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''The Devouring Eye: Photography and the Mouth'' is a provocative essay by Swiss photographer and academic Olivier Richon which rethinks the act of looking through the language of appetite, taste, and consumption. Drawn from a series of influential lectures delivered during his twenty-five-year tenure as Head of the Photography programme at the Royal College of Art(...)
The devouring eye: Photography and the mouth
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''The Devouring Eye: Photography and the Mouth'' is a provocative essay by Swiss photographer and academic Olivier Richon which rethinks the act of looking through the language of appetite, taste, and consumption. Drawn from a series of influential lectures delivered during his twenty-five-year tenure as Head of the Photography programme at the Royal College of Art (1997–2022) – a period during which the course shaped an entire generation of photographers – the book presents a meditation on the camera as both eye and mouth: an apparatus that ingests the world in order to produce images. Framed through a psychoanalytic lens, Richon proposes that photography is less a neutral act of observation than a form of visual incorporation. If looking maintains distance, the mouth abolishes it. The camera becomes a devouring organ, where the object is dissolved, digested, and made into an image. The desire to see becomes entangled with the desire to consume. Through this reading, photography is revealed as an insatiable medium – one that satisfies and frustrates our appetite for representation in equal measure. ''The Devouring Eye'' invites us to reconsider how we relate to images, and how deeply they live in us.
Theory of Photography
Walking home
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From a youth spent in the boroughs of New York City and other great cities of the world, to his beginnings as an architect in Toronto, Ken Greenberg has long recognized that cities at their best provide much of what we seek in a place to call home. Community, places of culture and business that we can walk to, mass transit and a wealth of amenities that couldn't be(...)
Walking home
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From a youth spent in the boroughs of New York City and other great cities of the world, to his beginnings as an architect in Toronto, Ken Greenberg has long recognized that cities at their best provide much of what we seek in a place to call home. Community, places of culture and business that we can walk to, mass transit and a wealth of amenities that couldn't be supported without a city's density: the mid-century drive to suburbanization deprived us of these inherent advantages of urban living. The realization of this loss, in tandem with pressing recent concerns about energy scarcity and global warming, has made us see cities with fresh eyes and a growing understanding that they can provide us with an unparalleled measure of sustainability.Ken Greenberg has not only advocated for the renewal of downtown cores, he has for thirty years designed the very means by which that renewal can happen. Walking Home is both Ken's story and a lesson in turning the world's urban spaces back into places that can give us not only a platform to face the challenges of the future, but also a place we can call, with pride and satisfaction, home.
Urban Theory
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303 pages : illustrations (chiefly color) ; 24 cm
Vienna [Austria] : Architekturzentrum Wien ; Cambridge, MA : MIT Press, [2019]
Critical care : architecture and urbanism for a broken planet / Angelika Fitz and Elke Krasny, editors.
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303 pages : illustrations (chiefly color) ; 24 cm
books
Vienna [Austria] : Architekturzentrum Wien ; Cambridge, MA : MIT Press, [2019]
books
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1 CD-ROM : col. ; 4 3/4 in. + insert ([4] p. ; 12 cm.)
Oakland, Calif. : Octavo, c2003.
De symmetria partium in rectis formis humanorum corporum. Nuremberg, 1532 ; Underweysung der Messung. Nuremberg, 1538 / Albrecht Dürer.
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1 CD-ROM : col. ; 4 3/4 in. + insert ([4] p. ; 12 cm.)
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Oakland, Calif. : Octavo, c2003.
books
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2 volumes (xix, 735 ; xix, 690 pages) : illustrations (some color) ; 24 cm
Cham : Birkhäuser, [2015], ©2015
Architecture and mathematics from antiquity to the future / Kim Williams, Michael J. Ostwald, editors.
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2 volumes (xix, 735 ; xix, 690 pages) : illustrations (some color) ; 24 cm
books
Cham : Birkhäuser, [2015], ©2015
The colosseum
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Byron and Hitler were equally entranced by Rome's most famous monument, the Colosseum. Mid-Victorians admired the hundreds of varieties of flowers in its crannies and occasionally shuddered at its reputation for contagion, danger, and sexual temptation. Today it is the highlight of a tour of Italy for more than three million visitors a year, a concert arena for the likes(...)
The colosseum
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Byron and Hitler were equally entranced by Rome's most famous monument, the Colosseum. Mid-Victorians admired the hundreds of varieties of flowers in its crannies and occasionally shuddered at its reputation for contagion, danger, and sexual temptation. Today it is the highlight of a tour of Italy for more than three million visitors a year, a concert arena for the likes of Paul McCartney, and a national symbol of opposition to the death penalty. Its ancient history is chockfull of romantic but erroneous myths. There is no evidence that any gladiator ever said "Hail Caesar, those about to die..." and we know of not one single Christian martyr who met his finish here. Yet the reality is much stranger than the legend as the authors, two prominent classical historians, explain in this absorbing account. We learn the details of how the arena was built and at what cost; we are introduced to the emperors who sometimes fought in gladiatorial games staged at the Colosseum; and we take measure of the audience who reveled in, or opposed, these games. The authors also trace the strange afterlife of the monument--as fortress, shrine of martyrs, church, and glue factory. Why are we so fascinated with this arena of death?
