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In 1958, Swiss-French architect and urban planner Le Corbusier designed the Philips Pavilion for the World's Fair in Brussels. It is the only building the artist produced for a Dutch client. The unconventional pavilion was the setting for the experimental performance "Le Poème électronique," by avant-garde composer Edgard Varèse, seen by one and a half million visitors.(...)
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In 1958, Swiss-French architect and urban planner Le Corbusier designed the Philips Pavilion for the World's Fair in Brussels. It is the only building the artist produced for a Dutch client. The unconventional pavilion was the setting for the experimental performance "Le Poème électronique," by avant-garde composer Edgard Varèse, seen by one and a half million visitors.(...)
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Inside Le Corbusier's Philips Pavilion
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In 1958, Swiss-French architect and urban planner Le Corbusier designed the Philips Pavilion for the World's Fair in Brussels. It is the only building the artist produced for a Dutch client. The unconventional pavilion was the setting for the experimental performance "Le Poème électronique," by avant-garde composer Edgard Varèse, seen by one and a half million visitors. Combining film, color, music and light, this event is regarded as the first multimedia performance for the general public. After its demolition in 1959, the pavilion became an icon of 20th-century art. The Rijksmuseum in Amsterdam hosts a scale model of the pavilion and also provides the eight-minute soundtrack of "Le Poème électronique." EYE Filmmuseum, also in Amsterdam, has kept the film footage of the performance. This monograph includes a complete overview of the Philips Pavilion, including its history, construction and detailed documentation of "Le Poème électronique."
Inside Le Corbusier's Philips Pavilion
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In 1958, Swiss-French architect and urban planner Le Corbusier designed the Philips Pavilion for the World's Fair in Brussels. It is the only building the artist produced for a Dutch client. The unconventional pavilion was the setting for the experimental performance "Le Poème électronique," by avant-garde composer Edgard Varèse, seen by one and a half million visitors. Combining film, color, music and light, this event is regarded as the first multimedia performance for the general public. After its demolition in 1959, the pavilion became an icon of 20th-century art. The Rijksmuseum in Amsterdam hosts a scale model of the pavilion and also provides the eight-minute soundtrack of "Le Poème électronique." EYE Filmmuseum, also in Amsterdam, has kept the film footage of the performance. This monograph includes a complete overview of the Philips Pavilion, including its history, construction and detailed documentation of "Le Poème électronique."
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books
books
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August 2015
August 2015
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Architecture Monographs
Architecture Monographs
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59 pages : illustrations (chiefly color), plans ; 31 cm.
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59 pages : illustrations (chiefly color), plans ; 31 cm.
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Stuttgart : Edition Axel Menges, [2014], ©2014
Stuttgart : Edition Axel Menges, [2014], ©2014
Title:
Ferdinand Kramer/SSP SchürmannSpannel, Forschungszentrum BiK-F, Frankfurt am Main / Text, Fabian Wurm ; Photographien/photographs, Jörg Hempel ; Übersetzung ins Englische/translation into English, Friedrich Ragette; editor: Axel Menges.
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59 pages : illustrations (chiefly color), plans ; 31 cm.
Ferdinand Kramer/SSP SchürmannSpannel, Forschungszentrum BiK-F, Frankfurt am Main / Text, Fabian Wurm ; Photographien/photographs, Jörg Hempel ; Übersetzung ins Englische/translation into English, Friedrich Ragette; editor: Axel Menges.
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59 pages : illustrations (chiefly color), plans ; 31 cm.
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books
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Stuttgart : Edition Axel Menges, [2014], ©2014
Stuttgart : Edition Axel Menges, [2014], ©2014
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books
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Sou Fujimoto: sketchbook
Sou Fujimoto: sketchbook
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The works of Sou Fujimoto resist any form of conventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and definitions such as inside/outside or public/private. Clear divisions such as between floor levels and rooms are shattered by his complex ground plans and interlocking structures(...)
