Francine Giese – författare

This volume commemorates the 160th anniversary of the Selamlik of Oberhofen Castle near Thun – one of the most significant Swiss Orientalist interiors, designed by the Bernese architect Theodor Zeerleder (1820–1868) – by presenting the latest research on the spectacular smoking room inspired by the luxurious reception halls in Cairo, which Zeerleder discovered during his travels to the East. At the same time, this collection of essays explores the significance of the famous city on the Nile as a privileged model for 19th-century architecture and ornamentation, bringing together papers by Mercedes Volait (Paris), Romain Siegenfuhr (Paris), Richard Parisot (Besançon), Elke Pflugradt-Abdel Aziz (Düsseldorf), Tarek Ibrahim (Berlin), Vincenza Garofalo (Palermo), Andrea Lermer (München), Rémi Labrusse (Paris), Ariane Varela Braga (Zürich), Leïla el-Wakil (Genève), Francine Giese (Zürich) and Annette Loeffel (Bern).

This volume intends to foster a re-interpretation of the Nasrid architecture of the Alhambra in Granada and its post-Islamic appropriation and global diffusion. Taking into account the current debates on otherness, cultural exchange and artistic transfer, hybridization, stylistic renewal and national identity building, this collection of essays explores the significance of the Alhambra from the Nasrid period to the present time. Built as a military fortress and gradually enlarged to a multi-functional palace city, by the 19th century the Alhambra became a symbol of exoticism and reverie. As one of the most important legacies of the Islamic heritage of al-Andalus, its role as a mediator between East and West is more important than ever.

The series Worlds of Islam of the Swiss Asia Society publishes high-quality research on present-day and historical Islamic cultures and societies covering fields such as history, literature, philosophy, politics and arts, as well as interpretations and translations of primary sources. Furthermore the series presents studies focusing on current topics and affairs appealing not only to the academic public, but also to a public generally interested in the Islamic World. The series provides a forum for scholarly work in the fields of humanities and social sciences in Switzerland. However, the series is also committed to the rich variety of studies and writing on the Islamic World in the international research community. The principal languages of publication of monographs and anthologies are German, French and English. The series is supervised by an editorial board which is advised by representatives in Islamic Studies.

With contributions from outstanding specialists in glass art and East Asian art history, this edited volume opens a cross-cultural dialogue on the hitherto little-studied medium of Chinese reverse glass painting. The first major survey of this form of East Asian art, the volume traces its long history, its local and global diffusion, and its artistic and technical characteristics. Manufactured for export to Europe and for local consumption within China, the fragile artworks studied in this volume constitute a paramount part of Chinese visual culture and attest to the intensive cultural and artistic exchange between China and the West. With contributions by Thierry Audric, Kee Il Choi Jr., Patrick Conner, Karina H. Corrigan, Elisabeth Eibner, Patricia F. Ferguson, Lihong Liu, William H. Ma, Alina Martimyanova, Christopher L. Maxwell, Rupprecht Mayer, Jessica Lee Patterson, Michaela Pejčochová, Jérôme Samuel, Hans Bjarne Thomsen, Jan van Campen, Rosalien van der Poel

The exhibition catalogue provides an intimate view of the Swiss contemporary artist Silvia Gertsch and her impressive oeuvre. The personal and artistic development of Gertsch, who found her preferred medium in the centuries-old technique of reverse glass painting, is revealed through the eyes of companions of many years. In her paintings, Gertsch examines dichotomies like that of the vibrant city or serene nature and takes a critical look at society. Color and light-dark contrasts fascinate the artist; the picture carrier enables her to accentuate light and shadow. Her works show emotions and interpersonal interactions, in a world supersaturated with visual and acoustic effects. Le catalogue de l'exposition offre un regard intime sur l'artiste suisse contemporaine Silvia Gertsch et son œuvre impressionnante. A travers le regard de ses compagnons de longue date, on découvre l'évolution personnelle et artistique de Gertsch, qui a trouvé dans la technique ancestrale de la peinture sous verre son médium de prédilection. Dans ses peintures, Gertsch travaille sur des opposés tels que la ville trépidante ou la nature en paix et porte un regard critique sur la société. La couleur et les contrastes clair-obscur fascinent l'artiste ; et le support de verre lui permet d'accentuer les jeux de lumière et d'ombre. Ses œuvres montrent des émotions et des interactions humaines, dans un monde saturé d'influences visuelles et acoustiques.

Glass is one of the most fascinating and versatile building materials in architectural history. The new insights into glass in architecture are the result of research at the intersection of glass production, construction technology and building culture. Coming from a variety of disciplines, the contributions bridge the divide between natural sciences, humanities and the preservation and restoration of cultural heritage. They explore the crucial role of flat glass in shaping architecture, particularly since the 18th century, and discuss the in-situ restoration of historic windows and glass façades and the importance of preserving this fragile heritage. The topics range from the manufacture of sheet glass in pre-industrial times to the possibilities of repair and reusability of insulating glazing. With contributions in English, German and French A multi-disciplinary survey of the history of the production and use of flat glass From the Roman times to the present day New insights on sheet glass as building material and cultural heritage Look inside

Carlo Scarpa (1906–1978) was an influential Italian architect and designer whose handling of materials, craftsmanship, and detail made him a major figure in 20th-century architecture. Written by Swiss and Italian experts, this book compares Scarpa’s aesthetic experiments with stained glass in Venice during the 1920s and 1930s with the work of several important 20th-century Swiss artists: Edmond Bille, Bodjol, Charles Hindenlang, Felix Hoffmann, Burkhard Mangold, Robert Schär, Otto Staiger, Hans Stocker and Peter Travaglini, among others. Special attention is paid to Scarpa’s early experimentation with little-known projects for the Venetian glassworks M.V.M. Cappellin & C.: a set of stained-glass windows that reveal key aspects of his emerging approach to the material, light and craftsmanship.Dedicated to one of Italy’s most important 20th-century architects and designersFocuses on Scarpa’s stained glass designs, little known to date Links Scarpa’s early experiments in the decorative arts with his later architectural achievements