11195 Results
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audio
audio
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1 online resource.
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[Place of publication not identified] : XX|LA, 2019.
[Place of publication not identified] : XX|LA, 2019.
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Sci-Arc Spin Room with Ning Lui, Kristy Balliet, and Barbara Bestor.
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1 online resource.
Sci-Arc Spin Room with Ning Lui, Kristy Balliet, and Barbara Bestor.
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1 online resource.
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audio
audio
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[Place of publication not identified] : XX|LA, 2019.
[Place of publication not identified] : XX|LA, 2019.
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graphic materials
graphic materials
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1 print : engraving ; sheet 26 x 16 cm.
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1 print : engraving ; sheet 26 x 16 cm.
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[Nuremberg : Michael Endter, 1662]
[Nuremberg : Michael Endter, 1662]
Title:
Johann Carl Zeüchmeister und Ingenieur in Nürnberg : : ward geborn A.o. 1587, 13. Januari ... / J. Sandrart sculp. anno. 1662.
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1 print : engraving ; sheet 26 x 16 cm.
Johann Carl Zeüchmeister und Ingenieur in Nürnberg : : ward geborn A.o. 1587, 13. Januari ... / J. Sandrart sculp. anno. 1662.
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1 print : engraving ; sheet 26 x 16 cm.
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graphic materials
graphic materials
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[Nuremberg : Michael Endter, 1662]
[Nuremberg : Michael Endter, 1662]
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books
books
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Paysages en perspective
Paysages en perspective
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$24.95
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Cet ouvrage propose une analyse des principaux enjeux auxquels font face les spécialistes en paysage et en environnement. Il présente une conception contemporaine du paysage, à la fois ouverte et multiple. Chaque réflexion vous exprime la nécessité de concevoir le paysage comme bien collectif d'une société qui doit elle-même assurer sa mise en valeur et son invention(...)
$24.95
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Cet ouvrage propose une analyse des principaux enjeux auxquels font face les spécialistes en paysage et en environnement. Il présente une conception contemporaine du paysage, à la fois ouverte et multiple. Chaque réflexion vous exprime la nécessité de concevoir le paysage comme bien collectif d'une société qui doit elle-même assurer sa mise en valeur et son invention(...)
Subject:
Landscape Theory
Landscape Theory
Publication:
September 2005, Montréal
September 2005, Montréal
Title:
Paysages en perspective
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$24.95
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Cet ouvrage propose une analyse des principaux enjeux auxquels font face les spécialistes en paysage et en environnement. Il présente une conception contemporaine du paysage, à la fois ouverte et multiple. Chaque réflexion vous exprime la nécessité de concevoir le paysage comme bien collectif d'une société qui doit elle-même assurer sa mise en valeur et son invention grâce à un large éventail de perspectives et de projets.
Paysages en perspective
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$24.95
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Cet ouvrage propose une analyse des principaux enjeux auxquels font face les spécialistes en paysage et en environnement. Il présente une conception contemporaine du paysage, à la fois ouverte et multiple. Chaque réflexion vous exprime la nécessité de concevoir le paysage comme bien collectif d'une société qui doit elle-même assurer sa mise en valeur et son invention grâce à un large éventail de perspectives et de projets.
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books
books
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September 2005, Montréal
September 2005, Montréal
Subject:
Landscape Theory
Landscape Theory
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195 pages : chiefly illustrations, portraits ; 23 cm
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195 pages : chiefly illustrations, portraits ; 23 cm
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New York : The Museum of Modern Art, [1938], Garden City, New York : Distributed by Doubleday, [1938], New York : Clarke & Way, Inc., [1938], ©1938
New York : The Museum of Modern Art, [1938], Garden City, New York : Distributed by Doubleday, [1938], New York : Clarke & Way, Inc., [1938], ©1938
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Walker Evans : American photographs / with an essay by Lincoln Kirstein.
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195 pages : chiefly illustrations, portraits ; 23 cm
Walker Evans : American photographs / with an essay by Lincoln Kirstein.
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195 pages : chiefly illustrations, portraits ; 23 cm
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books
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New York : The Museum of Modern Art, [1938], Garden City, New York : Distributed by Doubleday, [1938], New York : Clarke & Way, Inc., [1938], ©1938
New York : The Museum of Modern Art, [1938], Garden City, New York : Distributed by Doubleday, [1938], New York : Clarke & Way, Inc., [1938], ©1938
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$60.00
(available to order)
Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic(...)
$60.00
(available to order)
Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic(...)
Title:
Picturing spaces, displacing bodies : anamorphosis in early Modern theories of perspective
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$60.00
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Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist’s or viewer’s viewpoint or were unsuccessful at conjoining fictive and lived space. Showing how these "failures" were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective. While many scholars have maintained that perspective rationalized the relationships among optics, space, and painting, "Picturing Space, Displacing Bodies" asserts instead that Renaissance and early modern theorists often revealed a disjunction between geometrical ideals and practical applications. In some cases, they not only identified but also exploited these discrepancies. This discussion of perspective shows that the painter’s geometry did not always conform to the explicitly rational, Cartesian formula that so many have assumed, nor did it historically unfold according to a standard account of scientific development.