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The works of Sou Fujimoto resist any form of conventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and definitions such as inside/outside or public/private. Clear divisions such as between floor levels and rooms are shattered by his complex ground plans and interlocking structures(...)
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Sou Fujimoto: sketchbook
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The works of Sou Fujimoto resist any form of conventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and definitions such as inside/outside or public/private. Clear divisions such as between floor levels and rooms are shattered by his complex ground plans and interlocking structures which—in a reference to the idea of the cave—he describes as “Primitive Future.” With this approach he creates forms that are committed to a playful interaction between user and space. Alongside private residences, such as the well-known N House, his library for Musashino Art University has achieved particular recognition. In addition he was represented at the 2010 Venice Biennale with a design for a house. In his personal sketchbook Sou Fujimoto offers insights into his design process. Through the sketches, drawings, and notes readers can trace how his complex concepts are made manifest and develop on paper.
Sou Fujimoto: sketchbook
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The works of Sou Fujimoto resist any form of conventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and definitions such as inside/outside or public/private. Clear divisions such as between floor levels and rooms are shattered by his complex ground plans and interlocking structures which—in a reference to the idea of the cave—he describes as “Primitive Future.” With this approach he creates forms that are committed to a playful interaction between user and space. Alongside private residences, such as the well-known N House, his library for Musashino Art University has achieved particular recognition. In addition he was represented at the 2010 Venice Biennale with a design for a house. In his personal sketchbook Sou Fujimoto offers insights into his design process. Through the sketches, drawings, and notes readers can trace how his complex concepts are made manifest and develop on paper.
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books
books
Publication:
November 2012
November 2012
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof(...)
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof(...)
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Josep Lluis Sert: Joan Miro foundation
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof terraces above. (Two subsequent expansions to the building were designed by Jaume Freixa, a pupil and longtime colleague of Sert's.) After the first major retrospective of Miró's work occurred in Barcelona in 1968, the artist decided to set up a building to make his work and the work of other contemporary artists permanently accessible to the public. To design the foundation's home, he tapped his old friend Sert, a pioneer in the introduction of modern architecture in Catalonia, who had first met Miró in 1932 and worked with him on the Spanish (Republican) Pavilion at the Paris World Fair in 1937. This volume, one of a series of monographs on new museum architecture, provides a careful look at the design of one of Europe's premier art institutions, and includes an interview with the architects responsible for the recent expansions.
Josep Lluis Sert: Joan Miro foundation
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof terraces above. (Two subsequent expansions to the building were designed by Jaume Freixa, a pupil and longtime colleague of Sert's.) After the first major retrospective of Miró's work occurred in Barcelona in 1968, the artist decided to set up a building to make his work and the work of other contemporary artists permanently accessible to the public. To design the foundation's home, he tapped his old friend Sert, a pioneer in the introduction of modern architecture in Catalonia, who had first met Miró in 1932 and worked with him on the Spanish (Republican) Pavilion at the Paris World Fair in 1937. This volume, one of a series of monographs on new museum architecture, provides a careful look at the design of one of Europe's premier art institutions, and includes an interview with the architects responsible for the recent expansions.
Form:
books
books
Publication:
September 2010
September 2010
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
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books
books
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$66.00
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"SuperDesign" charts the Italian Radicals’ experimentation in modern design from its birth through its continued influence on design today. Radical Design was launched by art, architecture, and design students in Italy in the mid-1960s. What started as a youthful rally against the establishment and a rejection of design norms became a movement that brought together(...)
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"SuperDesign" charts the Italian Radicals’ experimentation in modern design from its birth through its continued influence on design today. Radical Design was launched by art, architecture, and design students in Italy in the mid-1960s. What started as a youthful rally against the establishment and a rejection of design norms became a movement that brought together(...)
