An interdisciplinary anthology exploring alternatives to the principles of commercial markets that dominate contemporary life. The essays in this volume apply an experimental ethos to collaborative cultural production. Expanding the fields of art, design, and architectural research, contributors provide critical reflection on collaborative practice-based research. The volume builds on a pop-up market hosted by the London-based arts cluster Critical Practice that sought to creatively explore existing structures of evaluation and actively produce new ones. Assembled by lead editor Marsha Bradfield, the essays contextualize the event within London's long history of marketplaces, offer reflections from the stallholders, and celebrate its value system, particularly its critique of econometrics. A glossary rounds off the text and opens up the publication as a resource.

Since the 1960s, art and architecture have experienced a series of radical and reciprocal trades. Just as artists have simulated ?architectural? means like plans and models, built structures and pavilions, or intervened in urban and public spaces, architects have employed ?artistic? strategies in art institutions, exhibitions, and more. Likewise, art galleries and museums have combined both activities, playing with the conditional differences between inside and outside the institutions. This book focuses on specific case studies of these two-way, interdisciplinary transactions. Included are texts and visual essays by Mark Dorrian, Rosemary Willink, Sarah Oppenheimer, and many others.

Two abundantly illustrated volumes offer a vibrant discussion of how the divine is and has been represented in art and architecture the world over. Beginning with the ancient worlds of Mesopotamia, Egypt, Greece, and Rome and moving forward through time, Art and Architecture of the World's Religions explores the major faiths from countries and continents around the globe, helping readers better understand the creations their beliefs have inspired. After tracing the history and development of a religion, the book provides a general overview of its principal beliefs and key practices. It then offers specific examples of how works of art/architecture reflect that religion's values. The focus of each chapter is on the temples, churches, and religious buildings, statues, paintings, and other works of art and architecture created by believers. Each representative work of art or architecture is examined in terms of its history, materials, symbols, colors, and patterns, as its significance is explained to the reader. With extensive illustrations, these volumes are the definitive reference work on art and architecture of the world's religions.

The dynamic relationship between art and theology continues to fascinate and to challenge, especially when theology addresses art in all of its variety. In Architecture and Theology: The Art of Place, author Murray Rae turns to the spatial arts, especially architecture, to investigate how the art forms engaged in the construction of our built environment relate to Christian faith. Rae does not offer a theology of the spatial arts, but instead engages in a sustained theological conversation with the spatial arts. Because the spatial arts are public, visual, and communal, they wield an immense but easily overlooked influence. Architecture and Theology overcomes this inattention by offering new ways of thinking about the theological importance of space and place in our experience of God, the relation between freedom and law in Christian life, the transformation involved in God's promised new creation, biblical anticipation of the heavenly city, divine presence and absence, the architecture of repentance and remorse, and the relation between space and time. In doing so, Rae finds an ample place for theology amidst the architectural arts.

In this multidisciplinary book, Sanda Iliescu articulates a rich, multi-faceted approach to the aesthetic experience. Through in-depth discussions of her own lived encounters with art, architecture, and the world around her, she advocates a way of looking that blends sensory perception, formal analysis, social and political consciousness, and personal memory. Focusing special attention on the aesthetic concept of the figure-ground problem, the author challenges this foundational principle’s presumed hierarchies and shows how a new and more dynamic understanding of it can enhance our way of looking at and understanding art and architecture. Works discussed in the book include a wide range of contemporary and historic art and architecture, among them artworks by Rembrandt, Matisse, Eva Hesse, and David Hammons; architecture by Zaha Hadid, Peter Zumthor, and Weiss/Manfredi; and non-Western works such as a thirteenth-century Chinese vase and the Ryōanji dry garden in Kyoto, Japan. Personal and engaging, this book is for a wide audience of those practicing, studying, or with an interest in the creative fields, from beginners to seasoned professionals.

The Kabbalistic idea of creation, as expressed through light, space and geometry, has left its unmistakable mark on our civilization. Drawing upon a wide array of historical materials and images of contemporary art, sculpture and architecture, architect Alexander Gorlin explores the influence, whether actually acknowledged or not, of the Kabbalah on modern design.