As an architectural aesthetic, minimalism has influenced not only homeowners' residential designs, but also commercial spaces.By expressing fewer ideas, it is possible to emphasize them more strongly. The admirer's attention is not divided among secondary and tertiary distraction, but remains focused on the fundamental role of the space itself, be it a residential living room, an expansive sports center, a homeowner's private study, a multi-purpose educational space, or anything else. New Minimalist Architecture looks at 21 such spaces from around the world, each of which reflects the most inspired uses of minimalism in architecture today.
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Paris-born photographer and writer Eduard Petterson specializes in the fields of architecture and design and has contributed to several different magazines. He lives in London.From Publishers Weekly:
This photo-driven collection features strikingly spare examples of new minimalist architecture worldwide, including buildings by Giovanni Guscetti, Jim Jennings and others. The elegantly rendered designs follow Mies van der Rohe’s classic credo, "Less is more"; they shun ornamentation and capitalize on nature’s simple dynamism, framing, mimicking or it extending it aesthetically to the interior. Guscetti’s white stucco and glass house in Besazio, for example, was fit around grown trees. Ceiling-high glass panels stretch unbroken along two facades, placing the living room in an illusory outdoors. At the Pulitzer foundation in St. Louis, a rust red metal sculpture swirls open like a human-sized conch shell on one of the building’s many terraces, while a bold white entrance outlines piney woods at a Kyoto temple. Like the buildings’ clean lines, the descriptive text is intelligently bare; it never eclipses the photography. On the changing rays through the Pulitzer foundation’s windows, Petterson writes: "The natural light that flows into each room reminds us of the passage of time and the seasons." (Ironically, verbose essays lace many books on minimalism.) Petterson has chosen diverse public and private buildings—from schools to homes to sports complexes—just as the architects have realized their creations with different materials, including wood, stone, concrete, glass and more. Despite this range, however, the collection has a limited geographical scope: 14 of the 21 projects are located in either Switzerland or Spain (the book was originally published in Spain). A more global mix would have added some geographical depth to the overall quality that already exists here. 350 color illustrations.
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