2165 Résultats
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livres
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Les cabanes, contrairement à ce que pourrait laisser croire l’étymologie, ne sont pas de « petites maisons » : elles sont sans solutions de continuité avec les architectures dont elles sont supposées être l’origine. Fragiles et singulières, elles sont construites sans plan préconçu. Elles abritent des individus qui ne s’y installent pas, n’y habitent jamais véritablement.(...)
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Les cabanes, contrairement à ce que pourrait laisser croire l’étymologie, ne sont pas de « petites maisons » : elles sont sans solutions de continuité avec les architectures dont elles sont supposées être l’origine. Fragiles et singulières, elles sont construites sans plan préconçu. Elles abritent des individus qui ne s’y installent pas, n’y habitent jamais véritablement.(...)
Titre:
Notes sur la nature, la cabane et quelques autres choses
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Les cabanes, contrairement à ce que pourrait laisser croire l’étymologie, ne sont pas de « petites maisons » : elles sont sans solutions de continuité avec les architectures dont elles sont supposées être l’origine. Fragiles et singulières, elles sont construites sans plan préconçu. Elles abritent des individus qui ne s’y installent pas, n’y habitent jamais véritablement. Aux marges des villes et des sociétés, elles recomposent une certaine idée de la nature à laquelle nous désirons nous confronter tout en la craignant. Cette ambivalence fondamentale fait de la cabane un lieu de contradictions où coexistent le haut et le bas, l’ouvert et le fermé, le mobile et l’immobile, le jeu et le sérieux, la vie et la mort.
Notes sur la nature, la cabane et quelques autres choses
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Les cabanes, contrairement à ce que pourrait laisser croire l’étymologie, ne sont pas de « petites maisons » : elles sont sans solutions de continuité avec les architectures dont elles sont supposées être l’origine. Fragiles et singulières, elles sont construites sans plan préconçu. Elles abritent des individus qui ne s’y installent pas, n’y habitent jamais véritablement. Aux marges des villes et des sociétés, elles recomposent une certaine idée de la nature à laquelle nous désirons nous confronter tout en la craignant. Cette ambivalence fondamentale fait de la cabane un lieu de contradictions où coexistent le haut et le bas, l’ouvert et le fermé, le mobile et l’immobile, le jeu et le sérieux, la vie et la mort.
Classification:
livres
livres
Publication:
mars 2005, Paris
mars 2005, Paris
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
Untitled Space
Untitled Space
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Contributors : Maaike Bleeker, Jeroen Boomgaard, Joost Meuwissen, Jell Post, Vincent van Rossem, Michael Snitker, Paul Toornend, Wouter Vanstiphout.
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Contributors : Maaike Bleeker, Jeroen Boomgaard, Joost Meuwissen, Jell Post, Vincent van Rossem, Michael Snitker, Paul Toornend, Wouter Vanstiphout.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
janvier 2005, Amsterdam
janvier 2005, Amsterdam
Titre:
Untitled Space
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Contributors : Maaike Bleeker, Jeroen Boomgaard, Joost Meuwissen, Jell Post, Vincent van Rossem, Michael Snitker, Paul Toornend, Wouter Vanstiphout.
Untitled Space
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Contributors : Maaike Bleeker, Jeroen Boomgaard, Joost Meuwissen, Jell Post, Vincent van Rossem, Michael Snitker, Paul Toornend, Wouter Vanstiphout.
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livres
livres
Publication:
janvier 2005, Amsterdam
janvier 2005, Amsterdam
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
The Paul Virilio reader
The Paul Virilio reader
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If nothing else, the war in Iraq and the 1991 Gulf War have taught us much about media and technology as key players in how war is waged, packaged for public consumption, and exported in real time to the rest of the globe. A critic of the art of technology, Paul Virilio has keenly observed that media images quite often constitute a strategy of war and that accident is(...)
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If nothing else, the war in Iraq and the 1991 Gulf War have taught us much about media and technology as key players in how war is waged, packaged for public consumption, and exported in real time to the rest of the globe. A critic of the art of technology, Paul Virilio has keenly observed that media images quite often constitute a strategy of war and that accident is(...)
