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Architects construct models in order to better visualise their projects, to make them more tangible. Even after a building is realised, its model can offer new insights about the creative process of the designer. Photographed by Takashi Homma, the selection in this book comes exclusively from Japanese practices, spanning from the heyday of the Metabolists in the 1960s and(...)
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Architects construct models in order to better visualise their projects, to make them more tangible. Even after a building is realised, its model can offer new insights about the creative process of the designer. Photographed by Takashi Homma, the selection in this book comes exclusively from Japanese practices, spanning from the heyday of the Metabolists in the 1960s and(...)
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Japanese architectural models: photography by Takashi Homma
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Architects construct models in order to better visualise their projects, to make them more tangible. Even after a building is realised, its model can offer new insights about the creative process of the designer. Photographed by Takashi Homma, the selection in this book comes exclusively from Japanese practices, spanning from the heyday of the Metabolists in the 1960s and 70s to the bubble economys collapse and the 21st century. Included are many notable works, among them Tadao Andos Church of the Light, Kisho Kurokawas Nakagin Capsule Tower, Toyo Itos Serpentine Gallery Pavilion, houses by Itsuko Hasegawa, and Ryue Nishizawas Teshima Art Museum.
Japanese architectural models: photography by Takashi Homma
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Architects construct models in order to better visualise their projects, to make them more tangible. Even after a building is realised, its model can offer new insights about the creative process of the designer. Photographed by Takashi Homma, the selection in this book comes exclusively from Japanese practices, spanning from the heyday of the Metabolists in the 1960s and 70s to the bubble economys collapse and the 21st century. Included are many notable works, among them Tadao Andos Church of the Light, Kisho Kurokawas Nakagin Capsule Tower, Toyo Itos Serpentine Gallery Pavilion, houses by Itsuko Hasegawa, and Ryue Nishizawas Teshima Art Museum.
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books
books
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April 2016
April 2016
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Models
Models
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books
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Modelling space
Modelling space
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On the occasion of the 10th anniversary of the Kiesler Foundation Vienna the symposium Modelling space took place at the Az W. The architects, artists and theorists: Ben van Berkel, Olafur Eliasson, Kurt W. Forster, Antje von Graevenitz and Hani Rashid/Asymptote took a stand on the topic of “modelling space”. In particular, there was a discussion of the newest tendencies(...)
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On the occasion of the 10th anniversary of the Kiesler Foundation Vienna the symposium Modelling space took place at the Az W. The architects, artists and theorists: Ben van Berkel, Olafur Eliasson, Kurt W. Forster, Antje von Graevenitz and Hani Rashid/Asymptote took a stand on the topic of “modelling space”. In particular, there was a discussion of the newest tendencies(...)
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Modelling space
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On the occasion of the 10th anniversary of the Kiesler Foundation Vienna the symposium Modelling space took place at the Az W. The architects, artists and theorists: Ben van Berkel, Olafur Eliasson, Kurt W. Forster, Antje von Graevenitz and Hani Rashid/Asymptote took a stand on the topic of “modelling space”. In particular, there was a discussion of the newest tendencies and developments in the realm of architectural and artistic spatial interventions as well as an examination of the intentions of novel design practices and working processes in architecture and art.
Modelling space
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On the occasion of the 10th anniversary of the Kiesler Foundation Vienna the symposium Modelling space took place at the Az W. The architects, artists and theorists: Ben van Berkel, Olafur Eliasson, Kurt W. Forster, Antje von Graevenitz and Hani Rashid/Asymptote took a stand on the topic of “modelling space”. In particular, there was a discussion of the newest tendencies and developments in the realm of architectural and artistic spatial interventions as well as an examination of the intentions of novel design practices and working processes in architecture and art.
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books
books
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December 2008
December 2008
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Models
Models
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$36.00
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The model and its architecture explores the relationship between knowledge and models in both scientific and architectural discourse. The significance of the model for Platonic philosophy and the contesting of this in the work of Deleuze forms the background for a consideration of the consequences of the debate in current architectural oractice. At the heart if these(...)
