Border crossings 142
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issue 142 available
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Perspecta 50: Urban divides
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Globalization promised an interconnected world, yet our cities are increasingly divided. In the past decade, for example, thousands of miles of new border walls have been constructed, many in urban contexts. People embrace the idea of walls out of fear, and leaders make promises that only reinforce divisions. Boundaries, of course, are not a new phenomenon. They have(...)
Perspecta 50: Urban divides
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Globalization promised an interconnected world, yet our cities are increasingly divided. In the past decade, for example, thousands of miles of new border walls have been constructed, many in urban contexts. People embrace the idea of walls out of fear, and leaders make promises that only reinforce divisions. Boundaries, of course, are not a new phenomenon. They have historically defined communities for cultural, political, and economic purposes. As urbanization increases and economic inequality reaches record levels, however, urban divides are becoming more pervasive. This volume of Perspecta—the oldest and most distinguished student-edited architectural journal in America—investigates divides as a mechanism of urbanism, both spatially and socially complex.
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Le premier numéro de la revue Back Office, intitulé « Faire avec (l’outil) » interrogera les notions d’outil, d’instrument et d’appareil, dans le contexte du design. Depuis l’apparition du Macintosh en 1982, les designers se sont saisis d’objets numériques mis à leur disposition par des sociétés. Les pratiques physiques liées à la fabrication des formes (montage, collage,(...)
Back Office, no. 01 : making do, making with
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Le premier numéro de la revue Back Office, intitulé « Faire avec (l’outil) » interrogera les notions d’outil, d’instrument et d’appareil, dans le contexte du design. Depuis l’apparition du Macintosh en 1982, les designers se sont saisis d’objets numériques mis à leur disposition par des sociétés. Les pratiques physiques liées à la fabrication des formes (montage, collage, découpage, calque, scotch, crayon, etc.) se seraient, si l’on croit Lev Manovich, progressivement transformées en un enchaînement de fonctions prédéterminées par les créateurs de logiciels. Tandis que l’usage et l’emploi rabattent la créativité dans une anticipation constante de ce qui sera produit, il existe pourtant d’autres voies possibles. Comment inscrire au nom du design cette attirance pour l’âge d’or du « fait main », qui pourrait bien n’avoir jamais existé ? Sous quelles conditions le design peut-il faire des objets techniques des « appareils » ouverts sur des perspectives émancipatrices d’inventivité individuelle et collective ? À quelles modalités devraient répondre des systèmes garantissant aux designers un contexte de création « libre » ?
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SOM journal 10
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SOM 10 is the latest in a series of volumes presenting projects from the offices of Skidmore, Owings & Merrill. Projects featured here include Denver Union Station, Denver, Colorado; and the University Center at The New School, New York.
SOM journal 10
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SOM 10 is the latest in a series of volumes presenting projects from the offices of Skidmore, Owings & Merrill. Projects featured here include Denver Union Station, Denver, Colorado; and the University Center at The New School, New York.
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El croquis 189: Alfredo Paya 2010-2017, Toni Girones 2003-2017, José Maria Sanchez Garcia 2010-2017
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José María Sánchez García, Alfredo Payá, and Toni Gironès are the subjects of this triple focus on young Spanish architects. Although based in different cities and regions, they all launched their careers in the 21st century, and each has since built notable projects throughout Spain and its territories. Each architect’s profile includes a biography, a conversation with(...)
El croquis 189: Alfredo Paya 2010-2017, Toni Girones 2003-2017, José Maria Sanchez Garcia 2010-2017
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José María Sánchez García, Alfredo Payá, and Toni Gironès are the subjects of this triple focus on young Spanish architects. Although based in different cities and regions, they all launched their careers in the 21st century, and each has since built notable projects throughout Spain and its territories. Each architect’s profile includes a biography, a conversation with the architect, an essay by the architect, and several examples of built works. Gain insight on these three architects and recent highlights from the Spanish architecture scene, including the Rowing Pavilion in Alange, the Ibiza and Formentera Music and Dance Conservatory, and the Climate Museum in Lleida.
