ARQUITECTURA Y DISEÑO

Principals Jamie Drake and Caleb Anderson delight in creating imaginative rooms that emphasize the precious alongside the everyday. Drake is known for his fearless use of color as well as his fashion-conscious sensibility. Anderson is lauded for his layered approach and the confidence with which he juxtaposes a variety of historic periods. While firmly focused on contemporary design, their work harkens back to the legendary designers and decorators of yesterday. Drake/Anderson’s deeply informed yet accessible modernist sensibility is exemplified by eleven remarkable residences, from Manhattan to London to Arizona, in a full spectrum of rich jewel tones and textures. In an aerie with panoramic views, the pair devised a platinum-and-pearl backdrop for a provocative potpourri of materials—wood, lacquer, stone, gypsum, glass, velvet, leather, mirror, and bronze. Whether refashioning a private oasis in the woods, where contemporary pieces mix with custom items of the firm’s design, or bringing a stately 1910 house fully into the present by amalgamating the owners’ antiques with modern and contemporary art, Drake/Anderson embraces a dynamic eclecticism all its own.

Guía de bolsillo sobre los movimientos, las obras, los temas y las técnicas fundamentales. * Una nueva e innovadora introducción al arte creado desde finales de la década de 1960 hasta nuestros días. * 49 obras esenciales del arte contemporáneo, piezas que van desde el land art y el performance art hasta óleos y NFT, que se relacionan con los movimientos, conceptos y metodologías más significativos. Accesible, conciso y profusamente ilustrado con imágenes de obras emblemáticas de creadores de todo el mundo, este libro explora cómo y por qué se desarrolló este arte y se ponen de manifiesto las cruciales innovaciones de diversos artistas. Esta desmitificadora introducción al tema permite conocer con profundidad y disfrutar en toda su extensión el arte más revolucionario creado en las últimas décadas.

Over two decades, William Curtis and Russell Windham have worked to show that classical architecture can embody the same attention to context and custom approach to design often ascribed to more modern movements, underscoring how versatile classical ideals and details can be. In styles reminiscent of the great Tudor manor houses of England to quaint symmetrical clapboard farmhouses, quintessentially Mission-style haciendas, and of course neo-Georgian mansions, the firm builds houses with a faithful adherence to historical detail, proportion, and materials that makes them stand out as truly world-class designers. With interiors as much a part of their core practice as exteriors, this firm is able to carry through an integrity of vision—graciously curved banisters, warm and inviting mantels, detailed brickwork, and coffered ceilings—that makes every project feel truly whole, complete. Yet a strong sense still pervades every featured home that they are organized to support modern lifestyles, taking the best of the past and adapting it to create homes that are truly comfortable and functional for today’s families.

Conceived by William Cecil, Lord High Treasurer to Queen Elizabeth I, and built between 1555 and 1587, Burghley House is a testament to the ambition and vision of the most powerful courtier of the first Elizabethan age. Designed by Cecil himself, in consultation with the Dutch Renaissance architect and painter Hans Vredeman de Vries, the architecture and interiors at Burghley reflect a mix of contemporary fashionable influences. The house’s facades are each markedly different, with a striking and ornate Gothic gatehouse beneath a roofline of cupolas and obelisks, and with French and Italian styles visible in the windows and pilasters. And inside, where the State Rooms house remarkable collections of furniture, textiles, and Old Master paintings acquired over the centuries, Cecil’s Gothic-style Old Kitchen remains alongside the magnificent Renaissance staircase and Italianate fireplace in the Great Hall.

At the dawn of the automobile age, Americans’ predilection for wanderlust prompted a new wave of inventive entrepreneurs to cater to this new mode of transportation. Starting in the 1920s, attention-grabbing buildings began to appear that would draw in passing drivers for snacks, provisions, souvenirs, or a quick meal. The architectural establishment of the day dismissed these roadside buildings as “monstrosities”.