New Geographies 8: Island
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As a master metaphor, the island has been a fecund source of inspiration across many domains. From More’s Utopia to Darwin’s evolutionary theory to Ungers’s archipelago, insights derived from “island thinking” are commonly extrapolated across diverse scales and fields. ''New Geographies 8'' proposes an epistemological pulse between, on the one hand, the ultimate loss of(...)
New Geographies 8: Island
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As a master metaphor, the island has been a fecund source of inspiration across many domains. From More’s Utopia to Darwin’s evolutionary theory to Ungers’s archipelago, insights derived from “island thinking” are commonly extrapolated across diverse scales and fields. ''New Geographies 8'' proposes an epistemological pulse between, on the one hand, the ultimate loss of the exterior implied in planetary upscaling of territorial interpretations (toward an idea of the world as a whole) and, on the other hand, the need to rearrange new boundaries in an environment viewed through the process-oriented lens of ecology. An “atlas” of islands, New Geographies, 8 explores the new limits of islandness and gathers examples to reassert its relevance for design disciplines.
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The plan 091
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The plan 091
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AV 188 (2016) : Paredes Pedrosa
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c3 382 : the creative workplace
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c3 383 : wood
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c3 383 : wood
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AV Proyectos 075: dossier estudio Herreros
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Nouveau projet 10, automne hiver 2016
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Built in the early 1950s in São Paulo, Lina Bo Bardi’s Casa de Vidro (Glass House) was the first real architectural project she completed after her arrival in Brazil. Built as a home for herself and her husband, it clearly demonstrates how architecture and design should keep a distance from individuals, society or community, and the natural environment – a stance that(...)
GA residential masterpieces 22: Lina Bo Bardi, Casa De Vidro, São Paulo, 1950-51
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Built in the early 1950s in São Paulo, Lina Bo Bardi’s Casa de Vidro (Glass House) was the first real architectural project she completed after her arrival in Brazil. Built as a home for herself and her husband, it clearly demonstrates how architecture and design should keep a distance from individuals, society or community, and the natural environment – a stance that would come to underlie all of the Italian-born architect’s subsequent works. Photographed by master architectural photographer Yukio Futagawa, Casa de Vidro still appears as its designer intended, a prototype that responded to a new society, rising directly from the earth and embedded in the surrounding jungle.
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Border Crossings 139: painting
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The Funambulist 7: Health struggles
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