Text in English and Chinese.
Founded in 1921 and the first of its kind in the country, the National Gallery of Canada’s Department of Prints and Drawings boasts a world-class collection of historical drawings dating from the 15th to the 20th centuries. These works, rendered in a wide range of mediums – graphite, ink, pastel, watercolor – reflect the diversity of techniques used over the ages.
Incorporating the latest research and a displaying wealth of scholarship, this richly illustrated book celebrates the recent centenary of this outstanding collection. It brings together a spectacular array of drawings, including newly acquired additions and little-known but historically significant works. The wide selection of plates showcases preparatory studies for paintings, depictions of historical and mythological themes, portraits, landscapes, forays into abstraction, and poignant explorations of the human condition. Featured artists include Élisabeth Louise Vigée Le Brun, Théodore Géricault, Gustav Klimt, Edvard Munch and Wassily Kandinsky, among many others.
This highly anticipated monograph focuses on the architectural output of Enrique Browne, a talented and prolific Chilean architect and co-founder of Browne & Swett Arquitectos, based in Santiago. Over the last 40 years, this South American architect has been trying to reconcile natural and artificial worlds through architecture. They are one indissoluble unity. This book showcases in rich photographic detail how his innovative projects incorporate multiple environmental aspects that result in a complex, layered response to the challenges of place, form and identity in Chile.
Browne’s practice has developed architectural designs in a diverse range of scales, with emphasis on sustainability and energy efficiency. This volume delves into Browne’s processes, such as developing variations of the “grapevinestructure typology” to create a “double green skin” as a green wall (or roof), to protect dwellings from the region’s strong westerly sun; or combining vegetation and its oxygenation benefits with building to counter pollution; or using both artificial and natural light as a material for illuminating spaces or volume. This book also includes commentary on the new zeitgeist surrounding modernity and the impacts of the digital and globalized world on architecture today. Highly regarded, and a prolific writer and designer, Enrique Browne has a unique way of looking at the world. Showcasing the wide range of his design, this title is sure to impress.
A vibrant, colorful and beautiful book that introduces readers to Impressionism and Post-Impressionism. It explains the difference between the two movements and the main artists associated with each. Illustrations are drawn from the renowned and outstanding collection of French art held by the National Galleries of Scotland and they include a number of rarely seen works.
This book tells the fascinating stories of how key paintings and drawings found their way into the collection.
Artists include Monet, Millet, Gauguin, Bastien-Lepage, Charles Jacque, Troyon, Corot, Degas, Seurat, Van Gogh, Cézanne, Vuillard, Bonnard, Derain, Matisse, Legros and Rodin.
This volume collects the papers presented at the international study conference Sculpting in the Renaissance: an art to (com)move / Sculpter à la Renaissance. Un art pour (é)mouvoir organized by the Musée du Louvre in Paris and the Castello Sforzesco in Milan to accompany the exhibition Le corps et l’âme. De Donatello à Michel-Ange. Scultures italiennes de la Renaissance (Officina Libraria, 2020), held between 2020 and 2021. With the involvement of some of the most important specialists in Renaissance sculpture, the aim was to investigate the interactions, influences and exchanges between the plastic arts and other Renaissance art forms capable of revealing feelings through expressions of the body, trough the works of Agostino di Duccio, Donatello, Michelangelo and other local sculptors. The aim is also to place within their social, devotional and intellectual context the different manifestations of feeling of which sculpture is one of the privileged media. Sacred art themes in particular were addressed, in an attempt to explain their formal evolution in relation to the socio-cultural transformations of the time, but also to local traditions and their dramatization.
Text in English, French and Italian.
The German silversmith Paula Straus (1894–1943) was a pivotal figure in shaping the “Golden Twenties” and the creative decades of the Bauhaus. Even early on, her jewelry objects and handmade items of silverware were reviewed with praise in the specialist press, and national and international exhibitions followed. In joining the design studio of the silverware factory Peter Bruckmann & Söhne, Heilbronn, in 1925, an unparalleled career began as Germany’s first woman industrial designer. The silverware she designed — coffee and tea services — for handcrafted as well as machine production stands as an example of her own original style, which is defined by a purist idiom.
Her professional success and her renown as a craftswoman and designer have been completely forgotten due to the national-socialist persecution of the Jews from 1933 and her murder in Auschwitz. The time has now come to rediscover her work.
With contributions by Edith Neumann, Monika and Reinhard Sänger, Joachim W. Storck, Michal S. Friedlander, Christoph Engel, and a foreword by Winfried Kretschmann.
Text in German.
“The richness of the illustrations in this larger format enables us to better appreciate the intricacy of her illuminated manuscripts, the tonal subtleties of Traquair’s tooled leather book bindings and the processional scale of her muraled interiors.” — Journal of the Scottish Society for Art History
A fully updated and expanded edition of the definitive study of Phoebe Anna Traquair.
This is a compelling account of the life and career of Phoebe Anna Traquair, a leading figure in Britain’s Arts and Crafts movement. The new edition features new research about her artistic practice, materials and technique as well as her intellectual life, including her correspondence with John Ruskin. Her total commitment to the place of art in her daily life is revealed alongside new details on her family and social life.
Traquair was remarkable for her openness to all types of art, and worked in a range of media including embroidery, enamels, illuminated manuscripts and murals. This new edition features 120 illustrations including new discoveries, as well as some of her most famous and best-loved works.
Beautifully illustrated and featuring the artist’s own words, this book is at once a fascinating biography and an artistic study of one of Scotland’s first professional women artists.