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American Architecture: Ideas and Ideologies in the Late by Paul Heyer

By Paul Heyer

A landmark successor to the stated vintage, Architects on structure American structure principles and Ideologies within the overdue 20th Century Paul Heyer From the writer of the best-selling Architects on structure, this is a tremendous new contribution to the heritage and concept of recent structure. Arriving at an fascinating time of reevaluation of the early glossy flow and starting to be sensitivities to historicism and cultural connectivity, this sequel bargains a outstanding photo of a lot of the simplest paintings produced by means of Americas top architects within the overdue 20th century. Readers will obtain an extraordinary examine the paintings of multiple hundred of an important, such a lot influential modern architects, tested in gentle of the evolution of recent rules and the arrival of latest know-how. greater than illustrations transcend illumination of the textual content to operate as a unprecedented pictorial historical past of the architects artistry.

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Extra resources for American Architecture: Ideas and Ideologies in the Late Twentieth Century

Sample text

The elevators in the towers serve the fourth and sixth levels of the low buildings across bridges thus making 7-story walkups possible while the number of apartments in the low buildings in turn makes the slender towers economically feasible. The Roosevelt Island Housing, for a mix of incomes ranging from low to high, is conceived as a community with social services and commercial amenities integrated into the residential fabric. Here the form steps back from the waters edge on both sides of its island site to a high mass down the middle of the island.

The development of idea and imagery was sequential and grew out of the artist imaginatively pursuing the nature of art, of belief inspired by command of technique. A new way of doing things in turn opened the door to new ideas about the nature of art. Dripping paint then immediately led into the idea of staining raw canvas with the "new" acrylic paints of the art world with their brilliant, vibrating panorama of color. This produced the intense hued canvasses of Morris Louis, Helen Frankenthaler, and Kenneth Noland and his "target" pictures with their "flailing" edges.

Right: Paul Heyer, Hammer Gallery, New York City, 1980 (Photo: © Norman McGrath) Interpretation of the idea of purpose as a refined sense of function can also be the vehicle to form derivation and treatment of space as illustrated in my design of the Knoedler and Hammer galleries. Located in comparable Manhattan townhouses they have in common the function of showing paintings, but each with a different emphasis that stems directly from the difference in the art they represent. Knoedler, with its contemporary artists producing very large and variable proportion color field painting needed a flexible, fairly open, and neutral environment.

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