History until 1900
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This ambitious book describes the many ways in which invention affects the environment (here defined broadly to include all forms of interaction between humans and nature). The book starts with nature itself and then leads readers to examine the built environment and then specific technologies in areas such as public health and energy. Each part focuses on a single(...)
Urban Theory
September 2008, Cambridge, London, Washinton
Inventing for the environment
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This ambitious book describes the many ways in which invention affects the environment (here defined broadly to include all forms of interaction between humans and nature). The book starts with nature itself and then leads readers to examine the built environment and then specific technologies in areas such as public health and energy. Each part focuses on a single environmental issue. Topics range widely, from the role of innovation in urban landscapes to the relationship among technological innovation, public health, and the environment. Each part features an essay by a historian, an essay by a practitioner, and a "portrait of innovation" describing an individual whose work has made a difference. The mixture of historians and practitioners is critical because statements about the environment inevitably measure present and future conditions against those of the past. Early in the industrial revolution, smoke stacks were symbols of prosperity; at its end they were regarded as signs of pollution. Historical examples can also lead to the rediscovery of an old technology, as in the revival of straw bale construction. As it explores the history of invention for the environment, the book suggests many new ways to put the past to use for the common good.
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September 2008, Cambridge, London, Washinton
Urban Theory
books
Adam Bartos: darkroom
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Darkroom charts the physical and psychic terrain of photographic printing rooms while conveying their transition from the realm of pure functionality into historical artifact. Indirect portraits of both producer and product, Bartos' work explores the physical space linking artist to artwork and linking the tools of the medium to the signs of their use. As more darkrooms(...)
Adam Bartos: darkroom
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Darkroom charts the physical and psychic terrain of photographic printing rooms while conveying their transition from the realm of pure functionality into historical artifact. Indirect portraits of both producer and product, Bartos' work explores the physical space linking artist to artwork and linking the tools of the medium to the signs of their use. As more darkrooms switch to digital printing or close shop altogether, we become more aware that the tangible elements of darkroom printing may one day be lost. Bartos' recent large-format work documents and explores in equal measure the visual language and ethos of that analogue printing culture before it slips beyond our experience forever. The acrid odour of chemistry, an uncanny stillness hanging in damp air - Bartos records the descriptive aspects and spatial constraints of the darkroom but also visualizes the lab as a site of limitless creative potential, invested with as much aura as a photographic print. Heroic and humbling at the same time, these portraits speak to the individuality of the workspaces and their inhabitants but also to the shared architecture of all darkrooms. Bartos presents us with the perceptual tools to know the darkroom as it is today and to remember it one day as it will have been.
books
November 2011
Photography monographs
books
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136 pages : illustrations (chiefly color), maps (chiefly color) ; 29 cm
Oxford : John Wiley & Sons, 2020.
The landscapists : redefining landscape relations / guest-edited by Ed Wall.
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136 pages : illustrations (chiefly color), maps (chiefly color) ; 29 cm
books
Oxford : John Wiley & Sons, 2020.
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Jan van Toorn is one of the most significant and influential Dutch graphic designers to have emerged since the early 1960s. While graphic design often does little more than give unthinking visual form to the status quo, Van Toorn focused on meaning rather than smooth stylistic expression and developed critical alternatives to the usual design world conventions. Van(...)
Jan Van Toorn critical practice
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Jan van Toorn is one of the most significant and influential Dutch graphic designers to have emerged since the early 1960s. While graphic design often does little more than give unthinking visual form to the status quo, Van Toorn focused on meaning rather than smooth stylistic expression and developed critical alternatives to the usual design world conventions. Van Toorn aligned himself with the reflexive tradition of art and communication exemplified by Brecht and Godard. His designs persistently call attention to their status as visual contrivances, obliging the viewer to make an effort to process their complexities. Van Toorn wanted the public to measure the motives of both the client and the designer who mediates the client’s message against their own experiences of the world. He hoped in this way to stimulate a more active and sceptical view of art, communication, media ownership and society. Projects such as Van Toorn’s posters and catalogues for the Van Abbemuseum in Eindhoven and his long-running series of calendars for the printing firm Mart.Spruijt are powerful demonstrations of graphic design used as a means of commentary and as a tool of critique. Later, as director of the Jan van Eyck Academy, Van Toorn drew together all the strands of his critical practice into a multi-levelled educational initiative that urged designers to think harder about design’s role in shaping contemporary reality.
Graphic Designers, Monographs