Kirjahaku

This two-volume publication commemorates a trio of exhibitions by the celebrated American artist Richard Serra. Shown simultaneously in 2019 at Gagosian in New York, the three exhibitions presented five new sculptures and more than twenty drawings by the artist, offering a rare opportunity to view these two aspects of Serra s practice together. Here, new photographs of all works, including expansive installation views of the artist s large-scale sculptures, are accompanied by an extensive essay by art historian Julian Rose that provides insight into Serra s work in the context of architecture and its history. Works featured in the publication include a series of new diptych and triptych drawings; four new works from Serra s Rounds series of forged-steel sculptures, each composed of multiple 50-ton elements of differing diameters and heights; and Reverse Curve, a sculpture measuring 99 feet long and 13 feet high that was originally conceived in 2005 and finally realized for the first time as part of Serra s 2019 exhibitions. The publication s two hardcover volumes, amply illustrated with beautiful tritone and color reproductions, are gathered in a fabric slipcase.

Julian Rose presents a penetrating series of essays calling for urgent action to overcome the perilous state of our planet, at the local as well as global level. He both guides and challenges his readers to share with him a journey through the matrix-maze, and to come out at the other end a more aware and more self-assured human being. Drawing upon his life experiences as a farmer, campaigner, artist and social entrepreneur, Julian brings to our consciousness a way to break through the destructive patterns of our consumer-obsessed society and discover a simpler and more fulfilling way forward. Using essays exploring a wide range of pressing planetary concerns, he calls upon his readers to utilise the largely untapped power of their deeper instincts in coming to the aid of a severely depleted global environment and in striving for the amelioration of mankind's perilous human condition.

`Creative Solutions to a World in Crisis’ is a manual for change, a wakeup call for us to take back control over our lives before they become irreversibly controlled. The book examines where we lost our way: historically, socially, environmentally, agriculturally, economically, technologically, and in law, education and spirit. It demonstrates how to now resolve the key dilemmas brought about via `wrong doing’ in each of these spheres –and beyond. The book focuses on pragmatic human scale resolutions to conflicting socio-economic problems, proposing realisable `local’ solutions as an antidote to rapidly developing global crises. Through the channelling of reawakened human energies into a process of root and branch societal reform, the author foresees a `new renaissance’ of hope, creative endeavour that can reshape our perilous planetary existence and lead to a deeper and more subtle relationship between man and nature as well as between fellow human beings. Quite simply: it is an uncompromising call for us to rise to meet the challenge of our time.

Between the covers of Overcoming the Robotic Mind - Why Humanity Must Come Through is a cornucopia of vital information which will combine to dispel the illusions of the unaware and put in place a lucid vision of another way forward for mankind.

An insider's look at art museums and how they shape the ways we view art, through the eyes of the architects who design them. Architects and art lovers everywhere will enjoy this remarkable collection of interviews from sixteen of the world's most celebrated, thoughtful, and innovative architects who have designed many of the world’s greatest museums. Spanning generations, geographies, and methods of architectural practice, these architects share the complex and fascinating process of creating spaces for art. Building Culture includes interviews with:?? Frank Gehry, who reveals how a half-century of dialogue with the visual arts influenced his revolutionary Guggenheim Bilbao?. Kulapat Yantrasast, who describes his rethinking of exhibition design and how it expands the presentation of work in venerable institutions like the Metropolitan Museum of Art, where he is currently redesigning the galleries for the arts of Africa, Oceania, and the Americas?. Walter Hood, whose long interest in improvisational techniques in music informed his design for outdoor performance spaces in the Oakland Museum?. Elizabeth Diller, whose conception of the Shed in New York City's Hudson Yards was influenced by decades of work in conceptual and performance art. Esteemed architects who have designed, renovated, or created galleries for MoMA, the New Museum, and the American Museum of Natural History in New York; the National Gallery and the Tate Modern in London; the Pérez Art Museum Miami; the CentrePompidou in Paris, the 21st Century Museum of Contemporary Art, Kanazawa in Japan; the Museum of West African Art (currently under construction) in Nigeria; and many others. ? This lively compendium reveals intensely varied architectural philosophies from a diverse group of established and up-and-coming professionals. Engaging personal recollections of relationships with artists and curators, along with 80 captivating images, provide further insight into the design process and timeless inspiration for architecture students, artists, museum professionals, and anyone fascinated by architectural design, public space, and museum culture.

Struggles to escape form as a manifestation of various norms and constraints are as old as architecture itself. But the formless is also increasingly in the air today, explicitly as in discussions of the "formless" quality of the city, and implicitly in talk of atmospheric buildings, randomized structures, and the dematerialization (or increased mediation) of architecture. No doubt part of its appeal lies in the fact that the formless is frequently found at the intersections between architecture and other fi elds, from art to ecology or engineering. Nevertheless, the formless has not yet been theorized rigorously in architecture. It seems to underpin a wide range of tendencies that have not yet been connected, or even explicitly acknowledged or identifi ed. This book represents a fi rst step toward this articulation.