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A polemical look at how architectural knowledge is produced, disseminated, and received. The essays collected in this groundbreaking volume address the current state of architecture as an academic and professional discipline. Often critical of the current paradigm, these essays offer a provocative challenge to accepted assumptions about the production, dissemination,(...)
Théorie de l’architecture
janvier 2001, Minneapolis
The discipline of architecture
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A polemical look at how architectural knowledge is produced, disseminated, and received. The essays collected in this groundbreaking volume address the current state of architecture as an academic and professional discipline. Often critical of the current paradigm, these essays offer a provocative challenge to accepted assumptions about the production, dissemination, and reception of architectural knowledge. Contributors: Sherry Ahrentzen, Stanford Anderson, Carol Burns, W. Russell Ellis, Thomas Fisher, Linda N. Groat, Kay Bea Jones, David Leatherbarrow, A. G. Krishna Menon, Garth Rockcastle, Michael Stanton, Sharon Egretta Sutton, David J. T. Vanderburgh, and Donald Watson.
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janvier 2001, Minneapolis
Théorie de l’architecture
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Eccentric spaces
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Like all of Robert Harbison's works, "Eccentric Spaces" is a hybrid, informed by the author's interests in art, architecture, fiction, poetry, landscape, geography, history, and philosophy. The subject is the human imagination and the mysterious interplay between the (...)
Eccentric spaces
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Like all of Robert Harbison's works, "Eccentric Spaces" is a hybrid, informed by the author's interests in art, architecture, fiction, poetry, landscape, geography, history, and philosophy. The subject is the human imagination and the mysterious interplay between the imagination and the spaces it has made for itself to live in: gardens, rooms, buildings, streets, museums and maps, fictional topographies, and architectures. The book is a lesson in seeing and sensing the manifold forms created by the mind for its own pleasure. Palaces and haunted houses, Victorian parlors, Renaissance sculpture gardens, factories, hill-towns, ruins, cities, even novels and paintings constructed around such environments: these are the spaces over which the author broods. Brilliantly learned, deliberately remote in form from conventional scholarship, "Eccentric Spaces" is a magical book, an intellectual adventure, a celebration. Originally published in 1977.
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avril 2000, Cambridge, Mass.
Théorie de l’architecture
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Disciple, ami et associé de le Corbusier, André Wogenscky a mis en pratique sa vision d'une architecture active, vivante, puisant ses formes dans la vie de l'homme et de son milieu physique à travers ses nombreuses constructions.
Théorie de l’architecture
octobre 2000, Paris
André Wogenscky : raisons profondes de la forme
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Disciple, ami et associé de le Corbusier, André Wogenscky a mis en pratique sa vision d'une architecture active, vivante, puisant ses formes dans la vie de l'homme et de son milieu physique à travers ses nombreuses constructions.
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octobre 2000, Paris
Théorie de l’architecture
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund (...)
Théorie de l’architecture
janvier 2000, Los Angeles
The victory of the new building style
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund and led an articulate and well-orchestrated campaign in support of the Modern Movement. A friend and colleague of Lewis Mumford, he immigrated in 1934 to the United States, where he taught courses on city planning and housing at Dartmouth College and the University of Buffalo. "The Victory of the New Building Style" (1927)—his principal theoretical work in German and the precursor to Modern Building, which he wrote in English—presents a revisionist conception of style that places equal emphasis on form and function. Behrendt calls for architects to return to basic geometries and to articulate explicitly the new social and economic realities. Now available in English for the first time, this incisive treatise boldly advocates international modernism to the general public. Introduction by Detlef Mertins and translation by Harry Francis Mallgrave
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janvier 2000, Los Angeles
Théorie de l’architecture
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
Théorie de l’architecture
octobre 2000, Cambridge, Mass.
Uncommon ground : architecture, technology, and topography
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
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octobre 2000, Cambridge, Mass.
Théorie de l’architecture
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Foreword by Arthur Drexler. Introduction by Vincent Scully. First published in 1966, this book has become a reference in architectural literature. "Complexity and contradiction in architecture" expresses the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's(...)
Complexity and contradiction in architecture
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Foreword by Arthur Drexler. Introduction by Vincent Scully. First published in 1966, this book has become a reference in architectural literature. "Complexity and contradiction in architecture" expresses the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture.
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juin 2002, New York
Théorie de l’architecture
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A serious effort to document the changing landscape in the design professions and to make this information available to various constituencies and stakeholder groups as part of an effort to educate as well as bridge the gap between academia and practice.
Théorie de l’architecture
novembre 2003, San Francisco
Reconfiguration in the study and practice of design and architecture
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A serious effort to document the changing landscape in the design professions and to make this information available to various constituencies and stakeholder groups as part of an effort to educate as well as bridge the gap between academia and practice.
Théorie de l’architecture
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First published in 1996, "The eyes of the skin" is a classic of architectural theory. It asks the far-reaching question why, when there are five senses, is one single sense-- sight-- so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, the subject is all the more pressing and topical(...)
The eyes of the skin, 4th edition
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First published in 1996, "The eyes of the skin" is a classic of architectural theory. It asks the far-reaching question why, when there are five senses, is one single sense-- sight-- so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, the subject is all the more pressing and topical since the first edition’s publication. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing. For a student reading this text for the first time, "The eyes of the skin" is a revelation. It provides a fresh, compelling insight into architectural culture which continues to inspire more than a quarter-century after its initial publication.
Théorie de l’architecture
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"The labyrinth of rooms" is a story about how the shape of architecture can change the way we think, and how the shape of our thoughts can change the way we see architecture. Stated otherwise, the story conceives of the human life as a series of settings that stage the coevolution of mental space and physical space. Human, the story’s protagonist, can be any one of us,(...)
The labyrinth of rooms: An architectural allegory
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"The labyrinth of rooms" is a story about how the shape of architecture can change the way we think, and how the shape of our thoughts can change the way we see architecture. Stated otherwise, the story conceives of the human life as a series of settings that stage the coevolution of mental space and physical space. Human, the story’s protagonist, can be any one of us, and their journey from the first room to the last room is the journey of a lifetime: it has its ups and downs, moments of clarity and moments of confusion, but overall it bends toward greater knowledge and wisdom.
Théorie de l’architecture
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"Suspensions of Perception" is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to(...)
Suspensions of perception : attention, spectacle, and modern culture
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"Suspensions of Perception" is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters--Manet, Seurat, and Cézanne--who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception--in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.
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octobre 1999, Cambridge
Théorie de l’architecture