This work is an essay by the architect John Pawson, both expressing and embodying the ideas of reduction, of simplicity, of austerity, of repetition. The pages reveal stark but beautiful images of architecture and engineering, of ceramics and furniture, of photography and works of art, from many periods and cultures, that all combine to express the idea of simplicity. As the author explains in a brief introduction, these ideas find their expression in art and design, and have their beginnings in the realms of religious and philosophical convictions. The austerity of a Cistercian monastery or the simplicity of a Zen garden are both emanations of the same urge to reduce, to make clear, to unburden. Through a sequence of carefully orchestrated pictures, this book clarifies the way in which this mode of thinking has inspired the work of artists and architects from Ancient Egypt to contemporary Mexico or Japan. Possibly most of all, this text is a work of art in its own right as its design and production values reinforce the ideas of the author.
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Editorial Reviews
Amazon.com Review
Architect John Pawson delves into all aspects of minimalism in this compact (five-by-five-inch) but thick (325-page) format. Reading Minimum is almost like sitting in a slide lecture given by a passionate professor of pared-down design. It is a picture book primarily, and Pawson's choice of images is personal and quirky. His chapter headings refer to many sources and aspects of design: Mass, Light, Structure, Ritual, Landscape, Order, Containment, Repetition, Volume, Essence, and Expression. The pictures in each section range from sculptures and paintings to landscapes to ritual objects to rooms to colonnades and piazzas, cityscapes and private homes. Pawson's selections are evocative, but not always effective. One caption reads, "The intense luminescence of Mark Rothko's painting," but the picture shown is one of Rothko's late, dark, depressed canvasses, which at three-by-five-inches seems more a smudge than a glow. Images dominate this book, but Pawson has also written an ardent introductory essay that places his selections in context. "What I look for is the excitement of empty space," he writes. "It has the capacity to bring architecture alive, just as it does a Chinese scroll painting. Emptiness allows us to see space as it is, to see architecture as it is, preventing it from being corrupted, or hidden, by the incidental debris of the paraphernalia of everyday life. It offers the space, both psychological and physical, for contemplation, and the serenity that can encourage meditative quiet and calm, without the jarring distraction of possessions." --Peggy Moorman
From Library Journal
From its translucent dust jacket and warm gray ink to its embossed linen cover and 145 superbly printed photographs, this elegantly designed and handsomely produced volume is presented as the bibliographic embodiment of the author's architectural philosophy. Pawson uses a photographic essay to develop a comprehensive definition of the minimalist sensibility. For the examples, he draws not only from the history of art, architecture, and design but also from the natural landscape. Each of the 11 chapters explores an aspect of design, such as mass, light, or structure. While the introductory essay serves as an argument for Pawson's own work, the captions provide thoughtful and insightful interpretations of the objects and images reproduced. His analysis of Mies van der Rohe's Farnsworth House, illustrated with a three-leaf gatefold, for example, provides a concise but substantive perspective on the relation of this modern monument to its site. Aspects of Minimal Architecture (Academy Editions, 1994) has a similar purpose and even includes one of Pawson's designs but does not equal this volume in breadth, graphic quality, or singularity of vision. Highly recommended for all architecture and design libraries.
Paul Glassman, Pratt Inst. Lib., New York
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Paul Glassman, Pratt Inst. Lib., New York
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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10 of 10 people found the following review helpful:
4.0 out of 5 stars
Well-done look at minimal architecture and use of space,
By David J. Huber "Addicted to books!" (New York, NY United States) - See all my reviews (VINE VOICE) (REAL NAME)
Amazon Verified Purchase(What's this?)
This review is from: Minimum - Mini Edition (Phaidon Miniature Editions) (Hardcover)
For anyone interested in what space (not outer-space, but the space we live in) could look like if we'd but show the courage to get rid of trinkets, bric-a-brac, and other clutter, this is the perfect book. And for those who already embrace the simplicity of minimalism, this is a wonderful picture book of great minimalist spaces, and other flowing, graceful geometries. It is not a textbook or text-based lesson on minimalism, but instead a visual guide - nearly every page is a picture of a minimalist scene. The photography and the reproduction are done amazingly well, and the subjects chosen are varied and represent many forms of minimalist thinking/viewing. It's printed on great quality paper with a nice binding and cover. But, I can give it only 4 stars because, as other reviewer mentioned, Pawson adds lots of unnecessary (and unhelpful and inappropriately leading) captioning. The book is a slick little well-made art-piece itself, too.
19 of 22 people found the following review helpful:
3.0 out of 5 stars
"minimum" should take it's own advice,
By A Customer
This review is from: Minimum - Mini Edition (Phaidon Miniature Editions) (Hardcover)
As a designer who surrounds herself with "things that I find compelling" as sort of religion, I found John Pawson's "minimum" an homage to the simplicity and grace that is everywhere, and is especially apparent in the finest of the modern masters. Unfortunately, Pawson chose to clutter his minimalist essay with unnecessary words in the form of individual captions, statements like "Agnes Martin's heartfelt expression of calm," describing her composition of fine horizontal line groupings against a grey tonal canvas, or "The moon on the sea at night - a picture of tranquility and calm." The work is better served when he leaves out the excessive adjectives and stays with the concrete, which is where the minimalist work truly belongs - material, light, space, line, form - such as his simple caption "Wall, ramp and stair flow into one another at Versailles." Any one of the captions on it's own would, perhaps, be fine, but page after page they become shallow and irritating, given the strength of the images. I found the introduction a bit on the trite side, as well. Pawson should follow one of his own maxims more closely -the power of silence. I would still recommend the book, however, as his choice of images is superb - and pulls from art as much as architecture, including a look at the abstraction of line made by-of all things-a stealth bomber in the sky. Best looked at as a secret treasure trove for designers and laymen alike, the images are undeniable in their economy-one of the mainstays of the poetic and the backbone of minimalism.
7 of 7 people found the following review helpful:
5.0 out of 5 stars
m i n i m u m' s .m a x i m u m .i m p a c t .,
By pablo_garcia@gensler.com (Washington, DC) - See all my reviews
This review is from: Minimum - Mini Edition (Phaidon Miniature Editions) (Hardcover)
the true beauty of Pawson's quiet polemic is his restraint. remaing true to the theme, little text is offered, save a small elaboration for each image included as an appendix. the other refreshing aspect is his control in image selection. little of his work appears, and when it does, he only credits himself in the appendix. i can appreciate this approach to an architecture book. it is obviously not a monograph or end-table book as is Richard Meier Architect. instead, it is a 'this is what i like around me' book. the inclusion of non-architectural images (note the B-2 bomber and a three-prong fork) reinforces the theme of the truly powerful restraint that could exist in all design.
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