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Alloys
Marin R. Sullivan
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Geisteswissenschaften, Kunst, Musik / Kunst
Beschreibung
A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design
Alloys looks at a unique period of synergy and exchange in the postwar United States, when sculpture profoundly shaped architecture, and vice versa. Leading architects such as Gordon Bunshaft and Eero Saarinen turned to sculptors including Harry Bertoia, Alexander Calder, Richard Lippold, and Isamu Noguchi to produce site-determined, large-scale sculptures tailored for their buildings’ highly visible and well-traversed threshold spaces. The parameters of these spaces—atriums, lobbies, plazas, and entryways—led to various designs like sculptural walls, ceilings, and screens that not only embraced new industrial materials and processes, but also demonstrated art’s ability to merge with lived architectural spaces.
Marin Sullivan argues that these sculptural commissions represent an alternate history of midcentury American art. Rather than singular masterworks by lone geniuses, some of the era’s most notable spaces—Philip Johnson’s Four Seasons Restaurant in Mies van der Rohe’s Seagram Building, Max Abramovitz’s Philharmonic Hall at Lincoln Center, and Pietro Belluschi and Walter Gropius’s Pan Am Building—would be diminished without the collaborative efforts of architects and artists. At the same time, the artistic creations within these spaces could not exist anywhere else. Sullivan shows that the principle of synergy provides an ideal framework to assess this pronounced relationship between sculpture and architecture. She also explores the afterlives of these postwar commissions in the decades since their construction.
A fresh consideration of sculpture’s relationship to architectural design and functionality following World War II, Alloys highlights the affinities between the two fields and the ways their connections remain with us today.
Kundenbewertungen
Sigfried Giedion, Lighting, International Style (architecture), Herbert Matter, Anish Kapoor, Vincent Scully, Black Mountain College, Herbert Bayer, Josiah McElheny, Manufacturers Trust Company Building, Lincoln Center for the Performing Arts, Le Corbusier, Contemporary society, MIT Chapel, Minimalism, Buckminster Fuller, Architectural Record, Charles and Ray Eames, Eero Saarinen, Robert Rauschenberg, Florence Knoll, Eliel Saarinen, Mark Rothko, Mid-century modern, Wingspread, Alexander Calder, Herman Miller (manufacturer), Philip Johnson, 666 Fifth Avenue, The Typewriter, Marcel Breuer, Isamu Noguchi, Lee Bontecou, Mural, Public art, Architectural historian, Ada Louise Huxtable, Harvard Graduate Center, Harry Bertoia, Pietro Belluschi, Ground Floor, Richard Lippold, Architectural Forum, Claes Oldenburg, Walter Gropius, Inland Steel Building, The Broad, Interior design, Modern architecture, Olivetti, Edward Durell Stone, Kevin Roche, Marcel Duchamp, Seagram Building, Sculpture, Eliot Noyes, Work of art, La Grande Vitesse, Fine art, George Nelson (designer), Modern sculpture, Designer, Saul Steinberg, Abstract expressionism, Naum Gabo, Mary Callery, Alexander Stirling Calder, Gordon Bunshaft, Aline B. Saarinen, Architectural firm