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The model and its architecture explores the relationship between knowledge and models in both scientific and architectural discourse. The significance of the model for Platonic philosophy and the contesting of this in the work of Deleuze forms the background for a consideration of the consequences of the debate in current architectural oractice. At the heart if these(...)
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The model and its architecture
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$36.00
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The model and its architecture explores the relationship between knowledge and models in both scientific and architectural discourse. The significance of the model for Platonic philosophy and the contesting of this in the work of Deleuze forms the background for a consideration of the consequences of the debate in current architectural oractice. At the heart if these responses is the problem of process, of design, cosmology and creative work within the layered relations of philosophy and architecture. The various conceptions of the model for architecture are examined in the writings of Vitruvius, Renaissance theorists, and philosphers of pre-modern Isla.
The model and its architecture
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The model and its architecture explores the relationship between knowledge and models in both scientific and architectural discourse. The significance of the model for Platonic philosophy and the contesting of this in the work of Deleuze forms the background for a consideration of the consequences of the debate in current architectural oractice. At the heart if these responses is the problem of process, of design, cosmology and creative work within the layered relations of philosophy and architecture. The various conceptions of the model for architecture are examined in the writings of Vitruvius, Renaissance theorists, and philosphers of pre-modern Isla.
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books
books
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October 2008, Rotterdam
October 2008, Rotterdam
Subject:
Models
Models
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books
books
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$47.95
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For thousands of years, architects have used models to invent, experiment and communicate. A world in miniature, such models are even more varied in their purposes and materials than their full-scale counterparts. This elegant book explores the fascinating nature of the architectural model through 26 illustrated essays, one for each letter of the alphabet. Unbound by the(...)
$47.95
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Summary:
For thousands of years, architects have used models to invent, experiment and communicate. A world in miniature, such models are even more varied in their purposes and materials than their full-scale counterparts. This elegant book explores the fascinating nature of the architectural model through 26 illustrated essays, one for each letter of the alphabet. Unbound by the(...)
Title:
An alphabet of architectural models
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For thousands of years, architects have used models to invent, experiment and communicate. A world in miniature, such models are even more varied in their purposes and materials than their full-scale counterparts. This elegant book explores the fascinating nature of the architectural model through 26 illustrated essays, one for each letter of the alphabet. Unbound by the practicalities of life-size construction, models allow architects the flexibility and freedom to think in three dimensions. Whether made for purely speculative exercises or to solve a specific problem, they are aids to the imagination. Equally, they can be used as detailed representations of particular places, either built or as yet unrealized, in order to convey information to patrons or the public. Models also have a vibrant life outside the architect’s office, including as souvenirs, architectural fragments displayed in museums, and toys for children and adults alike. Written by architects, model-makers, curators, conservators and scholars, the texts in this absorbing ''Alphabet'' explore such fundamental issues as modelling materials and techniques, scale, and the role of the model in the design process. They also go beyond conventional accounts to look at models under the X-ray machine, their use in film, and edible models. The result is a wide-ranging, original account of the multiple lives of the architectural model.
An alphabet of architectural models
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$47.95
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For thousands of years, architects have used models to invent, experiment and communicate. A world in miniature, such models are even more varied in their purposes and materials than their full-scale counterparts. This elegant book explores the fascinating nature of the architectural model through 26 illustrated essays, one for each letter of the alphabet. Unbound by the practicalities of life-size construction, models allow architects the flexibility and freedom to think in three dimensions. Whether made for purely speculative exercises or to solve a specific problem, they are aids to the imagination. Equally, they can be used as detailed representations of particular places, either built or as yet unrealized, in order to convey information to patrons or the public. Models also have a vibrant life outside the architect’s office, including as souvenirs, architectural fragments displayed in museums, and toys for children and adults alike. Written by architects, model-makers, curators, conservators and scholars, the texts in this absorbing ''Alphabet'' explore such fundamental issues as modelling materials and techniques, scale, and the role of the model in the design process. They also go beyond conventional accounts to look at models under the X-ray machine, their use in film, and edible models. The result is a wide-ranging, original account of the multiple lives of the architectural model.