Picturing spaces, displacing bodies : anamorphosis in early Modern theories of perspective
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$60.00
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Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist’s or viewer’s viewpoint or were unsuccessful at conjoining fictive and lived space. Showing how these "failures" were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective. While many scholars have maintained that perspective rationalized the relationships among optics, space, and painting, "Picturing Space, Displacing Bodies" asserts instead that Renaissance and early modern theorists often revealed a disjunction between geometrical ideals and practical applications. In some cases, they not only identified but also exploited these discrepancies. This discussion of perspective shows that the painter’s geometry did not always conform to the explicitly rational, Cartesian formula that so many have assumed, nor did it historically unfold according to a standard account of scientific development.
Form:
books
books
Publication:
October 2007, University Park
October 2007, University Park
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Price:
$31.95
(available in store)
Summary:
Et si la perspective moderne n'existait pas? Ne faut-il nuancer la thèse massivement admise qu'au Quattrocento, un dispositif unitaire de représentation se mettrait en place dans la peinture, dont la fonction demeurerait inchangée jusqu'à l'âge classique? En relisant les textes d'Alberti, de Piero della Francesca, de Léonard de Vinci et d'Albert Dürer, en regardant(...)
$31.95
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Summary:
Et si la perspective moderne n'existait pas? Ne faut-il nuancer la thèse massivement admise qu'au Quattrocento, un dispositif unitaire de représentation se mettrait en place dans la peinture, dont la fonction demeurerait inchangée jusqu'à l'âge classique? En relisant les textes d'Alberti, de Piero della Francesca, de Léonard de Vinci et d'Albert Dürer, en regardant(...)
Title:
Archéologie de la perspective : sur Piero della Francesca, Vinci et Dürer
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$31.95
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Et si la perspective moderne n'existait pas? Ne faut-il nuancer la thèse massivement admise qu'au Quattrocento, un dispositif unitaire de représentation se mettrait en place dans la peinture, dont la fonction demeurerait inchangée jusqu'à l'âge classique? En relisant les textes d'Alberti, de Piero della Francesca, de Léonard de Vinci et d'Albert Dürer, en regardant autrement les peintures de la Renaissance, des fresques d'Azzero ou dela Cène de Milan, ce livre met en effet en évidence des dispositifs singuliers, liés pour chaque peintre à des régimes différents de la représentation, du visible, de la vision et du regard. Pourtant, au XVIIe siècle, le discours sur la perspective est soudain convoqué par la philosophie, pour éclairer le nouveau partage entre la représentation du sujet pensant et une matière désormais géométrisable. À quelles conditions, improbables et contingentes, la perspective a-t-elle pu tenir cette place à la fois décisive et ambiguë dans l'émergence de l'âme classique? Par quelles transformations, de la surface de la peinture et de laplace du spectateur, a-t-elle dû passer pour rendre possible la clôture de l'image sur la représentation classique? À l'histoire d'une forme symbolique, ce livre substitue le récit désormais éclaté d'une archéologie ou d'une généalogie de la modernité.
Archéologie de la perspective : sur Piero della Francesca, Vinci et Dürer
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$31.95
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Et si la perspective moderne n'existait pas? Ne faut-il nuancer la thèse massivement admise qu'au Quattrocento, un dispositif unitaire de représentation se mettrait en place dans la peinture, dont la fonction demeurerait inchangée jusqu'à l'âge classique? En relisant les textes d'Alberti, de Piero della Francesca, de Léonard de Vinci et d'Albert Dürer, en regardant autrement les peintures de la Renaissance, des fresques d'Azzero ou dela Cène de Milan, ce livre met en effet en évidence des dispositifs singuliers, liés pour chaque peintre à des régimes différents de la représentation, du visible, de la vision et du regard. Pourtant, au XVIIe siècle, le discours sur la perspective est soudain convoqué par la philosophie, pour éclairer le nouveau partage entre la représentation du sujet pensant et une matière désormais géométrisable. À quelles conditions, improbables et contingentes, la perspective a-t-elle pu tenir cette place à la fois décisive et ambiguë dans l'émergence de l'âme classique? Par quelles transformations, de la surface de la peinture et de laplace du spectateur, a-t-elle dû passer pour rendre possible la clôture de l'image sur la représentation classique? À l'histoire d'une forme symbolique, ce livre substitue le récit désormais éclaté d'une archéologie ou d'une généalogie de la modernité.
