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"Is architecture art? This vexed question has been posed since the 1700s, when breaking from earlier centuries in which there were no divisions between visual artist, architect, and engineer architects and laypeople alike began to see these vocations as distinct. Exploring how this separation of roles occurred, and how in the twentieth century the arts and architecture began to come together again, "The Judicious Eye" is the definitive history of the relationships between painting, sculpture and architecture as they have shifted over the past three centuries. Joseph Rykwert locates the first major shift during the Enlightenment, when key philosophers drew implied and explicit distinctions between the visual arts and architecture. As time progressed, architects came to see themselves as part of an established profession, while visual artists increasingly moved toward society's margins, widening the chasm between them. Detailing the eventual attempts to heal this breach, Rykwert concludes his book in the mid-twentieth century, when the artistic avant-garde turned to architects in its battle against a stagnant society. "The Judicious Eye", then, provides a necessary foundation for understanding architecture and visual art in the twenty-first century, as they continue to break new ground by growing closer to their intertwined roots."--Provided by publisher.

72.01 --- 7.01 --- 73.01 --- Architectuur en beeldende kunst ; samengaan van beide disciplines --- Architectuurtheorie ; J. Rykwert over architectuur vs. beeldende kunst --- Architectuur en kunst ; samenwerking en integratie ; geschiedenis --- Rykwert, Joseph --- Architectuur ; theorie, filosofie, esthetica --- Kunst ; theorie, filosofie, esthetica --- Beeldhouwkunst ; theorie, filosofie, esthetica --- Art and architecture --- History --- History. --- Art et architecture --- Histoire --- Art and architecture - History --- Art et architecture - Histoire

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7.07 --- Architectuur en beeldende kunst --- Beeldende kunst ; met kleur ; P. Struycken --- CD-ROMS --- Environments ; installaties ; met digitale kleuren --- Kleurdenken --- Kleurenwaarneming ; illusie --- Kunst ; in en op openbare plaatsen --- Kunst in opdracht --- Struycken, Peter °1939 (°Den Haag, Nederland) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Struycken, P., --- Struycken, Peter,

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Combining a genuine interest in contemporary and historical architecture with a desire to make sculpture functional, these five projects form a distinct body of work within Philip Metten’s practice: ‘Bar’ (2013), ‘153. Stanton’ (2015), ‘The Corner Show’ (2015), ‘Cinema’ (2017), and ‘Essen’ (2016–2021). Wouter Davidts’s analysis of ‘Untitled’ (2014) sets the tone, a work that seems to anticipate the complex interplay between drawing, sculpture, and architecture apparent in Metten’s other projects, where he gives spaces with a distinct social programme and scale a sculptural transformation. With photos by Jan Kempenaers and drawings by Kris Kimpe and Samyra Moumouh.

Metten, Philip --- Art --- sculpture [visual works] --- geometric figures --- monumental [size or dimensions] --- interior views --- architecture [object genre] --- Beeldhouwkunst ; installaties ; 21e eeuw --- Architectuur en beeldende kunst ; België --- Scenografie --- Beeldhouwkunst ; België ; 21ste eeuw --- Architectuur-sculpturen --- Kempenaers, Jan °1968 (°Heist op den Berg, België) --- Metten, Philip °1977 (°Genk, België) --- 73.07 --- Beeldhouwkunst ; beeldhouwers A - Z

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"Kissing Architecture explores the mutual attraction between architecture and other forms of contemporary art. In this fresh, insightful, and beautifully illustrated book, renowned architectural critic and scholar Sylvia Lavin develops the concept of "kissing" to describe the growing intimacy between architecture and new types of art--particularly multimedia installations that take place in and on the surfaces of buildings--and to capture the sensual charge that is being designed and built into architectural surfaces and interior spaces today. Initiating readers into the guilty pleasures of architecture that abandons the narrow focus on function, Lavin looks at recent work by Pipilotti Rist, Doug Aitken, the firm Diller Scofidio + Renfro, and others who choose instead to embrace the viewer in powerful affects and visual and sensory atmospheres"--Publisher's description.

Art and architecture --- History --- Architecture and art --- Kunsttheorie ; nieuwe intimiteit tussen architectuur en beeldende kunst --- Omgevingskunst ; 2000-2010 --- Installaties ; in-situ --- Kunst ; in en op openbare plaatsen --- Kunst in gebouwde omgeving --- Aitken, Doug --- Diller & Scofidio + Renfro --- Architectuur ; theorie, filosofie, esthetica --- Architecture --- architectuurtheorie --- architectural criticism --- 72.01 --- Ingrepen in de architecturale en stedenbouwkundige ruimte --- Kunst in de stad --- Rist, Pipilotti --- Welling, James --- Art et architecture --- Histoire --- Art and architecture. --- 2000-2099

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The first volume of a collected works, this book covers fifteen years of Caruso St John, one of the most highly acclaimed and influential contemporary archi­tectural practices. Following a thematic course shaped around key phases and aspects of their thinking, this extensive volume offers a detailed reflection on the practice’s activities between 1990 and 2005. Through a chorus of voices including critics, clients, and artists, it narrates their early emergence and de­velopment through to the international recognition which came with projects such as Nottingham Contemporary, The New Art Gallery Walsall, and the Brick House, with the latter two both being shortlisted for the Stirling Prize. Detailed accounts of early projects and competition entries, with unseen drawings and new commentaries by Adam Caruso and Peter St John, are presented here accompanied and contextualised by inventories of references from across architecture and contemporary art, together with new and archival texts capturing each project’s formation and reception. With an open and re­flexive structure, the book offers both an accessible introduction and a detailed, cross-referential constellation of ideas, images, influences, and documentation. Diverse projects such as the progressive reiterations of Peter St John’s home at Orleston Mews and the signage system for London’s Bankside sit in dialogue with more well-known buildings. Bringing together the renowned and the minor, the peripheral and the spectacular, the ugly and the beautiful, this essential book – the first comprehensive monograph on the practice – embodies Caruso St John’s belief that the contemporary world is composed not solely of the new but of everything that has come before. It illuminates a vision of the built environment as a network of culture, memory, construction, and emotion, and articulates an architecture that inhabits and evolves with that fluctuating whole. Includes texts by Wim Wenders, Hans Kolhoff, Irénée Scalbert, Vicky Richardson, Claes Caldenby, Dominique Boudet, James Lingwood, Adam Caruso, Peter St John, and more.

Architecture --- Caruso, Adam, --- St John, Caruso. --- St John, Peter, --- Caruso St John, Architects (Architectural firm). --- Architectuur ; Groot-Brittannië ; 21ste eeuw --- Architectuur ; Groot-Brittannië ; 2de h. 20ste eeuw --- Architectuurtentoonstellingen --- Architectuur en beeldende kunst --- Tentoonstellingsontwerp --- Museumarchitectuur ; 1990-2005 --- Caruso St John --- Lewerentz, Sigurd 1885-1975 (°Sandö, Bjärtra, Västernorrland, Zweden) --- 72.07 --- Architecten. Stedenbouwkundigen A - Z --- architectural firms --- Caruso St John Architects [London] --- Caruso St John. --- Caruso St John architects --- Caruso, Adam --- St John, Peter --- History --- Histoire --- St. John, Peter --- Caruso St John, Architects