Titre:
The Paul Virilio reader
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If nothing else, the war in Iraq and the 1991 Gulf War have taught us much about media and technology as key players in how war is waged, packaged for public consumption, and exported in real time to the rest of the globe. A critic of the art of technology, Paul Virilio has keenly observed that media images quite often constitute a strategy of war and that accident is becoming indistinguishable from attack. For more than fifty years Virilio has offered incisive and provocative criticism on technology and its moral, political, and cultural implications. Yet until now, much of his work, originally published in French, remains elusive in full English translation. "The Paul Virilio Reader" collects for the first time English extracts reflecting the entire range of Virilio’s diverse career. The book’s introduction demonstrates that Virilio has produced an important—if controversial—“theory at the speed of light” that uncannily illuminates the impact of new information and communications technologies in a world that collapses time and distance as never before. The inventor of “dromology,” which views speed as a defining concept for contemporary civilization, Virilio is noted for his proclamation that the logic of ever-increasing acceleration lies at the heart of the organization and transformation of the contemporary world. Arranged chronologically, "The Paul Virilio Reader" illustrates the development and interconnectedness of Virilio’s work. Each extract is prefaced by bibliographical and contextual commentary, and the book includes an innovative guide to reading Virilio.
The Paul Virilio reader
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If nothing else, the war in Iraq and the 1991 Gulf War have taught us much about media and technology as key players in how war is waged, packaged for public consumption, and exported in real time to the rest of the globe. A critic of the art of technology, Paul Virilio has keenly observed that media images quite often constitute a strategy of war and that accident is becoming indistinguishable from attack. For more than fifty years Virilio has offered incisive and provocative criticism on technology and its moral, political, and cultural implications. Yet until now, much of his work, originally published in French, remains elusive in full English translation. "The Paul Virilio Reader" collects for the first time English extracts reflecting the entire range of Virilio’s diverse career. The book’s introduction demonstrates that Virilio has produced an important—if controversial—“theory at the speed of light” that uncannily illuminates the impact of new information and communications technologies in a world that collapses time and distance as never before. The inventor of “dromology,” which views speed as a defining concept for contemporary civilization, Virilio is noted for his proclamation that the logic of ever-increasing acceleration lies at the heart of the organization and transformation of the contemporary world. Arranged chronologically, "The Paul Virilio Reader" illustrates the development and interconnectedness of Virilio’s work. Each extract is prefaced by bibliographical and contextual commentary, and the book includes an innovative guide to reading Virilio.
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livres
livres
Publication:
janvier 1900, New York
janvier 1900, New York
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
Surrealism and architecture
Surrealism and architecture
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"Surrealism and architecture" examines a long overlooked topic : the relationship of surrealist thought to architectural theory and practice. This is a historically informed examination of architecture's perceived absence in surrealist thought, surrealist tendencies in the theories and projects of modern architecture and the place of surrealist thought in contemporary(...)
$61.95
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"Surrealism and architecture" examines a long overlooked topic : the relationship of surrealist thought to architectural theory and practice. This is a historically informed examination of architecture's perceived absence in surrealist thought, surrealist tendencies in the theories and projects of modern architecture and the place of surrealist thought in contemporary(...)
Titre:
Surrealism and architecture
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"Surrealism and architecture" examines a long overlooked topic : the relationship of surrealist thought to architectural theory and practice. This is a historically informed examination of architecture's perceived absence in surrealist thought, surrealist tendencies in the theories and projects of modern architecture and the place of surrealist thought in contemporary design methods and theories.
Surrealism and architecture
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"Surrealism and architecture" examines a long overlooked topic : the relationship of surrealist thought to architectural theory and practice. This is a historically informed examination of architecture's perceived absence in surrealist thought, surrealist tendencies in the theories and projects of modern architecture and the place of surrealist thought in contemporary design methods and theories.
Classification:
livres
livres
Publication:
novembre 2004, New York
novembre 2004, New York
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$43.95
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Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey(...)
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Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey(...)
Titre:
What do pictures want? : the lives and loves of images
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Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. "What Do Pictures Want?" explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep - who, as a clone, fulfills the ancient dream of creating a living image - and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. "What Do Pictures Want?" offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike.
