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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These(...)
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These(...)
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Photography monographs
Photography monographs
Publication:
September 2010
September 2010
Title:
Cosmic communist constructions photographed
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR : a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.
Cosmic communist constructions photographed
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR : a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.
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books
books
Publication:
September 2010
September 2010
Subject:
Photography monographs
Photography monographs
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books
books
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$18.95
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Why is it so hard to make up our minds? Adam and Eve set the template : do we or don’t we eat the apple? They chose, half-heartedly, and nothing was ever the same again. With this book, Kenneth Weisbrode offers an introduction to the age-old struggle with ambivalence. Ambivalence results from a basic desire to have it both ways. This is only natural - although(...)
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Why is it so hard to make up our minds? Adam and Eve set the template : do we or don’t we eat the apple? They chose, half-heartedly, and nothing was ever the same again. With this book, Kenneth Weisbrode offers an introduction to the age-old struggle with ambivalence. Ambivalence results from a basic desire to have it both ways. This is only natural - although(...)
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On ambivalence : the problems and pleasures of having it both ways
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Why is it so hard to make up our minds? Adam and Eve set the template : do we or don’t we eat the apple? They chose, half-heartedly, and nothing was ever the same again. With this book, Kenneth Weisbrode offers an introduction to the age-old struggle with ambivalence. Ambivalence results from a basic desire to have it both ways. This is only natural - although insisting upon it against all reason often results not in "both" but in the disappointing "neither." Ambivalence has insinuated itself into our culture as a kind of obligatory reflex, or default position, before practically every choice we make. It affects not only individuals; organizations, societies, and cultures can also be ambivalent. How often have we asked the scornful question, "Are we the Hamlet of nations"? How often have we demanded that our leaders appear decisive, judicious, and stalwart? And how eager have we been to censure them when they hesitate or waver? Weisbrode traces the concept of ambivalence, from the Garden of Eden to Freud and beyond. The Obama era, he says, may be America’s own era of ambivalence: neither red nor blue but a multicolored kaleidoscope. Ambivalence, he argues, need not be destructive. We must learn to distinguish it from its symptoms - selfishness, ambiguity, and indecision - and accept that frustration, guilt, and paralysis felt by individuals need not lead automatically to a collective pathology. Drawing upon examples from philosophy, history, literature, and the social sciences, On Ambivalence is a pocket-sized portrait of a complex human condition.
On ambivalence : the problems and pleasures of having it both ways
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Why is it so hard to make up our minds? Adam and Eve set the template : do we or don’t we eat the apple? They chose, half-heartedly, and nothing was ever the same again. With this book, Kenneth Weisbrode offers an introduction to the age-old struggle with ambivalence. Ambivalence results from a basic desire to have it both ways. This is only natural - although insisting upon it against all reason often results not in "both" but in the disappointing "neither." Ambivalence has insinuated itself into our culture as a kind of obligatory reflex, or default position, before practically every choice we make. It affects not only individuals; organizations, societies, and cultures can also be ambivalent. How often have we asked the scornful question, "Are we the Hamlet of nations"? How often have we demanded that our leaders appear decisive, judicious, and stalwart? And how eager have we been to censure them when they hesitate or waver? Weisbrode traces the concept of ambivalence, from the Garden of Eden to Freud and beyond. The Obama era, he says, may be America’s own era of ambivalence: neither red nor blue but a multicolored kaleidoscope. Ambivalence, he argues, need not be destructive. We must learn to distinguish it from its symptoms - selfishness, ambiguity, and indecision - and accept that frustration, guilt, and paralysis felt by individuals need not lead automatically to a collective pathology. Drawing upon examples from philosophy, history, literature, and the social sciences, On Ambivalence is a pocket-sized portrait of a complex human condition.
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books
books
Publication:
January 2012
January 2012
Subject:
Critical Theory
Critical Theory
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books
books
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Découvrez les forts et châteaux fortifiés à travers le monde, depuis leur origine il y a 10,000 ans environ jusqu'à la Deuxième Guerre mondiale. Des feuillets transparents vous conduisent au coeur des célèbres fotresses, vous dévoilant aussi bien l'intérieur d'une citadelle grecque ou d'un château fortifié japonais que le système défensif d'un château du Moyen Âge.
