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341 pages ; 21 cm.
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341 pages ; 21 cm.
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Dijon : Les Presses du réel, [2015], ©2015
Dijon : Les Presses du réel, [2015], ©2015
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Gestes spéculatifs : colloque de Cerisy / Didier Debaise, Isabelle Stengers (éd.).
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341 pages ; 21 cm.
Gestes spéculatifs : colloque de Cerisy / Didier Debaise, Isabelle Stengers (éd.).
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341 pages ; 21 cm.
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books
books
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Dijon : Les Presses du réel, [2015], ©2015
Dijon : Les Presses du réel, [2015], ©2015
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Virtuous situations from the industrial past and some ideas for the ‘climatic metropolis’ to come (cases of Brussels and Paris) compiles examples and projections that question the shape given to the city and territory at a moment of paradigm shift. The rapid evolution of climate change is leading to a clear state of emergency that is going to redefine the values and(...)
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Virtuous situations from the industrial past and some ideas for the ‘climatic metropolis’ to come (cases of Brussels and Paris) compiles examples and projections that question the shape given to the city and territory at a moment of paradigm shift. The rapid evolution of climate change is leading to a clear state of emergency that is going to redefine the values and(...)
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CENTRAL office for architecture and urbanism & Maxime Delvaux
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Virtuous situations from the industrial past and some ideas for the ‘climatic metropolis’ to come (cases of Brussels and Paris) compiles examples and projections that question the shape given to the city and territory at a moment of paradigm shift. The rapid evolution of climate change is leading to a clear state of emergency that is going to redefine the values and forms of our society and its territories. Several signs of a gradual paradigm shift have appeared and citizen voices are being raised against a social model that is at odds with the environment. Looking towards the past, a fascinated reading of a city’s ability to transform itself radically when necessary, is proposed. The change, generated by the race towards industrialization and social emancipation, forced metropolises such as Brussels and Paris to develop new urban functions and logics. This evolution took shape in territories that were not yet highly urbanized, but also within the city itself, in negotiation with the existing context. A series of 23 situations from the industrial age draws a panorama of virtuous examples, illustrating an assumed cohabitation between the urban fabric and the infrastructural, productive and energy needs at a precise moment of radical change in Paris and Brussels. The development of the ‘climatic metropolis’ must imperatively be based on design values and principles capable of generating a common vision. In this perspective, we propose some ideas for reflection formalized by projects tied to the built stories from the past, outlining potential situations of a new state to come for the European city.
CENTRAL office for architecture and urbanism & Maxime Delvaux
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Virtuous situations from the industrial past and some ideas for the ‘climatic metropolis’ to come (cases of Brussels and Paris) compiles examples and projections that question the shape given to the city and territory at a moment of paradigm shift. The rapid evolution of climate change is leading to a clear state of emergency that is going to redefine the values and forms of our society and its territories. Several signs of a gradual paradigm shift have appeared and citizen voices are being raised against a social model that is at odds with the environment. Looking towards the past, a fascinated reading of a city’s ability to transform itself radically when necessary, is proposed. The change, generated by the race towards industrialization and social emancipation, forced metropolises such as Brussels and Paris to develop new urban functions and logics. This evolution took shape in territories that were not yet highly urbanized, but also within the city itself, in negotiation with the existing context. A series of 23 situations from the industrial age draws a panorama of virtuous examples, illustrating an assumed cohabitation between the urban fabric and the infrastructural, productive and energy needs at a precise moment of radical change in Paris and Brussels. The development of the ‘climatic metropolis’ must imperatively be based on design values and principles capable of generating a common vision. In this perspective, we propose some ideas for reflection formalized by projects tied to the built stories from the past, outlining potential situations of a new state to come for the European city.
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books
books
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July 2019
July 2019
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Architecture Monographs
Architecture Monographs
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$95.00
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Between 1990 and 1998, Guido Guidi made five separate trips to Milan and its surrounding areas. ''Cinque viaggi'' brings together the photographs made there, forming an investigation of one city and its peripheries in the throes of economic and social transformation. As Guidi follows the canal from out in the suburbs toward the city centre, his attention and visual(...)
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Between 1990 and 1998, Guido Guidi made five separate trips to Milan and its surrounding areas. ''Cinque viaggi'' brings together the photographs made there, forming an investigation of one city and its peripheries in the throes of economic and social transformation. As Guidi follows the canal from out in the suburbs toward the city centre, his attention and visual(...)
