Since first publication in 1998, Towards a New Museum has achieved iconic status as a seminal exploration of the late-20th-century revolution in museum architecture: the transformation from museum as restrained container for art to museum as exuberant companion to art. Author Victoria Newhouse critiqued numerous institutions for the display of art opened in the 1970s, 1980s, and 1990s, culminating in Frank Gehry's Guggenheim in Bilbao and Richard Meier's Getty Center in Los Angeles. In this expanded edition, she continues her investigation of new museums, assessing the radical, 21st-century changes that have propelled Herzog & de Meuron's De Young Museum in San Francisco and SANAA's 21st Century Museum of Contemporary Art in Kanazawa, Japan, to the forefront of this building type. Among the institutions added to this new edition are the Giovanni and Marella Agnelli Pinacoteca, perched atop an enormous Fiat factory in Turin, Italy, and the Nasher Sculpture Center in Dallas, both by Renzo Piano Building Workshop; three notable updates of the museum as sacred space, two by Yoshio Taniguchi and one by SANAA; the Lois & Richard Rosenthal Center for Contemporary Art in Cincinnati by Zaha Hadid; and expansions of the Reina Sofia Museum of Modern Art in Madrid by Ateliers Jean Nouvel, the Walker Art Center in Minneapolis by Herzog & de Meuron, and the Museum of Modern Art in New York by Taniguchi. Finally, the De Young Museum, reflecting its own eclectic conditions, and the 21st Century Museum, consisting of non-hierarchical spaces for every conceivable kind of contemporary artwork as well as facilities for social exchange, are innovative hybrids that propose new directions for the future of museum architecture.

Towards the Museum of the Future explores, through a series of authoritative essays, some of the major developments in European museums as they struggle to adapt in a rapidly changing world. It embraces a wide range of European countries, all types of museums and exhibitions and the needs of different museum audiences, and discusses the museum as communicator and educator in the context of current cultural concerns.

This second-expanded edition of Towards A New Engineering is almost double in volume compared to the first edition, with several new chapters, new material and is more graphically oriented in order to guide readers more smoothly throughout the text. It is a collection of intimate reflections on structural engineering, its present and future. A testimony on many issues that ‘bothered’ the author during his years of designing structures. A critique and praise of built structures, structural design strategies, codes, the educational system, digital tools and much more. It’s a professional memoir dedicated to the unsung heroes of structural engineering. Not the unknown ones but the unrecognized ones. It’s an album of their thoughts and designs. This book is a rare possibility for structural engineers to consider the meaning of their profession, to meditate about it and its relation to, or distinction from, the practice of architecture. This is a collection of thoughts but not conclusions and theories. The book is recommended for all structural and architectural engineers, as well as for students of engineering and architecture, especially those who have chosen structural engineering as their lifelong profession. It is an eye-opening book that will provide a clearer, more realistic perspective while also offering an idea of where engineers will be in the future and how they should adapt to the time that comes.

Collating the views of international museum professionals, architects, designers and academics, this book highlights the complexity and significance of museum space, studies recent developments in museum architecture and exhibition design.

Towards Tate Modern provides a new interdisciplinary account of Tate’s shifting position as a national arts institution. The book examines how earlier government directives impacted on Tate, which saw the organisation refocusing its aims and resulted in it pioneering new models for working across the public and private sectors. The decade prior to the opening of Tate Modern witnessed a changing political, economic, cultural and social landscape. As London was rebuilding its own vision, Tate re-configured its role as a public museum and gallery by engaging with the market. Tate re-imagined what a public museum and gallery can do, what it can look like and where it can be and, in doing so, responded to a new kind of audience with a larger appetite than before. Re-cast as a cultural and social forum, Tate Modern turned itself into a popular public event. This research considers how Tate Modern generated a set of new debates and what this might mean for the future role of the public museum and gallery. Towards Tate Modern will be of particular interest to academics and students, art practitioners and policy makers working in the fields of museum studies, policy studies, cultural studies, urban studies, and political and economic history, as well as those involved in archival research. It will also engage those wishing to widen their understanding of how an institution such as Tate Modern was created.

