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For this yearbook, our annual selection of the representative arcitecture of Japan, fifty works have been chosen from those published in Shinkenchiku Jutaku Tokushu and are presented in order of the amount of floor area, from smallest to largest. Rather than using a highly arbitary order based either on the circumstances surrounding the work, its topicality or building(...)
The Japan architect JA 68 winter 2008, Yearbook 2007
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For this yearbook, our annual selection of the representative arcitecture of Japan, fifty works have been chosen from those published in Shinkenchiku Jutaku Tokushu and are presented in order of the amount of floor area, from smallest to largest. Rather than using a highly arbitary order based either on the circumstances surrounding the work, its topicality or building type, in adopting this pratical arrangement from small to large scale, we anticipate that the latent similarities, proximities and differences that surface will become apparent and incite new discoveries.
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AV Monographs dedicates each issue to a theme involving a city, a country, a tendency or an architect, featuring essays by prominent scholars and commentaries on built works and projects illustrated in detail. It is published in a bilingual edition, Spanish and English.
AV 122 : USA tour twelve works, coast to coast
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AV Monographs dedicates each issue to a theme involving a city, a country, a tendency or an architect, featuring essays by prominent scholars and commentaries on built works and projects illustrated in detail. It is published in a bilingual edition, Spanish and English.
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December 2007, Madrid
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À l’heure où le froid nous garde à l’intérieur, Continuité s’attarde au patrimoine mobilier québécois, particulièrement à un de ses pans les plus méconnus : le patrimoine moderne. Au cœur du XXe siècle, alors que notre société sentait le besoin de se définir dans le monde moderne, nos meilleurs artisans et concepteurs ont développé un savoir-faire pour déborder des(...)
Continuité 115 : Design de l'architecture au mobilier
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À l’heure où le froid nous garde à l’intérieur, Continuité s’attarde au patrimoine mobilier québécois, particulièrement à un de ses pans les plus méconnus : le patrimoine moderne. Au cœur du XXe siècle, alors que notre société sentait le besoin de se définir dans le monde moderne, nos meilleurs artisans et concepteurs ont développé un savoir-faire pour déborder des traditions et constituer un héritage contemporain. Forts d’une volonté de concevoir un ameublement québécois original et de plain-pied dans son époque, ces créateurs ont exploré les résonances qu’entretiennent la structure et le décor. Ils ont prolongé le dessin du bâtiment dans le mobilier, rendant ce dernier presque indissociable de l’architecture. Ainsi le meuble s’est ouvert à la nouveauté. Les créateurs québécois ont puisé dans les grands courants stylistiques de l’époque l’inspiration pour repenser le meuble d’ici. Sous leur impulsion est née à la fin des années 1930 la célèbre École du meuble de Montréal, où se sont développés un design mobilier et un savoir-faire uniques. Ses artisans ont imposé une nouvelle signature moderne et authentiquement québécoise. Pour explorer le mobilier moderne, Continuité a sollicité la collaboration de passionnés, de connaisseurs et de collectionneurs qui nous donnent accès à ce patrimoine, des modèles précurseurs des années 1930 jusqu’au design moderne qui s’affirme depuis les années 1960. Comment s’est exprimé ce savoir-faire au XXe siècle, à l’époque où le Québec s’ouvrait au design mobilier ? Qui en étaient les principaux représentants ? Que deviennent ces pièces de collection qui survivent au décor ? Continuité découvre quelques-unes de ces créations qui occupent et meublent nos espaces de vie. Caroline Marois Rédactrice en chef
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Volume 13 Ambition
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Our field, and perhaps every field, is defined by ambition. To know ourselves we have to know ambition. But ambition is far from simple. It is never straightforward, never the singular drive it appears to be. Rather, it is a set of interacting forces in which often the means are mistaken for ends. This issue of Volume on Ambition offers a preliminary map of what has(...)
Volume 13 Ambition
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Our field, and perhaps every field, is defined by ambition. To know ourselves we have to know ambition. But ambition is far from simple. It is never straightforward, never the singular drive it appears to be. Rather, it is a set of interacting forces in which often the means are mistaken for ends. This issue of Volume on Ambition offers a preliminary map of what has become a landscape of misguided purpose.
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Interdisciplinary concepts and activities are getting increasingly important. Architecture meets art, art converges with science and science adopts philosophy creating a whole new discourse. It is maybe because today's complex world can only be comprehended when viewed from multi-dimentional perspectives.
