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Books on the topic 'Avant-garde concept of architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Pangarsa, Galih Widjil. Merah putih arsitektur Nusantara. Yogyakarta: Diterbitkan oleh Penerbit Andi untuk Jurusan Arsitektur, Fakultas Teknik, Universitas Brawijaya, Malang, 2006.

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2

Pangarsa, Galih Widjil. Merah putih arsitektur nusantara. Yogyakarta: Diterbitkan oleh Penerbit Andi untuk Jurusan Arsitektur, Fakultas Teknik, Universitas Brawijaya Malang, 2006.

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3

Lesnikowski, Wojciech G. French avant-garde architecture 1989. [Chicago: Art Institue of Chicago], 1989.

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4

Architecture's desire: Reading the late avant-garde. Cambridge, MA: MIT Press, 2010.

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5

Kubova, Alena. L' avant-garde architecturale en Tchécoslovaquie: 1918-1939. Liège: P. Mardaga, 1992.

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6

Giorgi, Gabriele De. La terza avanguardia in architettura =: The third avant-garde in architecture. Roma: Diagonale, 1998.

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7

Russian avant-garde: Theories of art, architecture, and the city. London: Academy Editions, 1995.

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8

Khan-Magomedov, S. O. Arkhitektura sovetskogo avangarda. Moskva: Stroĭizdat, 1996.

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9

G: An avant-garde journal of art, architecture, design, and film, 1923-1926. Los Angeles: Getty Research Institute, 2010.

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10

Lupton, Ellen. Letters from the avant-garde: Modern graphic design. New York: Princeton Architectural Press, 1996.

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11

Hagan, Susannah. Digitalia: Architecture and the digital, the environmental and the avant-garde. London: Routledge, 2008.

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12

Moiseĭ Ginzburg. Moskva: Arkhitektura-S, 2007.

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13

Foltyn, Ladislav. Slovenská architektúra a česká avantgarda 1918-1939. Bratislava: Vydavatel̕stvo Spolku architektov Slovenska, 1993.

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14

The new vision for the new architecture: Czechoslovakia, 1918-1938. Zurich: Scalo Verlag, 2006.

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15

(Society), Devětsil. Devětsil: Czech avant-garde of the 1920s and 30s. Oxford: Museum of Modern Art, 1990.

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16

Unbuildable Tatlin?! Wein: Springer, 2012.

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17

Puglisi, Luigi Prestinenza. This is tomorrow: Avanguardie e architettura contemporanea. [Torino]: Testo & immagine, 1999.

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18

(Gallery), Tate Modern, and Stedelijk Museum "De Lakenhal" (Leiden, Netherlands), eds. Van Doesburg & the international avant-garde: Constructing a new world. London: Tate, 2009.

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19

Rat︠s︡ionalizm (rat︠s︡ion-arkhitektura) - "formalizm". Moskva: Arkhitektura-S, 2007.

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20

Conde, Yago. Arquitectura de la indeterminación. Barcelona: Actar, 2000.

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21

Wien, Architektur Zentrum, ed. The Austrian phenomenon: [herausgegeben vom Architekturzentrum Wien; Konzept, Johannes Porsch ; Redaktion, Johannes Porsch]. Basel]: Birkhäuser, 2009.

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22

Sarabʹi͡anov, Dmitriĭ Vladimirovich. Russian art: From neoclassicism to the avant garde, 1800-1917 : painting - sculpture - architecture. New York: H.N. Abrams, 1990.

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23

Sarabʹi︠a︡nov, Dmitriĭ Vladimirovich. Russian art: From neoclassicism to the avant garde, 1800-1917 : painting - sculpture - architecture. New York: H.N. Abrams, 1990.

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24

The sphere and the labyrinth: Avant-gardes and architecture from Piranesi to the 1970s. Cambridge, Mass: MIT Press, 1987.

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25

Blundell-Jones, Peter. Dialogues in time: New Graz architecture. Graz: Haus der Architektur, 1998.

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26

1863-1942, Cram Ralph Adams, ed. Ralph Adams Cram: Life and architecture. Amherst: University of Massachusetts Press, 1994.

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27

Arkhitektura sovetskogo avangarda. Moskva: Stroiizdat, 1996.