Updated to reflect the latest developments in twenty-first century museum scholarship, the new Second Edition of Museum Studies: An Anthology of Contexts presents a comprehensive collection of approaches to museums and their relation to history, culture and philosophy. Unique in its deep range of historical sources and by its inclusion of primary texts by museum makers Places current praxis and theory in its broader and deeper historical context with the collection of primary and secondary sources spanning more than 200 years Features the latest developments in museum scholarship concerning issues of inclusion and exclusion, repatriation, indigenous models of collection and display, museums in an age of globalization, visitor studies and interactive technologies Includes a new section on relationships, interactions, and responsibilities Offers an updated bibliography and list of resources devoted to museum studies that makes the volume an authoritative guide on the subject New entries by Victoria E. M. Cain, Neil G.W. Curtis, Catherine Ingraham, Gwyneira Isaac, Robert R. Janes, Sean Kingston, Barbara Kirshenblatt-Gimblett, Sharon J. Macdonald, Saloni Mathur, Gerald McMaster, Sidney Moko Mead, Donald Preziosi, Karen A. Rader, Richard Sandell, Roger I. Simon, Crain Soudien, Paul Tapsell, Stephen E. Weil, Paul Williams, and Andrea Witcomb

In Curating Community: Museums, Constitutionalism, and the Taming of the Political, Stacy Douglas challenges the centrality of sovereignty in our political and juridical imaginations. Creatively bringing together constitutional, political, and aesthetic theory, Douglas argues that museums and constitutions invite visitors to identify with a prescribed set of political constituencies based on national, ethnic, or anthropocentric premises. In both cases, these stable categories gloss over the radical messiness of the world and ask us to conflate representation with democracy. Yet the museum, when paired with the constitution, can also serve as a resource in the production of alternative imaginations of community. Consequently, Douglas’s key contribution is the articulation of a theory of counter-monumental constitutionalism, using the museum, that seeks to move beyond individual and collective forms of sovereignty that have dominated postcolonial and postapartheid theories of law and commemoration. She insists on the need to reconsider deep questions about how we conceptualize the limits of ourselves, as well as our political communities, in order to attend to everyday questions of justice in the courtroom, the museum, and beyond. Curating Community is a book for academics, artists, curators, and constitutional designers interested in legacies of violence, transitional justice, and democracy.

The Focus Of This Path-Breaking Study Is The Social And Economic Changes That Took Place In South India, Under The Rule Of The Vijayanagar Kings, From The 13Th To The 16Th Centuries. The Contents Cover: Introduction - Emergence Of A New Political Structure - Socio-Economic Emergence Under Vijaynagar Rule - Vijaynagar Revenue Policy And Society. 3 Appendices, 7 Maps. Dustjacket Slightly Shop-Soiled, Condition Good.

New Museum Design provides a critical and compelling selective survey of contemporary international museum design since 2010. It provides an accessible and analytic review of the architectural landscape of museum and gallery design in the 2010s. The book comprises twelve case study museum and gallery projects from across Europe, Asia, North America, Africa, the Middle East and Australia. Each built example is interrogated through an essay and a series of beautiful supporting illustrations and drawings. Where appropriate architectural analysis is cross-scale, extending from consideration of the artefact’s encounter with museum space at the most intimate scale, through detailed architectural readings, to the wider perspective of urban/landscape response. Similarly, the book is not confined in its thematic or architectural ‘typological’ scope, including museums and art galleries, as well as remodellings, extensions and new build examples. New Museum Design provides a critical snapshot of contemporary international museum architecture, in order to: better understand reasons for the state of current practice; reveal and explore on-going themes and approaches in the field; and to point towards seminal future design directions. This book is essential reading for any student or professional interested in museum design.

Exploring the design of innovative building enclosure systems (or skins) in contemporary architecture and their precedents in earlier twentieth century modern architecture, this book examines the tectonics, the history and the influence of translucency as a defining characteristic in architecture. Highly illustrated throughout with drawings and full colour photographs, the book shows that translucency has been and continues to be a fertile ground for architectural experimentation. Each chapter presents a comparative analysis of two primary buildings: a recent project, paired with a historical precedent, highlighting how architects in different eras have realized the distinctive effects of translucency. The included buildings span a variety of program types, ranging from a single-family residence, to a factory, to a synagogue. Whether it is Pierre Chareau’s glass-lens curtain wall at the Maison de Verre, Frank Lloyd Wright’s wall of stacked glass tubes at the Johnson Wax Research Tower, or Peter Zumthor’s use of acid-etched glass in a double-skin envelope at the Kunsthaus Bregenz, the included projects each offer an exemplary case study of innovations in materiality and fabrication techniques. Today, among many contemporary architects, there is an engagement with new technologies, new material assemblies, and new priorities such as sustainability and energy-efficiency. A resurgent interest in translucency as a defining quality in buildings has been an important part of this recent dialogue and this book makes essential reading for any architect looking to incorporate aspects of translucency into their buildings.