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Guido Guidi: Cinque viaggi (1990-98)
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Between 1990 and 1998, Guido Guidi made five separate trips to Milan and its surrounding areas. ''Cinque viaggi'' brings together the photographs made there, forming an investigation of one city and its peripheries in the throes of economic and social transformation. As Guidi follows the canal from out in the suburbs toward the city centre, his attention and visual language move from the vernacular to the metropolitan, from wider horizontal views to vertical ‘cuts’ in the urban fabric, from entire buildings and scenes to glimpsed façades and doorways. Along the way, we also encounter inhabitants: a group of young men gathered in a Pasolini-like scene on a bridge in the city’s outskirts; occasional passers-by working, shopping, or stopping to smoke on the city streets; disconnected couples and disparate individuals whose loose citizenship coheres the urban sprawl. While previous books, such as Per Strada (2018) and Tra l'altro (2020), demonstrated Guidi’s fascination with the rural and small-town landscapes of his native region, ''Cinque viaggi'' turns to metropolitan Italy, documenting the dramatic socio-economic changes that have transformed it over the course of the nineteenth and twentieth centuries. Remnants of rural civilisation and traces of urban expansion are embedded among the first signs of de-industrialisation. These 110 large-format works, many of which have never been seen before, reveal the layers of social and architectural history among which everyday life unfolds. ''Cinque viaggi'' offers an arrestingly subtle picture of Italy's recent past and rumination on its future.
Guido Guidi: Cinque viaggi (1990-98)
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Between 1990 and 1998, Guido Guidi made five separate trips to Milan and its surrounding areas. ''Cinque viaggi'' brings together the photographs made there, forming an investigation of one city and its peripheries in the throes of economic and social transformation. As Guidi follows the canal from out in the suburbs toward the city centre, his attention and visual language move from the vernacular to the metropolitan, from wider horizontal views to vertical ‘cuts’ in the urban fabric, from entire buildings and scenes to glimpsed façades and doorways. Along the way, we also encounter inhabitants: a group of young men gathered in a Pasolini-like scene on a bridge in the city’s outskirts; occasional passers-by working, shopping, or stopping to smoke on the city streets; disconnected couples and disparate individuals whose loose citizenship coheres the urban sprawl. While previous books, such as Per Strada (2018) and Tra l'altro (2020), demonstrated Guidi’s fascination with the rural and small-town landscapes of his native region, ''Cinque viaggi'' turns to metropolitan Italy, documenting the dramatic socio-economic changes that have transformed it over the course of the nineteenth and twentieth centuries. Remnants of rural civilisation and traces of urban expansion are embedded among the first signs of de-industrialisation. These 110 large-format works, many of which have never been seen before, reveal the layers of social and architectural history among which everyday life unfolds. ''Cinque viaggi'' offers an arrestingly subtle picture of Italy's recent past and rumination on its future.
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books
books
Publication:
July 2021
July 2021
Subject:
Photography monographs
Photography monographs
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books
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1 online resource
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[Place of publication not identified] : Minor Compositions, 2026.
[Place of publication not identified] : Minor Compositions, 2026.
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CERFI: Analysis Everywhere. Militancy, Research, Architecture and Psychiatry.
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1 online resource
CERFI: Analysis Everywhere. Militancy, Research, Architecture and Psychiatry.
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1 online resource
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books
books
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[Place of publication not identified] : Minor Compositions, 2026.
[Place of publication not identified] : Minor Compositions, 2026.
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vj, [2], 240 pages, CXX [120] leaves of plates : illustrations, plans, diagrams (engravings) ; 27 cm
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vj, [2], 240 pages, CXX [120] leaves of plates : illustrations, plans, diagrams (engravings) ; 27 cm
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A Paris, quai des Augustins : chez Charles-Antoine Jombert, Libraire du Roi pour l'Artillerie & le Génie, au coin de la rue Gille-cœur, à l'Image Notre-Dame, M. DCC. L. [1750]
A Paris, quai des Augustins : chez Charles-Antoine Jombert, Libraire du Roi pour l'Artillerie & le Génie, au coin de la rue Gille-cœur, à l'Image Notre-Dame, M. DCC. L. [1750]
Title:
Traité de perspective a l'usage des artistes : où l'on démontre géométriquement toutes les pratiques de cette science, & où l'on enseigne, selon la méthode de M. le Clerc, à mettre toutes sortes d'objets en perspective, leur réverbération dans l'eau, & leurs ombres, tant au soleil qu'au flambeau / par M. Edme-Sebastien Jeaurat, (ingénieur-géographe du roi).
