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The first comprehensive account of how and why architects learned to communicate through color Architectural drawings of the Italian Renaissance were largely devoid of color, but from the seventeenth century through the nineteenth, polychromy in architectural representation grew and flourished. Basile Baudez argues that colors appeared on paper when architects adapted the pictorial tools of imitation, cartographers' natural signs, military engineers' conventions, and, finally, painters' affective goals in an attempt to communicate with a broad public. Inessential Colors traces the use of color in European architectural drawings and prints, revealing how this phenomenon reflected the professional anxieties of an emerging professional practice that was simultaneously art and science. Traversing national borders, the book addresses color as a key player in the long history of rivalry and exchange between European traditions in architectural representation and practice. Featuring a wealth of previously unpublished drawings, Inessential Colors challenges the long-standing misreading of architectural drawings as illustrations rather than representations, pointing instead to their inherent qualities as independent objects whose beauty paved the way for the visual system architects use today.
Batchelor coins the term "chromophobia"--A fear of corruption or contamination through color--in a meditation on color in western culture. Batchelor analyzes the history of, and the motivations behind, chromophobia, from its beginnings through examples of nineteenth-century literature, twentieth-century architecture and film to Pop art, minimalism and the art and architecture of the present day. He argues that there is a tradition of resistance to colour in the West, exemplified by many attempts to purge color from art, literature and architecture. Batchelor seeks to analyze the motivations behind chromophobia, considering the work of writers and philosophers who have used color as a significant motif, and offering new interpretations of familiar texts and works of art.
“Stunningly simple, this field guide is a survival book for any budding decorator,” by “famed DC-based interior designer and blogger of Pure Style Home.” (USA Today) Lauren Liess, an interior designer and founder of the popular blog Pure Style Home, fuses her love of design and the great outdoors into all her work. In Habitat: The Field Guide to Decorating, Lauren invites readers to bring nature inside by mixing the textures of natural elements such as wood and stone with eclectic groupings of modern and quirky vintage pieces. Readers will be inspired by the unique style of these rooms, which include lovely framed botanical prints and Liess’s own textile patterns inspired by wildflowers and weeds. Divided into three sections, Habitat shows readers the fundamental elements of design, such as color, lighting, and furniture; addresses the intangibles of designing a space, such as aesthetics and creating a mood; and tackles unique room-specific challenges in every part of the house. “Designer Lauren Liess shares her favorite, not-always-conventional ideas for livening up any space with art.” ―Country Living “Habitat looks at incorporating natural textures such as wood into your decorating scheme, along with florals, nature inspired textiles and vintage décor.” ―Real Style Network “Rich with thoughtful advice on how to create livable, comfortable rooms that bring the beauty of the outdoors inside.” ―Garden & Gun
The first book in the New York Times bestselling epic fantasy trilogy by award-winning author Laini Taylor Around the world, black handprints are appearing on doorways, scorched there by winged strangers who have crept through a slit in the sky. In a dark and dusty shop, a devil's supply of human teeth grown dangerously low. And in the tangled lanes of Prague, a young art student is about to be caught up in a brutal otherworldly war. Meet Karou. She fills her sketchbooks with monsters that may or may not be real; she's prone to disappearing on mysterious "errands"; she speaks many languages--not all of them human; and her bright blue hair actually grows out of her head that color. Who is she? That is the question that haunts her, and she's about to find out. When one of the strangers--beautiful, haunted Akiva--fixes his fire-colored eyes on her in an alley in Marrakesh, the result is blood and starlight, secrets unveiled, and a star-crossed love whose roots drink deep of a violent past. But will Karou live to regret learning the truth about herself?
Colours make the map: they affect the map’s materiality, content, and handling. With a wide range of approaches, 14 case studies from various disciplines deal with the colouring of maps from different geographical regions and periods. Connected by their focus on the (hand)colouring of the examined maps, the authors demonstrate the potential of the study of colour to enhance our understanding of the material nature and production of maps and the historical, social, geographical and political context in which they were made. Contributors are: Diana Lange, Benjamin van der Linde, Jörn Seemann, Tomasz Panecki, Chet Van Duzer, Marian Coman, Anne Christine Lien, Juliette Dumasy-Rabineau, Nadja Danilenko, Sang-hoon Jang, Anna Boroffka, Stephanie Zehnle, Haida Liang, Sotiria Kogou, Luke Butler, Elke Papelitzky, Richard Pegg, Lucia Pereira Pardo, Neil Johnston, Rose Mitchell, and Annaleigh Margey.
In Terminated for Reasons of Taste, veteran rock critic Chuck Eddy writes that "rock'n'roll history is written by the winners. Which stinks, because the losers have always played a big role in keeping rock interesting." Rock's losers share top billing with its winners in this new collection of Eddy's writing. In pieces culled from outlets as varied as the Village Voice, Creem magazine, the streaming site Rhapsody, music message boards, and his high school newspaper, Eddy covers everything from the Beastie Boys to 1920s country music, Taylor Swift to German new wave, Bruce Springsteen to occult metal. With an encyclopedic knowledge, unabashed irreverence, and a captivating style, Eddy rips up popular music histories and stitches them back together using his appreciation of the lost, ignored, and maligned. In so doing, he shows how pop music is bigger, and more multidimensional and compelling than most people can imagine.
Sauerbruch and Hutton are unique among contemporary architects in their redefinition of colour as an essential material of architecture. The polychromatic treatment of their buildings created over the past twenty years reflect and concentrate the colours, forms and energies of the contemporary city. Simultaneously image and sculpture, ornament and text, they allow the complex technical reality of a building to disappear behind a powerful aesthetic experience. Beside Sauerbruch Hutton's renowned buildings such as the GSW Headquarters in Berlin, the Federal Environmental Agency Dessau or Munich's Brandhorst Museum, this book also shows their more recent work. Highlighting the sensual force of colour, Noshe's vibrant photographs reveal the architects' search for the expression of an architecture of sustainability that transcends both technical perfection and energyefficient performance. Words by Jonathan Glancey, Louisa Hutton and Matthias Sauerbruch complement the photographs.
Enter the world of the stylish Japanese house, where every object in sight is a work of art. Japan Style introduces 20 special residences. With more than 200 color photographs, this book showcases Japanese design in the stunning beauty of old homes and reveals how they are cared for by their owners. Traditional Japanese homes, with superbly crafted fine wood, great workmanship and seasonal interior arrangements, have an aesthetic of infinite simplicity. Unlike Japanese inns and historical buildings, the Japanese architecture featured in this book is on private property not open to public viewing. Japan Style offers a rare glimpse into the intimate world of everyday Japanese culture and fascinating insight into the traditional architecture of Japan.
Color is one of cinema’s most alluring formal systems, building on a range of artistic traditions that orchestrate visual cues to tell stories, stage ideas, and elicit feelings. But what if color is not—or not only—a formal system, but instead a linguistic effect, emerging from the slipstream of our talk and embodiment in a world? This book develops a compelling framework from which to understand the mobility of color in art and mind, where color impressions are seen through, and even governed by, patterns of ordinary language use, schemata, memories, and narrative. Edward Branigan draws on the work of Ludwig Wittgenstein and other philosophers who struggle valiantly with problems of color aesthetics, contemporary theories of film and narrative, and art-historical models of analysis. Examples of a variety of media, from American pop art to contemporary European cinema, illustrate a theory based on a spectator’s present-time tracking of temporal patterns that are firmly entwined with language use and social intelligence.
The classic manifesto of the liberated woman, this book explores every facet of a woman's life.