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28

Madrid y el arte nuevo: Vanguardia y arquitectura (1925-1936). Madrid: La Librería, 2011.

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29

Pettena, Gianni. Gianni Pettena. Cinisello Balsamo (Milano): Silvana, 2003.

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30

Arkhitektura ėpokhi sovetskogo avangarda v Nizhnem Novgorode. Nizhniĭ Novgorod: Promgrafika, 2005.

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31

Georgiĭ Vegman. Moskva: Russkiĭ avangard, 2009.

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32

Fonds régional d'art contemporain du Centre., ed. Gianni Pettena. Orléans: HYX, 2002.

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33

Georgiĭ Krutikov. Moskva: Russkiĭ avangard, 2008.

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34

Mikhail Okhitovich. Moskva: Russkiĭ avangard, 2009.

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35

Andreĭ Burov. Moskva: Russkiĭ avangard, 2009.

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36

1934-, Hollein Hans, and Biennale di Venezia, eds. 6th international architecture exhibition: Sensing the future : the architect as seismograph. [Venezia]: La Biennale di Venezia, 1996.

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37

International, Architectural Exhibition (6th 1996 Venice Italy). 6. Mostra internazionale di architettura: Sensori del futuro : l'architetto come sismografo. Milano: Electa, 1996.

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38

Viktor Kalmykov. Moskva: "Russkiĭ avangard", 2011.

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39

Mikhail Korzhev. Moskva: Russkiĭ avangard, 2009.

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40

Visionäre Architektur: Wien 1958/1988. Berlin: Ernst, 1988.

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41

Chicago, Art Institute of, ed. French avant-garde architecture 1989. Chicago: Art Institute of Chicago, 1989.

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42

V, Sharp Robert, Zukowsky John 1948-, Asse Eugene 1946-, and Art Institute of Chicago. Ernest R. Graham Study Center for Architectural Drawings, eds. Moscow avant-garde architecture: 1955-1991. [Chicago: Ernest R. Graham Study Center for Architectural Drawings, Art Institute of Chicago, 1993.

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43

V, Sharp Robert, Zukowsky John 1948-, Asse Eugene 1946-, and Art Institute of Chicago. Ernest R. Graham Study Center for Architectural Drawings, eds. Moscow avant-garde architecture: 1955-1991. [Chicago: Ernest R. Graham Study Center for Architectural Drawings, Art Institute of Chicago, 1993.

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44

Asse, Eugène. Moscow Avant-Garde Architecture: 1955-1991. Art Inst of Chicago Museum Shop, 1993.

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45

Papadakis, Andreas C., Justin Agero, and Catherine Cooke. Avant-Garde (Architectural Design (Wiley)). Architectural Design, 1995.

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46

Avermaete, Tom, Janina Gosseye, and Espen Johnsen. Pagon: Scandinavian Avant-Garde Architecture 1945-1956. Bloomsbury Publishing Plc, 2021.

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47

Hays, K. Michael. Architecture's Desire: Reading the Late Avant-Garde. MIT Press, 2009.

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48

Nazarenes: Romantic Avant-Garde and the Art of the Concept. Pennsylvania State University Press, 2015.

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49

Ross, Stephen J. The Invisible Avant-Garde. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.003.0001.

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Abstract:

This chapter examines John Ashbery’s early work in the context of the French neo-avant-garde of the late 1950s and early 1960s. It argues that Ashbery’s reading of the cubist poet Pierre Reverdy and close proximity to the “New Realism” movement in France (Ashbery’s home for nearly a decade from the mid-1950s to 1965) inform the collage technique of his notorious second collection, The Tennis Court Oath, and the suave lyricism of his third collection, Rivers and Mountains. Ashbery responds to the aestheticized concept of “nature”—the idea that art creates a “second nature”—that underpins neo-avant-garde practices of the “New Realist,” as codified by their chief theorist Pierre Restany. In idealizing poetry that would be “like a natural landscape in a world of painted ones,” Ashbery subscribes to the long-standing avant-garde fantasy of turning art into nature—a fantasy that reaches a new level of sophistication and transparency in his early masterpiece, “The Skaters.”

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50

Adam, Miłobędzki, ed. Architecture and avant-garde in Poland 1918-1939. [Bologna: C.I.P.I.A., 1996.

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