Space 471
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Interdisciplinary concepts and activities are getting increasingly important. Architecture meets art, art converges with science and science adopts philosophy creating a whole new discourse. It is maybe because today's complex world can only be comprehended when viewed from multi-dimentional perspectives.
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The issue of real estate has been in the media a lot. The apartment prices in Seoul and the surrounding areas are said to have gone up many folds for the past several years. The government is announcing measures after measures, which include the 'tax bomb' and the 'half-price apartments'. In the feast of 'capital,' it seems as though we have been left homeless, who wander(...)
Space 470
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The issue of real estate has been in the media a lot. The apartment prices in Seoul and the surrounding areas are said to have gone up many folds for the past several years. The government is announcing measures after measures, which include the 'tax bomb' and the 'half-price apartments'. In the feast of 'capital,' it seems as though we have been left homeless, who wander around without a shelter but only left with warm memories of the past.
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S AM #01 As Found
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'Unaufgeräumt/As Found' examines architectural designs and strategies for found situations and existing buildings. A collection of recent built projects of varying scales and emerging from very different cultural contexts show how, with minimal means and ressources, the most unlikely buildings and urban territories can be transformed and extended for entirely new uses.
S AM #01 As Found
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'Unaufgeräumt/As Found' examines architectural designs and strategies for found situations and existing buildings. A collection of recent built projects of varying scales and emerging from very different cultural contexts show how, with minimal means and ressources, the most unlikely buildings and urban territories can be transformed and extended for entirely new uses.
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A crisis is a turning point, a decisive moment when tensions and instabilities peak and change becomes inescapable. Crisis implies the questioning of beliefs and habits, it demands adjustment in perception and in modes of action. So it is in this sixth installment of Verb that we take the opportunity to widen our angle of view. Having previously explored the positive(...)
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January 2008, Barcelona
Verb architecture boogazine 6: crisis
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A crisis is a turning point, a decisive moment when tensions and instabilities peak and change becomes inescapable. Crisis implies the questioning of beliefs and habits, it demands adjustment in perception and in modes of action. So it is in this sixth installment of Verb that we take the opportunity to widen our angle of view. Having previously explored the positive impact of innovation and technological progress on the built environment, Verb now confronts underlying questions and doubts regarding current models of urban development, in the three chapters 'places', 'positions', and 'projects', including contributions by Shigeru Ban, Markus Miessen, Chantal Mouffe, Teddy Cruz, Takuya Onishi, Foreign Office Architects, and many more.
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Log 10 : summer / fall 2007
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Observations on architecture and the contemporary city.
Log 10 : summer / fall 2007
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Observations on architecture and the contemporary city.
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journals and magazines
Future anterior
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Historic preservation is at an important moment of rethinking. The field has grown exponentially in America since its first academic program was founded at Columbia University in 1965. Although initially concerned only with buildings, preservation has recently expanded to include the protection and creative interpretation of entire urban environments, landscapes,(...)
Future anterior
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Historic preservation is at an important moment of rethinking. The field has grown exponentially in America since its first academic program was founded at Columbia University in 1965. Although initially concerned only with buildings, preservation has recently expanded to include the protection and creative interpretation of entire urban environments, landscapes, highways, cultural traditions, artistic practices, and even specific “experiences” such as historic view sheds. Most importantly, historic preservation is beginning a significant re-clarification of its purposes, sharpening and deepening its focus on the contributions old architecture and artifacts make to our understanding of the human condition and how we should address and live in it. Future Anterior is the first and only journal in American academia to be devoted to the study and advancement of preservation, which brings together the interests of scholars and professionals in multiple disciplines such as architecture, art, history, philosophy, law, planning, materials science, cultural anthropology, conservation, and others. Future Anterior establishes an important and much needed forum for the critical examination of this expanding discipline, to spur challenges of its motives, goals, forms of practice and results. The appearance of Future Anterior signals the maturation of the field of preservation and a shift away from nostalgic antiquarianism towards an active involvement in the understanding and creative transformation of human environments. This turn in preservation is reflected in an increased interest in historic architecture and artifacts as expressive resources of great public importance. The destruction of patrimony, from the colossal Buddhas in Afghanistan to New York’s World Trade Center, is seen not just as barbarism but as sources of understanding about where we are going wrong and what we need to do next. In response, architects, planners, urban designers, and artists have been producing works which engage the public in new ways of reflecting and taking on the past not as constraint but as provocation.
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October 2004, New York
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