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books
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Title:
Patterns embedded
Patterns embedded
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Marcelo Spina and Georgina Huljich are principals of the office PATTERNS founded in Los Angeles in 1999. The research and collaborative based approach of the practice seeks to move between digital and material expressions. This publication describes its form-making as “Driven by digital techniques and advanced computation“. In addition to their research, built projects(...)
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Marcelo Spina and Georgina Huljich are principals of the office PATTERNS founded in Los Angeles in 1999. The research and collaborative based approach of the practice seeks to move between digital and material expressions. This publication describes its form-making as “Driven by digital techniques and advanced computation“. In addition to their research, built projects(...)
Title:
Patterns embedded
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Marcelo Spina and Georgina Huljich are principals of the office PATTERNS founded in Los Angeles in 1999. The research and collaborative based approach of the practice seeks to move between digital and material expressions. This publication describes its form-making as “Driven by digital techniques and advanced computation“. In addition to their research, built projects include Prism Contemporary Art in West Hollywood, FYF Residence and Jujuy Redux both in Rosario (Argentina) and Fluid Core Yard in Chengdu, the Skopje Concert Hall, the Vestbanen KulturAtrium in Oslo, and the Fake Plastic Trees in the Schindler House in Hollywood, Essays by Spina and Huljich, John McMorrough, Todd Gannon, and Marcelyn Gow.
Patterns embedded
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Marcelo Spina and Georgina Huljich are principals of the office PATTERNS founded in Los Angeles in 1999. The research and collaborative based approach of the practice seeks to move between digital and material expressions. This publication describes its form-making as “Driven by digital techniques and advanced computation“. In addition to their research, built projects include Prism Contemporary Art in West Hollywood, FYF Residence and Jujuy Redux both in Rosario (Argentina) and Fluid Core Yard in Chengdu, the Skopje Concert Hall, the Vestbanen KulturAtrium in Oslo, and the Fake Plastic Trees in the Schindler House in Hollywood, Essays by Spina and Huljich, John McMorrough, Todd Gannon, and Marcelyn Gow.
Form:
books
books
Publication:
May 2012
May 2012
Subject:
Architecture Monographs
Architecture Monographs
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books
books
Title:
Superquadra
Superquadra
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Brasilia is best known for the grandeur of its Monumental Axis. It connects two wings with the so-called Residential Axis. This is a twelve kilometre expressway lined with large residential blocks, which are named Superquadras. All Superquadras have a distinct configuration, with an average of eleven residential buildings raised on pilotis, large greenbelts and regular(...)
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Brasilia is best known for the grandeur of its Monumental Axis. It connects two wings with the so-called Residential Axis. This is a twelve kilometre expressway lined with large residential blocks, which are named Superquadras. All Superquadras have a distinct configuration, with an average of eleven residential buildings raised on pilotis, large greenbelts and regular(...)
Title:
Superquadra
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Brasilia is best known for the grandeur of its Monumental Axis. It connects two wings with the so-called Residential Axis. This is a twelve kilometre expressway lined with large residential blocks, which are named Superquadras. All Superquadras have a distinct configuration, with an average of eleven residential buildings raised on pilotis, large greenbelts and regular rows of trees alongside the entire periphery of the Superquadras. For all buildings, referred to as slabs, a height limit of six floors was set. Between one Superquadra and the next there is an Entrequadra.These are reserved for recreational areas. This book documents many of these buildings and shows its specific architectural rhythm.
Superquadra
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Brasilia is best known for the grandeur of its Monumental Axis. It connects two wings with the so-called Residential Axis. This is a twelve kilometre expressway lined with large residential blocks, which are named Superquadras. All Superquadras have a distinct configuration, with an average of eleven residential buildings raised on pilotis, large greenbelts and regular rows of trees alongside the entire periphery of the Superquadras. For all buildings, referred to as slabs, a height limit of six floors was set. Between one Superquadra and the next there is an Entrequadra.These are reserved for recreational areas. This book documents many of these buildings and shows its specific architectural rhythm.
