Tale of Tomorrow: Utopian architecture in the Modernist realm
Gestalten; €50
From Space Age capsules to spiritual sculptures, The Tale of Tomorrow looks at the architecture of the 1960s and 70s when it was at its most idealistic – and outlandish. The 400-page tome explores futuristic buildings such as The House of the Century and TWA terminal, and dips into the careers of pioneering architects such as Oscar Niemeyer, Le Corbusier and Eero Saarinen. What emerges is not a homogenous view of this experimental period, when anything seemed possible (we had after all, just sent men to the moon). Instead, the book skirts between movements as diverse as Communist architecture, Modernism, Metabolism, engineering and artistic endeavours.
Photography: Rosella Degori
Tale of Tomorrow: Utopian architecture in the Modernist realm
Gestalten; €50
From Space Age capsules to spiritual sculptures, The Tale of Tomorrow looks at the architecture of the 1960s and 70s when it was at its most idealistic – and outlandish. The 400-page tome explores futuristic buildings such as The House of the Century and TWA terminal, and dips into the careers of pioneering architects such as Oscar Niemeyer, Le Corbusier and Eero Saarinen. What emerges is not a homogenous view of this experimental period, when anything seemed possible (we had after all, just sent men to the moon). Instead, the book skirts between movements as diverse as Communist architecture, Modernism, Metabolism, engineering and artistic endeavours.
Pictured: Steel House by Robert Bruno. Photography: Denny Mingus from The Tale of Tomorrow, (c) Gestalten, 2016
Tale of Tomorrow: Utopian architecture in the Modernist realm
Gestalten; €50
From Space Age capsules to spiritual sculptures, The Tale of Tomorrow looks at the architecture of the 1960s and 70s when it was at its most idealistic – and outlandish. The 400-page tome explores futuristic buildings such as The House of the Century and TWA terminal, and dips into the careers of pioneering architects such as Oscar Niemeyer, Le Corbusier and Eero Saarinen. What emerges is not a homogenous view of this experimental period, when anything seemed possible (we had after all, just sent men to the moon). Instead, the book skirts between movements as diverse as Communist architecture, Modernism, Metabolism, engineering and artistic endeavours.
Pictured: Ruth Ford House (1948) by Bruce Goff. Photography: Eliot Elisofon, from The Tale of Tomorrow, (c) Gestalten, 2016
Tale of Tomorrow: Utopian architecture in the Modernist realm
Gestalten; €50
From Space Age capsules to spiritual sculptures, The Tale of Tomorrow looks at the architecture of the 1960s and 70s when it was at its most idealistic – and outlandish. The 400-page tome explores futuristic buildings such as The House of the Century and TWA terminal, and dips into the careers of pioneering architects such as Oscar Niemeyer, Le Corbusier and Eero Saarinen. What emerges is not a homogenous view of this experimental period, when anything seemed possible (we had after all, just sent men to the moon). Instead, the book skirts between movements as diverse as Communist architecture, Modernism, Metabolism, engineering and artistic endeavours.
Pictured: Ruth Ford House (1948) by Bruce Goff. Photography: Eliot Elisofon, from The Tale of Tomorrow, (c) Gestalten, 2016
British photographer James Silverman has a knack for taking viewers inside a building and really making them feel as though they’re there. Fascinated by seemingly ‘infinite spaces’ where the outdoors and indoors of a house blur, Silverman captures a compendium of inspiring buildings, from cabins with courtyards to pavilions and glass-box homes across the world.
Photography: Rosella Degori
British photographer James Silverman has a knack for taking viewers inside a building and really making them feel as though they’re there. Fascinated by seemingly ‘infinite spaces’ where the outdoors and indoors of a house blur, Silverman captures a compendium of inspiring buildings, from cabins with courtyards to pavilions and glass-box homes across the world.
Pictured: Vame in Vzerfontein, South Africa by Stefan Antoni Omelsdahl of Truen. Photography: James Silverman, from Infinite Space, Gestalten (c) 2016
British photographer James Silverman has a knack for taking viewers inside a building and really making them feel as though they’re there. Fascinated by seemingly ‘infinite spaces’ where the outdoors and indoors of a house blur, Silverman captures a compendium of inspiring buildings, from cabins with courtyards to pavilions and glass-box homes across the world.
Pictured: Split View Mountain Lodge in Buskerud, Norway by Reiulf Ramstad Arkitekter. Photography: James Silverman, from Infinite Space,Gestalten (c) 2016
At home in the American Barn, by James B. Garrison
Rizzoli; $50
Few structures embody a nation’s history so much as the American barn. This book by James Garrison explores how these bucolic buildings are being being reborn through adaptive reuse as homes. Photographers Geoffrey Gross and Brandt Bolding lead the pictorial adventure, travelling from New York to the Midwest with Garrison as they go inside 21 timber-frame conversions, from Dutch to Red Barns and Bauhaus-inspired designs.
