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This open access book presents theoretical and practical research relating to the vast, publicly financed program for the construction of new schools and the reorganization of existing educational buildings in Italy. This transformative process aims to give old buildings a fresh identity, to ensure that facilities are compliant with the new educational and teaching models, and to improve both energy efficiency and structural safety with respect to seismic activity. The book is divided into three sections, the first of which focuses on the social role of the school as a civic building that can serve the needs of the community. Innovations in both design and construction processes are then analyzed, paying special attention to the Building Information Modeling (BIM) strategy as a tool for the integration of different disciplines. The final section is devoted to the built heritage and tools, technologies, and approaches for the upgrading of existing buildings so that they meet the new regulations on building performance. The book will be of interest to all who wish to learn about the latest insights into the challenges posed by, and the opportunities afforded by, a comprehensive school building and renovation program.
Alain Elkann has mastered the art of the interview. With a background in novels and journalism, and having published over twenty books translated across ten languages, he infuses his interviews with innovation, allowing them to flow freely and organically. Alain Elkann Interviews will provide an unprecedented window into the minds of some of the most well-known and -respected figures of the last twenty-five years.
Nicholas Fox Weber, for thirty-three years head of the Albers Foundation, spent many years with Anni and Josef Albers, the only husband-and-wife artistic pair at the Bauhaus (she was a textile artist; he a professor and an artist, in glass, metal, wood, and photography). The Alberses told him their own stories and described life at the Bauhaus with their fellow artists and teachers, Walter Gropius, Paul Klee, Wassily Kandinsky, Ludwig Mies van der Rohe, as well these figures’ lesser-known wives and girlfriends. In this extraordinary group biography, Weber brilliantly brings to life the Bauhaus geniuses and the community of the pioneering art school in Germany’s Weimar and Dessau in the 1920s and early 1930s. Here are: Walter Gropius, founder of the Bauhaus, the architect who streamlined design early in his career and who saw the school as a place for designers to collaborate in an ideal setting . . . a dashing hussar, the ardent young lover of the renowned femme fatale Alma Mahler, beginning when she was the wife of composer Gustav Mahler . . . Paul Klee, the onlooker, smoking his pipe, observing Bauhaus dances as well as his colleagues’ lectures from the back of the room . . . the cook who invented recipes and threw together his limited ingredients with the same spontaneity, sense of proportion, and fascination that underscored his paintings . . . Wassily Kandinsky, the Russian-born pioneer of abstract painting, guarding a secret tragedy one could never have guessed from his lively paintings, in which he used bold colors not just for their visual vibrancy, but for their “sound” effects . . . Josef Albers, who entered the Bauhaus as a student in 1920 and was one of the seven remaining faculty members when the school was closed by the Gestapo in 1933 . . . Annelise Else Frieda Fleischmann, a Berlin heiress, an intrepid young woman, who later, as Anni Albers, made art the focal point of her existence . . . Ludwig Mies van der Rohe, imperious, decisive, often harsh, an architect who became director—the last—of the Bauhaus, and the person who guided the school’s final days after SS storm troopers raided the premises. Weber captures the life, spirit, and flair with which these geniuses lived, as well as their consuming goal of making art and architecture. A portrait infused with their fulsome embrace of life, their gift for laughter, and the powerful force of their individual artistic personalities.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Prominent Renaissance scholars reveal new insights into Piero’s life and work based on a study of his exquisite small panel paintings.
Who knew bingo could be deadly? When abrasive trophy-wife Stacy Mellomaker winds up dead on the floor of a bingo fundraiser few of the townsfolk are shedding tears. The doctors believe she died from an accidental overdose of painkillers, but Stacy’s ghost, as well as her sister, insist it was foul play. Kay is hired to investigate, but it’s hard to determine whodunnit when the whole town is chock-full of people who all have motive for murder.
A compelling examination of the art museum from a renowned director, this sweeping book explores how architecture, vision, and funding have transformed art museums around the world over the past eighty years. How have art museums changed in the past century? Where are they headed in the future? Charles Saumarez Smith is uniquely qualified to answer these questions, having been at the helm of three major institutions over the course of his distinguished career. For The Art Museum in Modern Times, Saumarez Smith has undertaken an odyssey, visiting art museums across the globe and examining how the experience of art is shaped by the buildings that house it. His story starts with the Museum of Modern Art in New York, one of the first museums to focus squarely on the art of the present rather than the past. When it opened in 1939, MoMA’s boldly modernist building represented a stark riposte to the neoclassicism of most earlier art museums. From there, Saumarez Smith investigates dozens of other museums, including the Tate Modern in London, the Getty Center in Los Angeles, the West Bund Museum in Shanghai, and the Centre Pompidou in Paris. He explores our shifting reasons for visiting museums, changes to the way exhibits are organized and displayed, and the spectacular new architectural landmarks that have become destinations in their own right. Global in scope yet full of personal insight, this fully illustrated celebration of the modern art museum will appeal to art lovers, museum professionals, and museum goers alike.
Do 21st-century women and men still believe that museums can, through the way they display art, help shape their visitors' sense of the dignity of the person? Through the readings of history and style which they propose, can museums help bridge the gap that today seems to separate present from past, isolating individuals and groups in a contemporaneity without roots? If so, how? If not, why?
The great Venetian sculptors of the High Renaissance, led by Tullio Lombardo (c. 1455-1532), explored a poetic and nostalgic approach to classical antiquity in their work. Their expression shares much with Mantegna, Bellini, Giorgione, and Titian in these painters' imaginative evocations of ancient history, mythology, philosophy, and poetry. Featuring a range of Tullio's work, including his sensuous and dramatic double-portrait reliefs, this book introduces the romantic qualities and beautiful craftsmanship of the sculptor and his closest followers, including his brother Antonio Lombardo, Simone Bianco, Antonio Minello, and Giammaria Mosca. Essays examine Tullio's innovations and the Venetian cultural setting where he developed them in dialogue with the northern Italian masters of Renaissance painting. Twelve works, carefully selected from this milieu, exemplify the creative approach and influ­ence of Tullio and the Lombardo workshop. Published in association with the National Gallery, Washington Exhibition Schedule: National Gallery of Art, Washington, D.C. (7/4/09 - 10/31/09)
A clever, quirky biography of a leading contemporary artist, for children Banksy is a world-famous graffiti artist who secretly spray paints pictures on streets and walls while no one is watching! His works are often about politics, war, and other important things, but he also likes to paint rats. Rats scurry around and hide, often creating a bit of a stir, just like he does! Millions of people know his work but no one really knows who Bansky is -- his true identity is a secret. Fausto Gilberti brings life, intrigue, and whimsy to the mysterious story of one of the most important contemporary artists of our time. Ages 4-7