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books
books
Publication:
October 2019
October 2019
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Models
Models
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201 pages : illustrations ; 31 cm
Description:
201 pages : illustrations ; 31 cm
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Namur : Institut du patrimoine wallon, 2007.
Namur : Institut du patrimoine wallon, 2007.
Title:
One hundred wonders in Wallonia = Cent merveilles de Wallonie = Hundert Wunder Walloniens = Honderd pareltjes van Wallonië / photographs by Guy Focant ; texts by Valérie Dejardin and Julien Maquet.
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201 pages : illustrations ; 31 cm
One hundred wonders in Wallonia = Cent merveilles de Wallonie = Hundert Wunder Walloniens = Honderd pareltjes van Wallonië / photographs by Guy Focant ; texts by Valérie Dejardin and Julien Maquet.
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201 pages : illustrations ; 31 cm
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books
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Namur : Institut du patrimoine wallon, 2007.
Namur : Institut du patrimoine wallon, 2007.
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253 pages : illustrations ; 24 cm
Description:
253 pages : illustrations ; 24 cm
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Grenoble, France : Editions CRAterre, ©1987.
Grenoble, France : Editions CRAterre, ©1987.
Title:
Marrakech 87 : habitat en terre / auteurs, Craterre, H. Guillaud [and others] ; illustrations, maquetttes, dactylographie, H. Dias da Silva, A. Isnard, P. Rollet ; autres auteurs et contributions, ERAC-Tensift, M. Nafakh Lazraq [and others].
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253 pages : illustrations ; 24 cm
Marrakech 87 : habitat en terre / auteurs, Craterre, H. Guillaud [and others] ; illustrations, maquetttes, dactylographie, H. Dias da Silva, A. Isnard, P. Rollet ; autres auteurs et contributions, ERAC-Tensift, M. Nafakh Lazraq [and others].
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253 pages : illustrations ; 24 cm
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books
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Grenoble, France : Editions CRAterre, ©1987.
Grenoble, France : Editions CRAterre, ©1987.
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22 pages : illustrations, portraits ; 21 cm
Description:
22 pages : illustrations, portraits ; 21 cm
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[Place of publication not identified] : [publisher not identified], [1915] (Paris : Printed by Maquet)
[Place of publication not identified] : [publisher not identified], [1915] (Paris : Printed by Maquet)
Title:
Au Bon Marché : maison A. Boucicaut, Paris : Panama-Pacific International Exposition, San Francisco, 1915.
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22 pages : illustrations, portraits ; 21 cm
Au Bon Marché : maison A. Boucicaut, Paris : Panama-Pacific International Exposition, San Francisco, 1915.
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22 pages : illustrations, portraits ; 21 cm
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books
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[Place of publication not identified] : [publisher not identified], [1915] (Paris : Printed by Maquet)
[Place of publication not identified] : [publisher not identified], [1915] (Paris : Printed by Maquet)
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$65.00
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Modeling History revisits the material legacy of Kenneth Frampton's course Studies in Tectonic Culture, a collection of models familiar to anyone who has passed through Avery Hall. It looks back in order to project forward, and asks how the construction of architectural history through the making of models might generate new histories, practices, and ways of seeing.(...)
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Modeling History revisits the material legacy of Kenneth Frampton's course Studies in Tectonic Culture, a collection of models familiar to anyone who has passed through Avery Hall. It looks back in order to project forward, and asks how the construction of architectural history through the making of models might generate new histories, practices, and ways of seeing.(...)