Subject:
Design, Periods and Styles
Design, Periods and Styles
Publication:
October 2017
October 2017
Title:
Superdesign: Italian radical design 1965-1975
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"SuperDesign" charts the Italian Radicals’ experimentation in modern design from its birth through its continued influence on design today. Radical Design was launched by art, architecture, and design students in Italy in the mid-1960s. What started as a youthful rally against the establishment and a rejection of design norms became a movement that brought together avant-garde thinkers and makers across the country.Through furniture and objects as well as public innovations, the Radicals projected design’s new era as equal parts Pop Art, play, Surrealism, and futurism. Told through exclusive interviews, unreleased photographs, original drawings and artwork unearthed from personal archives, "SuperDesign" explores this period of design that played out against the era’s social and political turmoil.
Superdesign: Italian radical design 1965-1975
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"SuperDesign" charts the Italian Radicals’ experimentation in modern design from its birth through its continued influence on design today. Radical Design was launched by art, architecture, and design students in Italy in the mid-1960s. What started as a youthful rally against the establishment and a rejection of design norms became a movement that brought together avant-garde thinkers and makers across the country.Through furniture and objects as well as public innovations, the Radicals projected design’s new era as equal parts Pop Art, play, Surrealism, and futurism. Told through exclusive interviews, unreleased photographs, original drawings and artwork unearthed from personal archives, "SuperDesign" explores this period of design that played out against the era’s social and political turmoil.
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books
books
Publication:
October 2017
October 2017
Subject:
Design, Periods and Styles
Design, Periods and Styles
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books
books
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$19.00
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A collaboration between artist Sophie Warren, architect Jonathan Mosley and writer Robin Wilson, Beyond Utopia looks at the practicalities of utopian thinking in urban planning and administrative culture. Submitting a utopian architectural proposal for a real site in London to city officials, the trio enacted a form of playful provocation as a basis for exploring the(...)
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A collaboration between artist Sophie Warren, architect Jonathan Mosley and writer Robin Wilson, Beyond Utopia looks at the practicalities of utopian thinking in urban planning and administrative culture. Submitting a utopian architectural proposal for a real site in London to city officials, the trio enacted a form of playful provocation as a basis for exploring the(...)
Title:
Surface tension supplement no.5 : Beyond utopia
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A collaboration between artist Sophie Warren, architect Jonathan Mosley and writer Robin Wilson, Beyond Utopia looks at the practicalities of utopian thinking in urban planning and administrative culture. Submitting a utopian architectural proposal for a real site in London to city officials, the trio enacted a form of playful provocation as a basis for exploring the systems and languages of planning, architecture and city development. Though fictive, the utopian proposal gained credence as it was discussed and shared among planning officials and reviewers, ultimately becoming a springboard for dialogue about possibilities and even actualities in the sphere of public space. Centered on a screenplay for an unrealized film, which restages the process and exchanges of the original proposal, Surface Tension Supplement No. 5 also includes texts and projects by leading theorists, artists and academics who debate the roles of spatial practice and politics today.
Surface tension supplement no.5 : Beyond utopia
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A collaboration between artist Sophie Warren, architect Jonathan Mosley and writer Robin Wilson, Beyond Utopia looks at the practicalities of utopian thinking in urban planning and administrative culture. Submitting a utopian architectural proposal for a real site in London to city officials, the trio enacted a form of playful provocation as a basis for exploring the systems and languages of planning, architecture and city development. Though fictive, the utopian proposal gained credence as it was discussed and shared among planning officials and reviewers, ultimately becoming a springboard for dialogue about possibilities and even actualities in the sphere of public space. Centered on a screenplay for an unrealized film, which restages the process and exchanges of the original proposal, Surface Tension Supplement No. 5 also includes texts and projects by leading theorists, artists and academics who debate the roles of spatial practice and politics today.
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books
books
Publication:
October 2011
October 2011
Subject:
Art Theory
Art Theory
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books
books
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills(...)
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills(...)
