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CAC : Hadid Studio Yale
CAC : Hadid Studio Yale
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In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio(...)
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In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio(...)
Title:
CAC : Hadid Studio Yale
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In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio assistants, twelve students, and numerous critics - interpreted the contemporary art center as an invitation to experiment with new forms of public space. Specific contemporary works of art became the programme for a series of radical architectural concepts that expand the space of the art, taking on the scale and materiality of full-scale architectural constructs. The studio - and this volume - was divided into ten segments, addressing such issues as programme analysis, spatialities, system conditions, current contemporary art centers, building types, sites, and linearities. Each segment is represented by original renderings, including computer images. The accompanying text is drawn from transcripts of the studio reviews by the critics: Robert A. M. Stern, dean of the Yale School of Architecture; Terence Riley and Paola Antonelli of the Museum of Modern Art; and architects, critics, and scholars Jeffrey Kipnis, Thomas Krens, Sulan Kolatan, William MacDonald, Fabian Marcaccio, Rebeca Mendez, Paola Sanguinetti, Joseph Giovannini, Marc Cousins, Greg Lynn, and Gail Witwer.
CAC : Hadid Studio Yale
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Summary:
In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio assistants, twelve students, and numerous critics - interpreted the contemporary art center as an invitation to experiment with new forms of public space. Specific contemporary works of art became the programme for a series of radical architectural concepts that expand the space of the art, taking on the scale and materiality of full-scale architectural constructs. The studio - and this volume - was divided into ten segments, addressing such issues as programme analysis, spatialities, system conditions, current contemporary art centers, building types, sites, and linearities. Each segment is represented by original renderings, including computer images. The accompanying text is drawn from transcripts of the studio reviews by the critics: Robert A. M. Stern, dean of the Yale School of Architecture; Terence Riley and Paola Antonelli of the Museum of Modern Art; and architects, critics, and scholars Jeffrey Kipnis, Thomas Krens, Sulan Kolatan, William MacDonald, Fabian Marcaccio, Rebeca Mendez, Paola Sanguinetti, Joseph Giovannini, Marc Cousins, Greg Lynn, and Gail Witwer.
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books
books
Publication:
May 2002, New York
May 2002, New York
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sale books
sale books
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books
books
Title:
Buildings must die
Buildings must die
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Buildings, although inanimate, are often assumed to have “life.” And the architect, through the act of design, is assumed to be their conceiver and creator. But what of the “death” of buildings? What of the decay, deterioration, and destruction to which they are inevitably subject? And what might such endings mean for architecture’s sense of itself? In Buildings Must Die,(...)
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Summary:
Buildings, although inanimate, are often assumed to have “life.” And the architect, through the act of design, is assumed to be their conceiver and creator. But what of the “death” of buildings? What of the decay, deterioration, and destruction to which they are inevitably subject? And what might such endings mean for architecture’s sense of itself? In Buildings Must Die,(...)
Title:
Buildings must die
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Buildings, although inanimate, are often assumed to have “life.” And the architect, through the act of design, is assumed to be their conceiver and creator. But what of the “death” of buildings? What of the decay, deterioration, and destruction to which they are inevitably subject? And what might such endings mean for architecture’s sense of itself? In Buildings Must Die, Stephen Cairns and Jane Jacobs look awry at core architectural concerns. They examine spalling concrete and creeping rust, contemplate ruins old and new, and pick through the rubble of earthquake-shattered churches, imploded housing projects, and demolished Brutalist office buildings. Their investigation of the death of buildings reorders architectural notions of creativity, reshapes architecture’s preoccupation with good form, loosens its vanities of durability, and expands its sense of value. It does so not to kill off architecture as we know it, but to rethink its agency and its capacity to make worlds differently. Cairns and Jacobs offer an original contemplation of architecture that draws on theories of waste and value. Their richly illustrated case studies of building “deaths” include the planned and the unintended, the lamented and the celebrated. They take us from Moline to Christchurch, from London to Bangkok, from Tokyo to Paris. And they feature the work of such architects as Eero Saarinen, Carlo Scarpa, Cedric Price, Arata Isozaki, Rem Koolhaas and François Roche.
