Vie des arts 279
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Un édito à quatre têtes, à quatre cœurs et à huit mains?! Rien de moins pour célébrer d’une écriture commune notre thème Anniversaires (ou comment célébrer). Car, selon le contexte, dans ce cas-ci festif, célébrer et/ou commémorer est un acte collectif – comme la production de chacun de nos numéros que nous fêtons trois fois par année. Via ce numéro, nous soulignons une(...)
Vie des arts 279
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Un édito à quatre têtes, à quatre cœurs et à huit mains?! Rien de moins pour célébrer d’une écriture commune notre thème Anniversaires (ou comment célébrer). Car, selon le contexte, dans ce cas-ci festif, célébrer et/ou commémorer est un acte collectif – comme la production de chacun de nos numéros que nous fêtons trois fois par année. Via ce numéro, nous soulignons une balise marquante de Vie des arts en 2026?: son 70e anniversaire.
Magazines
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Le 11 novembre 2022, nous, cinq chercheurs, artistes, architecte, philosophe, professeurs à l’Université Laval, nous sommes rencontrés pour discuter des formes de langages servant à exprimer au mieux les concepts et les propositions que nous développons dans le champ de nos « micro-disciplines ». Comment chacune des personnes présentes à cette journée entrevoyait-elle les(...)
COLLECTIF
Marie-Christine Mathieu
Suzanne Leblanc
Alexandre St-Onge
Geneviève Chevalier
Michael Doyle
Art Theory
August 2024
Nous sommes tous des astronautes : scénarios et prototypes pour des temps extrêmes
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Le 11 novembre 2022, nous, cinq chercheurs, artistes, architecte, philosophe, professeurs à l’Université Laval, nous sommes rencontrés pour discuter des formes de langages servant à exprimer au mieux les concepts et les propositions que nous développons dans le champ de nos « micro-disciplines ». Comment chacune des personnes présentes à cette journée entrevoyait-elle les particularités et la complexité des idées dans l’élaboration d’un lexique spécifique propre à sa pratique et quelle forme adoptait-elle pour exprimer et théoriser sa recherche dans le contexte universitaire? Complément 1 présente les cinq textes produits à la suite de cette rencontre. Chaque forme d’écriture est singulière, elle est propre à chacune des pratiques.
Art Theory
books
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Imagine affordable homes that are both well-designed and environmentally friendly, better for the families who live in them and for the planet. The HOME House Project brings such imagining closer to reality. This book chronicles a multi-year national design initiative aimed at addressing issues of design, affordability, and sustainability in housing. Launched by the(...)
The HOME House Project : the future of affordable housing
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Imagine affordable homes that are both well-designed and environmentally friendly, better for the families who live in them and for the planet. The HOME House Project brings such imagining closer to reality. This book chronicles a multi-year national design initiative aimed at addressing issues of design, affordability, and sustainability in housing. Launched by the Southeastern Center for Contemporary Art (SECCA) in Winston-Salem, North Carolina, this project challenged designers and architects to imagine a world in which sustainable and environmentally friendly materials, technologies, and techniques were considered important elements of housing for low- and moderate-income families. A SECCA-sponsored open competition in 2003 drew 440 entries from the United States and six other countries, all using Habitat for Humanity's three- and four-bedroom house plans as a point of departure for the design of affordable and environmentally friendly housing. This book, published in conjunction with a traveling exhibition, documents the 25 prize-winning designs as well as fifty other selected submissions with 396 colour illustrations. The accompanying text includes Michael Sorkin's essay connecting democratic values to quality of housing, Ben Nicholson's satiric critique of American excess, Steve Badanes's insights on the social responsibilities of architects, and HOME House Project Director David Brown's overview of the project and its continuing evolution.
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January 1900, Cambridge, Mass.
Collective Housing
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This book describes a series of different visual and mental models by which the urban environment has been recognized, depicted, and planned. Boyer identifies three major ''maps'': one common to the traditional city -- the city as a work of art; one characteristic of the modern city -- the city as panorama; and one appropriate to the contemporary city --(...)
City of collective memory : its historical imagery and architectural entertainments
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This book describes a series of different visual and mental models by which the urban environment has been recognized, depicted, and planned. Boyer identifies three major ''maps'': one common to the traditional city -- the city as a work of art; one characteristic of the modern city -- the city as panorama; and one appropriate to the contemporary city -- the city as spectacle. It is a richly illustrated and documented study that pays considerable attention to the normally hidden and unspoken codes that regulate the order imposed on and derived from the city.
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June 1994, Cambridge, Mass.
Urban Theory
Le Corbusier
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«Tout art qui cesse d'être de son époque, meurt.» - «When art is no longer of its time, it dies.»