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“Transparency is overrated,” Jacques Herzog asserted roughly a year ago at the opening of the Vitra Schaudepot in Weil am Rhein. Is that really the case? In the present issue, we explore this topic and take stock of the present situation. Admittedly, the emblematic character of transparent architecture has lost much of its relevance since the post-war years – its charisma(...)
Detail 6 2017: glass construction
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“Transparency is overrated,” Jacques Herzog asserted roughly a year ago at the opening of the Vitra Schaudepot in Weil am Rhein. Is that really the case? In the present issue, we explore this topic and take stock of the present situation. Admittedly, the emblematic character of transparent architecture has lost much of its relevance since the post-war years – its charisma as a symbol of democracy. Yet buildings of glass are far more varied today, and their architecture is in many ways unique. In this issue of Detail, Heide Wessely has selected some groundbreaking schemes. With its printed-glass facade, the Ryerson University structure in Toronto by Snøhetta offers students variously lighted internal spaces, which they, in turn, can use for different study scenarios. With pivoting, printed-glass louvres, the facade of the bank in Nantes by AIA Associés responds to insolation to create a climatic buffer zone. The thermally insulated cast-glass elements in the outer skin of the Sainsbury Wellcome Centre in London by Ian Ritchie Architects screen the interior of the research institute from the street, while allowing diffused, non-glare light into the working spaces. In contrast, the glass pavilion in Manchester and the glazed atrium in Baker Street, London, are functional and restrained extensions to existing buildings. The Discussion section in this issue explores the potential of glass in the many housing towers that are springing up in cities today; and in his Technology article, Kars Haarhuis takes a look at innovative hybrid structures in which concrete or steel are combined with glass in a load-bearing form.
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Austrian architects Baumschlager Eberle are the focus of this instalment. The practice, founded in 1985 by Carlo Baumschlager and Dietmar Eberle, has evolved into a global firm comprising eleven offices in countries throughout Europe and Asia. Today it is run by Eberle together with several partners. Academic research and practical experience come together in the(...)
AV Monographs 215 : Baumschlager Eberle architekten
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Austrian architects Baumschlager Eberle are the focus of this instalment. The practice, founded in 1985 by Carlo Baumschlager and Dietmar Eberle, has evolved into a global firm comprising eleven offices in countries throughout Europe and Asia. Today it is run by Eberle together with several partners. Academic research and practical experience come together in the architecture of Baumschlager Eberle, which primarily concerns itself with the relationship between density and the atmosphere of cities, as well as the possibility of designing zero-energy buildings. The issue includes a theoretical essay by Eberle, along with extensive profiles of sixteen projects completed since 2000.
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Failed States is an occasional publication that aims to collate and investigate ideas around place, or more specifically: ''indeterminate geographies.'' Each themed issue is a trove of text and image by emerging and established writers, artists, filmmakers, photographers and academics. The open-ended nature of the invitation extended to the contributors allows the journal(...)
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March 2019
Failed states, issue 3: refuge
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Failed States is an occasional publication that aims to collate and investigate ideas around place, or more specifically: ''indeterminate geographies.'' Each themed issue is a trove of text and image by emerging and established writers, artists, filmmakers, photographers and academics. The open-ended nature of the invitation extended to the contributors allows the journal to become a space for the exploration of new ways of working, potentially diverging from established practices.
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Perspecta 52: Ensemble
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This fifty-second issue of Perspecta is a projective art history of ensemble as form and politics. It uses theories of ensemble to propose both alternative extensive stagings of design objects, as well as other resistant assemblies of the corps of architects. 'Ensemble' is posed a lens to theorize object-parts and states of motion at once, together: an architecture of the city.
Perspecta 52: Ensemble
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This fifty-second issue of Perspecta is a projective art history of ensemble as form and politics. It uses theories of ensemble to propose both alternative extensive stagings of design objects, as well as other resistant assemblies of the corps of architects. 'Ensemble' is posed a lens to theorize object-parts and states of motion at once, together: an architecture of the city.
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