What do pictures want? : the lives and loves of images
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Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. "What Do Pictures Want?" explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep - who, as a clone, fulfills the ancient dream of creating a living image - and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. "What Do Pictures Want?" offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike.
Classification:
livres
livres
Publication:
juin 2005, Chicago
juin 2005, Chicago
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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'Lessons' begins with Risselada's and Tupker's own student years, in which the famous Forum-group dominated the architectural debate with the illustrous Dick Apon, Jaap Bakema, Aldo van Eyck, Joop Hardy and Herman Hertzberger. International influences discussed in 'Lessons' come from designers like Charles and Ray Eames, Alison and Peter Smithson, John Hejduk, Peter(...)
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'Lessons' begins with Risselada's and Tupker's own student years, in which the famous Forum-group dominated the architectural debate with the illustrous Dick Apon, Jaap Bakema, Aldo van Eyck, Joop Hardy and Herman Hertzberger. International influences discussed in 'Lessons' come from designers like Charles and Ray Eames, Alison and Peter Smithson, John Hejduk, Peter(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
avril 2005, amsterdam
avril 2005, amsterdam
Titre:
Lessons : Tupker\Risselada : a double portrait of dutch architectural education, 1953\2003
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'Lessons' begins with Risselada's and Tupker's own student years, in which the famous Forum-group dominated the architectural debate with the illustrous Dick Apon, Jaap Bakema, Aldo van Eyck, Joop Hardy and Herman Hertzberger. International influences discussed in 'Lessons' come from designers like Charles and Ray Eames, Alison and Peter Smithson, John Hejduk, Peter Eisenman and Tadao Ando, and from the historians Emil Kaufmann, Colin Rowe, Charles Jencks and Beatriz Colomina. 'Lessons' also gives an account of the work by students of Risselada and Tupker.
Lessons : Tupker\Risselada : a double portrait of dutch architectural education, 1953\2003
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'Lessons' begins with Risselada's and Tupker's own student years, in which the famous Forum-group dominated the architectural debate with the illustrous Dick Apon, Jaap Bakema, Aldo van Eyck, Joop Hardy and Herman Hertzberger. International influences discussed in 'Lessons' come from designers like Charles and Ray Eames, Alison and Peter Smithson, John Hejduk, Peter Eisenman and Tadao Ando, and from the historians Emil Kaufmann, Colin Rowe, Charles Jencks and Beatriz Colomina. 'Lessons' also gives an account of the work by students of Risselada and Tupker.
Classification:
livres
livres
Publication:
avril 2005, amsterdam
avril 2005, amsterdam
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$54.00
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If there is something in architecture that is difficult to describe then it is space, but it is in the spatial quality of architecture and its use that its essence is encapsulated. There is, however, surprising little evidence of this in current architectural debate, because of all the consideration for visual appearance. In "Revisions of space", architect Dick van(...)
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If there is something in architecture that is difficult to describe then it is space, but it is in the spatial quality of architecture and its use that its essence is encapsulated. There is, however, surprising little evidence of this in current architectural debate, because of all the consideration for visual appearance. In "Revisions of space", architect Dick van(...)
Titre:
Revisions of space : an architectural manual
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If there is something in architecture that is difficult to describe then it is space, but it is in the spatial quality of architecture and its use that its essence is encapsulated. There is, however, surprising little evidence of this in current architectural debate, because of all the consideration for visual appearance. In "Revisions of space", architect Dick van Gameren shows how the spatial quality of architecture is connected with densification and programmatic diversity: in buildings, around buildings and in the urban context. He does this by using a selection of unusual historic examples and his own work. The book could be described as a manual for architecture - how one can look at architecture and how, as a designer, to deal with it - as well as a personal appeal for more consideration for one of the essential components of architecture. Thanks to the choice of historical examples, this book can also be read as an unconventional cross-section of the history of architecture.