Le Corbusier
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«Tout art qui cesse d'être de son époque, meurt.» - «When art is no longer of its time, it dies.»
Architecture Monographs
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xxii, 173 pages : illustrations ; 24 cm.
London ; New York : Routledge, Taylor & Francis Group, 2015.
Intersections of space and ethos / edited by Kyriaki Tsoukala, Nikolaos-Ion Terzoglou and Charikleia Pantelidou.
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xxii, 173 pages : illustrations ; 24 cm.
books
London ; New York : Routledge, Taylor & Francis Group, 2015.
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Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, COVID-19, decapitated mountains, drone-fighting eagles, standardized bananas: all of these specimens—some more familiar than others—are examples of the hybridity that shapes the current landscapes of science, technology and everyday life. Inspired by medieval bestiaries and the(...)
A bestiary of the Anthropocene. Hybrid plants, animals, minerals, fungi, and other specimens
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Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, COVID-19, decapitated mountains, drone-fighting eagles, standardized bananas: all of these specimens—some more familiar than others—are examples of the hybridity that shapes the current landscapes of science, technology and everyday life. Inspired by medieval bestiaries and the increasingly visible effects of climate change on the planet, French researcher Nicolas Nova & art collective DISNOVATION.ORG provide an ethnographic guide to the ''post-natural'' era in which we live, highlighting the amalgamations of nature and artifice that already co-exist in the 21st century. A sort of field handbook, ''A bestiary of the Anthropocene'' aims to help us orient ourselves within the technosphere and the biosphere. What happens when technologies and their unintended consequences become so ubiquitous that it is difficult to define what is “natural” or not? What does it mean to live in a hybrid environment made of organic and synthetic matter? In order to answer such questions, Nova & DISNOVATION.ORG bring their own research together with contributions from collectives such as the Center for Genomic Gastronomy and Aliens in Green as well as text by scholars and researchers from around the world. Polish graphic designer Maria Roszkowska provides illustrations.
Environment and environmental theory
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385 pages : color illustrations ; 35 cm
[Casablanca?] : LAK International, [1993]
Mosquée Hassan II / ouvrage collectif sous la direction de Driss Basri, Abou Bakr Kadiri, Michel Pinseau.
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385 pages : color illustrations ; 35 cm
books
[Casablanca?] : LAK International, [1993]
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Based on practical experiments, ''Unlearning with Translation'' posits the act of translation as a pedagogical tool, a political act, and ultimately a gesture of care in these tense cultural times. Written by French curator, writer, editor, and self-taught translatress Virginie Bobin, the essay revisits a series of workshops, exhibitions, and other collective activities(...)
Unlearning with translation: A critical and collective practice
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Based on practical experiments, ''Unlearning with Translation'' posits the act of translation as a pedagogical tool, a political act, and ultimately a gesture of care in these tense cultural times. Written by French curator, writer, editor, and self-taught translatress Virginie Bobin, the essay revisits a series of workshops, exhibitions, and other collective activities that took translation as both subject and method to unsettle entrenched conceptions of language, identity, and belonging. In particular, the ambiguous notion of "untranslatability" is used as a lens through which to examine the power relations at play in those institutional, economic, and political contexts inhabited by art workers. Alongside collaborations with artists including Mercedes Azpilicueta, Serena Lee, and Mounira Al Solh, Bobin's reflections are grounded in her experience co-founding and facilitating the editorial and curatorial platform Qalqalah, which relies on translation as a tool for the production and publication of situated knowledge in three languages—French, Arabic, and English. Informed by feminist genealogies and methodologies throughout, the book maintains that collective labor and relations are key aspects of any critical practice, as exemplified in the concluding correspondence with Andrea Ancira.
Museology
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Anna Andreeva (1917–2008) was a Soviet textile designer and leading artist at the famous Red Rose Silk Factory in Moscow from 1944 to 1984. The former Giraud silk factory, nationalized in 1919 after the October Revolution and renamed to commemorate the murdered Polish-German socialist revolutionary Rosa Luxemburg, became a site of collective female design labor that(...)
Collective threads: Anna Andreeva at the Red Rose Silk Factory
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Anna Andreeva (1917–2008) was a Soviet textile designer and leading artist at the famous Red Rose Silk Factory in Moscow from 1944 to 1984. The former Giraud silk factory, nationalized in 1919 after the October Revolution and renamed to commemorate the murdered Polish-German socialist revolutionary Rosa Luxemburg, became a site of collective female design labor that shaped the fashion and material culture of late socialism. Andreeva’s spectacular patterns range from abstract and geometric to cosmic and space-age and to pictorial themes of the city of Moscow and Russian folk art. Her mass-produced designs were among the most popular textile prints distributed within the USSR in the 1960s and 1970s.
Design Monographs