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Découvrez les forts et châteaux fortifiés à travers le monde, depuis leur origine il y a 10,000 ans environ jusqu'à la Deuxième Guerre mondiale. Des feuillets transparents vous conduisent au coeur des célèbres fotresses, vous dévoilant aussi bien l'intérieur d'une citadelle grecque ou d'un château fortifié japonais que le système défensif d'un château du Moyen Âge.
Title:
Entrez dans... forts et châteaux
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Découvrez les forts et châteaux fortifiés à travers le monde, depuis leur origine il y a 10,000 ans environ jusqu'à la Deuxième Guerre mondiale. Des feuillets transparents vous conduisent au coeur des célèbres fotresses, vous dévoilant aussi bien l'intérieur d'une citadelle grecque ou d'un château fortifié japonais que le système défensif d'un château du Moyen Âge.
Entrez dans... forts et châteaux
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Découvrez les forts et châteaux fortifiés à travers le monde, depuis leur origine il y a 10,000 ans environ jusqu'à la Deuxième Guerre mondiale. Des feuillets transparents vous conduisent au coeur des célèbres fotresses, vous dévoilant aussi bien l'intérieur d'une citadelle grecque ou d'un château fortifié japonais que le système défensif d'un château du Moyen Âge.
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books
books
Publication:
January 1900, Paris
January 1900, Paris
Subject:
Children's Books
Children's Books
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books
books
Title:
Lyle Gomes : imagining Eden
Lyle Gomes : imagining Eden
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also(...)
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also(...)
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sale books
sale books
Publication:
November 2005, Charlottesville, London
November 2005, Charlottesville, London
Title:
Lyle Gomes : imagining Eden
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also recognize this concept in Eden, of course, where it suggests a loss that still haunts our imaginations. It is an idea distinctly different from that of wilderness, for we feel protected in these places—even provided for, though there is no sign of toil. The chance that this Eden might somehow be regained gives the concept its consolatory power. For fifteen years, Gomes has traveled across America and Europe to find examples of this enduring ideal of place in parks, English gardens, even golf courses. Gomes’s search took him to Mount Auburn cemetery, Central Park, Monticello, the San Francisco Presidio, villa gardens near Italy’s Lake Como, Melbourne Hall in Derbyshire, and private gardens such as Biltmore and Dumbarton Oaks. "Imagining Eden" includes an introductory essay in which the landscape historian Denis Cosgrove explores how the concept of the locus amoenus relates to Gomes’s work, and the photographs are accompanied by an evocative selection of quotes by the various settings designers and by inspired observers. The book concludes with an extensive interview in which Gomes discusses how he balances craft and inspiration, the role of research in preparing a shoot, his preference for black-and-white over color (“I was completely, and immediately, enamored with the silver image”), and a sense of discovery as a chief motivation in all his work.
Lyle Gomes : imagining Eden
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also recognize this concept in Eden, of course, where it suggests a loss that still haunts our imaginations. It is an idea distinctly different from that of wilderness, for we feel protected in these places—even provided for, though there is no sign of toil. The chance that this Eden might somehow be regained gives the concept its consolatory power. For fifteen years, Gomes has traveled across America and Europe to find examples of this enduring ideal of place in parks, English gardens, even golf courses. Gomes’s search took him to Mount Auburn cemetery, Central Park, Monticello, the San Francisco Presidio, villa gardens near Italy’s Lake Como, Melbourne Hall in Derbyshire, and private gardens such as Biltmore and Dumbarton Oaks. "Imagining Eden" includes an introductory essay in which the landscape historian Denis Cosgrove explores how the concept of the locus amoenus relates to Gomes’s work, and the photographs are accompanied by an evocative selection of quotes by the various settings designers and by inspired observers. The book concludes with an extensive interview in which Gomes discusses how he balances craft and inspiration, the role of research in preparing a shoot, his preference for black-and-white over color (“I was completely, and immediately, enamored with the silver image”), and a sense of discovery as a chief motivation in all his work.
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books
books
Publication:
November 2005, Charlottesville, London
November 2005, Charlottesville, London
Subject:
sale books
sale books
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books
books
Title:
Aleksandr Rodchenko
Aleksandr Rodchenko
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A leading representative of the Russian avant-garde, Alexander Rodchenko (1891- 1956) revolutionized the world of graphic art, design and photography. The over 250 illustrations featured in this volume allow the reader to grasp the full force of this innovator and to appreciate the charisma he exerted on fellow artists as much as on the men of letters, directors and(...)
