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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(...)
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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
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October 2011
October 2011
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Art Theory
Art Theory
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Site of Sound Vol.2 aims to address contemporary work being done in the cross-over between sound and architecture. The anthology brings together new research and writing that charts out the theoritical implications and consequences for artistic and spatial discourses, while documenting contemporary projects that come to occupy and define a sonic-spatial territory.
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Site of Sound Vol.2 aims to address contemporary work being done in the cross-over between sound and architecture. The anthology brings together new research and writing that charts out the theoritical implications and consequences for artistic and spatial discourses, while documenting contemporary projects that come to occupy and define a sonic-spatial territory.
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Site of Sound #2: Of architecture and the ear
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Site of Sound Vol.2 aims to address contemporary work being done in the cross-over between sound and architecture. The anthology brings together new research and writing that charts out the theoritical implications and consequences for artistic and spatial discourses, while documenting contemporary projects that come to occupy and define a sonic-spatial territory.
Site of Sound #2: Of architecture and the ear
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Site of Sound Vol.2 aims to address contemporary work being done in the cross-over between sound and architecture. The anthology brings together new research and writing that charts out the theoritical implications and consequences for artistic and spatial discourses, while documenting contemporary projects that come to occupy and define a sonic-spatial territory.
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books
books
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September 2011
September 2011
Subject:
Acoustics
Acoustics
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The subversive visual programme of the Surrealists was expressed in the interplay of the contradictions, with the goal of radically dismantling the expectations of the hitherto experienced. Today, in a time shaped by increasingly impenetrable and contradictory fragments of information, a new generation of artists is rediscovering the multifarious poetic stylistic devices(...)
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The subversive visual programme of the Surrealists was expressed in the interplay of the contradictions, with the goal of radically dismantling the expectations of the hitherto experienced. Today, in a time shaped by increasingly impenetrable and contradictory fragments of information, a new generation of artists is rediscovering the multifarious poetic stylistic devices(...)
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July 2011
July 2011
Title:
Das ohr von Giacometti: The ear of Giacometti
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The subversive visual programme of the Surrealists was expressed in the interplay of the contradictions, with the goal of radically dismantling the expectations of the hitherto experienced. Today, in a time shaped by increasingly impenetrable and contradictory fragments of information, a new generation of artists is rediscovering the multifarious poetic stylistic devices of Surrealism. Using a disparate, curious and ambiguous aesthetic, they respond to our uncertain and long since incomprehensible world. The catalogue The Ear of Giacometti evokes the main lines of development of central (post-)surrealist themes and is richly illustrated with images from classical and contemporary Surrealist art.
Das ohr von Giacometti: The ear of Giacometti
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The subversive visual programme of the Surrealists was expressed in the interplay of the contradictions, with the goal of radically dismantling the expectations of the hitherto experienced. Today, in a time shaped by increasingly impenetrable and contradictory fragments of information, a new generation of artists is rediscovering the multifarious poetic stylistic devices of Surrealism. Using a disparate, curious and ambiguous aesthetic, they respond to our uncertain and long since incomprehensible world. The catalogue The Ear of Giacometti evokes the main lines of development of central (post-)surrealist themes and is richly illustrated with images from classical and contemporary Surrealist art.
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books
books
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July 2011
July 2011
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This book considers the development of Land Art from the 1960s to the present, charting its earliest expressions among those New York artists who made the genre's earliest masterpieces in the wide-open expanses of the west to recent manifestations with young artists manipulating the artificial world of cyberspace. Exploring historical positions and material approaches(...)
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This book considers the development of Land Art from the 1960s to the present, charting its earliest expressions among those New York artists who made the genre's earliest masterpieces in the wide-open expanses of the west to recent manifestations with young artists manipulating the artificial world of cyberspace. Exploring historical positions and material approaches(...)
Title:
The last freedom : from the pioneers of land art in the 60's to nature in cyberspace
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This book considers the development of Land Art from the 1960s to the present, charting its earliest expressions among those New York artists who made the genre's earliest masterpieces in the wide-open expanses of the west to recent manifestations with young artists manipulating the artificial world of cyberspace. Exploring historical positions and material approaches with the aid of sketches, artifacts, documents, models, photographs and film, and focusing mainly on achievements in America and Europe, the publication includes work by seminal as well as emerging figures operating in the extended field: Adam Berg, Christo and Jeanne-Claude, Agnes Denes, Florian Dombois, Walter de Maria, Toshikatsu Endo, Jan Dibbets, Hamish Fulton, Andy Goldsworthy, Hans Haacke, Michael Heizer, Nancy Holt, Peter Hutchinson, Richard Long, Glenn Marshall, Robert Morris, David Nash, Dennis Oppenheim, Jaume Plensa, Charles Ross, Robert Smithson and James Turrell.
