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Florenski critique ici les fondements de la perspective et, avec eux, la conception classique de l’histoire de l’art, qui voit dans la Renaissance un acmé jamais égalé. Il analyse avec une grande finesse les icônes, qui génèrent une multitude de points de vue, au diapason avec la pensée qu’elles véhiculent. Daté de 1919, cet exposé est contemporain des recherches(...)
La Perspective inversée, n.é.
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Florenski critique ici les fondements de la perspective et, avec eux, la conception classique de l’histoire de l’art, qui voit dans la Renaissance un acmé jamais égalé. Il analyse avec une grande finesse les icônes, qui génèrent une multitude de points de vue, au diapason avec la pensée qu’elles véhiculent. Daté de 1919, cet exposé est contemporain des recherches plastiques de Malevitch. L’on tient là non seulement un texte précurseur de maintes recherches théoriques mais aussi un plaidoyer éminemment pédagogique en faveur d’un art ouvert à la vision subjective du spectateur.
Architectural Drawing
Au-delà du croquis
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Qu'est-ce qu'un croquis d'architecture ? Il est commun de penser que les architectes dessinent leurs projets à partir d'un croquis fondateur, qu'ils imaginent les bâtiments instantanément en griffonnant sur un bout de papier quelques lignes les déterminant définitivement.En réalité, il semble difficile de résumer un projet à une sorte d'instantané précurseur isolé de(...)
Au-delà du croquis
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Qu'est-ce qu'un croquis d'architecture ? Il est commun de penser que les architectes dessinent leurs projets à partir d'un croquis fondateur, qu'ils imaginent les bâtiments instantanément en griffonnant sur un bout de papier quelques lignes les déterminant définitivement.En réalité, il semble difficile de résumer un projet à une sorte d'instantané précurseur isolé de toute autre recherche. L'architecte n'est pas un magicien et ne détient pas l'image finale de l'objet architectural dès la genèse du projet. C'est le croquis, dessiné par sa main et son esprit, qui peu à peu, grâce à son hyper-récurrence dans le processus de conception, va forger les lignes de force du bâtiment, de son volume général jusqu'aux moindres détails. En rassemblant une foule de croquis pluriels et bavards, cet ouvrage partage l'expérience de l'Atelier Herbez Architectes pour laquelle la pratique du dessin est une valeur forte, envisagée à la fois comme la base du travail de conception et comme un champ d'expérimentation insufflant la créativité. Aller au-delà du croquis c'est en explorer les mécanismes et en chercher les limites. Croquis à main levée, croquis informatiques et croquis du regard se mêlent ici pour révéler les ressorts du médium graphique qui trouve aujourd'hui, à l'ère du numérique, de nouvelles formes d'expression.
Architectural Drawing
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Why did early modern architects continue copying drawings long after the invention of print should have made such copying obsolete? Carolyn Yerkes answers that question in a fresh investigation into the status of architectural drawing in the sixteenth and seventeenth centuries. Her book explores a vast network of manuscripts and drawings that each have information about(...)
Drawing after architecture: Renaissance architectural drawings and their reception
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Why did early modern architects continue copying drawings long after the invention of print should have made such copying obsolete? Carolyn Yerkes answers that question in a fresh investigation into the status of architectural drawing in the sixteenth and seventeenth centuries. Her book explores a vast network of manuscripts and drawings that each have information about ancient and modern buildings—including the Pantheon and Saint Peter’s—that is not known from any other sources. The drawings also show how the information was recorded, transferred, and analyzed by others. Yerkes examines the nature of architectural evidence to understand how Renaissance architects used images to explore structures, create biographies, and write history.
Architectural Drawing
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Prior to the 1970s, buildings were commonly understood to be the goal of architectural practice; architectural drawings were seen simply as a means to an end. But, just as the boundaries of architecture itself were shifting at the end of the twentieth century, the perception of architectural drawings was also shifting; they began to be seen as autonomous objects outside(...)
Drawing on architecture: the object of lives, 1970-1990
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Prior to the 1970s, buildings were commonly understood to be the goal of architectural practice; architectural drawings were seen simply as a means to an end. But, just as the boundaries of architecture itself were shifting at the end of the twentieth century, the perception of architectural drawings was also shifting; they began to be seen as autonomous objects outside the process of building. In Drawing on Architecture, Jordan Kauffman offers an account of how architectural drawings—promoted by a network of galleries and collectors, exhibitions and events—emerged as aesthetic objects and ultimately attained status as important cultural and historical artifacts, and how this was both emblematic of changes in architecture and a catalyst for these changes.
Architectural Drawing
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For decades, Philip Ashforth Coppola has meticulously documented the New York City subway in a series of extraordinary drawings, detailing the terracotta mosaics, faience, and tile patterns that millions of riders pass by every day. Coppola's drawings are what "Hyperallergic" calls "the most encyclopedic history of the art and architecture of the New York City subway(...)
One-track mind: drawing the New York subway
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For decades, Philip Ashforth Coppola has meticulously documented the New York City subway in a series of extraordinary drawings, detailing the terracotta mosaics, faience, and tile patterns that millions of riders pass by every day. Coppola's drawings are what "Hyperallergic" calls "the most encyclopedic history of the art and architecture of the New York City subway system." Along with Coppola's intricate ink drawings are anecdotes he assembled through painstaking research involving hundreds of hours poring through microfilms to discover the names behind the artisanship of what is rightly called New York's largest public art work---its legendary subway system. Philip Ashforth Coppola's drawings have been featured in the New York Times, "Hyperallergic", and on the BBC and are included in the New York Transit Museum's permanent collection. Foreword by Jonathan Lethem.