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A leading representative of the Russian avant-garde, Alexander Rodchenko (1891- 1956) revolutionized the world of graphic art, design and photography. The over 250 illustrations featured in this volume allow the reader to grasp the full force of this innovator and to appreciate the charisma he exerted on fellow artists as much as on the men of letters, directors and(...)
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Aleksandr Rodchenko
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A leading representative of the Russian avant-garde, Alexander Rodchenko (1891- 1956) revolutionized the world of graphic art, design and photography. The over 250 illustrations featured in this volume allow the reader to grasp the full force of this innovator and to appreciate the charisma he exerted on fellow artists as much as on the men of letters, directors and intellectuals who shared his path. Whether it is the photomontages he created for Vladimir Mayakovsky's poem Pro Eto (About That), the covers designed for the magazine Novy LEF (New LEF) - a veritable point of reference for the revolutionary intelligentsia - or cinema posters and book illustrations, Rodchenko's works bear witness to his many collaborations and friendships, evoking not just the image of a brilliantly creative personality but a unique phase in twentieth-century history. The remarkable photographic portraits by the artist, his pictures of urban landscapes and architectures, as well as his photo-reportages in factories and building sites bring back both the faces and spirit of an age of great hopes and equally great contradictions. To this day, the style of Rodchenko the photographer, marked by unusual perspectives, sharp angles and diagonals, stands as the purest witness not just to the talent of an artist but to his eagerness to modernise art and the world at large. Complementing the volume are contributions by Olga Sviblova, the director of the House of Photography / Multimedia Art Museum of Moscow, by the grandson of the artist and leading scholar of his work Alexander Lavrentiev, in addition to writings and testimonies by Rodchenko himself and his daughter Varvara.
Aleksandr Rodchenko
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A leading representative of the Russian avant-garde, Alexander Rodchenko (1891- 1956) revolutionized the world of graphic art, design and photography. The over 250 illustrations featured in this volume allow the reader to grasp the full force of this innovator and to appreciate the charisma he exerted on fellow artists as much as on the men of letters, directors and intellectuals who shared his path. Whether it is the photomontages he created for Vladimir Mayakovsky's poem Pro Eto (About That), the covers designed for the magazine Novy LEF (New LEF) - a veritable point of reference for the revolutionary intelligentsia - or cinema posters and book illustrations, Rodchenko's works bear witness to his many collaborations and friendships, evoking not just the image of a brilliantly creative personality but a unique phase in twentieth-century history. The remarkable photographic portraits by the artist, his pictures of urban landscapes and architectures, as well as his photo-reportages in factories and building sites bring back both the faces and spirit of an age of great hopes and equally great contradictions. To this day, the style of Rodchenko the photographer, marked by unusual perspectives, sharp angles and diagonals, stands as the purest witness not just to the talent of an artist but to his eagerness to modernise art and the world at large. Complementing the volume are contributions by Olga Sviblova, the director of the House of Photography / Multimedia Art Museum of Moscow, by the grandson of the artist and leading scholar of his work Alexander Lavrentiev, in addition to writings and testimonies by Rodchenko himself and his daughter Varvara.
Form:
books
books
Publication:
November 2016
November 2016
Subject:
Photography monographs
Photography monographs
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books
books
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$28.99
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Summary:
Cornelia Hahn Oberlander, who has been a landscape architect for more than sixty years, considers her profession “the art of the possible.” The description also applies to the very way this remarkable 86-year-old has lived her life. Playing in her grandmother’s garden as a child, Cornelia absorbed the beauty and importance of the natural world and by the age of eleven had(...)
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Cornelia Hahn Oberlander, who has been a landscape architect for more than sixty years, considers her profession “the art of the possible.” The description also applies to the very way this remarkable 86-year-old has lived her life. Playing in her grandmother’s garden as a child, Cornelia absorbed the beauty and importance of the natural world and by the age of eleven had(...)