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books
books
Publication:
April 2010
April 2010
Subject:
Collective Housing
Collective Housing
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books
books
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$115.00
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Summary:
In his Habitat series, Olaf Otto Becker (born 1959) presents idyllic dreamlike places—paradisical tableaus from the jungles of Malaysia and Indonesia. Even the temperate rainforest of Redwood National Parks in California seems reassuringly intact: the mammoth trees are surviving thanks to rigorous conservation measures. By contrast, in the second half of his series Becker(...)
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In his Habitat series, Olaf Otto Becker (born 1959) presents idyllic dreamlike places—paradisical tableaus from the jungles of Malaysia and Indonesia. Even the temperate rainforest of Redwood National Parks in California seems reassuringly intact: the mammoth trees are surviving thanks to rigorous conservation measures. By contrast, in the second half of his series Becker(...)
Title:
Olaf Otto Becker: reading the landscape
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In his Habitat series, Olaf Otto Becker (born 1959) presents idyllic dreamlike places—paradisical tableaus from the jungles of Malaysia and Indonesia. Even the temperate rainforest of Redwood National Parks in California seems reassuringly intact: the mammoth trees are surviving thanks to rigorous conservation measures. By contrast, in the second half of his series Becker shows what happens across the globe when international corporations clear large tracts of land and giant areas of barren, treeless terrain result. Erosion also does its work, and no life can survive in these places. In the final section, Becker presents the artificial "forests" conceived by various international architects to insert greenery into urban space.
Olaf Otto Becker: reading the landscape
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In his Habitat series, Olaf Otto Becker (born 1959) presents idyllic dreamlike places—paradisical tableaus from the jungles of Malaysia and Indonesia. Even the temperate rainforest of Redwood National Parks in California seems reassuringly intact: the mammoth trees are surviving thanks to rigorous conservation measures. By contrast, in the second half of his series Becker shows what happens across the globe when international corporations clear large tracts of land and giant areas of barren, treeless terrain result. Erosion also does its work, and no life can survive in these places. In the final section, Becker presents the artificial "forests" conceived by various international architects to insert greenery into urban space.
Form:
books
books
Publication:
February 2015
February 2015
Subject:
Photography monographs
Photography monographs
Form:
books
books
Price:
$23.00
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Summary:
On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a(...)
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a(...)
Title:
Bark
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman’s own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman’s photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed.
Bark
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Summary:
On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman’s own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman’s photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed.
Form:
books
books
Publication:
October 2017
October 2017
Subject:
Critical Theory
Critical Theory
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books
books
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Description:
xii, 413 pages : illustrations, maps ; 24 cm
Description:
xii, 413 pages : illustrations, maps ; 24 cm
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Publication:
Cambridge, Mass. : MIT Press, ©2011.
Cambridge, Mass. : MIT Press, ©2011.
Title:
A landscape history of New England / edited by Blake Harrison and Richard W. Judd.
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Description:
xii, 413 pages : illustrations, maps ; 24 cm
A landscape history of New England / edited by Blake Harrison and Richard W. Judd.
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Description:
xii, 413 pages : illustrations, maps ; 24 cm
Form:
books
books
Publication:
Cambridge, Mass. : MIT Press, ©2011.
Cambridge, Mass. : MIT Press, ©2011.
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books
books
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$30.95
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Summary:
These photographs and essays reconsider the iconic status of Yosemite in America's conception of wilderness, examining how the place was appropriated by its early Euro-American visitors and showing how conceptions of landscape have altered and how land has changed, or not, over time.
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Summary:
These photographs and essays reconsider the iconic status of Yosemite in America's conception of wilderness, examining how the place was appropriated by its early Euro-American visitors and showing how conceptions of landscape have altered and how land has changed, or not, over time.
Subject:
Gardens
Gardens
Publication:
February 2008, San Antonio
February 2008, San Antonio
Title:
Yosemite in time: ice ages, tree clocks, ghost rivers
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These photographs and essays reconsider the iconic status of Yosemite in America's conception of wilderness, examining how the place was appropriated by its early Euro-American visitors and showing how conceptions of landscape have altered and how land has changed, or not, over time.
