architecture museum

Softcover. New York, The Museum of Modern Art, 1st, 1986, Book: Very Good, Dust Jacket: None, 264 pages. Softcover. A very clean, unmarked copy with minor foxing to textblock edges. Color photographs throughout.

Hardcover. Zurich, Scheidegger and Spiess, 1st, 2016, Book: Very Good, Dust Jacket: None, Hardcover in pictorial cloth, 210 pages, 164 color and 76 b/w illustrations. Le Corbusier (1887-1965) is one the most influential architects of the twentieth century. In the Scandinavian countries, his influence is arguably most pronounced in the writings and art of the Danish experimentalist Asger Jorn (1914-1973). Their collaboration on Le Corbusier's pavilion for the 1937 Paris World Exhibition sparked Jorn's lifelong fascination with the great architect and with architecture more broadly as an inherently public form of art. At the same time, Le Corbusier started working in the visual arts and began to move from a rational, technological approach to architecture towards a more poetic, materialist approach. Published in collaboration with the Museum Jorn, Silkeborg, What Moves Us? focuses specifically on the reception of Le Corbusier in Scandinavia, with the relationship between Jorn and Le Corbusier as a thematic thread. The book first highlights the architect's change of direction and subsequently takes readers through his influence on the young artist. The book's distinguished contributors explore the relationships that emerged among their artistic theories and practices, including Jorn's later critique of Le Corbusier. Essays also explore the wider influence of Le Corbusier on Scandinavian architecture and urbanization and consider Le Corbusier alongside the Danish architect Jorn Oberg Utzon and the Aarhus Brutalism movement.

Hardcover. NY, Farrar, Straus and Giroux, 3rd pr., 2017, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 416 pages. Wendy Lesser's You Say to Brick: The Life of Louis Kahn is a major exploration of the architect's life and work. Kahn, perhaps more than any other twentieth-century American architect, was a "public" architect. Rather than focusing on corporate commissions, he devoted himself to designing research facilities, government centers, museums, libraries, and other structures that would serve the public good. But this warm, captivating person, beloved by students and admired by colleagues, was also a secretive man hiding under a series of masks.