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This handsome book examines the remarkable new addition to the Art Institute of Chicago, designed by Renzo Piano and scheduled to open in May 2009. This expansion to the Art Institute of Chicago, already one of the largest museums in the country, will provide new galleries for modern and contemporary painting and sculpture, as well as for photography, film and video, and architecture and design. The structure is Piano’s largest art museum building to date. The museum’s director, James Cuno, discusses the history of the commission, and Paul Goldberger writes on how this building fits into the larger context of Piano's work—especially his many museum designs—as well as considers its positioning in a city celebrated for its architecture. Judith Turner provides exquisite architectural photographs, showing many nuanced details and views of the structure, while Joseph Rosa comments on her images and how they convey the beauty and sophistication of the building. Photographs by New York-based architectural photographer Paul Warchol complete the bookDistributed for the Art Institute of Chicago
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Louis Isadore Kahn (1901–1974) treated each building like a temple. Across the United States, in India, Bangladesh, Pakistan, and Israel, his designs combined the sleek, utilitarian surfaces of modernism with a devotion to geometric forms and a reverence for natural light that suffused his stuctures with a monumental and breathtaking spirituality.This essential introduction brings together 17 of Kahn’s most important buildings across his cultural, governmental, religious, and residential repertoire. Plans, views, descriptions, and quality photographs trace the context and development of each project, while an introductory essay explores Kahn’s unique architectural ideology and his legacy as one of the most important 20th-century American architects since Frank Lloyd Wright.Through Kahn masterworks, such as the National Assembly Building in Dhaka, Bangladesh, or Kimbell Art Museum in Fort Worth, Texas, we’ll explore Kahn’s his “back to basics” grammar inspired by ancient sites in Italy, Greece, and Egypt; and his unique vocabulary of mass, void, and light that suffused the International Style with a near-celestial luminescence.