Form:
books
books
Publication:
May 2007, Paris
May 2007, Paris
Subject:
Architectural Theory
Architectural Theory
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books
books
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$67.95
(available to order)
Summary:
Writing from inside the discipline of architecture, rather than from the more common extrapolations from the history of painting and philosophy, Alberto Pérez-Gómez and Louise Pelletier focus on the implications of the tool of perspective (and the hegemony of(...)
$67.95
(available to order)
Summary:
Writing from inside the discipline of architecture, rather than from the more common extrapolations from the history of painting and philosophy, Alberto Pérez-Gómez and Louise Pelletier focus on the implications of the tool of perspective (and the hegemony of(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
October 2000, Cambridge, Mass.
October 2000, Cambridge, Mass.
Title:
Architectural representation and the perspective hinge
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$67.95
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Writing from inside the discipline of architecture, rather than from the more common extrapolations from the history of painting and philosophy, Alberto Pérez-Gómez and Louise Pelletier focus on the implications of the tool of perspective (and the hegemony of vision) for architectural representation. Their primary thesis is that tools of representation have a direct influence on the conceptual development of projects and generation of forms, and that there are alternatives to the reductive working methods of most contemporary practice. The book examines textual evidence across a broad historical period, concentrating on the relationship between drawing and architectural space in the period from the seventh century to the twentieth century. The book discusses such issues as optical correction and the nature of architectural drawing in selected treatises, revealing the complexity and potential contradiction inherent in any linear history of representation. The authors' ultimate aim is to probe the possibilities of the constructed world as a poetic translation, rather than prosaic transcription, of its representations. First published in cloth in 1997.
Architectural representation and the perspective hinge
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$67.95
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Summary:
Writing from inside the discipline of architecture, rather than from the more common extrapolations from the history of painting and philosophy, Alberto Pérez-Gómez and Louise Pelletier focus on the implications of the tool of perspective (and the hegemony of vision) for architectural representation. Their primary thesis is that tools of representation have a direct influence on the conceptual development of projects and generation of forms, and that there are alternatives to the reductive working methods of most contemporary practice. The book examines textual evidence across a broad historical period, concentrating on the relationship between drawing and architectural space in the period from the seventh century to the twentieth century. The book discusses such issues as optical correction and the nature of architectural drawing in selected treatises, revealing the complexity and potential contradiction inherent in any linear history of representation. The authors' ultimate aim is to probe the possibilities of the constructed world as a poetic translation, rather than prosaic transcription, of its representations. First published in cloth in 1997.
Form:
books
books
Publication:
October 2000, Cambridge, Mass.
October 2000, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Actions:
Price:
$50.95
(available to order)
Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic(...)
$50.95
(available to order)
Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic(...)
Title:
Picturing space, displacing bodies: anamorphosis in early modern theories of perspective
Actions:
Price:
$50.95
(available to order)
Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist’s or viewer’s viewpoint or were unsuccessful at conjoining fictive and lived space. Showing how these “failures” were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective.
Picturing space, displacing bodies: anamorphosis in early modern theories of perspective
Actions:
Price:
$50.95
(available to order)
Summary:
In "Picturing Space, Displacing Bodies", Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist’s or viewer’s viewpoint or were unsuccessful at conjoining fictive and lived space. Showing how these “failures” were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective.
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books
books
Publication:
January 2016
January 2016
Subject:
Architectural Theory
Architectural Theory
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books
books
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Description:
325 pages : illustrations (some color) ; 29 cm
Description:
325 pages : illustrations (some color) ; 29 cm
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Publication:
London ; New York : Thames & Hudson, 2003.
London ; New York : Thames & Hudson, 2003.
Title:
Glenn Murcutt : buildings + projects, 1962-2003 / Françoise Fromonot ; [translated from the French by Charlotte Ellis].
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325 pages : illustrations (some color) ; 29 cm
Glenn Murcutt : buildings + projects, 1962-2003 / Françoise Fromonot ; [translated from the French by Charlotte Ellis].
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325 pages : illustrations (some color) ; 29 cm
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books
books
Publication:
London ; New York : Thames & Hudson, 2003.
London ; New York : Thames & Hudson, 2003.
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xii, 427 pages : illustrations ; 24 cm.
Description:
xii, 427 pages : illustrations ; 24 cm.
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Publication:
Basel ; Boston : Birkhäuser, 1998.
Basel ; Boston : Birkhäuser, 1998.
Title:
Epures d'architecture : de la coupe des pierres à la géométrie descriptive XVIe-XIXe siècles / Joël Sakarovitch.
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xii, 427 pages : illustrations ; 24 cm.
Epures d'architecture : de la coupe des pierres à la géométrie descriptive XVIe-XIXe siècles / Joël Sakarovitch.
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xii, 427 pages : illustrations ; 24 cm.
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books
books
Publication:
Basel ; Boston : Birkhäuser, 1998.
Basel ; Boston : Birkhäuser, 1998.
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