Buildings must die
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Summary:
Buildings, although inanimate, are often assumed to have “life.” And the architect, through the act of design, is assumed to be their conceiver and creator. But what of the “death” of buildings? What of the decay, deterioration, and destruction to which they are inevitably subject? And what might such endings mean for architecture’s sense of itself? In Buildings Must Die, Stephen Cairns and Jane Jacobs look awry at core architectural concerns. They examine spalling concrete and creeping rust, contemplate ruins old and new, and pick through the rubble of earthquake-shattered churches, imploded housing projects, and demolished Brutalist office buildings. Their investigation of the death of buildings reorders architectural notions of creativity, reshapes architecture’s preoccupation with good form, loosens its vanities of durability, and expands its sense of value. It does so not to kill off architecture as we know it, but to rethink its agency and its capacity to make worlds differently. Cairns and Jacobs offer an original contemplation of architecture that draws on theories of waste and value. Their richly illustrated case studies of building “deaths” include the planned and the unintended, the lamented and the celebrated. They take us from Moline to Christchurch, from London to Bangkok, from Tokyo to Paris. And they feature the work of such architects as Eero Saarinen, Carlo Scarpa, Cedric Price, Arata Isozaki, Rem Koolhaas and François Roche.
Form:
books
books
Publication:
August 2017
August 2017
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
![[Re] reading Perspecta : the first 50 years of the Yale Architectural Journal](/img-bookstore/U2zEypAg4vNoqdQ07aKvxPIdXbM=/700x919/MIG-13694.jpg)
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"Perspecta", the oldest and most respected student-edited architectural journal in the United States, marks its fiftieth anniversary with this selection of influential and provocative pieces published in its pages from the 1950s through the 1990s. The essays and portfolios in "[Re]Reading Perspecta" trace the development of architectural culture and discourse over the(...)
$93.95
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Summary:
"Perspecta", the oldest and most respected student-edited architectural journal in the United States, marks its fiftieth anniversary with this selection of influential and provocative pieces published in its pages from the 1950s through the 1990s. The essays and portfolios in "[Re]Reading Perspecta" trace the development of architectural culture and discourse over the(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
May 2004, Cambridge, Massachusetts
May 2004, Cambridge, Massachusetts
Title:
[Re] reading Perspecta : the first 50 years of the Yale Architectural Journal
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$93.95
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Summary:
"Perspecta", the oldest and most respected student-edited architectural journal in the United States, marks its fiftieth anniversary with this selection of influential and provocative pieces published in its pages from the 1950s through the 1990s. The essays and portfolios in "[Re]Reading Perspecta" trace the development of architectural culture and discourse over the past fifty years and bear witness to the influential role played by "Perspecta" in a time of crucial debate about the function and future of architecture. This collection (with over 800 pages and 900 images) presents engaging and stimulating essays published in "Perspecta", written by such well-known historians, theorists, and architects as Vincent Scully, Colin Rowe, Roland Barthes, Karsten Harries, K. Michael Hays, Allan Greenberg, Sibyl Moholy-Nagy, John Hejduk, Francesco Dal Co, Bernard Tschumi, and Mark Wigley. "[Re]Reading Perspecta" also assembles the best examples of the richly-illustrated portfolios of projects published over the years, including work by Paul Rudolph, Louis Kahn, Robert Venturi, Eero Saarinen, Charles Moore, Philip Johnson, Peter Eisenman, John Hejduk, Steven Holl, Thomas Leeser, Hani Rashid, and others. The editors introduce each section with essays that offer historical context and critical commentary. "[Re]Reading Perspecta" also includes essays by Kenneth Frampton, K. Michael Hays, Joan Ockman, and Sandy Isenstadt on the history of "Perspecta" and its role in architectural discourse. This selection of the best of "Perspecta" covers a broad and lively spectrum of American architectural design, history, theory, and criticism.
[Re] reading Perspecta : the first 50 years of the Yale Architectural Journal
Actions:
Price:
$93.95
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Summary:
"Perspecta", the oldest and most respected student-edited architectural journal in the United States, marks its fiftieth anniversary with this selection of influential and provocative pieces published in its pages from the 1950s through the 1990s. The essays and portfolios in "[Re]Reading Perspecta" trace the development of architectural culture and discourse over the past fifty years and bear witness to the influential role played by "Perspecta" in a time of crucial debate about the function and future of architecture. This collection (with over 800 pages and 900 images) presents engaging and stimulating essays published in "Perspecta", written by such well-known historians, theorists, and architects as Vincent Scully, Colin Rowe, Roland Barthes, Karsten Harries, K. Michael Hays, Allan Greenberg, Sibyl Moholy-Nagy, John Hejduk, Francesco Dal Co, Bernard Tschumi, and Mark Wigley. "[Re]Reading Perspecta" also assembles the best examples of the richly-illustrated portfolios of projects published over the years, including work by Paul Rudolph, Louis Kahn, Robert Venturi, Eero Saarinen, Charles Moore, Philip Johnson, Peter Eisenman, John Hejduk, Steven Holl, Thomas Leeser, Hani Rashid, and others. The editors introduce each section with essays that offer historical context and critical commentary. "[Re]Reading Perspecta" also includes essays by Kenneth Frampton, K. Michael Hays, Joan Ockman, and Sandy Isenstadt on the history of "Perspecta" and its role in architectural discourse. This selection of the best of "Perspecta" covers a broad and lively spectrum of American architectural design, history, theory, and criticism.