The last freedom : from the pioneers of land art in the 60's to nature in cyberspace
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This book considers the development of Land Art from the 1960s to the present, charting its earliest expressions among those New York artists who made the genre's earliest masterpieces in the wide-open expanses of the west to recent manifestations with young artists manipulating the artificial world of cyberspace. Exploring historical positions and material approaches with the aid of sketches, artifacts, documents, models, photographs and film, and focusing mainly on achievements in America and Europe, the publication includes work by seminal as well as emerging figures operating in the extended field: Adam Berg, Christo and Jeanne-Claude, Agnes Denes, Florian Dombois, Walter de Maria, Toshikatsu Endo, Jan Dibbets, Hamish Fulton, Andy Goldsworthy, Hans Haacke, Michael Heizer, Nancy Holt, Peter Hutchinson, Richard Long, Glenn Marshall, Robert Morris, David Nash, Dennis Oppenheim, Jaume Plensa, Charles Ross, Robert Smithson and James Turrell.
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books
books
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September 2011
September 2011
Subject:
Land Art
Land Art
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The Jewish Museum in Berlin tells the story of German-Jewish history from the fourth century to the present. It consists of two buildings: the first, a former courthouse, was built in the eighteenth century, and the second, a massive extension that opened to the public in 2001, was designed by the world-renowned architect Daniel Libeskind (born 1946). Libeskind's building(...)
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The Jewish Museum in Berlin tells the story of German-Jewish history from the fourth century to the present. It consists of two buildings: the first, a former courthouse, was built in the eighteenth century, and the second, a massive extension that opened to the public in 2001, was designed by the world-renowned architect Daniel Libeskind (born 1946). Libeskind's building(...)
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Daniel Libeskind: Jewish Museum Berlin
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The Jewish Museum in Berlin tells the story of German-Jewish history from the fourth century to the present. It consists of two buildings: the first, a former courthouse, was built in the eighteenth century, and the second, a massive extension that opened to the public in 2001, was designed by the world-renowned architect Daniel Libeskind (born 1946). Libeskind's building is comprised of a zinc façade and a set of three underground allegorical roads. The first leads to the main stairs, and by implication to the continuation of Berlin's history in the Museum; the second leads outdoors into the E.T.A. Hoffmann Garden, representing the exile and emigration of the Jews from Germany; and the third road leads to a dead end, representing “the Holocaust void.” This road cuts through the ensemble as a whole, and evokes, in the architect's words, “that which can never be exhibited when it comes to Jewish Berlin history: humanity reduced to ashes.” For Libeskind, a Polish Jew raised not far from Berlin who lost many relatives in the Holocaust, this extraordinary building was an intensely personal undertaking with numerous responsibilities. This volume details this most freighted and complex of buildings.
Daniel Libeskind: Jewish Museum Berlin
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The Jewish Museum in Berlin tells the story of German-Jewish history from the fourth century to the present. It consists of two buildings: the first, a former courthouse, was built in the eighteenth century, and the second, a massive extension that opened to the public in 2001, was designed by the world-renowned architect Daniel Libeskind (born 1946). Libeskind's building is comprised of a zinc façade and a set of three underground allegorical roads. The first leads to the main stairs, and by implication to the continuation of Berlin's history in the Museum; the second leads outdoors into the E.T.A. Hoffmann Garden, representing the exile and emigration of the Jews from Germany; and the third road leads to a dead end, representing “the Holocaust void.” This road cuts through the ensemble as a whole, and evokes, in the architect's words, “that which can never be exhibited when it comes to Jewish Berlin history: humanity reduced to ashes.” For Libeskind, a Polish Jew raised not far from Berlin who lost many relatives in the Holocaust, this extraordinary building was an intensely personal undertaking with numerous responsibilities. This volume details this most freighted and complex of buildings.
Form:
books
books
Publication:
September 2011
September 2011
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$28.00
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's(...)
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's(...)
Title:
Diller Scofidio & Renfro: Institute of Contemporary Art (ICA) Boston
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's decision to hire Diller + Scofidio reflected our belief in the firm's vision that architecture can shape as well as reflect contemporary experience,” stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community. ''Their brilliant and beautiful design of the ICA was a harbinger of change: edgy, bold and breathtaking, transforming the landscape for contemporary art and culture in Boston and for the artists, art and ideas of our time,” Medvedow has said.
Diller Scofidio & Renfro: Institute of Contemporary Art (ICA) Boston
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's decision to hire Diller + Scofidio reflected our belief in the firm's vision that architecture can shape as well as reflect contemporary experience,” stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community. ''Their brilliant and beautiful design of the ICA was a harbinger of change: edgy, bold and breathtaking, transforming the landscape for contemporary art and culture in Boston and for the artists, art and ideas of our time,” Medvedow has said.