Photography: Rosella Degori
At home in the American Barn, by James B. Garrison
Rizzoli; $50
Few structures embody a nation’s history so much as the American barn. This book by James Garrison explores how these bucolic buildings are being being reborn through adaptive reuse as homes. Photographers Geoffrey Gross and Brandt Bolding lead the pictorial adventure, travelling from New York to the Midwest with Garrison as they go inside 21 timber-frame conversions, from Dutch to Red Barns and Bauhaus-inspired designs.
Pictured: Bellwood Barn in Saugerties, New York, featured in At home in the American Barn. Photography: Brandt Bolding / Courtesy of Rizzoli
At home in the American Barn, by James B. Garrison
Rizzoli; $50
Few structures embody a nation’s history so much as the American barn. This book by James Garrison explores how these bucolic buildings are being being reborn through adaptive reuse as homes. Photographers Geoffrey Gross and Brandt Bolding lead the pictorial adventure, travelling from New York to the Midwest with Garrison as they go inside 21 timber-frame conversions, from Dutch to Red Barns and Bauhaus-inspired designs.
Pictured: a timber frame conservatory at Meadow Street Farm, featured in At home in the American Barn. Photography: Brandt Bolding / Courtesy of Rizzoli
At home in the American Barn, by James B. Garrison
Rizzoli; $50
Few structures embody a nation’s history so much as the American barn. This book by James Garrison explores how these bucolic buildings are being being reborn through adaptive reuse as homes. Photographers Geoffrey Gross and Brandt Bolding lead the pictorial adventure, travelling from New York to the Midwest with Garrison as they go inside 21 timber-frame conversions, from Dutch to Red Barns and Bauhaus-inspired designs.
Pictured: Bosford Hill Farm, featured in At home in the American Barn. Photography: Brandt Bolding / Courtesy of Rizzoli
The New West, by Robert Adams
Steidl Verlag; €35
Robert Adams’ New West, captured in 1974, offers a snapshot of the Southwest at a time when it was grappling with the loss of its open land and wrangling with what would eventually fill it: suburbs, freeways, low-tract homes and businesses…
The essay sits alongside the likes of Walker Evan’s American Photographs and Robert Frank’s Americans as an important documentation of American culture in the 20th century. As MOMA’s John Szarkowski wrote in its original foreword: ‘Adams’ pictures are so civilized, temperate, and exact… that some viewers might find them dull… Other viewers… may find in these pictures nourishment, surprise, instruction, clarification, challenge, and perhaps hope.’
Photography: Rosella Degori
The New West, by Robert Adams
Steidl Verlag; €35
Robert Adams’ New West, captured in 1974, offers a snapshot of the Southwest at a time when it was grappling with the loss of its open land and wrangling with what would eventually fill it: suburbs, freeways, low-tract homes and businesses…
The essay sits alongside the likes of Walker Evan’s American Photographs and Robert Frank’s Americans as an important documentation of American culture in the 20th century. As MOMA’s John Szarkowski wrote in its original foreword: ‘Adams’ pictures are so civilized, temperate, and exact… that some viewers might find them dull… Other viewers… may find in these pictures nourishment, surprise, instruction, clarification, challenge, and perhaps hope.’
Pictured: Pike’s Peak (c) Robert Adams
The New West, by Robert Adams
Steidl Verlag; €35
Robert Adams’ New West, captured in 1974, offers a snapshot of the Southwest at a time when it was grappling with the loss of its open land and wrangling with what would eventually fill it: suburbs, freeways, low-tract homes and businesses…
The essay sits alongside the likes of Walker Evan’s American Photographs and Robert Frank’s Americans as an important documentation of American culture in the 20th century. As MOMA’s John Szarkowski wrote in its original foreword: ‘Adams’ pictures are so civilized, temperate, and exact… that some viewers might find them dull… Other viewers… may find in these pictures nourishment, surprise, instruction, clarification, challenge, and perhaps hope.’
Pictured: Pike’s Peak, gas station (c) Robert Adams
Studio Olafur Eliasson: Unspoken Spaces
Thames and Hudson; £60
‘In my mind these artworks have been neighbours for years,’ writes Eliasson in the foreword to Unspoken Spaces. That might be the case, but this marks the first time his studio’s projects – some 60 spheres, tunnels, towers, walkways and pavilions – have been brought together in the same book, accompanying each one alongside Eliasson’s own thoughts. Essays from leading geologists, historians and architects are interspersed, giving you a rich understanding of the Danish-Icelandic artist’s immersive work from the last 25 years.