Subject:
Acoustics
Acoustics
Publication:
June 2006, Copenhagen, Los Angeles
June 2006, Copenhagen, Los Angeles
Title:
Surface tension - supplement no 1
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills Landfill, Scott Berzofsky, Nicholas Petr, Nicholas Wisniewski & Michael Rakowitz on artistic interventions in Baltimore, and by Claudine Isé, curator of "Vanishing Point", an exhibition at the Wexner Center for the Arts, which questions the aesthetics of urban non-spaces through recent photography and film. In addition field reports by Robin Wilson on public art projects in Bristol, Goto Newton on the cultures of interventionist practice in Curitiba Brazil, and Ken Ehrlich on the infrastructure of signage in Los Angeles as seen through the photographic works of Brandon Lattu complement the articles. In addition, documentation of public projects in Tijuana and Ohio by the artist groups Simparch and e-Xplo will be presented, along with projects designed specifically for the book by Sophie Warren and Jonathan Mosely, a Bristol-based team working with questions of utopian architecture, and Brandon LaBelle with a textual-photographic meditation on experimental architecture. Additional writings by Kathy Battista and Aoife O’Brien provide critical and creative perspectives on recent events, books, and exhibitions working with questions of architecture, performance, and media.
Surface tension - supplement no 1
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills Landfill, Scott Berzofsky, Nicholas Petr, Nicholas Wisniewski & Michael Rakowitz on artistic interventions in Baltimore, and by Claudine Isé, curator of "Vanishing Point", an exhibition at the Wexner Center for the Arts, which questions the aesthetics of urban non-spaces through recent photography and film. In addition field reports by Robin Wilson on public art projects in Bristol, Goto Newton on the cultures of interventionist practice in Curitiba Brazil, and Ken Ehrlich on the infrastructure of signage in Los Angeles as seen through the photographic works of Brandon Lattu complement the articles. In addition, documentation of public projects in Tijuana and Ohio by the artist groups Simparch and e-Xplo will be presented, along with projects designed specifically for the book by Sophie Warren and Jonathan Mosely, a Bristol-based team working with questions of utopian architecture, and Brandon LaBelle with a textual-photographic meditation on experimental architecture. Additional writings by Kathy Battista and Aoife O’Brien provide critical and creative perspectives on recent events, books, and exhibitions working with questions of architecture, performance, and media.
Form:
books
books
Publication:
June 2006, Copenhagen, Los Angeles
June 2006, Copenhagen, Los Angeles
Subject:
Acoustics
Acoustics
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books
books
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$34.95
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Old Montreal is a one-square-kilometre historic district located in the heart of one of North America's great cities. The old city centre offers a unique blend of history and heritage that spans thousands of years, from prehistoric encampments to architectural masterpieces of later days. Constantly changing throughout its history, the district nonetheless bears striking(...)
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Old Montreal is a one-square-kilometre historic district located in the heart of one of North America's great cities. The old city centre offers a unique blend of history and heritage that spans thousands of years, from prehistoric encampments to architectural masterpieces of later days. Constantly changing throughout its history, the district nonetheless bears striking(...)
Subject:
Architecture de Montréal
Architecture de Montréal
Publication:
November 2004, Sainte-Foy
November 2004, Sainte-Foy
Title:
Old Montreal : history through heritage
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Old Montreal is a one-square-kilometre historic district located in the heart of one of North America's great cities. The old city centre offers a unique blend of history and heritage that spans thousands of years, from prehistoric encampments to architectural masterpieces of later days. Constantly changing throughout its history, the district nonetheless bears striking evidence of each major stage in its development. The authors explain how Old Montreal's diverse architectural heritage and many features of its urban landscape—archaeological remains, streets, squares, gardens, docks and public works of art—reveal so much about the district's past and the people who lived there. Each chapter covers a distinct historical period. The unfolding story traces how the historic district emerged as a powerful business district, casting its influence over the larger city, its region and even, in part, over the development of the continent. Recounted in an accessible manner, the history of Old Montreal comes alive with 270 illustrations, including colour photographs commissioned for this book.
