Kirjahaku

"The Modernist house" was a test of modern architects' ability to meet human needs while fuelling the intellect. "The Modernist Home" reveals the striking results of the challenge to fit utopian modernist principles to day-to-day living."The Modernist house" dissolved the closed spaces of the traditional home, modernizing the bathrooms and kitchens, opening the interior to natural light and providing balconies and terraces for sun-worship and sleeping in the open air. Tim Benton uncovers its elements: from the technology that provided central heating and electric lighting; to new construction materials, such as concrete and steel; to close-ups on features like winter gardens and folding furniture. He opens the door on Modernist houses around the world, from Le Corbusier's Villa Savoye, to Mies van der Rohe's Barcelona Pavilion, all fully illustrated with colour photographs and plans.

In 1929, Eileen Gray designed Villa E 1027 for herself and her youthful partner Jean Badovici, but only lived there for three years. Today, the elegant house in Roquebrune-Cap-Mar- tin in southern France is an icon of modernism. In 1937, Le Corbusier discovered the place and the “Maison en Bord de Mer”. Inspired by the genius of the place and the light on the Côte d'Azur, he created a total of eight large-format wall paintings there in 1938 and 1939 onwards, some of which complement the building congenially, while others set counterpoints. In 1952, he built his Cabanon nearby and decorated it with murals as well. The book by the well-known architectural historian Tim Benton documents Le Corbusier's artwork at this special place, explores its controversies, and places it in his overall oeuvre. The fascinating photographs by Manuel Bougot capture the special atmosphere of the villa Le Corbusier's painting is lesser known but was formative for his lifelong preoccupation with polychromy After extensive renovation work until 2021, E 1027, as well as the Cabanon, is open to the public again

In 1929, Eileen Gray designed Villa E 1027 for herself and her youthful partner Jean Badovici, but only lived there for three years. Today, the elegant house in Roquebrune-Cap-Martin in southern France is an icon of modernism. In 1937, Le Corbusier discovered the place and the "Maison en Bord de Mer". Inspired by the genius of the place and the light on the Côte d'Azur, he created a total of five large-format wall paintings there from 1938 onwards, some of which complement the building congenially, while others set counterpoints. In 1952, he built his Cabanon nearby and decorated it with murals as well. The book by the well-known architectural historian Tim Benton documents Le Corbusier's artwork at this special place and places it in his overall oeuvre. The fascinating photographs by Manuel Bougot capture the special atmosphere of the villa Le Corbusier's painting is lesser known but was formative for his lifelong preoccupation with polychromy After extensive renovation work until 2021, E 1027, as well as the Cabanon, is open to the public again

In Le Corbusier: Secret Photographer Tim Benton reflects on the famous architect's use of photography, starting with the young Charles-Edouard Jeanneret's attempts to take professional photographs during his travels in central Europe, the Balkans, Turkey, Greece, and Italy. While Le Corbusier always claimed that he saw no virtue in taking photographs, he actually bought three cameras and took several hundred photographs between 1907 and 1917, many of them of publishable quality. In 1936 he acquired a 16mm movie camera and took 120 sequences of film and nearly 6,000 photographs with it. This completely unknown body of material is the basis for the publication. It reveals Le Corbusier to be a sensitive and brilliant manipulator of a range of photographic styles. Le Corbusier: Secret Photographer provides dramatically new insights into Le Corbusier's visual imagination, his changing attitudes towards nature and materials in the 1930s, and his distrust of progress.

Arne Korsmo.s Villa Stenersen (1938) is a beacon in Norwegian modernism. This volume of asBuilt Classic presents the full set of existing drawings for the house, spanning from early sketches and numbered project presentations, to the invitations to parties the architect made for his patron, the art collector Rolf Stenersen. The volume also present a selection photographs of the house across time, including a series shot by the Norwegian photographer Anders B. Wilse. Wilse documented the house upon completion in the summer 1938, of which several images depicts Edward Munch, who.s graphical works and paintings made a substantial part of Stenersen.s art collection. In his essay, the architectural historian Tim Benton sheds strong and new light on Korsmo and Villa Stenersen. Having scrutinized what remains of drawings and documents on the house, Benton presents an in-depth interpretation of its making and its place within European and American modernism.