Revisions of space : an architectural manual
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If there is something in architecture that is difficult to describe then it is space, but it is in the spatial quality of architecture and its use that its essence is encapsulated. There is, however, surprising little evidence of this in current architectural debate, because of all the consideration for visual appearance. In "Revisions of space", architect Dick van Gameren shows how the spatial quality of architecture is connected with densification and programmatic diversity: in buildings, around buildings and in the urban context. He does this by using a selection of unusual historic examples and his own work. The book could be described as a manual for architecture - how one can look at architecture and how, as a designer, to deal with it - as well as a personal appeal for more consideration for one of the essential components of architecture. Thanks to the choice of historical examples, this book can also be read as an unconventional cross-section of the history of architecture.
Classification:
livres
livres
Publication:
janvier 2005, Rotterdam
janvier 2005, Rotterdam
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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Siri Hustvedt concentrates her narrative gifts on the works of such masters as Francisco de Goya, Jan Vermeer, Jean-Baptiste-Siméon Chardin, Gerhard Richter, and Joan Mitchell. She is concerned with the very act of looking and the limitless rewards to be gleaned from sustained, careful attention. Unlike film and books, which progress over time, "Painting is there all(...)
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Siri Hustvedt concentrates her narrative gifts on the works of such masters as Francisco de Goya, Jan Vermeer, Jean-Baptiste-Siméon Chardin, Gerhard Richter, and Joan Mitchell. She is concerned with the very act of looking and the limitless rewards to be gleaned from sustained, careful attention. Unlike film and books, which progress over time, "Painting is there all(...)
Titre:
Mysteries of the rectangle : essays on painting
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Siri Hustvedt concentrates her narrative gifts on the works of such masters as Francisco de Goya, Jan Vermeer, Jean-Baptiste-Siméon Chardin, Gerhard Richter, and Joan Mitchell. She is concerned with the very act of looking and the limitless rewards to be gleaned from sustained, careful attention. Unlike film and books, which progress over time, "Painting is there all at once," she writes, it is only with patience and repeated viewings that elusive meanings present themselves. Through her own personal experiences, Hustvedt is able to reveal things until now hidden in plain sight: an egg-like detail in Vermeer's Woman with a Pearl Necklace and the many hidden self-portraits in Goya's series of drawings, Los Caprichos, as well as in his infamous painting The Third of May. Most importantly, these essays exhibit the passion, thrill, and sheer pleasure of bewilderment a work of art can produce - if you simply take the time to look.
Mysteries of the rectangle : essays on painting
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Siri Hustvedt concentrates her narrative gifts on the works of such masters as Francisco de Goya, Jan Vermeer, Jean-Baptiste-Siméon Chardin, Gerhard Richter, and Joan Mitchell. She is concerned with the very act of looking and the limitless rewards to be gleaned from sustained, careful attention. Unlike film and books, which progress over time, "Painting is there all at once," she writes, it is only with patience and repeated viewings that elusive meanings present themselves. Through her own personal experiences, Hustvedt is able to reveal things until now hidden in plain sight: an egg-like detail in Vermeer's Woman with a Pearl Necklace and the many hidden self-portraits in Goya's series of drawings, Los Caprichos, as well as in his infamous painting The Third of May. Most importantly, these essays exhibit the passion, thrill, and sheer pleasure of bewilderment a work of art can produce - if you simply take the time to look.
Classification:
livres
livres
Publication:
juillet 2005, New York
juillet 2005, New York
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Classification:
livres
livres
Prix:
$40.00
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An exploration of the intimate and inextricable relationship between architecture, power, money and politics in the twentieth century. How and why have presidents, prime ministers, mayors, millionaires and bishops come to share such a fascination with architecture? From Blair to Mitterrand, from Hitler to Stalin to Saddam Hussein, architecture has become an end in itself,(...)
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An exploration of the intimate and inextricable relationship between architecture, power, money and politics in the twentieth century. How and why have presidents, prime ministers, mayors, millionaires and bishops come to share such a fascination with architecture? From Blair to Mitterrand, from Hitler to Stalin to Saddam Hussein, architecture has become an end in itself,(...)
Titre:
The edifice complex : how the rich and powerful shape the world
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$40.00
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An exploration of the intimate and inextricable relationship between architecture, power, money and politics in the twentieth century. How and why have presidents, prime ministers, mayors, millionaires and bishops come to share such a fascination with architecture? From Blair to Mitterrand, from Hitler to Stalin to Saddam Hussein, architecture has become an end in itself, as well as a means to an end. This is a book of genuine timeliness, throwing new light on the aspirations and the motivations of the rich and powerful across the world - and on the political nature of contemporary culture.