Photography: Rosella Degori
Studio Olafur Eliasson: Unspoken Spaces
Thames and Hudson; £60
‘In my mind these artworks have been neighbours for years,’ writes Eliasson in the foreword to Unspoken Spaces. That might be the case, but this marks the first time his studio’s projects – some 60 spheres, tunnels, towers, walkways and pavilions – have been brought together in the same book, accompanying each one alongside Eliasson’s own thoughts. Essays from leading geologists, historians and architects are interspersed, giving you a rich understanding of the Danish-Icelandic artist’s immersive work from the last 25 years.
Pictured: Olafur Eliasson’s ‘Cirkelbroen’, 2015. Christianshavns Kanal, Copenhagen. Photography: Anders Sune Berg. A gift from Nordea-fonden to the city of Copenhagen © 2015
Studio Olafur Eliasson: Unspoken Spaces
Thames and Hudson; £60
‘In my mind these artworks have been neighbours for years,’ writes Eliasson in the foreword to Unspoken Spaces. That might be the case, but this marks the first time his studio’s projects – some 60 spheres, tunnels, towers, walkways and pavilions – have been brought together in the same book, accompanying each one alongside Eliasson’s own thoughts. Essays from leading geologists, historians and architects are interspersed, giving you a rich understanding of the Danish-Icelandic artist’s immersive work from the last 25 years.
Pictured: Olafur Eliasson and Einar Thorsteinn’s ‘Model room’, 2003. Photography: Jennifer Hauger and Kathrine Holm / Studio Olafur Eliasson. Moderna Museet, Stockholm © 2003 Olafur Eliasson and Einar Thorsteinn
Studio Olafur Eliasson: Unspoken Spaces
Thames and Hudson; £60
‘In my mind these artworks have been neighbours for years,’ writes Eliasson in the foreword to Unspoken Spaces. That might be the case, but this marks the first time his studio’s projects – some 60 spheres, tunnels, towers, walkways and pavilions – have been brought together in the same book, accompanying each one alongside Eliasson’s own thoughts. Essays from leading geologists, historians and architects are interspersed, giving you a rich understanding of the Danish-Icelandic artist’s immersive work from the last 25 years.
Pictured: Olafur Eliasson’s ‘5-dimensionel pavilion,’ 1998. Strandparken, Holbæk, Denmark.
Photography: Noshe Holbæk Kommune, Denmark © 1998 Olafur Elia
Stefan Koppelkamm: Houses Rooms Voices
Hatje Cantz; €35
Globalisation and urbanisation are frequent themes in the work of German photographer Stefan Koppelkamm. Best known for his series Ortzseit/Local Time – where he shot Berlin’s streets and homes in the late GDR and shortly after the fall of the Berlin Wall in 1989, then again 10 years later – the artist maps social changes and the tension between the city and its inhabitants. This bilingual volume is published to coincide with an exhibition of his work at the Leipzig’s Museum of Fine Arts.
Photography: Rosella Degori
Stefan Koppelkamm: Houses Rooms Voices
Hatje Cantz; €35
Globalisation and urbanisation are frequent themes in the work of German photographer Stefan Koppelkamm. Best known for his series Ortzseit/Local Time – where he shot Berlin’s streets and homes in the late GDR and shortly after the fall of the Berlin Wall in 1989, then again 10 years later – the artist maps social changes and the tension between the city and its inhabitants. This bilingual volume is published to coincide with an exhibition of his work at the Leipzig’s Museum of Fine Arts.
Pictured: ‘Tucholskystraße/ Auguststraße, Berlin.’ Courtesy of Stefan Koppelkamm and Hatje Cantz
Stefan Koppelkamm: Houses Rooms Voices
Hatje Cantz; €35
Globalisation and urbanisation are frequent themes in the work of German photographer Stefan Koppelkamm. Best known for his series Ortzseit/Local Time – where he shot Berlin’s streets and homes in the late GDR and shortly after the fall of the Berlin Wall in 1989, then again 10 years later – the artist maps social changes and the tension between the city and its inhabitants. This bilingual volume is published to coincide with an exhibition of his work at the Leipzig’s Museum of Fine Arts.
Pictured: ‘Headquaters V’, 2007. Courtesy of Stefan Koppelkamm and Hatje Cantz
Stefan Koppelkamm: Houses Rooms Voices
Hatje Cantz; €35
Globalisation and urbanisation are frequent themes in the work of German photographer Stefan Koppelkamm. Best known for his series Ortzseit/Local Time – where he shot Berlin’s streets and homes in the late GDR and shortly after the fall of the Berlin Wall in 1989, then again 10 years later – the artist maps social changes and the tension between the city and its inhabitants. This bilingual volume is published to coincide with an exhibition of his work at the Leipzig’s Museum of Fine Arts.
Pictured: ‘Headquaters IV, 2007.’ Courtesy of Stefan Koppelkamm and Hatje Cantz