Old Montreal : history through heritage
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Old Montreal is a one-square-kilometre historic district located in the heart of one of North America's great cities. The old city centre offers a unique blend of history and heritage that spans thousands of years, from prehistoric encampments to architectural masterpieces of later days. Constantly changing throughout its history, the district nonetheless bears striking evidence of each major stage in its development. The authors explain how Old Montreal's diverse architectural heritage and many features of its urban landscape—archaeological remains, streets, squares, gardens, docks and public works of art—reveal so much about the district's past and the people who lived there. Each chapter covers a distinct historical period. The unfolding story traces how the historic district emerged as a powerful business district, casting its influence over the larger city, its region and even, in part, over the development of the continent. Recounted in an accessible manner, the history of Old Montreal comes alive with 270 illustrations, including colour photographs commissioned for this book.
Form:
books
books
Publication:
November 2004, Sainte-Foy
November 2004, Sainte-Foy
Subject:
Architecture de Montréal
Architecture de Montréal
Form:
books
books
Title:
The upside-down museum: Practice-based institutional critique, working up frm the actual museum floo
The upside-down museum: Practice-based institutional critique, working up frm the actual museum floo
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Through onsite interventions, Giannotti challenges the existing order of public art institutions. Responding to the museum status quo, Aldo Giannotti's concepts and props reshape the institution’s social and spatial architecture. Through dialogue with staff, guards and visitors, Giannotti engages with the museum and its underlying purpose.
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Through onsite interventions, Giannotti challenges the existing order of public art institutions. Responding to the museum status quo, Aldo Giannotti's concepts and props reshape the institution’s social and spatial architecture. Through dialogue with staff, guards and visitors, Giannotti engages with the museum and its underlying purpose.
Title:
The upside-down museum: Practice-based institutional critique, working up frm the actual museum floo
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Through onsite interventions, Giannotti challenges the existing order of public art institutions. Responding to the museum status quo, Aldo Giannotti's concepts and props reshape the institution’s social and spatial architecture. Through dialogue with staff, guards and visitors, Giannotti engages with the museum and its underlying purpose.
The upside-down museum: Practice-based institutional critique, working up frm the actual museum floo
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Through onsite interventions, Giannotti challenges the existing order of public art institutions. Responding to the museum status quo, Aldo Giannotti's concepts and props reshape the institution’s social and spatial architecture. Through dialogue with staff, guards and visitors, Giannotti engages with the museum and its underlying purpose.
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books
books
Publication:
July 2024
July 2024
Subject:
Museology
Museology
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books
books
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$36.95
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a(...)
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a(...)
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
Publication:
July 2007, London, Baden
July 2007, London, Baden
Title:
Serpentine Gallery Pavillon 2007
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a constitutive element of spaces, private or public. We both work within a field of spatial experimentation that renders conceptual differences between art and architecture superfluous.” The publication comprises extensive visual material documenting the development and realisation of the pavilion; two essays by Doreen Massey, Professor of Geography at The Open University (UK), and Andreas Ruby, architecture critic; a conversation between Olafur Eliasson, Kjetil Thorsen, Hans Ulrich Obrist and Julia Peyton-Jones (Co-directors, Serpentine Gallery).
Serpentine Gallery Pavillon 2007
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$36.95
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a constitutive element of spaces, private or public. We both work within a field of spatial experimentation that renders conceptual differences between art and architecture superfluous.” The publication comprises extensive visual material documenting the development and realisation of the pavilion; two essays by Doreen Massey, Professor of Geography at The Open University (UK), and Andreas Ruby, architecture critic; a conversation between Olafur Eliasson, Kjetil Thorsen, Hans Ulrich Obrist and Julia Peyton-Jones (Co-directors, Serpentine Gallery).
Form:
books
books
Publication:
July 2007, London, Baden
July 2007, London, Baden
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