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books
books
Publication:
September 2011
September 2011
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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Portuguese architect Álvaro Siza (born 1933) is one of the most influential architects of the past half-century. His most famous work is perhaps the Serralves Museum in his hometown of Porto, his second museum building, following the Galician Center for Contemporary Art, erected in 1997. Low built and horizontal in axis, its white stucco walls are perforated with(...)
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Portuguese architect Álvaro Siza (born 1933) is one of the most influential architects of the past half-century. His most famous work is perhaps the Serralves Museum in his hometown of Porto, his second museum building, following the Galician Center for Contemporary Art, erected in 1997. Low built and horizontal in axis, its white stucco walls are perforated with(...)
Title:
Àlvaro Siza: Museu De Arte Contemporânea de Serralves Porto
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Portuguese architect Álvaro Siza (born 1933) is one of the most influential architects of the past half-century. His most famous work is perhaps the Serralves Museum in his hometown of Porto, his second museum building, following the Galician Center for Contemporary Art, erected in 1997. Low built and horizontal in axis, its white stucco walls are perforated with occasional openings that yield unexpected views of a surrounding garden. As with most of Siza's buildings, the furniture and fittings were also designed by the architect, including lighting fixtures, handrails, doorknobs and all signage. Building materials include hardwood floors and painted walls in gesso with marble skirting in the exhibition halls and marble floors in the foyers. This volume, published in Poligrafa's innovative Museum Building series, reviews the Serralves Museum, a disarmingly intimate space in pronounced contradistinction to much recent museum architecture.
Àlvaro Siza: Museu De Arte Contemporânea de Serralves Porto
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Portuguese architect Álvaro Siza (born 1933) is one of the most influential architects of the past half-century. His most famous work is perhaps the Serralves Museum in his hometown of Porto, his second museum building, following the Galician Center for Contemporary Art, erected in 1997. Low built and horizontal in axis, its white stucco walls are perforated with occasional openings that yield unexpected views of a surrounding garden. As with most of Siza's buildings, the furniture and fittings were also designed by the architect, including lighting fixtures, handrails, doorknobs and all signage. Building materials include hardwood floors and painted walls in gesso with marble skirting in the exhibition halls and marble floors in the foyers. This volume, published in Poligrafa's innovative Museum Building series, reviews the Serralves Museum, a disarmingly intimate space in pronounced contradistinction to much recent museum architecture.
Form:
books
books
Publication:
September 2011
September 2011
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$33.00
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Following his Getty Center in Los Angeles and the Museum of Contemporary Art in Barcelona, celebrated American architect Richard Meier (born 1934) has created another stunning example of museum architecture. Full of light, the Sammlung Frieder Burda in Baden-Baden sits alongside the Staatliche Kunsthalle, and the two are linked via glass bridge. In contrast to the(...)
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Following his Getty Center in Los Angeles and the Museum of Contemporary Art in Barcelona, celebrated American architect Richard Meier (born 1934) has created another stunning example of museum architecture. Full of light, the Sammlung Frieder Burda in Baden-Baden sits alongside the Staatliche Kunsthalle, and the two are linked via glass bridge. In contrast to the(...)
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Richard Meier: Museum Frieder Burda
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Following his Getty Center in Los Angeles and the Museum of Contemporary Art in Barcelona, celebrated American architect Richard Meier (born 1934) has created another stunning example of museum architecture. Full of light, the Sammlung Frieder Burda in Baden-Baden sits alongside the Staatliche Kunsthalle, and the two are linked via glass bridge. In contrast to the neo-classical Kunsthalle, Sammlung Frieder Burda has the air of a California mansion, distinguished by its elegance, transparency and openness. Set on the city's historic Lichtentaler Allee park and arboretum, the building is referred to by many--including its architect--as the “jewel in the park.” This newly revised assessment of the project charts the museum from its early phases to completion through numerous sketches, plans and photographs. The book also features essays by art historians and architecture critics that expand upon the structure, its function and its location.
Richard Meier: Museum Frieder Burda
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Following his Getty Center in Los Angeles and the Museum of Contemporary Art in Barcelona, celebrated American architect Richard Meier (born 1934) has created another stunning example of museum architecture. Full of light, the Sammlung Frieder Burda in Baden-Baden sits alongside the Staatliche Kunsthalle, and the two are linked via glass bridge. In contrast to the neo-classical Kunsthalle, Sammlung Frieder Burda has the air of a California mansion, distinguished by its elegance, transparency and openness. Set on the city's historic Lichtentaler Allee park and arboretum, the building is referred to by many--including its architect--as the “jewel in the park.” This newly revised assessment of the project charts the museum from its early phases to completion through numerous sketches, plans and photographs. The book also features essays by art historians and architecture critics that expand upon the structure, its function and its location.
