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In 2016, an article in The New York Times with a probing title: “Why Brussels Is the New Berlin?” brought mainstream confirmation of a trend Brussels has been undergoing, with international artists flocking into the city, and galleries and art events following. As with so many other cities that have experienced similar trends, there are many reasons for this cultural(...)
octobre 2021
From Brussels with love: Office Kersten Geers David Van Severen
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In 2016, an article in The New York Times with a probing title: “Why Brussels Is the New Berlin?” brought mainstream confirmation of a trend Brussels has been undergoing, with international artists flocking into the city, and galleries and art events following. As with so many other cities that have experienced similar trends, there are many reasons for this cultural flourishing, but they can be broken down to the simple conditions of the city itself: it is cosmopolitan and cheap. And there is available space. Beyond the visible art venues – museums and galleries, theatres and concert halls, established institutions, or converted industrial spaces – there is space where artists can live and work, go out and exchange ideas. The production of culture happens (also) in clubs and salons, offices and lofts, studios and ateliers. Our aim was to investigate these spaces and identify an urban prerequisite for such an elusive category as culture. Furthermore, we wanted to examine how spatial types can be appropriated for a new (cultural) practice.
Digital-botanic architecture
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Digital-Botanic Architecture (D-B-A) explores physical as well as digital design and architecture based on biological forms—especially plant morphology. Fusing Leibniz’s eighteenth-century metaphysic with Richard Dawkins’ twentieth-century theory of the meme, D-B-A simultaneously interweaves Louis Sullivan’s “botanic architecture,” as developed in his A System of(...)
Digital-botanic architecture
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Digital-Botanic Architecture (D-B-A) explores physical as well as digital design and architecture based on biological forms—especially plant morphology. Fusing Leibniz’s eighteenth-century metaphysic with Richard Dawkins’ twentieth-century theory of the meme, D-B-A simultaneously interweaves Louis Sullivan’s “botanic architecture,” as developed in his A System of Architectural Ornament, with current design, contending that architecture is a waylaid biological extension of its builders—an extended phenotype, as Dawkins would call it.
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Une sélection et présentation de cents firmes d'architecture par dix critiques (Miquel Adria, Alberto Campo Baeza, Kurt Forster, Zaha Hadid, Dawina Jackson, Jong-Kyu Migayrou, Toshiko Mori, Deyan Sudjic, Erwin Wiray).
10 x 10 _ 2 : 100 architectes, 10 critiques
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Une sélection et présentation de cents firmes d'architecture par dix critiques (Miquel Adria, Alberto Campo Baeza, Kurt Forster, Zaha Hadid, Dawina Jackson, Jong-Kyu Migayrou, Toshiko Mori, Deyan Sudjic, Erwin Wiray).
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"Modernism: designing a new world" is the first book to explore Modernism in the designed world from a truly international perspective, and across all the arts. It offers a reassessment of the idea of Modernism and reveals the fundamental ways in which it has shaped our own world and its visual culture. Modernism flourished during the years 1914 to 1939. As a movement(...)
Modernism : designing a new world, 1914-1939
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"Modernism: designing a new world" is the first book to explore Modernism in the designed world from a truly international perspective, and across all the arts. It offers a reassessment of the idea of Modernism and reveals the fundamental ways in which it has shaped our own world and its visual culture. Modernism flourished during the years 1914 to 1939. As a movement it was the key point of reference for 20th century architecture, design and art. Modernists had an utopian desire to create a better world, frequently combined with social and political beliefs that design and art could transform society. The range of objects illustrated – including painting, sculpture, film, photography, prints and collage as well as architecture, interiors, furniture, manufactured products, graphic and fashion design – reflect the period’s emphasis on the unity of the arts and the key role of the fine arts in shaping contemporary visual culture. Europe and America take centre stage but the reach of Modernism is demonstrated by selected works from around the world, including Russia, Palestine and Japan.
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Czech architecture evolved in a powerful cultural and historical environment that undoubtedly placed a greater emphasis on the conception of architectural forms than the various formal innovations that are seen around the world, innovations that all too frequently employ an approach akin to the design of car bodies while departing from the traditional notion of(...)
Czech architecture and its austerity : fifty buildings, 1989-2004
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Czech architecture evolved in a powerful cultural and historical environment that undoubtedly placed a greater emphasis on the conception of architectural forms than the various formal innovations that are seen around the world, innovations that all too frequently employ an approach akin to the design of car bodies while departing from the traditional notion of architecture. Certainly it does not strive to be exhibitionist. Contrary to that, in this country, architecture continues to be viewed as a traditional cultural discipline, and Czech austerity persists in expanding this cultural nature of architectural work rather than enthusiastically accepting as of yet insufficiently digested forms.
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In 1999 over a period of eight months, the Tadao Ando Laboratory, part of the Department of Architecture from the University of Tokyo, invited a number of guest speakers to talk about their experiences as young architects. The architects were Renzo Piano, Jean Nouvel, Ricardo Legorreta, Frank O. Gehry, I.M. Pei and Dominique Perrault. This is a record of these talks.(...)
décembre 1999, Tapei
World architects in their twenties
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In 1999 over a period of eight months, the Tadao Ando Laboratory, part of the Department of Architecture from the University of Tokyo, invited a number of guest speakers to talk about their experiences as young architects. The architects were Renzo Piano, Jean Nouvel, Ricardo Legorreta, Frank O. Gehry, I.M. Pei and Dominique Perrault. This is a record of these talks. Taiwanese/French/English.
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Ce volume illustré présente les nouvelles tendances en architecture provenant des jeunes architectes des pays scandinaves, d'Italie, de France, d'Allemagne, d'Espagne.
Top jeunes architectes européens
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Ce volume illustré présente les nouvelles tendances en architecture provenant des jeunes architectes des pays scandinaves, d'Italie, de France, d'Allemagne, d'Espagne.
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13 groups which have devoted their lives to architecture, and which work in Hamburg, cooperate to publish a book about their work.
Voices_13Zehn' : new architectural statements of Hamburg
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13 groups which have devoted their lives to architecture, and which work in Hamburg, cooperate to publish a book about their work.
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Architects : Pedro Mauricio Borges and Miguel Figueira, Nuno Mateus and José Mateus, Pedro Mendes, Paulo Duarte Melo Gouveia, Steven Evans, and Joao Mendes Ribeiro. With essays : "Roofing without preconceived ideas - with the "casa portuguesa" and the "Survey of portuguese regional architecture" in mind" by Claudio Sat. "Portuguese modern architecture of the 50-60 and(...)
octobre 2005
Contemporary tiled roofs in Portuguese architecture
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Architects : Pedro Mauricio Borges and Miguel Figueira, Nuno Mateus and José Mateus, Pedro Mendes, Paulo Duarte Melo Gouveia, Steven Evans, and Joao Mendes Ribeiro. With essays : "Roofing without preconceived ideas - with the "casa portuguesa" and the "Survey of portuguese regional architecture" in mind" by Claudio Sat. "Portuguese modern architecture of the 50-60 and tiled roofing" by José Manuel Fernandes. "The meaning of tiles for today : eight examples" by Michel Toussaint. Preface by Carsten Land.
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Photographies / foto's / photographs : Marie-France Plissart. Textes / teksten / texts : Benoît Peeters.
janvier 1900
Bruxelles Brussel Brussels : horizon vertical verticale horizontale vertical horizon
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Photographies / foto's / photographs : Marie-France Plissart. Textes / teksten / texts : Benoît Peeters.