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Love every leaf: the life of landscape architect Cornelia Hahn Oberlander
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Cornelia Hahn Oberlander, who has been a landscape architect for more than sixty years, considers her profession “the art of the possible.” The description also applies to the very way this remarkable 86-year-old has lived her life. Playing in her grandmother’s garden as a child, Cornelia absorbed the beauty and importance of the natural world and by the age of eleven had decided that she would become a landscape architect. Leaving her native Germany in the wake of Hitler’s persecution of the Jews, the teenaged Cornelia was transplanted in America, where she could pursue her dream in safety, although not without having to struggle to carve out a place for herself in the male-dominated world of her chosen profession. This 96-page biography tells her remarkable life’s story, complete with photographs and plans for the imaginative playgrounds and the innovative museum and embassy grounds she has created around the world, and for green rooftops, her latest passion. Young readers will not only learn about the profession, but also will find inspiration in Cornelia Hahn Oberlander’s love for the natural world and the respect and concern she shows for our increasingly fragile environment. Kathy Stinson was born in Toronto. She was a mail sorter, elementary school teacher, and a waitress before she turned her hand to writing. It was a wise decision. She wrote Red Is Best and Big Or Little. Since then, she has had over thirty titles published for a wide range of audiences. Kathy Stinson has two grown-up children, two grown-up stepchildren, and five grandchildren. She lives with her partner, Peter Carver, near Rockwood, Ontario.
Love every leaf: the life of landscape architect Cornelia Hahn Oberlander
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Cornelia Hahn Oberlander, who has been a landscape architect for more than sixty years, considers her profession “the art of the possible.” The description also applies to the very way this remarkable 86-year-old has lived her life. Playing in her grandmother’s garden as a child, Cornelia absorbed the beauty and importance of the natural world and by the age of eleven had decided that she would become a landscape architect. Leaving her native Germany in the wake of Hitler’s persecution of the Jews, the teenaged Cornelia was transplanted in America, where she could pursue her dream in safety, although not without having to struggle to carve out a place for herself in the male-dominated world of her chosen profession. This 96-page biography tells her remarkable life’s story, complete with photographs and plans for the imaginative playgrounds and the innovative museum and embassy grounds she has created around the world, and for green rooftops, her latest passion. Young readers will not only learn about the profession, but also will find inspiration in Cornelia Hahn Oberlander’s love for the natural world and the respect and concern she shows for our increasingly fragile environment. Kathy Stinson was born in Toronto. She was a mail sorter, elementary school teacher, and a waitress before she turned her hand to writing. It was a wise decision. She wrote Red Is Best and Big Or Little. Since then, she has had over thirty titles published for a wide range of audiences. Kathy Stinson has two grown-up children, two grown-up stepchildren, and five grandchildren. She lives with her partner, Peter Carver, near Rockwood, Ontario.
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books
books
Publication:
April 2008, Toronto, New York
April 2008, Toronto, New York
Subject:
Children's Books
Children's Books
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books
books
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$49.95
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Summary:
Descartes believed that his analytic model applied to all fields of research and that all branches of science lead to truth. His many analogies with literature and art notwithstanding, Descartes offers an entry into knowledge that fails nevertheless to take into account how in the seventeenth century Dutch painters such as Vermeer similarly order a view of the world by(...)
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Descartes believed that his analytic model applied to all fields of research and that all branches of science lead to truth. His many analogies with literature and art notwithstanding, Descartes offers an entry into knowledge that fails nevertheless to take into account how in the seventeenth century Dutch painters such as Vermeer similarly order a view of the world by(...)
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Tables of knowledge : Descartes in Vermeer's studio
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Descartes believed that his analytic model applied to all fields of research and that all branches of science lead to truth. His many analogies with literature and art notwithstanding, Descartes offers an entry into knowledge that fails nevertheless to take into account how in the seventeenth century Dutch painters such as Vermeer similarly order a view of the world by concentrating on the properties of individual objects. Descartes's celebrated scientific method offers a protocol for conducting experiments; Harriet Stone argues that this method can also serve as a guide for classifying the findings obtained from experiments. Tables of Knowledge shows that Dutch genre paintings and still lifes enact in visual form a process of recording information similar to that of science, with intriguing results. Stone investigates such diverse topics as seventeenth-century advances in optics and the attendant explosion of data about the natural world; the proliferation of material goods in prosperous Dutch homes; and the compelling realism of Golden Age paintings. Vermeer and his contemporaries, she contends, transform a potentially threatening consumerism into the viewer's aesthetic pleasure. The artists' depictions of rooms where framed images and maps adorn walls and where fruit, shimmering glassware, gold pieces, and other precious items are set out on tables constitute an inventory of middle-class life. Appealing to both the eye and the mind, Dutch paintings convey meaning by accentuating the luxury of objects displayed in all their specificity. While not without its voyeuristic, sensual, and even lascivious overtones, art offered the Dutch, who labored under the moral austerity of the Protestant Church, a way of bearing witness to ordinary experience that was unmistakably satisfying and surprisingly Cartesian.