Architectural Drawing
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''Regards dessinés sur le monde'' est plus qu'un simple recueil de dessins, c'est un voyage. Bernard Gachet, architecte globe-trotter, nous emmène sur les traces des civilisations passées aux travers des vestiges rencontrés de par le monde au cours de ses différents voyages réalisés depuis 1976. Bernard Gachet est un voyageur passionné, il parcourt le monde à la manière(...)
Regards dessinés sur le monde
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''Regards dessinés sur le monde'' est plus qu'un simple recueil de dessins, c'est un voyage. Bernard Gachet, architecte globe-trotter, nous emmène sur les traces des civilisations passées aux travers des vestiges rencontrés de par le monde au cours de ses différents voyages réalisés depuis 1976. Bernard Gachet est un voyageur passionné, il parcourt le monde à la manière des "amateurs" du XVIIIe siècle. Carnet et crayon à la main, il dessine et choisit pour nous ce que privilégie son oeil d'architecte : la diversité et la beauté des traces de l'histoire et des cultures. Comme pour mieux comprendre le monde. Le dessin se fait ici éloge de la lenteur et du passé, en plus d'être un fascinant moyen de connaissance et de découverte.
Architectural Drawing
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How do you find out about historic buildings and places? A good place to start is with visual evidence. Original drawings, topographical views, surveys, maps, photographs, and other historic visual sources help to support an understanding of how a building or location appears the way it does today. Interpreting such material requires knowledge of historic design and(...)
April 2019
Understanding architectural drawings and historical visual sources
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How do you find out about historic buildings and places? A good place to start is with visual evidence. Original drawings, topographical views, surveys, maps, photographs, and other historic visual sources help to support an understanding of how a building or location appears the way it does today. Interpreting such material requires knowledge of historic design and mapping conventions, the place of the drawings in the construction process, the methods and techniques used to create engraved or topographical views, and the equipment and processes used in photography at particular times. The authors of this book explain the provenance, purpose, and terminology of a range of visual sources from the sixteenth to the twentieth century, and explore how they can help—or sometimes hinder—an understanding of the original form and subsequent changes to a building, site, or landscape.
Drawing architecture
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Throughout history, architects have relied on drawings both to develop their ideas and communicate their vision to the world. This collection brings together more than 250 of the finest architectural drawings of all time, revealing each architect's process and personality as never before. Creatively paired to stimulate the imagination, the illustrations span the centuries(...)
Drawing architecture
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Throughout history, architects have relied on drawings both to develop their ideas and communicate their vision to the world. This collection brings together more than 250 of the finest architectural drawings of all time, revealing each architect's process and personality as never before. Creatively paired to stimulate the imagination, the illustrations span the centuries and range from sketches to renderings, simple to intricate, built projects to a utopian ideal, famous to rarely seen - a true celebration of the art of architecture. Visually paired images draw connections and contrasts between architecture from different times, styles, and places. From Michelangelo to Frank Gehry, Louise Bourgeois to Tadao Ando, B.V. Doshi to Zaha Hadid, and Grafton to Luis Barragán, the book shows the incredible variety and beauty of architectural drawings.
Architectural Drawing
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Jean Jacques Lequeu (1757-1826) est davantage connu comme 'architecte visionnaire' et 'révolutionnaire' que comme dessinateur en architecture issu de l'école gratuite de Rouen. Philippe Duboÿ lui a consacré sa thèse de doctorat, suivie d'un livre publié à Londres en 1986, puis aux ÉtatsUnis, et enfin en France, apportant ainsi toute la connaissance actuelle de cet(...)
Jean-Jacques Lequeu, dessinateur en architecture
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Jean Jacques Lequeu (1757-1826) est davantage connu comme 'architecte visionnaire' et 'révolutionnaire' que comme dessinateur en architecture issu de l'école gratuite de Rouen. Philippe Duboÿ lui a consacré sa thèse de doctorat, suivie d'un livre publié à Londres en 1986, puis aux ÉtatsUnis, et enfin en France, apportant ainsi toute la connaissance actuelle de cet extraordinaire individu. C'est ce texte amendé qui compose cet ouvrage, augmenté de plusieurs manuscrits de ou sur Lequeu.
Architectural Drawing
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Part of the generation of architects who were trained to draw both by hand and with digital tools, Nalina Moses recently returned to hand drawing. Finding it to be direct, pleasurable, and intuitive, she wondered whether other architects felt the same way. "Single-Handedly" is the result of this inquiry. A collection of 220 hand drawings by more than forty emerging(...)
Single-handedly: contemporary architects draw by hand
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Part of the generation of architects who were trained to draw both by hand and with digital tools, Nalina Moses recently returned to hand drawing. Finding it to be direct, pleasurable, and intuitive, she wondered whether other architects felt the same way. "Single-Handedly" is the result of this inquiry. A collection of 220 hand drawings by more than forty emerging architects and well-known practitioners from around the world, this book explores the reasons they draw by hand and gives testimony to the continued vitality of hand drawing in architecture. The powerful yet intimate drawings carry larger propositions about materials, space, and construction, and each one stands on its own as a work of art.
Architectural Drawing