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No.6. John Bevis’s definitive study of the pioneering natural history photographers "The Keartons : inventing nature photography", illustrated throughout with their original images. The first essay in this issue, by Angus Carlyle, reflects on the sequence of one hundred short runs that comprise "A downland index", which will be out in early summer. Other projects in(...)
Uniformagazine no.6 Spring-Summer 2016
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No.6. John Bevis’s definitive study of the pioneering natural history photographers "The Keartons : inventing nature photography", illustrated throughout with their original images. The first essay in this issue, by Angus Carlyle, reflects on the sequence of one hundred short runs that comprise "A downland index", which will be out in early summer. Other projects in progress include a new book in collaboration with geographers Hannah Neate and Ruth Craggs which will highlight the diversity of current responses to modernist architecture; a survey of the work of Michael Gibbs whose activities included poetry, performance, film, and publishing, and his immersion in what he called “a genuinely ‘underground’ culture… which owed nothing to the official art establishment”; and a book with the sound poet and performance artist Nathan Walker from his residency in June at the Armitt Museum in Cumbria.
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No.7. "Uniformagazine" has so far published contributions by Derek Beaulieu, David Bellingham, John Bevis, Peter Blegvad, Janet Boulton, Paul Bowles, Angus Carlyle, J. R. Carpenter, Chiara Caterina, Rebecca Chesney, Les Coleman, Jeremy Cooper, Simon Cutts, Stephen Duncalf, Martin Fidler, Ian Hamilton Finlay, Michael Gibbs, Kenneth Goldsmith, Michael Hampton, Martha(...)
Uniformagazine no.7 Autumn 2016
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No.7. "Uniformagazine" has so far published contributions by Derek Beaulieu, David Bellingham, John Bevis, Peter Blegvad, Janet Boulton, Paul Bowles, Angus Carlyle, J. R. Carpenter, Chiara Caterina, Rebecca Chesney, Les Coleman, Jeremy Cooper, Simon Cutts, Stephen Duncalf, Martin Fidler, Ian Hamilton Finlay, Michael Gibbs, Kenneth Goldsmith, Michael Hampton, Martha Hellion, Geoffrey Hutchings, Elizabeth James, Ronald Johnson, John Kannenberg, Brian Lane, Cathy Lane, David Matless, Chris McCabe, Claudia Molitor, Gavin Morrison, Reinhard Mucha, Stuart Mugridge, Maria Papadomanolaki, Mark Pawson, Kasper Pincis, Rick Poynor, Steve Roden, Colin Sackett, Dawn Scarfe, Theo Simpson, Grant Smith, Phil Smith, Tim Staples, Gertrude Stein, Peter Suchin, Michael Upton, Erica Van Horn, Jan Voss, Emmanuelle Waeckerle, Ian Waites, Nathan Walker, Eric Watier, Tom Wilkinson, Stephen Willats, Ken Worpole, L. L. Zamenhof.
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After two successive thematic issues, "Log 38" (Fall 2016) returns to its classic open form, bringing together myriad perspectives from architecture’s center and periphery. Cynthia Davidson’s expansive interview with New York architect Harry Cobb, of Pei Cobb Freed & Partners, illuminates Cobb’s 60-plus years in practice, as well as the history of modernism in America.(...)
Log 38
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After two successive thematic issues, "Log 38" (Fall 2016) returns to its classic open form, bringing together myriad perspectives from architecture’s center and periphery. Cynthia Davidson’s expansive interview with New York architect Harry Cobb, of Pei Cobb Freed & Partners, illuminates Cobb’s 60-plus years in practice, as well as the history of modernism in America. Eve Blau explores the contexts that drove the 1968 Learning from Las Vegas studio at Yale, and Pier Vittorio Aureli and Maria Shéhérazade Giudici reevaluate the roots of modern domestic space. "Log 38" also features critical perspectives on the current moment in architecture, with reviews of OMA’s Fondaco dei Tedeschi, reflections on this year’s Venice Architecture Biennale, and reactions to Brexit from architects and educators affected by the vote, and even an imaginative look at the work of Sam Jacob Studio from 20 years in the future.
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"Flat Out 1" yields unlikely connections between subjects as diverse as lists, numbers, chairs, and death. In “Dear Renato,” The Challenger writes a letter to Italian architect Renato Rizzi on the darkness of his Shakespeare Theater. The Genealogist, in “Get the Door, It’s Domino’s,” dives into the pizza company’s trophy awards for architects. The Mortician prepares New(...)
Flat Out : claims on architecture from an unlikely cast
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"Flat Out 1" yields unlikely connections between subjects as diverse as lists, numbers, chairs, and death. In “Dear Renato,” The Challenger writes a letter to Italian architect Renato Rizzi on the darkness of his Shakespeare Theater. The Genealogist, in “Get the Door, It’s Domino’s,” dives into the pizza company’s trophy awards for architects. The Mortician prepares New Brutalism for the afterlife, while The Graphic Essayist fills columns with new orders. In “Easier Done than Said” an editorial board member appears as The Cameo to make much ado about the reception of the inaugural Chicago Architectural Biennial. The cast for this issue features (in order of appearance) Pier Paolo Tamburelli, Jayne Kelley, Alexander Eisenschmidt, Sam Jacob, Robert Bruegmann, Paul Andersen, Jon Langford, Ellen Grimes, John McMorrough, Ania Jaworska, Zehra Ahmed, R. E. Somol, Penelope Dean, and Julia Di Castri. Character portraits are by Cody Hudson.
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This instalment focuses on two British practices: Jonathan Woolf and Sergison Bates. Editor Ana Leal uses the word “serendipity” to refer to their respective bodies of work, describing how “the reinterpretation of the site, to acknowledge the culture and tradition of the place through local materials and techniques, is a clear example of an answer to contemporary needs…(...)
