Paul Goldberger – författare

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

A classic work on the joy of experiencing architecture, with a new afterword reflecting on architecture’s place in the contemporary moment“Architecture begins to matter,” writes Paul Goldberger, “when it brings delight and sadness and perplexity and awe along with a roof over our heads.” In Why Architecture Matters, he shows us how that works in examples ranging from a small Cape Cod cottage to the vast, flowing Prairie houses of Frank Lloyd Wright, from the Lincoln Memorial to the Guggenheim Bilbao. He eloquently describes the Church of Sant’Ivo in Rome as a work that “embraces the deepest complexities of human imagination.”  In his afterword to this new edition, Goldberger addresses the current climate in architectural history and takes a more nuanced look at projects such as Thomas Jefferson’s academical village at the University of Virginia and figures including Philip Johnson, whose controversial status has been the topic of much recent discourse. He argues that the emotional impact of great architecture remains vital, even as he welcomes the shift in the field to an increased emphasis on social justice and sustainability.

The illustrated history of a seminal New York neighborhood--a story of birth, decline, and renewal, of high design, of grit and glamour--a tale of real estate wrangling, of art, of commerce.DUMBO, an acronym for Down Under the Manhattan Bridge Overpass, is a flourishing neighborhood in the New York City borough of Brooklyn. Romantic cobblestone streets, stunning views of Manhattan, the East River, and New York Harbor, and storied architecture framed by the iconic silhouette of the Brooklyn Bridge characterize this extraordinary place. DUMBO, however, was not always flourishing--nor always called by this curious appellation. What we now know and see of the neighborhood is largely the product of adventurous artists and, in the end, the determination of a man with a vision. The story of DUMBO is at once the story of New York and, as well, a story of urban rebirth and our nation's return to the city, a tale involving real estate, of buying and selling with acumen and nerve, of beautiful place-making, and of people who have settled in a long neglected, but extraordinary locale--a place of much history, and, now, of brilliant resurgence.This volume considers this seminal New York neighborhood with both historic imagery culled from the great city collections as well as new photography taken specifically for the book. It features compelling streetscapes and dramatic views of transformed one-time industrial spaces, intimate apartment interiors, park spaces, and archival imagery from the area's richly layered past, all as seen through the eyes of Paul Goldberger, one of our nation's great writers on architecture, space, and New York.

Known and celebrated for many of the apartment buildings on Park Avenue, Fifth Avenue, and in Sutton Place 82 in NYC, including the storied 740 Park, sometimes called the richest and most powerful address in New York and whose famous residents included John D. Rockefeller Jr. Candela s work is at once timeless and profoundly of its time. Classical in styling and even modest on the exterior, it is on the insides, in the apartment interiors, the floorplans, the extraordinary and frequently luxurious arrangements of rooms and space, where his designs set a standard that serves as a benchmark and aspirational goal of taste and refinement. The authors explore these seminal spaces through the lens of exteriors and urbanism, planning and interior architecture, and the circumstances and stories of creation. Lavish and comprehensive black-and-white vintage photography as well as color imagery of the exteriors, original plans, and a collection of exceptional interior views give historical perspective (including a seductive Slim Aarons' Park Avenue streetscape) and contemporary sizzle (as seen in Derry Moore s depiction of K. K. Auchincloss s penthouse at 1040 Fifth). The story told is of a genius designer who gave form to the New York of his dreams.

From humble beginnings in Minnesota, Johnson rose to prominence in the 1970s New York, via the Warhol Factory, to the highest echelons of the rarified world of design. He was named by Architectural Digest in the January 2010 issue one of 'The Worlds 20 Greatest Designers of All Time.' His impressive client list included Pierre Berge, Mick Jagger and Jerry Hall, Richard Gere, and Barbara Streisand. Yet, he never lost his shy humility, generous spirit, and quiet grace. Through a series of essays, project photographs, and personal photographs, we trace the influences on his nascent career, his special relationship with Andy Warhol as recently portrayed in the Netflix series of 2022 'The Andy Warhol Diaries,' and his magical effect on others. Many never-before-seen photographs are included by important photographers, among them: Cecil Beaton, Francesco Scavuello, Billy Name, Jack Mitchell, John Hall, Elizabeth Heyert, and Warhol himself. Opulent Restraint is a must have for every interior design office.

Modern houses that are timeless, thoughtfully detailed, marked by innovative and environmentally friendly design, and inevitably situated close to nature by the sea, on the bluff, upon the dunes are the hallmark of Stelle Lomont Rouhani. From Casa Loma and Lazy Point to House on the Point and Atlantic Dunes, mere mention of the homes is enough to inspire visions of some contemporary Xanadu. But it is the specifics, the careful use of materials, the very close attention to place, bespoke furniture and fixtures, and above all a sensitivity to those who will live in the spaces created that make these extraordinary works of architecture such beloved dwellings. With thought to an ultimate experience of comfort, to space and light, to views, and to a way of living beside nature that is considerate of nature, the architects open walls toward the sea and position decks to allow for the enjoyment of morning sunlight and scented breezes redolent of bayberries and pine. Ultimately it is a kind of harmony the architects are after and doing more with less, a Zen-like quality that renews the spirit, offering serenity and repose and which, in the houses featured here, they so warmly, so quietly find.