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vj, [2], 240 pages, CXX [120] leaves of plates : illustrations, plans, diagrams (engravings) ; 27 cm
Traité de perspective a l'usage des artistes : où l'on démontre géométriquement toutes les pratiques de cette science, & où l'on enseigne, selon la méthode de M. le Clerc, à mettre toutes sortes d'objets en perspective, leur réverbération dans l'eau, & leurs ombres, tant au soleil qu'au flambeau / par M. Edme-Sebastien Jeaurat, (ingénieur-géographe du roi).
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vj, [2], 240 pages, CXX [120] leaves of plates : illustrations, plans, diagrams (engravings) ; 27 cm
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books
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A Paris, quai des Augustins : chez Charles-Antoine Jombert, Libraire du Roi pour l'Artillerie & le Génie, au coin de la rue Gille-cœur, à l'Image Notre-Dame, M. DCC. L. [1750]
A Paris, quai des Augustins : chez Charles-Antoine Jombert, Libraire du Roi pour l'Artillerie & le Génie, au coin de la rue Gille-cœur, à l'Image Notre-Dame, M. DCC. L. [1750]
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$79.95
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
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Uncommon ground : architecture, technology. and topography
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
Uncommon ground : architecture, technology. and topography
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$79.95
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
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books
books
Publication:
May 2002, Cambridge, Mass.
May 2002, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
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books
books
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$56.95
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Summary:
Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
$56.95
(available to order)
Summary:
Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
Subject:
Architectural Theory
Architectural Theory
Publication:
October 2000, Cambridge, Mass.
October 2000, Cambridge, Mass.
Title:
Uncommon ground : architecture, technology, and topography
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$56.95
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Summary:
Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
Uncommon ground : architecture, technology, and topography
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$56.95
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Summary:
Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
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books
books
Publication:
October 2000, Cambridge, Mass.
October 2000, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
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books
books
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$32.50
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Summary:
Who are you? And how can you prove it? How were individuals described and identified by people who had never seen them before, in the centuries before photography and fingerprinting, in a world without centralized administrations, where names and addresses were constantly changing? In "Who are you?", Valentin Groebner traces the early modern European history of(...)
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Who are you? And how can you prove it? How were individuals described and identified by people who had never seen them before, in the centuries before photography and fingerprinting, in a world without centralized administrations, where names and addresses were constantly changing? In "Who are you?", Valentin Groebner traces the early modern European history of(...)
Title:
Who are you? : identification, deception, and surveillance in early modern Europe
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Who are you? And how can you prove it? How were individuals described and identified by people who had never seen them before, in the centuries before photography and fingerprinting, in a world without centralized administrations, where names and addresses were constantly changing? In "Who are you?", Valentin Groebner traces the early modern European history of identification practices and identity papers. The documents, seals, stamps, and signatures were — and are — powerful tools that created the double of a person in writ and bore the indelible signs of bureaucratic authenticity. Ultimately, as Groebner lucidly explains, they revealed as much about their makers’ illustory fantasies as they did about their bearers’ actual identity. The bureaucratic desire to register and control the population created, from the sixteenth century onward, an intricate administrative system for tracking individual identities. Most important, the proof of one’s identity was intimately linked and determined by the identification papers the authorities demanded and endlessly supplied. At the same time, these papers and practices gave birth to two uncanny doppelgängers of administrative identity procedures : the spy who craftily forged official documents and passports, and the impostor who dissimulated and mimed any individual he so disired. Through careful research and powerful narrative, Groebner recounts the complicated and bizarre stories of the many ways in which identities were stolen, created, and doubled. Groebner argues that identity papers cannot be interpreted literally as pure and simple documents. They are themselves pieces of history, histories of individuals and individuality, papers that both document and transform their owner’s identity — from Renaissance vagrants and gypsies to the illegal immigrants of today who remain "sans papiers", without papers.
Who are you? : identification, deception, and surveillance in early modern Europe
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$32.50
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Who are you? And how can you prove it? How were individuals described and identified by people who had never seen them before, in the centuries before photography and fingerprinting, in a world without centralized administrations, where names and addresses were constantly changing? In "Who are you?", Valentin Groebner traces the early modern European history of identification practices and identity papers. The documents, seals, stamps, and signatures were — and are — powerful tools that created the double of a person in writ and bore the indelible signs of bureaucratic authenticity. Ultimately, as Groebner lucidly explains, they revealed as much about their makers’ illustory fantasies as they did about their bearers’ actual identity. The bureaucratic desire to register and control the population created, from the sixteenth century onward, an intricate administrative system for tracking individual identities. Most important, the proof of one’s identity was intimately linked and determined by the identification papers the authorities demanded and endlessly supplied. At the same time, these papers and practices gave birth to two uncanny doppelgängers of administrative identity procedures : the spy who craftily forged official documents and passports, and the impostor who dissimulated and mimed any individual he so disired. Through careful research and powerful narrative, Groebner recounts the complicated and bizarre stories of the many ways in which identities were stolen, created, and doubled. Groebner argues that identity papers cannot be interpreted literally as pure and simple documents. They are themselves pieces of history, histories of individuals and individuality, papers that both document and transform their owner’s identity — from Renaissance vagrants and gypsies to the illegal immigrants of today who remain "sans papiers", without papers.