A.mag 09: Jonathan Woolf, Sergison Bates
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This instalment focuses on two British practices: Jonathan Woolf and Sergison Bates. Editor Ana Leal uses the word “serendipity” to refer to their respective bodies of work, describing how “the reinterpretation of the site, to acknowledge the culture and tradition of the place through local materials and techniques, is a clear example of an answer to contemporary needs… dictated by an extraordinary sensitivity.” Along with the highlighted projects it includes a conversation with Jonathan Sergison, Stephen Bates, and Tony Fretton. Featured are Woolf’s Lion Rooms, Lost Villa, and Brick Leaf House, as well as various urban and suburban housing projects by Sergison Bates
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Av 189-190: MVRDV
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Visionary and magical, the oeuvre of MVRDV is a collection of works, projects, and publications that amaze with their abundance and diversity. Since the studio was set up in 1993, Winy Maas, Jacob van Rijs, and Nathalie de Vries have shown a dazzling creativity that has placed them in the Dutch avant-garde of 21st century. AV Monographs devotes a double issue to their(...)
Av 189-190: MVRDV
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Visionary and magical, the oeuvre of MVRDV is a collection of works, projects, and publications that amaze with their abundance and diversity. Since the studio was set up in 1993, Winy Maas, Jacob van Rijs, and Nathalie de Vries have shown a dazzling creativity that has placed them in the Dutch avant-garde of 21st century. AV Monographs devotes a double issue to their career with a selection of 30 works grouped into six chapters describing the most characteristic themes in their architecture: ‘Compact Puzzles’ (density), ‘Illusory Walls’ (form and skins), ‘Colorful Worlds’ (use of color), ‘Leisure Land’ (entertainment), ‘Green Fantasies’ (ecology and sustainability), and ‘Visionary Cities’ (analysis and utopias).
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ARCH+ : Release architecture
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An architecture biennale can be more than a place to simply represent and celebrate the status quo in architectural production. Exhibitions are increasingly becoming a place for researching and producing an experimental and critical architectural practice: a place not for the presentation of finished products, but for the production of content. This calls into question(...)
ARCH+ : Release architecture
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An architecture biennale can be more than a place to simply represent and celebrate the status quo in architectural production. Exhibitions are increasingly becoming a place for researching and producing an experimental and critical architectural practice: a place not for the presentation of finished products, but for the production of content. This calls into question the supposed boundary between architecture and exhibition. Inquiry becomes a form of display. Christian Kerez’s Incidental Space, exhibited in the Swiss Pavilion at the 2016 Architecture Biennale in Venice, attempts to inquire into the outer limits of what can be achieved in architecture today—in terms of both technical feasibility and the limits of our own imagination. How can you use the medium of architecture to contemplate an architectural space that is entirely abstract and as complex as possible? How could this kind of imaginary space even be visualized, and how could it be produced? Conceived in close collaboration with Sandra Oehy, the curator of the Swiss Pavilion, and Christian Kerez, the Swiss Pavilion architect, this issue of ARCH+ delves into the questions posed by Kerez’s “speculative space.” Contributors like Philip Ursprung, Mario Carpo, Armen Avanessian, and Timothy Morton consider how the object stands in relation to the subject in a world where the capacity for technological and digital reproduction increasingly renders the distinction between depiction and reality moot. Where is the space for architectural autonomy in this? How can we “Release Architecture”? A report from architecture’s speculative front.
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The Funambulist 8: Police
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This eighth issue of The Funambulist Magazine, dedicated to the police, can be read in continuity with Issue 04 (March-April 2016), which was focused on carceral environments. Its axiomatic editorial line is resolutely the same: just as there cannot be “better prisons,” there cannot be “better police,” at least not within the logics through which they are currently(...)
The Funambulist 8: Police
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This eighth issue of The Funambulist Magazine, dedicated to the police, can be read in continuity with Issue 04 (March-April 2016), which was focused on carceral environments. Its axiomatic editorial line is resolutely the same: just as there cannot be “better prisons,” there cannot be “better police,” at least not within the logics through which they are currently operating in a majority of the world’s societies. In this regard, the numerous murders of Native and Black bodies by the United States police, the violence of the Apartheid police in Jerusalem against Palestinians, the murderous operations of the Brazilian military police in the favelas, or the legalized abuse of power by the French and Turkish police during ongoing states of emergency; not as “police brutality” that would require reforms but, rather, as the very essence of policing itself, which calls for abolition.
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Devoted to Kazuyo Sejima and Ryue Nishizawa (SANAA), the dossier of AV Proyectos covers the latest international projects by the Tokyo-based studio. From the polemical refurbishment of the Paris department stores La Samaritaine to the extension of the NSW Art Gallery in Sydney, via their proposals in Jerusalem and Budapest and the more recent ones developed in their(...)
AV Proyectos 077: Dossier Sanaa
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Devoted to Kazuyo Sejima and Ryue Nishizawa (SANAA), the dossier of AV Proyectos covers the latest international projects by the Tokyo-based studio. From the polemical refurbishment of the Paris department stores La Samaritaine to the extension of the NSW Art Gallery in Sydney, via their proposals in Jerusalem and Budapest and the more recent ones developed in their country, all their designs maintain the subtle and immaterial character that defines their oeuvre. The competitions section features the projects shortlisted in the call to design the new MALI (Museo de Arte de Lima), won by the Spanish team Burgos & Garrido with the local firm Llama Urban Design.
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Liberté 314, hiver 2017
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Dernier numéro disponible en librairie.
Liberté 314, hiver 2017
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Dernier numéro disponible en librairie.
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