Tables of knowledge : Descartes in Vermeer's studio
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Descartes believed that his analytic model applied to all fields of research and that all branches of science lead to truth. His many analogies with literature and art notwithstanding, Descartes offers an entry into knowledge that fails nevertheless to take into account how in the seventeenth century Dutch painters such as Vermeer similarly order a view of the world by concentrating on the properties of individual objects. Descartes's celebrated scientific method offers a protocol for conducting experiments; Harriet Stone argues that this method can also serve as a guide for classifying the findings obtained from experiments. Tables of Knowledge shows that Dutch genre paintings and still lifes enact in visual form a process of recording information similar to that of science, with intriguing results. Stone investigates such diverse topics as seventeenth-century advances in optics and the attendant explosion of data about the natural world; the proliferation of material goods in prosperous Dutch homes; and the compelling realism of Golden Age paintings. Vermeer and his contemporaries, she contends, transform a potentially threatening consumerism into the viewer's aesthetic pleasure. The artists' depictions of rooms where framed images and maps adorn walls and where fruit, shimmering glassware, gold pieces, and other precious items are set out on tables constitute an inventory of middle-class life. Appealing to both the eye and the mind, Dutch paintings convey meaning by accentuating the luxury of objects displayed in all their specificity. While not without its voyeuristic, sensual, and even lascivious overtones, art offered the Dutch, who labored under the moral austerity of the Protestant Church, a way of bearing witness to ordinary experience that was unmistakably satisfying and surprisingly Cartesian.
Form:
books
books
Publication:
July 2006, Ithaca
July 2006, Ithaca
Subject:
Architectural Theory
Architectural Theory
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books
books
Title:
Pour l'amour des villes
Pour l'amour des villes
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Prenez la ville du Moyen Âge, remplacez le mur d'enceinte par le périphérique, et vous avez la ville contemporaine. Pourtant, la ville bientôt sans limites engloutit la campagne, écartelée entre ses fondements médiévaux et l'émergence des mégapoles. Tel un piéton amoureux de la cité médiévale, Jacques Le Goff nous en livre les clés pour appréhender(...)
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Prenez la ville du Moyen Âge, remplacez le mur d'enceinte par le périphérique, et vous avez la ville contemporaine. Pourtant, la ville bientôt sans limites engloutit la campagne, écartelée entre ses fondements médiévaux et l'émergence des mégapoles. Tel un piéton amoureux de la cité médiévale, Jacques Le Goff nous en livre les clés pour appréhender(...)
Title:
Pour l'amour des villes
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Prenez la ville du Moyen Âge, remplacez le mur d'enceinte par le périphérique, et vous avez la ville contemporaine. Pourtant, la ville bientôt sans limites engloutit la campagne, écartelée entre ses fondements médiévaux et l'émergence des mégapoles. Tel un piéton amoureux de la cité médiévale, Jacques Le Goff nous en livre les clés pour appréhender l'époque de rupture urbaine qui est la nôtre.
Pour l'amour des villes
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Prenez la ville du Moyen Âge, remplacez le mur d'enceinte par le périphérique, et vous avez la ville contemporaine. Pourtant, la ville bientôt sans limites engloutit la campagne, écartelée entre ses fondements médiévaux et l'émergence des mégapoles. Tel un piéton amoureux de la cité médiévale, Jacques Le Goff nous en livre les clés pour appréhender l'époque de rupture urbaine qui est la nôtre.
Form:
books
books
Publication:
November 1997, Paris
November 1997, Paris
Subject:
Urban Theory
Urban Theory
Form:
books
books
Title:
Guide du Paris médiéval
Guide du Paris médiéval
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De la Sainte-Chapelle à l'église Saint-Germain de Vitry-sur-Seine, de la tour Saint-Jacques au colombier de Créteil, cent lieux à Paris et en région parisienne sur les traces de Philippe le Bel, Charles V et Philippe Auguste. Une belle façon de parcourir le XXe siècle et d'y découvrir la mémoire architecturale parfois oubliée de mille ans de Moyen Âge.