Yosemite in time: ice ages, tree clocks, ghost rivers
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Summary:
These photographs and essays reconsider the iconic status of Yosemite in America's conception of wilderness, examining how the place was appropriated by its early Euro-American visitors and showing how conceptions of landscape have altered and how land has changed, or not, over time.
Form:
books
books
Publication:
February 2008, San Antonio
February 2008, San Antonio
Subject:
Gardens
Gardens
Form:
books
books
Price:
$24.95
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Summary:
A work with no place for the superfluous : the fast, essential pencil stroke and concise, bare text throw us into what seems above all to be a sensory experience. It is winter in person that opens the doors and page after page envelops us in the vast and silent whiteness of the cloud-filled sky, and then in a blinding expanse of freezing snow. Aoi Huber Kono plunges us(...)
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A work with no place for the superfluous : the fast, essential pencil stroke and concise, bare text throw us into what seems above all to be a sensory experience. It is winter in person that opens the doors and page after page envelops us in the vast and silent whiteness of the cloud-filled sky, and then in a blinding expanse of freezing snow. Aoi Huber Kono plunges us(...)
Title:
Winter
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A work with no place for the superfluous : the fast, essential pencil stroke and concise, bare text throw us into what seems above all to be a sensory experience. It is winter in person that opens the doors and page after page envelops us in the vast and silent whiteness of the cloud-filled sky, and then in a blinding expanse of freezing snow. Aoi Huber Kono plunges us into an atmosphere that seems paralysed in the poetry of the cold to then allow us to discover with equal surprise that underneath is a world throbbing with life. Who is hiding among the snow-covered trees? To find out we have to follow the footsteps in the snow.
Winter
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A work with no place for the superfluous : the fast, essential pencil stroke and concise, bare text throw us into what seems above all to be a sensory experience. It is winter in person that opens the doors and page after page envelops us in the vast and silent whiteness of the cloud-filled sky, and then in a blinding expanse of freezing snow. Aoi Huber Kono plunges us into an atmosphere that seems paralysed in the poetry of the cold to then allow us to discover with equal surprise that underneath is a world throbbing with life. Who is hiding among the snow-covered trees? To find out we have to follow the footsteps in the snow.
Form:
books
books
Publication:
January 2004, Mantova
January 2004, Mantova
Subject:
Children's Books
Children's Books
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books
books
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$42.00
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Summary:
American homes are typically made of lumber and plywood delivered by a global system of ruthless extraction, or of concrete and steel, which are even worse for the planet. Wood is often the most sustainable material for building, but we need to protect diverse forests as much as we desperately need more houses. Brian Donahue addresses this modern conundrum by(...)
$42.00
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Summary:
American homes are typically made of lumber and plywood delivered by a global system of ruthless extraction, or of concrete and steel, which are even worse for the planet. Wood is often the most sustainable material for building, but we need to protect diverse forests as much as we desperately need more houses. Brian Donahue addresses this modern conundrum by(...)
Title:
Slow wood: Greener building from local forests
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$42.00
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American homes are typically made of lumber and plywood delivered by a global system of ruthless extraction, or of concrete and steel, which are even worse for the planet. Wood is often the most sustainable material for building, but we need to protect diverse forests as much as we desperately need more houses. Brian Donahue addresses this modern conundrum by documenting his experiences building a timber frame home from the wood growing on his family farm, practicing “worst first” forestry. Through the stories of the trees he used (sugar maple, black cherry, black birch, and hemlock), and some he didn’t (white pine and red oak), the book also explores the history of Americans’ relationship with their forests.
Slow wood: Greener building from local forests
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American homes are typically made of lumber and plywood delivered by a global system of ruthless extraction, or of concrete and steel, which are even worse for the planet. Wood is often the most sustainable material for building, but we need to protect diverse forests as much as we desperately need more houses. Brian Donahue addresses this modern conundrum by documenting his experiences building a timber frame home from the wood growing on his family farm, practicing “worst first” forestry. Through the stories of the trees he used (sugar maple, black cherry, black birch, and hemlock), and some he didn’t (white pine and red oak), the book also explores the history of Americans’ relationship with their forests.
