Patio and Pavilion: The Place of Sculpture in Modern Architecture
This book examines the relationship between modern sculpture and architecture in the mid-twentieth century, an interplay that has laid the ground for the semi-sculptural or semi-architectural works by architects such as Frank Gehry and artists such as Dan Graham.
The first half of the book looks at how the addition of sculpture enhanced several architectural projects, including Mies van der Rohe's Barcelona Pavilion (1929) and Eliel Saarinen's Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson's sculpture court for New York's Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain.
Curtis argues that it was in the middle of the twentieth century, before sculptural and architectural forms began to converge, that the complementary nature of--though essential difference between--the two art forms began to clearly emerge: how figurative sculpture highlighted the modernist architectural experience and how the abstract qualities of that architecture imparted to sculpture a heightened role.
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Abby Aldrich Rockefeller Aldo van Eyck architect Architectural Forum Archive Arnhem Pavilion artists artwork Barcelona Pavilion BBPR become building Canova Carl Milles Carlo Scarpa centre ClAM collage colour context Cranbrook Dan Graham designed Eames echoed Edoardo Persico effect exhibition Eyck's Fascist figurative foliage gallery Georg Kolbe Gerrit Rietveld Giancarlo Palanti Giedion Gipsoteca Canoviana Glass House Graham Guernica Hudnut included inside installation interior landscape Lehmbruck London ltalian Lucio Fontana Ludwig Mies Maillol Modern Art modernist MoMA MoMA garden MoMA sculpture garden monumental Museum of Modern Nadelman nature Otterlo outdoor paintings park patio Philip Johnson photographs pieces plaster plinths pool Possagno Praying Boy realised represented Rohe Saarinen Salone d'Onore screens sculp seen Smithson space tectural Three Graces tion torso tradition Tugendhat House ture Venice Biennale viewer vitrines Vittoria Vl Milan Triennale walls Whereas York