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De la Sainte-Chapelle à l'église Saint-Germain de Vitry-sur-Seine, de la tour Saint-Jacques au colombier de Créteil, cent lieux à Paris et en région parisienne sur les traces de Philippe le Bel, Charles V et Philippe Auguste. Une belle façon de parcourir le XXe siècle et d'y découvrir la mémoire architecturale parfois oubliée de mille ans de Moyen Âge.
Title:
Guide du Paris médiéval
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De la Sainte-Chapelle à l'église Saint-Germain de Vitry-sur-Seine, de la tour Saint-Jacques au colombier de Créteil, cent lieux à Paris et en région parisienne sur les traces de Philippe le Bel, Charles V et Philippe Auguste. Une belle façon de parcourir le XXe siècle et d'y découvrir la mémoire architecturale parfois oubliée de mille ans de Moyen Âge.
Guide du Paris médiéval
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De la Sainte-Chapelle à l'église Saint-Germain de Vitry-sur-Seine, de la tour Saint-Jacques au colombier de Créteil, cent lieux à Paris et en région parisienne sur les traces de Philippe le Bel, Charles V et Philippe Auguste. Une belle façon de parcourir le XXe siècle et d'y découvrir la mémoire architecturale parfois oubliée de mille ans de Moyen Âge.
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books
books
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January 1997, Paris
January 1997, Paris
Subject:
City Guides
City Guides
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books
books
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Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace(...)
$21.50
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Summary:
Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace(...)
Title:
Digital ground : architecture, pervasive computing, and environmental knowing
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Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace architecture. The young field of interaction design reflects not only how people deal with machine interfaces but also how people deal with each other in situations where interactivity has become ambient. It shifts previously utilitarian digital design concerns to a cultural level, adding notions of premise, appropriateness, and appreciation. Malcolm McCullough offers an account of the intersections of architecture and interaction design, arguing that the ubiquitous technology does not obviate the human need for place. His concept of "digital ground" expresses an alternative to anytime-anyplace sameness in computing; he shows that context not only shapes usability but ideally becomes the subject matter of interaction design and that "environmental knowing" is a process that technology may serve and not erode. Drawing on arguments from architecture, psychology, software engineering, and geography, writing for practicing interaction designers, pervasive computing researchers, architects, and the general reader on digital culture, McCullough gives us a theory of place for interaction design. Part I, "Expectations," explores our technological predispositions -- many of which ("situated interactions") arise from our embodiment in architectural settings. Part II, "Technologies," discusses hardware, software, and applications, including embedded technology ("bashing the desktop"), and building technology genres around life situations. Part III, "Practices," argues for design as a liberal art, seeing interactivity as a cultural -- not only technological -- challenge and a practical notion of place as essential. Part IV, "Epilogue," acknowledges the epochal changes occurring today, and argues for the role of "digital ground" in the necessary adaptation.
Digital ground : architecture, pervasive computing, and environmental knowing
Actions:
Price:
$21.50
(available to order)
Summary:
Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace architecture. The young field of interaction design reflects not only how people deal with machine interfaces but also how people deal with each other in situations where interactivity has become ambient. It shifts previously utilitarian digital design concerns to a cultural level, adding notions of premise, appropriateness, and appreciation. Malcolm McCullough offers an account of the intersections of architecture and interaction design, arguing that the ubiquitous technology does not obviate the human need for place. His concept of "digital ground" expresses an alternative to anytime-anyplace sameness in computing; he shows that context not only shapes usability but ideally becomes the subject matter of interaction design and that "environmental knowing" is a process that technology may serve and not erode. Drawing on arguments from architecture, psychology, software engineering, and geography, writing for practicing interaction designers, pervasive computing researchers, architects, and the general reader on digital culture, McCullough gives us a theory of place for interaction design. Part I, "Expectations," explores our technological predispositions -- many of which ("situated interactions") arise from our embodiment in architectural settings. Part II, "Technologies," discusses hardware, software, and applications, including embedded technology ("bashing the desktop"), and building technology genres around life situations. Part III, "Practices," argues for design as a liberal art, seeing interactivity as a cultural -- not only technological -- challenge and a practical notion of place as essential. Part IV, "Epilogue," acknowledges the epochal changes occurring today, and argues for the role of "digital ground" in the necessary adaptation.
Form:
books
books
Publication:
October 2005, Cambridge
October 2005, Cambridge
Subject:
Architectural Theory
Architectural Theory