The edifice complex : how the rich and powerful shape the world
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$40.00
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An exploration of the intimate and inextricable relationship between architecture, power, money and politics in the twentieth century. How and why have presidents, prime ministers, mayors, millionaires and bishops come to share such a fascination with architecture? From Blair to Mitterrand, from Hitler to Stalin to Saddam Hussein, architecture has become an end in itself, as well as a means to an end. This is a book of genuine timeliness, throwing new light on the aspirations and the motivations of the rich and powerful across the world - and on the political nature of contemporary culture.
Classification:
livres
livres
Publication:
avril 2005, London
avril 2005, London
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Classification:
livres
livres
Titre:
Le Champ mimétique
Le Champ mimétique
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Dans ce livre sur l'acte de naissance de l'esthétique occidentale, Jean-Christophe Bailly montre comment furent dégagées en Grèce ancienne les conditions d'avènement de l'image, au sens que nous donnons toujours à ce mot. Entre les actes de représentation (peinture, sculpture, danse, théâtre, écriture) et les espaces par lesquels la cité acquiert sa forme, la relation est(...)
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Dans ce livre sur l'acte de naissance de l'esthétique occidentale, Jean-Christophe Bailly montre comment furent dégagées en Grèce ancienne les conditions d'avènement de l'image, au sens que nous donnons toujours à ce mot. Entre les actes de représentation (peinture, sculpture, danse, théâtre, écriture) et les espaces par lesquels la cité acquiert sa forme, la relation est(...)
Titre:
Le Champ mimétique
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Dans ce livre sur l'acte de naissance de l'esthétique occidentale, Jean-Christophe Bailly montre comment furent dégagées en Grèce ancienne les conditions d'avènement de l'image, au sens que nous donnons toujours à ce mot. Entre les actes de représentation (peinture, sculpture, danse, théâtre, écriture) et les espaces par lesquels la cité acquiert sa forme, la relation est directe : c'est le même mouvement qui s'accoutume au vide de l'espace et qui y dispose des figures. On retrouve la même logique d'évidement et les mêmes régimes d'intervalle dans l'espace politique de la cité et dans les représentations. Le "champ mimétique" est le nom ici donné à cette unité, où peut se lire aussi un formidable travail de rangement du monde. En tressant ensemble philosophie et histoire de l'art, tout au long d'un voyage enthousiaste et rigoureux, Jean-Christophe Bailly ne nous fait remonter aux sources que pour mieux redescendre jusqu'à notre actualité et à ce paradoxe selon lequel nous serions à la fois dans une civilisation de l'image et en train de sortir de l'âge de la représentation.
Le Champ mimétique
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Résumé:
Dans ce livre sur l'acte de naissance de l'esthétique occidentale, Jean-Christophe Bailly montre comment furent dégagées en Grèce ancienne les conditions d'avènement de l'image, au sens que nous donnons toujours à ce mot. Entre les actes de représentation (peinture, sculpture, danse, théâtre, écriture) et les espaces par lesquels la cité acquiert sa forme, la relation est directe : c'est le même mouvement qui s'accoutume au vide de l'espace et qui y dispose des figures. On retrouve la même logique d'évidement et les mêmes régimes d'intervalle dans l'espace politique de la cité et dans les représentations. Le "champ mimétique" est le nom ici donné à cette unité, où peut se lire aussi un formidable travail de rangement du monde. En tressant ensemble philosophie et histoire de l'art, tout au long d'un voyage enthousiaste et rigoureux, Jean-Christophe Bailly ne nous fait remonter aux sources que pour mieux redescendre jusqu'à notre actualité et à ce paradoxe selon lequel nous serions à la fois dans une civilisation de l'image et en train de sortir de l'âge de la représentation.
Classification:
livres
livres
Publication:
janvier 2005, Paris
janvier 2005, Paris
Sujet:
Théorie de l’architecture
Théorie de l’architecture