Form:
books
books
Publication:
May 2004, Cambridge, Massachusetts
May 2004, Cambridge, Massachusetts
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$49.95
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Summary:
This second volume of "The details of modern architecture" continues the study of the relationships of the ideals of design and the realities of construction in modern architecture, beginning in the late 1920s and extending to the present day. It contains a wealth of new information on the construction of modern architecture at a variety of scales from minute details to(...)
$49.95
(available to order)
Summary:
This second volume of "The details of modern architecture" continues the study of the relationships of the ideals of design and the realities of construction in modern architecture, beginning in the late 1920s and extending to the present day. It contains a wealth of new information on the construction of modern architecture at a variety of scales from minute details to(...)
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
Publication:
October 2003, Cambridge, Mass.
October 2003, Cambridge, Mass.
Title:
The details of modern architecture volume 2 : 1928 to 1988
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This second volume of "The details of modern architecture" continues the study of the relationships of the ideals of design and the realities of construction in modern architecture, beginning in the late 1920s and extending to the present day. It contains a wealth of new information on the construction of modern architecture at a variety of scales from minute details to general principles. There are over 500 illustrations, including 130 original photographs and 230 original axonometric drawings, arranged to explain the technical, aesthetic, and historical aspects of the building form. Most of the modern movements in architecture have identified some paradigm of good construction, arguing that buildings should be built like Gothic cathedrals, like airplanes, like automobiles, like ships, or like primitive dwellings. Ford examines the degree to which these models were followed, either in spirit or in form, and reveals much about both the theories and techniques of modern architecture, including the extent to which the current constructional theories of high tech and deconstruction are dependent on the traditional modernist paradigms, as well as the ways in which all of these theories differ from the realities of modern building. Individual chapters treat the work of Eliel and Eero Saarinen, Eric Gunnar Asplund, Richard Neutra, Alvar Aalto, Le Corbusier, and Louis Kahn, as well as the Case Study, high tech, postmodern, and deconstructivist architects. Among the individual buildings documented are Eliel Saarinen's Cranbrook School, Asplund's Woodland Cemetery, Fuller's Dymaxion house, the Venturi house, the Eames and other Case Study houses, the concrete buildings of Le Corbusier, Aalto's Säynätsalo Town Hall, and Kahn's Exeter Library and Salk Institute.
The details of modern architecture volume 2 : 1928 to 1988
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Price:
$49.95
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Summary:
This second volume of "The details of modern architecture" continues the study of the relationships of the ideals of design and the realities of construction in modern architecture, beginning in the late 1920s and extending to the present day. It contains a wealth of new information on the construction of modern architecture at a variety of scales from minute details to general principles. There are over 500 illustrations, including 130 original photographs and 230 original axonometric drawings, arranged to explain the technical, aesthetic, and historical aspects of the building form. Most of the modern movements in architecture have identified some paradigm of good construction, arguing that buildings should be built like Gothic cathedrals, like airplanes, like automobiles, like ships, or like primitive dwellings. Ford examines the degree to which these models were followed, either in spirit or in form, and reveals much about both the theories and techniques of modern architecture, including the extent to which the current constructional theories of high tech and deconstruction are dependent on the traditional modernist paradigms, as well as the ways in which all of these theories differ from the realities of modern building. Individual chapters treat the work of Eliel and Eero Saarinen, Eric Gunnar Asplund, Richard Neutra, Alvar Aalto, Le Corbusier, and Louis Kahn, as well as the Case Study, high tech, postmodern, and deconstructivist architects. Among the individual buildings documented are Eliel Saarinen's Cranbrook School, Asplund's Woodland Cemetery, Fuller's Dymaxion house, the Venturi house, the Eames and other Case Study houses, the concrete buildings of Le Corbusier, Aalto's Säynätsalo Town Hall, and Kahn's Exeter Library and Salk Institute.
Form:
books
books
Publication:
October 2003, Cambridge, Mass.
October 2003, Cambridge, Mass.
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