Form:
books
books
Publication:
March 2007, New York
March 2007, New York
Subject:
Architectural Theory
Architectural Theory
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books
books
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$49.50
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Once symbols of the past, ruins have become ubiquitous signs of our future. Americans today encounter ruins in the media on a daily basis - images of abandoned factories and malls, toxic landscapes, devastating fires, hurricanes, and floods. In this sweeping study, Miles Orvell offers a new understanding of the spectacle of ruins in US culture, exploring how(...)
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Once symbols of the past, ruins have become ubiquitous signs of our future. Americans today encounter ruins in the media on a daily basis - images of abandoned factories and malls, toxic landscapes, devastating fires, hurricanes, and floods. In this sweeping study, Miles Orvell offers a new understanding of the spectacle of ruins in US culture, exploring how(...)
Title:
Empire of ruins: American culture, phptography, and the spectacle of destruction
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Once symbols of the past, ruins have become ubiquitous signs of our future. Americans today encounter ruins in the media on a daily basis - images of abandoned factories and malls, toxic landscapes, devastating fires, hurricanes, and floods. In this sweeping study, Miles Orvell offers a new understanding of the spectacle of ruins in US culture, exploring how photographers, writers, painters, and filmmakers have responded to ruin and destruction, both real and imaginary, in an effort to make sense of the past and envision the future. ''Empire of ruins'' explains why Americans in the nineteenth century yearned for the ruins of Rome and Egypt and how they portrayed a past as ancient and mysterious in the remains of Native American cultures. As the romance of ruins gave way to twentieth-century capitalism, older structures were demolished to make way for grander ones, a process interpreted by artists as a symptom of America's "creative destruction." In the late twentieth century, Americans began to inhabit a perpetual state of ruins, made visible by photographs of decaying inner cities, derelict factories and malls, and the waste lands of the mining industry. This interdisciplinary work focuses on how visual media have transformed disaster and decay into spectacles that compel our moral attention even as they balance horror and beauty. Looking to the future, Orvell considers the visual portrayal of climate ruins as we face the political and ethical responsibilities of our changing world. A wide-ranging work by an acclaimed urban, cultural, and photography scholar, ''Empire of ruins'' offers a provocative and lavishly illustrated look at the American past, present, and future.
Empire of ruins: American culture, phptography, and the spectacle of destruction
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$49.50
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Once symbols of the past, ruins have become ubiquitous signs of our future. Americans today encounter ruins in the media on a daily basis - images of abandoned factories and malls, toxic landscapes, devastating fires, hurricanes, and floods. In this sweeping study, Miles Orvell offers a new understanding of the spectacle of ruins in US culture, exploring how photographers, writers, painters, and filmmakers have responded to ruin and destruction, both real and imaginary, in an effort to make sense of the past and envision the future. ''Empire of ruins'' explains why Americans in the nineteenth century yearned for the ruins of Rome and Egypt and how they portrayed a past as ancient and mysterious in the remains of Native American cultures. As the romance of ruins gave way to twentieth-century capitalism, older structures were demolished to make way for grander ones, a process interpreted by artists as a symptom of America's "creative destruction." In the late twentieth century, Americans began to inhabit a perpetual state of ruins, made visible by photographs of decaying inner cities, derelict factories and malls, and the waste lands of the mining industry. This interdisciplinary work focuses on how visual media have transformed disaster and decay into spectacles that compel our moral attention even as they balance horror and beauty. Looking to the future, Orvell considers the visual portrayal of climate ruins as we face the political and ethical responsibilities of our changing world. A wide-ranging work by an acclaimed urban, cultural, and photography scholar, ''Empire of ruins'' offers a provocative and lavishly illustrated look at the American past, present, and future.
Form:
books
books
Publication:
January 2021
January 2021
Subject:
Theory of Photography
Theory of Photography
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audio
audio
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1 online resource.
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[Place of publication not identified] : Junior Aspirin Records, 2017.
[Place of publication not identified] : Junior Aspirin Records, 2017.
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audio
audio
Publication:
[Place of publication not identified] : Junior Aspirin Records, 2017.
[Place of publication not identified] : Junior Aspirin Records, 2017.
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