An interdisciplinary anthology exploring alternatives to the principles of commercial markets that dominate contemporary life. The essays in this volume apply an experimental ethos to collaborative cultural production. Expanding the fields of art, design, and architectural research, contributors provide critical reflection on collaborative practice-based research. The volume builds on a pop-up market hosted by the London-based arts cluster Critical Practice that sought to creatively explore existing structures of evaluation and actively produce new ones. Assembled by lead editor Marsha Bradfield, the essays contextualize the event within London's long history of marketplaces, offer reflections from the stallholders, and celebrate its value system, particularly its critique of econometrics. A glossary rounds off the text and opens up the publication as a resource.

The Routledge Companion to Criticality in Art, Architecture, and Design presents an in-depth exploration of criticism and criticality in theory and practice across the disciplines of art, architecture, and design. Professional criticism is a vital part of understanding the cultural significance of designed objects and environments that we engage with on a daily basis, yet there is evidence to show that this practice is changing. This edited volume investigates how practitioners, researchers, educators, and professionals engage with, think about, and value the practice of critique. With contributions from a multi-disciplinary authorship from nine countries - the UK, USA, Australia, India, Netherlands, Switzerland, South Africa, Belgium, and Denmark - this companion provides a wide range of leading perspectives evaluating the landscape of criticality and how it is being shaped by technological and social advances. Illustrated with over 60 black and white images and structured into five sections, The Routledge Companion to Criticality in Art, Architecture, and Design is a comprehensive volume for researchers, educators, and students exploring the changing role of criticism through interdisciplinary perspectives.

This exploration of Art Deco architectural design embraces many different times and places in its visual and verbal account of the movement's origins, development, and influence.

The line is the constitutive element of every drawing and forms the core element of any design - for art, architecture, urban design or design in general. It resists reduction to simple linearity, but rather takes on complex and dynamic forms that attract the viewer in various ways, both consciously and suggestively. Whether analogue or digital, line is mobile as the forces, movements and effects that line produce are different for each type of line: straight, meandering, interrupted or even invisible. The book is a stimulating celebration of the manifold aspects of line, using unique examples from architecture, design and art, combining interviews with designers and essays by various authors.

Tschumi Parc de la Villette is the first publication to document comprehensively Bernard Tschumi's first, and arguably still most celebrated project. With new and republished writing including a text by Bernard Tschumi and Anthony Vidler's "Trick-Track" originally published in 1986, alongside a newly-commissioned essay assesing the Parc from a contemporary and historical perspective, this book documents Parc de la Villette from its conception, through the 30 years of its existence, to the present. Tschumi Parc de la Villette includes drawings, concept sketches, models and photographs showing the development of the Parc over three decades, brought together in a single volume for the first time since the 1980s. One of the "Grands Projets" commissioned by the French Government in the 1980s, Parc de la Villette set a benchmark for urban parks in the latter part of the twentieth century and into the twenty-first. Tschumi constructed a series of follies across the site, creating what he called "the largest discontinuous building in the world". Published to coincide with the 30th anniversary of the Parc, Tschumi Parc de la Villette broadly celebrates the project, and articularly the way in which it has been embraced by generations of Parisians and a diverse international public.

The Kabbalistic idea of creation, as expressed through light, space and geometry, has left its unmistakable mark on our civilization. Drawing upon a wide array of historical materials and images of contemporary art, sculpture and architecture, architect Alexander Gorlin explores the influence, whether actually acknowledged or not, of the Kabbalah on modern design.

Exploring the intersections of art, architecture, and design, at both renowned institutions and cutting-edge contemporary collections. Museum interior spaces must be as carefully designed as their façades—if not more so—to meet the needs of both the art on display and the viewers. The design and construction of art museums in America thus is a complex process, and one rarely undertaken lightly. The architect must design a building that effectively supports the art exhibited. The museumgoers’ interaction with the art must be enhanced by the architecture, while amenities such as restaurants, cafes, gift shops, and accessible and convenient restrooms ensure their comfort. Finally, the storage of works of art not on display must be accounted for in the building design. American Art Museum Architecture: Documents and Design explores all aspects of, and approaches to, museum architecture—the aesthetic, the practical, the innovative, and the functional. Architectural historian Eric M. Wolf delves into the archives of some of the country’s premier institutions not only to explore the design decisions made at their founding, but also to understand how those institutions have continued to evolve along with their collections, up to the present day. Wolf examines the gradual development of six major museums: the Frick Collection, the Museum of Modern Art, and the Whitney Museum of American Art in New York; the Menil Collection in Houston, the Georgia O’Keefe Museum in Santa Fe, and the Art Institute of Chicago. He explains how each museum was originally conceived, how the architecture reflected or modified that original conception, and how the buildings have been reconsidered or revised in later years, as the nature of art, art display, and museum-going has evolved. Extensive archival plans, documents, and photographs enhance the narrative. American Art Museum Architecture also considers the unique architectural challenges often posed by contemporary art. Conceptual art, video installations, and large-scale pieces are increasingly found in permanent collections, at small galleries and encyclopedic institutions alike. Museums built decades ago may have to renovate in order to accommodate such pieces, while newer museums devoted to contemporary work must tackle new architectural challenges when considering how best to house this work. Encompassing both grand nineteenth-century institutions and avant-garde contemporary art collections, American Art Museum Architecture is a timely and fascinating exploration of the ever-changing relationship between architecture and art.

Bringing together an international team of scholars, this book offers new perspectives on the impact that the Bauhaus and its teaching had on a wide range of artistic practices. Three of the fields in which the Bauhaus generated immediately transformative effects were housing, typography, and photography. Contributors go further to chart the surprising relation of the school to contemporary developments in hairstyling and shop window display in unprecedented detail. New scholarship has detailed the degree to which Bauhaus faculty and students set off around the world, but it has seldom paid attention to its impact in communist East Germany or in countries like Ireland where no Bauhäusler settled. This wide-ranging collection makes clear that a century after its founding, many new stories remain to be told about the influence of the twentieth century’s most innovative arts institution. The book will be of interest to scholars working in art history, design history, photography, and architectural history.