Founded in 2007 by Eran Chen, ODA seeks to reconcile the conditions of vertical urban living with quality of life and has established a reputation for mold-breaking designs. Seeking to reorder urban architectural priorities by putting people first, ODA challenges conventional perspectives of dwelling that will, over time, influence life in our cities. Full of setbacks, cutouts, and terraces, an ODA building invariably has an exciting profile, tending to be sculptural where important to be visually exciting, up in the sky, and plainer where more important to be straightforward, at street level. Building shapes catch the eye but forms are never arbitrary or excessive. Some, like 15 Renwick in Manhattan, as observed by Goldberger, are well-behaved, and defer to the street more than show off their shape; others, like Bevel in Long Island City, Queens, are more striking but they never come off as excessive, as form for form s sake. With chapters moving from Apartment to Building to Block to Neighborhood and a gatefold that reveals an exciting new project destined to enliven the New York skyline, the book s message underlines ODA s fundamental understanding that nothing exists in isolation, and the goal of architecture is not just the making of comfortable and visually pleasing places in which to live, but the making of community.

The story of the creation of an astonishing house that renews and reinvigorates the spirit of the avant-garde in the HamptonsArchitecture critic Paul Goldberger tells the story of an extraordinary house on the Atlantic Double Dunes in East Hampton—Blue Dream, the result of a remarkable collaboration between collectors Julie Reyes Taubman and Robert Taubman, architects Diller Scofidio + Renfro, builder Ed Bulgin, landscape architect Michael Boucher and designer Michael Lewis, who sought to renew the legacy of modernist architecture and art in the Hamptons.Goldberger offers insight into the complex process by which an architectural idea generated a work that stands as the most striking addition of our time to the roster of architecturally ambitious modernist houses on Long Island. As he notes, "There are relatively few books devoted to the architecture of a single house, but what is clear if you read any of them is that they are stories about clients as much as about architects." So it is with Blue Dream. The Taubmans were inspired by the avant-garde spirit of artists and architects who settled and worked in the Hamptons and set out to create a house like no other, a house whose complex curving forms could only be built using the composite material used to make fighter jets.Iwan Baan's photographic portfolio documents Blue Dream across four seasons. Goldberger’s text is illustrated with images of earlier modernist houses that inspired the project, as well as documentation of the design process involved in the making of Blue Dream itself.Paul Goldberger (born 1950), whom the Huffington Post has called "the leading figure in architecture criticism," is a contributing editor at Vanity Fair magazine. Goldberger began his career at the New York Times in 1972 and was appointed architecture critic at the paper in 1973, working alongside Ada Louise Huxtable until 1982. In 1984, he was awarded the Pulitzer Prize for Distinguished Criticism, the highest award in journalism. As architecture critic for the New Yorker (1997–2011), he wrote the magazine’s celebrated "Sky Line" column. After serving as dean of the Parsons School of Design from 2004 to 2006, Goldberger was named the Joseph Urban Professor of Design at the New School. He is the author of Why Architecture Matters (2023), Building Art: The Life and Work of Frank Gehry (2015), Building Up and Tearing Down: Reflections on the Age of Architecture (2009), Beyond the Dunes: A Portrait of the Hamptons, with photographer Jake Rajs (2018) and Houses of the Hamptons (1986), among other publications.

Multimedia artist Clifford Ross looks beyond the natural world to uncover a world bound only by the imagination, much like in Lewis Carroll's Through the Looking Glass. Images are reversed and landscapes reimagined. Ross uses old and new methods to produce exceptionally beautiful and radically redesigned conceptions of reality, presenting his own digital vision.

Philip Johnson, who died in 2005, was a towering figure in American architecture, both sensing and establishing new directions and stylistic trends. This monograph covers the last decade of his professional life, as he and partner Alan Ritchie collaborated on projects of striking creativity and originality. Ritchie, born in England, worked with Johnson for over twenty years and continues as president of Philip Johnson/Alan Ritchie Architects. This volume includes work built and unbuilt, large-scale and small, designed by the firm throughout the 1990s. Two important themes -- identified by Paul Goldberger in his perceptive introductory essay -- are evident throughout the office's oeuvre. An interest in sculptural form -- or the way in which sculptural form translates into architectural presence -- led Johnson and Ritchie to designs that involve both new kinds of shapes and new ways of using classical architectural form. Such sculptural works include Da Monsta, the new visitor's pavilion at Johnson's famed Glass House in New Canaan, Connecticut, and a spectacular folly consisting of four pyramids made of chain-link fencing at a private residence in upstate New York. Simultaneously, the firm has continued to design larger projects, for which it has been well known since the 1980s. A twenty-seven-story apartment tower for Hudson Square in lower Manhattan, the Cathedral of Hope in Dallas, and an addition to the Amon Carter Museum (originally designed by Johnson in 1961) in Fort Worth show Johnson and Ritchie's skillful commingling of the modernist and the classicist, the contextual and the unique.