L'histoire du XX? et du début du XXI? siècle demeure impénétrable si l'on ne comprend pas ce qui a découlé de la production, de la consommation et du transport du pétrole et du gaz. Si la Grande-Bretagne s'est hissée au sommet pendant l'ère du charbon, si les États-Unis ont dominé celle du pétrole et du charbon, la nouvelle ère énergétique qui dépend des métaux et des minerais appartiendra à la
Chine. Quant à l'Union européenne, les énergies vertes seront pour elle le moyen d'échapper au monde fossile qui a tant contribué à l'affaiblir. Pour répondre aux problèmes spécifiques que la révolution énergétique va engendrer, les gouvernements devront décider des risques simultanés qu'il leur faudra prendre selon différentes échelles de temps. Comment les démocraties pourront-elles se maintenir tandis que les bras de fer attendus sur le changement climatique et la consommation d'énergie les déstabiliseront ? Telle est la question politique de la décennie qui vient. Géopolitique, économie, politique et démocratie, ainsi s'ordonne le magistral exposé de ce livre qui dévoile l'histoire matérielle, souvent négligée, de nos continents, de la Première Guerre mondiale aux attentats du 11 septembre, de l'émergence de l'État islamique à la guerre en Ukraine.
Twenty-one houses in and around Marfa, Texas, provide a glimpse at creative life and design in one of the art world's most intriguing destinations.
When Donald Judd began his Marfa project in the early 1970s, it was regarded as an idiosyncratic quest. Today, Judd is revered for his minimalist art and the stringent standards he applied to everything around him, including interiors, architecture, and furniture. The former water stop has become a mecca for artists, art pilgrims, and design aficionados drawn to the creative enclave, the permanent installations called «among the largest and most beautiful in the world,» and the austerely beautiful high-desert landscape.
In keeping with Judd's site-specific intentions, those who call Marfa home have made a choice to live in concert with their untamed, open surroundings. Marfa Modern features houses that represent unique responses to this setting-the sky, its light and sense of isolation-some that even predate Judd's arrival.
Here, conceptual artist Michael Phelan lives in a former Texaco service station with battery acid stains on the concrete floor and a twenty-foot dining table lining one wall. A chef's modest house comes with the satisfaction of being handmade down to its side tables and bath, which expands into a private courtyard with an outdoor tub. Another artist uses the many rooms of her house, a former jail, to shift between different mediums-with Judd's Fort D. A. Russell works always visible from her second-story sun porch.
Extraordinary building costs mean that Marfa dwellers embrace a culture of frontier ingenuity and freedom from excess-salvaged metal signs become sliding doors and lengths of pipe become lighting fixtures, industrial warehouses are redesigned after the area's white-cube galleries to create space for private or personally created art collections, and other materials are suggested by the land itself: walls are made of adobe bricks or rammed earth to form sculptural courtyards, or, in one remarkable instance, a mix of mud and brick plastered with local soils, cactus mucilage, horse manure, and straw.
First survey of modernist and contemporary architecture and interiors in the richly layered architectural history of Santa Fe.
Santa Fe Modern reveals the high desert landscape as an ideal setting for bold, abstracted forms of modernist houses. Wide swaths of glass, deep-set portals, long porches, and courtyards allow vistas, color, and light to become integral parts of the very being of a house, emboldening a way to experience a personal connection to the desert landscape. The architects featured draw from the New Mexican architectural heritage-they use ancient materials such as adobe in combination with steel and glass, and they apply this language to the proportions and demands exacted by today's world. The houses they have designed are confident examples of architecture that is particular to the New Mexico landscape and climate, and yet simultaneously evoke the rigorous expressions of modernism. The vigor and the allure of modern art and architecture hearten each other in a way that is visible and exciting, and this book demonstrates the synergistic relationship between art, architecture, and the land.
A COMPELLING SURVEY OF TEXAS HOUSES THAT DRAW BOTH ON THE HERITAGE OF PIONEER RANCHES AND ON THE TWENTIETH-CENTURY DESIGN PRINCIPLES OF MODERNISM.
Helen Thompson and Casey Dunn, the writer/photographer team that produced the exceptionally successful Marfa Modern, join forces again to investigate Texas modernism. The juxtaposition of the sleek European forms with a gritty Texas spirit generated a unique brand of modernism that is very basic to the culture of the state today. Its roots are in the early Texas pioneer houses, whose long, low profiles express an efficiency that is basic to the modern idiom. This Texas-centric style is focused on the relationship of the house to the site, the materials it is made of-most often local stone and wood-and the way the building functions in the harsh Texas climate.
Dallas architect David R. Williams was the first to combine modernism with Texas regionalism in the 1930s, and his legacy was sustained by his protégé O'Neil Ford, who practiced in San Antonio from the late 1930s until his death in the mid 1970s. Their approach is seen today in the work of Lake/Flato Architects and a new generation of designers who have emerged from that distinguished firm and continue to elegantly merge modernism with the vocabulary of the Texas ranching heritage.
Twenty houses are included from across the state, with examples in major urban centers like Dallas and Austin and in suburban and rural areas, including a number in the evocative Hill Country.
Par la richesse et la diversité de ses représentations nocturnes allant de la Renaissance au Symbolisme, cet ouvrage illustre la fascination que la nuit a de tous temps exercée sur les artistes. Rêves, cauchemars, idylles, fêtes et paysage au clair de lune invitent à un voyage au coeur des ténèbres.