Publication:
June 2017
June 2017
Title:
Modeling history. The case for the tectonic. Stagecraft: models and photos
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Modeling History revisits the material legacy of Kenneth Frampton's course Studies in Tectonic Culture, a collection of models familiar to anyone who has passed through Avery Hall. It looks back in order to project forward, and asks how the construction of architectural history through the making of models might generate new histories, practices, and ways of seeing. Produced on the occasion of the exhibition 'Stagecraft: Models and Photos' at Columbia University's Arthur RossArchitecture Gallery, Modeling History moves between modes of representation, past and present, to explore Frampton's theory and pedagogy concerning tectonics. The sixteen photographs enclosed in this book by photographer James Ewing reveal the possibilities of Frampton's radical approach today. Each image not only reengages with a model built during Frampton's seminar, but, by playing with the potentials of photography, also aspires to project similar material, tectonic, and poetic realities. Printed in a limited edition of 250 copies.
Modeling history. The case for the tectonic. Stagecraft: models and photos
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$65.00
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Summary:
Modeling History revisits the material legacy of Kenneth Frampton's course Studies in Tectonic Culture, a collection of models familiar to anyone who has passed through Avery Hall. It looks back in order to project forward, and asks how the construction of architectural history through the making of models might generate new histories, practices, and ways of seeing. Produced on the occasion of the exhibition 'Stagecraft: Models and Photos' at Columbia University's Arthur RossArchitecture Gallery, Modeling History moves between modes of representation, past and present, to explore Frampton's theory and pedagogy concerning tectonics. The sixteen photographs enclosed in this book by photographer James Ewing reveal the possibilities of Frampton's radical approach today. Each image not only reengages with a model built during Frampton's seminar, but, by playing with the potentials of photography, also aspires to project similar material, tectonic, and poetic realities. Printed in a limited edition of 250 copies.
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books
books
Publication:
June 2017
June 2017
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books
books
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$29.95
(available to order)
Summary:
Se risquer à prendre l'initiative d'un projet n'est pas toujours un bon calcul. Cet engagement personnel compte trop peu en face des projets de ceux qui détiennent l'autorité. Être intégré à ceux-là en revanche est une stratégie qui peut se révéler plus rentable. Ce n'est pas là une simple formalité. Soit. Mais la participation au projet se mérite parce que c'est un gage(...)
$29.95
(available to order)
Summary:
Se risquer à prendre l'initiative d'un projet n'est pas toujours un bon calcul. Cet engagement personnel compte trop peu en face des projets de ceux qui détiennent l'autorité. Être intégré à ceux-là en revanche est une stratégie qui peut se révéler plus rentable. Ce n'est pas là une simple formalité. Soit. Mais la participation au projet se mérite parce que c'est un gage(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
January 1900, Orléans
January 1900, Orléans
Title:
Kristina Solomoukha : les principes ne sont pas négociables
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Se risquer à prendre l'initiative d'un projet n'est pas toujours un bon calcul. Cet engagement personnel compte trop peu en face des projets de ceux qui détiennent l'autorité. Être intégré à ceux-là en revanche est une stratégie qui peut se révéler plus rentable. Ce n'est pas là une simple formalité. Soit. Mais la participation au projet se mérite parce que c'est un gage de réussite sinon une fin en soi. Le tout sera donc d'en être en se connectant au réseau porteur. Le projet, tel que le définissent Luc Boltanski et Eve Chiapello dans Le Nouvel Esprit du Capitalisme, est bien " l'occasion et le prétexte de la connexion ", l'occasion et le prétexte de rencontres et de discussions entre des personnes réactives, mobiles, motivées et impliquées ailleurs. Car il ne suffira pas d'un seul projet pour avoir l'air d'être à la hauteur ; il en faudra sans cesse de