Form:
books
books
Publication:
August 2011
August 2011
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$28.00
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Founded by Winy Maas, The Why Factory concentrates on the production of models and visualizations for future cities. It runs independent research projects, PhD programs, architecture and urbanism studios, postgraduate studios at the Berlage Institute in Rotterdam, and workshops and debates. One component of the thinktank is publishing a series of books and producing(...)
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Founded by Winy Maas, The Why Factory concentrates on the production of models and visualizations for future cities. It runs independent research projects, PhD programs, architecture and urbanism studios, postgraduate studios at the Berlage Institute in Rotterdam, and workshops and debates. One component of the thinktank is publishing a series of books and producing(...)
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The Why Factor(y) and the futur city
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Founded by Winy Maas, The Why Factory concentrates on the production of models and visualizations for future cities. It runs independent research projects, PhD programs, architecture and urbanism studios, postgraduate studios at the Berlage Institute in Rotterdam, and workshops and debates. One component of the thinktank is publishing a series of books and producing films. This volume is based on Maas' inaugural address upon assuming the position of Chair of Architecture and Urban Design at Delft University of Technology in 2009. It also includes transcripts and addresses from “My Future City,” a Why Factory symposium, in which students, architects, urban planners, philosophers, politicians and engineers shared their visions for the city of the future.
The Why Factor(y) and the futur city
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Founded by Winy Maas, The Why Factory concentrates on the production of models and visualizations for future cities. It runs independent research projects, PhD programs, architecture and urbanism studios, postgraduate studios at the Berlage Institute in Rotterdam, and workshops and debates. One component of the thinktank is publishing a series of books and producing films. This volume is based on Maas' inaugural address upon assuming the position of Chair of Architecture and Urban Design at Delft University of Technology in 2009. It also includes transcripts and addresses from “My Future City,” a Why Factory symposium, in which students, architects, urban planners, philosophers, politicians and engineers shared their visions for the city of the future.
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books
books
Publication:
August 2011
August 2011
Subject:
Urban Theory
Urban Theory
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books
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Japanese architect Kazuyo Sejima (born 1956) has established her Tokyo studio SANAA, cofounded with Ryue Nishizawa, as one of the art world's favorite architectural teams. SANAA has been responsible for some of the most innovative art museums built over the past two decades, from the New Museum in New York and one of the Serpentine pavilions in London to the 21st Century(...)
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Japanese architect Kazuyo Sejima (born 1956) has established her Tokyo studio SANAA, cofounded with Ryue Nishizawa, as one of the art world's favorite architectural teams. SANAA has been responsible for some of the most innovative art museums built over the past two decades, from the New Museum in New York and one of the Serpentine pavilions in London to the 21st Century(...)
Title:
Hans Ulrich Obrist, the conversation series 26 : Sanaa
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Japanese architect Kazuyo Sejima (born 1956) has established her Tokyo studio SANAA, cofounded with Ryue Nishizawa, as one of the art world's favorite architectural teams. SANAA has been responsible for some of the most innovative art museums built over the past two decades, from the New Museum in New York and one of the Serpentine pavilions in London to the 21st Century Museum of Contemporary Art in Kanazawa, which won the Golden Lion in 2004 as the most significant building at the 9th International Architecture Exhibition at the Venice Biennale. In 2010, Sejima and Nishizawa co-curated the 12th International Architecture Exhibition at the Biennale. Hans Ulrich Obrist caught up with Sejima on several occasions throughout the past few years. They discussed her built and unbuilt projects, her collaborations with other architects and artists and the changing role of women within architecture.
Hans Ulrich Obrist, the conversation series 26 : Sanaa
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Japanese architect Kazuyo Sejima (born 1956) has established her Tokyo studio SANAA, cofounded with Ryue Nishizawa, as one of the art world's favorite architectural teams. SANAA has been responsible for some of the most innovative art museums built over the past two decades, from the New Museum in New York and one of the Serpentine pavilions in London to the 21st Century Museum of Contemporary Art in Kanazawa, which won the Golden Lion in 2004 as the most significant building at the 9th International Architecture Exhibition at the Venice Biennale. In 2010, Sejima and Nishizawa co-curated the 12th International Architecture Exhibition at the Biennale. Hans Ulrich Obrist caught up with Sejima on several occasions throughout the past few years. They discussed her built and unbuilt projects, her collaborations with other architects and artists and the changing role of women within architecture.
Form:
books
books
Publication:
July 2011
July 2011
Subject:
Art Theory
Art Theory