Form:
books
books
Publication:
February 2025
February 2025
Subject:
Timber Construction
Timber Construction
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books
books
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$53.00
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Summary:
If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill (1961-2013) showed us why. Creating prints from cross sections of trees, Gill revealed the sublime power locked inside their arboreal rings, patterns not only of great beauty but also a year-by-year record of the life and times of the fallen or damaged logs. The artist rescued the(...)
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If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill (1961-2013) showed us why. Creating prints from cross sections of trees, Gill revealed the sublime power locked inside their arboreal rings, patterns not only of great beauty but also a year-by-year record of the life and times of the fallen or damaged logs. The artist rescued the(...)
Title:
Bryan Nash Gill: Woodcut (updated edition)
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If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill (1961-2013) showed us why. Creating prints from cross sections of trees, Gill revealed the sublime power locked inside their arboreal rings, patterns not only of great beauty but also a year-by-year record of the life and times of the fallen or damaged logs. The artist rescued the wood from the property surrounding his studio and neighboring land, extracted and prepared blocks of various species--including ash, maple, oak, spruce, and willow--and then printed them by carefully following and pressing the contours of the rings until the intricate designs transferred from tree to paper.
Bryan Nash Gill: Woodcut (updated edition)
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If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill (1961-2013) showed us why. Creating prints from cross sections of trees, Gill revealed the sublime power locked inside their arboreal rings, patterns not only of great beauty but also a year-by-year record of the life and times of the fallen or damaged logs. The artist rescued the wood from the property surrounding his studio and neighboring land, extracted and prepared blocks of various species--including ash, maple, oak, spruce, and willow--and then printed them by carefully following and pressing the contours of the rings until the intricate designs transferred from tree to paper.
Form:
books
books
Publication:
October 2024
October 2024
Subject:
Fauna and flora
Fauna and flora
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books
books
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$10.00
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For Domicile Conjugal – a title borrowed from François Truffaut's movie of 1970 – Katagiri ( Sapporo, 1977 ) selects details from drawings made during the course of 2008. Her first published book focuses on architecture from a richly illustrated world built upon since 2003. Drawn freehand and without drafts, Katagiri's skillful pen drawings give birth to a dimension(...)
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Summary:
For Domicile Conjugal – a title borrowed from François Truffaut's movie of 1970 – Katagiri ( Sapporo, 1977 ) selects details from drawings made during the course of 2008. Her first published book focuses on architecture from a richly illustrated world built upon since 2003. Drawn freehand and without drafts, Katagiri's skillful pen drawings give birth to a dimension(...)
Title:
Yuka Katagiri domicile conjugal
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For Domicile Conjugal – a title borrowed from François Truffaut's movie of 1970 – Katagiri ( Sapporo, 1977 ) selects details from drawings made during the course of 2008. Her first published book focuses on architecture from a richly illustrated world built upon since 2003. Drawn freehand and without drafts, Katagiri's skillful pen drawings give birth to a dimension populated by people and intelligent animals, hanging in the balance of the playful physics unique to her craft. The staple ingredients of traditional Japanese art – mountains, trees, architecture and daily activity – are present but free of the structured compositions and realism. Instead we find a collision between the eccentricity of the west and the precision of the eastern tradition.
Yuka Katagiri domicile conjugal
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Summary:
For Domicile Conjugal – a title borrowed from François Truffaut's movie of 1970 – Katagiri ( Sapporo, 1977 ) selects details from drawings made during the course of 2008. Her first published book focuses on architecture from a richly illustrated world built upon since 2003. Drawn freehand and without drafts, Katagiri's skillful pen drawings give birth to a dimension populated by people and intelligent animals, hanging in the balance of the playful physics unique to her craft. The staple ingredients of traditional Japanese art – mountains, trees, architecture and daily activity – are present but free of the structured compositions and realism. Instead we find a collision between the eccentricity of the west and the precision of the eastern tradition.
Form:
books
books
Publication:
March 2009, Zurich
March 2009, Zurich
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