nouveaux, et si possible plusieurs à la fois. Ainsi la vie s'écoulera au rythme des projets auxquels vous aurez la capacité de répondre. Faute de quoi, vous donnerez l'impression de stagner. L'activité de Kristina Solomoukha consiste autant à s'engager dans des projets qu'à penser et à matérialiser les formes que prend cet engagement. Projet (1997) en représente toutes les étapes en même temps qu'il les active. Son développement et sa représentation ne font qu'un. Sa mise en œuvre correspond à l'objectif qu'est sa mise en vue. Pour être transparent dans son processus, Projet reste conforme aux rouages et à l'économie de n'importe quel projet digne de ce nom. Mais toutes les phases, comme les liens entre elles, ne sont mises en forme que par des éléments au symbolisme quasiment caricatural. Projet tient ainsi dans une forme de représentation standard : la maquette. Y figurent des constructions dont l'architecture signe la fonction avec le symbolisme " cheap " d'une ville Playmobil. Un temple à colonnades figure une banque et la banque figure la phase financement du projet : simplification de circonstance qui fait écho aux schématismes efficaces de la syntaxe entreprenariale autant que de la planification urbaine. Architecture et " culture du projet " ont en commun d'être les cadres, matériels ou procéduraux, qui orientent nos manières d'agir. Comment dès lors ne pas s'y plier aveuglément, sans toutefois prétendre vainement s'en défaire ? Imaginer un télescopage comique entre la grammaire du pouvoir et la pensée d'un sujet critique. Par exemple, exprimer les préoccupations personnelles de l'artiste au travail en pourcentages et en données statistiques (Journal intime, 1994-2001). Drôle de combinaison qui ne montre pas une incompatibilité. Elle tourne plutôt en dérision l'étroitesse sinon l'inflexibilité de certains cadres qui donnent lieu à des situations absurdes. C'est en proposant de nouvelles configurations urbaines ou des architectures inédites que les dessins de Kristina Solomoukha grossissent malicieusement les aberrations contemporaines. Dans tous ses travaux, la critique est le résultat d'une tentative de participation et d'implication. Comme si en creux se dessinait le portrait collectif d'un sujet contemporain dépassé par des structures de pouvoir et des mécanismes économiques qui tournent à plein mais dans le vide. Qu'un projet aboutisse est gratifiant. C'est la preuve de l'efficacité de votre collaboration mais son aboutissement met un terme au projet dans lequel vous donniez enfin la pleine mesure de vos compétences. Projet débouche lui sur des produits dérivés qui le bouclent, sans l'achever. Ils renvoient à l'impulsion initiale.
Kristina Solomoukha : les principes ne sont pas négociables
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Se risquer à prendre l'initiative d'un projet n'est pas toujours un bon calcul. Cet engagement personnel compte trop peu en face des projets de ceux qui détiennent l'autorité. Être intégré à ceux-là en revanche est une stratégie qui peut se révéler plus rentable. Ce n'est pas là une simple formalité. Soit. Mais la participation au projet se mérite parce que c'est un gage de réussite sinon une fin en soi. Le tout sera donc d'en être en se connectant au réseau porteur. Le projet, tel que le définissent Luc Boltanski et Eve Chiapello dans Le Nouvel Esprit du Capitalisme, est bien " l'occasion et le prétexte de la connexion ", l'occasion et le prétexte de rencontres et de discussions entre des personnes réactives, mobiles, motivées et impliquées ailleurs. Car il ne suffira pas d'un seul projet pour avoir l'air d'être à la hauteur ; il en faudra sans cesse de nouveaux, et si possible plusieurs à la fois. Ainsi la vie s'écoulera au rythme des projets auxquels vous aurez la capacité de répondre. Faute de quoi, vous donnerez l'impression de stagner. L'activité de Kristina Solomoukha consiste autant à s'engager dans des projets qu'à penser et à matérialiser les formes que prend cet engagement. Projet (1997) en représente toutes les étapes en même temps qu'il les active. Son développement et sa représentation ne font qu'un. Sa mise en œuvre correspond à l'objectif qu'est sa mise en vue. Pour être transparent dans son processus, Projet reste conforme aux rouages et à l'économie de n'importe quel projet digne de ce nom. Mais toutes les phases, comme les liens entre elles, ne sont mises en forme que par des éléments au symbolisme quasiment caricatural. Projet tient ainsi dans une forme de représentation standard : la maquette. Y