And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

    Read the Amazon reviews and you'll discover why women are saying: "This is the study to do in your small group!"Women are being delivered fromAnxietyOvereatingAngerand more...

    In Creating a New Old House, architect Russell Versaci shows you that it is possible to design and create a new house that looks and feels like it has always been there. Versaci explores how architects, builders, and craftsmen are reinterpreting the traditional American house. Through photographs and engaging text, discussions of history and craftsmanship, and sidelong glances at the workings of real old houses, Versaci explains how traditional houses go together and what gives them their unique design appeal. Features 17 new, old-style houses -- from colonials to farmhouses -- from all over the country Versaci identifies Eight Pillars of Traditional Design that create a solid foundation for combining authentic, traditional design with livability to create homes that feel old yet work for the demands of modern family living.

    The development of interpretive modes of various stripes--post-structuralist, Marxian, phenomenological, psychoanalytic, as well as others dissenting or eccentric--has given scholars a range of tools for rethinking architecture in relation to other fields and for reasserting architectures general importance in intellectual discourse.This anthology presents forty-seven of the primary texts of architecture theory, introducing each with an explication of the concepts and categories necessary for its understanding and evaluation. It also presents twelve documents of projects or events that had major theoretical repercussions for the period. Several of the essays appear here in English for the first time.ContributorsDiana Agrest, Stanford Anderson, Archizoom, George Baird, Jennifer Bloomer, Massimo Cacciari, Jean-Louis Cohen, Beatriz Colomina, Alan Colquhoun, Maurice Culot, Jacques Derrida, Ignasi de Sol�-Morales, Peter Eisenman, Robin Evans, Michel Foucault, Kenneth Frampton, Mario Gandelsonas, Frank Gehry, J�rgen Habermas, John Hejduk, Denis Hollier, Bernard Huet, Catherine Ingraham, Fredric Jameson, Charles A. Jencks, Jeffrey Kipnis, Fred Koetter, Rem Koolhaas, Leon Krier, Sanford Kwinter, Henri Lefebvre, Daniel Libeskind, Mary McLeod, Alberto P�rez-G�mez, Jos� Quetglas, Aldo Rossi, Colin Rowe, Massimo Scolari, Denise Scott Brown, Robert Segrest, Jorge Silvetti, Robert Somol, Martin Steinmann, Robert A. M. Stern, James Stirling, Manfredo Tafuri, Georges Teyssot, Bernard Tschumi, Anthony Vidler, Paul Virilio, Mark Wigley

    A building that eats smog. An inflatable concert hall. A research lab that can walk through snow. We’re entering a new age in architecture—one where we expect our buildings to deliver far more than just shelter. We want buildings that inspire us while helping the environment; buildings that delight our senses while serving the needs of a community; buildings made possible both by new technology and repurposed materials.Like an architectural cabinet of wonders, this book collects the most innovative buildings of today and tomorrow. The buildings hail from all seven continents (to say nothing of other planets), offering a truly global perspective on what lies ahead. Each page captures the soaring confidence, the thoughtful intelligence, the space-age wonder, and at times the sheer whimsy of the world’s most inspired buildings—and the questions they provoke: Can a building breathe? Can a skyscraper be built in a day? Can we 3D-print a house? Can we live on the moon?Filled with gorgeous imagery and witty insight, this book is an essential and delightful guide to the future being built around us—a future that matters more, and to more of us, than ever.

    This book goes well beyond the noise on learning space design that focuses on pretty Pinterest classrooms and moves towards a more sophisticated conversation about how learning spaces support and drive brain-friendly learning. SPACE is a beautifully designed book that respects that reading and learning can happen in a visually appealing way. Hare and Dillon walk educators through a series of questions and ideas on how learning spaces can support collaboration, creation, showcasing learning, and a learner's need for quiet. In addition to nudging thinking forward, SPACE provides practical design tips and uses images and testimonials for hacking learning spaces on a realistic budget. This book is designed to motivate, grow capacity, and energize educators to begin shifting their learning spaces to support modern learning for all students.

    People, many of whom have already embarked upon that great adventure of genealogical research, and who have encountered their ancestors in the archives and uncovered family secrets, are now turning to the secrets contained within the four walls of their homes and in doing so finding a direct link to earlier generations. And it is ordinary homes, not grand public buildings or the mansions of the rich that have all the best stories.As with the television series, A House Through Time offers readers not only the tools to explore the histories of their own homes, but also a vividly readable history of the British city, the forces of industry, disease, mass transportation, crime and class. The rises and falls, the shifts in the fortunes of neighbourhoods and whole cities are here, tracing the often surprising journey one single house can take from elegant dwelling in a fashionable district to a tenement for society’s rejects.Packed with remarkable human stories, it is a phenomenal insight into living history, a history we can see every day on the streets where we live. And it reminds us that it is at home that we are truly ourselves. It is there that the honest face of life can be seen. At home, behind closed doors and drawn curtains, we live out our inner lives and family lives.

    These 43 questions and answers, written to reflect the format of historic catechisms, seek to provide nourishment for weary pastors in the thick of ministry. Each chapter features content designed to care for your spiritual health, feeding your mind and heart with life-giving truth aimed at helping you press on in ministry with endurance, contentment, and joy.

    In this revised edition of Mr. Giedion's classic work, major sections have been added and there are 81 new illustrations. The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier's only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death], which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post-World War II architectural concepts. A new essay, Changing Notions of the City, traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as Jose Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert's Peabody Terrace is discussed as an example of the interlocking of the collective andindividual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.

    The book focuses on the work of the main architects of the movementsuch as Frank Lloyd Wright, Adolf Loos, Le Corbusier, and Mies van der Rohe, re-examining their work and shedding new light on their roles as acknowledged masters. The author presents a fascinating analysis of architecture with regard to politics, technology, and ideology, all while offering cleardescriptions of the key elements of the Modern movement.Colquhoun shows clearly the evolution of the movement from Art Nouveau in the 1890s to the mega-structures of the 1960s, revealing the often-contradictory demands of form, function, social engagement, modernity and tradition.