figurent des constructions dont l'architecture signe la fonction avec le symbolisme " cheap " d'une ville Playmobil. Un temple à colonnades figure une banque et la banque figure la phase financement du projet : simplification de circonstance qui fait écho aux schématismes efficaces de la syntaxe entreprenariale autant que de la planification urbaine. Architecture et " culture du projet " ont en commun d'être les cadres, matériels ou procéduraux, qui orientent nos manières d'agir. Comment dès lors ne pas s'y plier aveuglément, sans toutefois prétendre vainement s'en défaire ? Imaginer un télescopage comique entre la grammaire du pouvoir et la pensée d'un sujet critique. Par exemple, exprimer les préoccupations personnelles de l'artiste au travail en pourcentages et en données statistiques (Journal intime, 1994-2001). Drôle de combinaison qui ne montre pas une incompatibilité. Elle tourne plutôt en dérision l'étroitesse sinon l'inflexibilité de certains cadres qui donnent lieu à des situations absurdes. C'est en proposant de nouvelles configurations urbaines ou des architectures inédites que les dessins de Kristina Solomoukha grossissent malicieusement les aberrations contemporaines. Dans tous ses travaux, la critique est le résultat d'une tentative de participation et d'implication. Comme si en creux se dessinait le portrait collectif d'un sujet contemporain dépassé par des structures de pouvoir et des mécanismes économiques qui tournent à plein mais dans le vide. Qu'un projet aboutisse est gratifiant. C'est la preuve de l'efficacité de votre collaboration mais son aboutissement met un terme au projet dans lequel vous donniez enfin la pleine mesure de vos compétences. Projet débouche lui sur des produits dérivés qui le bouclent, sans l'achever. Ils renvoient à l'impulsion initiale.
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books
books
Publication:
January 1900, Orléans
January 1900, Orléans
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$82.00
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Summary:
Limited edition . 1500 copies As a model maker Gilian Schrofer must not only take into account the scale and the size of the model, but also the amount of work involved, the desire for details – or lack thereof, and the balance between the physical realisation of a design versus the level of abstraction. Schrofer's dedication to this level of complexity in the(...)
$82.00
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Summary:
Limited edition . 1500 copies As a model maker Gilian Schrofer must not only take into account the scale and the size of the model, but also the amount of work involved, the desire for details – or lack thereof, and the balance between the physical realisation of a design versus the level of abstraction. Schrofer's dedication to this level of complexity in the(...)
Publication:
June 2008, Amsterdam
June 2008, Amsterdam
Title:
Models of concern: a selection of interior models
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$82.00
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Limited edition . 1500 copies As a model maker Gilian Schrofer must not only take into account the scale and the size of the model, but also the amount of work involved, the desire for details – or lack thereof, and the balance between the physical realisation of a design versus the level of abstraction. Schrofer's dedication to this level of complexity in the realisation of his scale models has brought him a growing group of clients from different creative areas. Here 93 of his models produced between 2003 and the present are documented in full colour, accompanied by production details and an essay.
Models of concern: a selection of interior models
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$82.00
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Limited edition . 1500 copies As a model maker Gilian Schrofer must not only take into account the scale and the size of the model, but also the amount of work involved, the desire for details – or lack thereof, and the balance between the physical realisation of a design versus the level of abstraction. Schrofer's dedication to this level of complexity in the realisation of his scale models has brought him a growing group of clients from different creative areas. Here 93 of his models produced between 2003 and the present are documented in full colour, accompanied by production details and an essay.
Form:
books
books
Publication:
June 2008, Amsterdam
June 2008, Amsterdam
