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'Monotown: Urban Dreams Brutal Imperatives' examines the post-industrial transformation and transnational legacy of planned single-industry towns which emerged as a distinctive sociopolitical project of urbanization in the Soviet Union during the 1920s.
octobre 2019
Monotown: Urban dreams, brutal imperatives
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'Monotown: Urban Dreams Brutal Imperatives' examines the post-industrial transformation and transnational legacy of planned single-industry towns which emerged as a distinctive sociopolitical project of urbanization in the Soviet Union during the 1920s.
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Dieser 700 seitige Reader ist gegliedert durch Gegensatzpaare, zu denen sich die Autoren aus der Geschichte Berlins heraus argumentierend mit besonders dialogischen oder undialogischen Momenten beschäftigen: Zentren/Mitte, Stadt/Natur, Fiktion/Realität, Fremdbild/Eigenlogik, Gemeinschaft/Individualität, Teilhabe/Governance und Boden/Eigentum. Um diese Paarungen gruppieren(...)
Expositions en cours
décembre 2015
The Dialogic City. Berlin wird Berlin : Berlininische Galerie
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Dieser 700 seitige Reader ist gegliedert durch Gegensatzpaare, zu denen sich die Autoren aus der Geschichte Berlins heraus argumentierend mit besonders dialogischen oder undialogischen Momenten beschäftigen: Zentren/Mitte, Stadt/Natur, Fiktion/Realität, Fremdbild/Eigenlogik, Gemeinschaft/Individualität, Teilhabe/Governance und Boden/Eigentum. Um diese Paarungen gruppieren sich detaillierte Betrachtungen und Interviews mit Berliner Akteuren.
Expositions en cours
$60.00
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York(...)
août 2016
Gordon Matta-Clark: Experience becomes the object
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York City alleys and curbs. The artist used a variety of media to document his work, including film, video and photography. His work and words, while sophisticated enough to make him an "artist’s artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. In the early 1970s, Matta-Clark developed the idea of "anarchitecture," which encompassed his interest in voids, gaps and left-over spaces. Gordon Matta-Clark: Experience Becomes the Object collects five essays and ten individual interviews with various friends and family members of Matta-Clark’s. Together, they outline a biographical profile and offer an analysis of the historical period in which the artist developed his short but successful career. New, never-before-published material and photographs as well as an exclusive link to the documentary Crosswords: Matta-Clark’s Friends by Matias Cardone are also included.
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Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing(...)
février 2016
Documentary Across Disciplines
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Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative. This book collects writings by artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, to investigate one of the most vital areas of cultural practice: documentary. Their investigations take many forms—essays, personal memoirs, interviews, poetry. Contemporary art turned away from the medium and toward the world, using photography and the moving image to take up global perspectives. Documentary filmmakers, meanwhile, began to work in the gallery context. The contributors consider the hybridization of art and film, and the “documentary turn” of contemporary art. They discuss digital technology and the “crisis of faith” caused by manipulation and generation of images, and the fading of the progressive social mandate that has historically characterized documentary. They consider invisible data and visible evidence; problems of archiving; and surveillance and biometric control, forms of documentation that call for “informatic opacity” as a means of evasion.
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Lawren Harris was a founding member of the renowned "Group of Seven" artists' group, who believed that the Canadian landscape was central to the foundation of a national identity. Focusing on Harris's most important work of the 1920s through the early 1930s, this monograph features a selection of major works that are as iconic in Canada as those of Georgia O'Keeffe and(...)
octobre 2015
The idea of north: the paintings of Lawren Harris
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Lawren Harris was a founding member of the renowned "Group of Seven" artists' group, who believed that the Canadian landscape was central to the foundation of a national identity. Focusing on Harris's most important work of the 1920s through the early 1930s, this monograph features a selection of major works that are as iconic in Canada as those of Georgia O'Keeffe and Edward Hopper in the U.S. His remarkable use of color, light, and composition resulted in powerful scenes that reflect his progress toward a universal vision of nature's spiritual power.
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Parametricism is an avant-garde architecture and design movement that has been growing and maturing over the last 15 years, emerging as a remarkable global force. The tendency started in architecture but now encompasses all design disciplines, from urban design to fashion. In architecture, the style has an international following and is currently progressing beyond its(...)
avril 2016
AD: Parametricism 2.0. Rethinking architecture's agenda for the 21st century
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Parametricism is an avant-garde architecture and design movement that has been growing and maturing over the last 15 years, emerging as a remarkable global force. The tendency started in architecture but now encompasses all design disciplines, from urban design to fashion. In architecture, the style has an international following and is currently progressing beyond its experimental roots to make an impact on a broader scale, with practices like Zaha Hadid Architects (ZHA) winning and completing large-scale architectural projects worldwide. Parametricism implies that all elements and aspects of an architectural composition or product are parametrically malleable; and the style owes its original, unmistakable physiognomy to its unprecedented use of computational design tools and fabrication methods. All design parameters are conceived as variables that allow the design to vary and adapt to the diverse, complex and dynamic requirements of contemporary society. Although Parametricism has been talked about and hotly debated for a number of years, so far there has been no publication dedicated to Parametricism. The issue is guest-edited by Patrik Schumacher, partner at ZHA, and one of the world’s most highly renowned advocates of Parametricism.
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This volume documents the House of the Narkomfin, built (or “montaged,” as the Constructivist architect Moisej J. Ginzburg (1986–1946) preferred to call it) between 1928 and 1931. It is therefore contemporaneous with Le Corbusier’s Villa Savoye, as well as with Le Corbusier’s visit to Moscow. But the Narkomfin is more than a housing block with a recognizable style. It is(...)
avril 2016
Moisej J. Ginzburg and Ignatij F. Milinis: Narkomfin, Moscow 1928-1930
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This volume documents the House of the Narkomfin, built (or “montaged,” as the Constructivist architect Moisej J. Ginzburg (1986–1946) preferred to call it) between 1928 and 1931. It is therefore contemporaneous with Le Corbusier’s Villa Savoye, as well as with Le Corbusier’s visit to Moscow. But the Narkomfin is more than a housing block with a recognizable style. It is the converging point of the history of Constructivism, where purposefully reassembled functional spaces were given an active role in transforming everyday social life.
$49.00
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Il est maintenant possible de contrôler la structure de la matière à des échelles de taille si petites que les systèmes obtenus révèlent des propriétés hors du commun s'apparentant de plus en plus au vivant auquel ils sont parfois même hybridés. Dans ce monde en continuelle mouvance révélé par cette matière émergente, nos repères vacillent et il nous faut repenser(...)
avril 2016
L’image-matière: matériaux émergents et métamorphoses imaginaires
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Il est maintenant possible de contrôler la structure de la matière à des échelles de taille si petites que les systèmes obtenus révèlent des propriétés hors du commun s'apparentant de plus en plus au vivant auquel ils sont parfois même hybridés. Dans ce monde en continuelle mouvance révélé par cette matière émergente, nos repères vacillent et il nous faut repenser autrement notre appréhension du réel. Or, les images dont nous disposons pour nous saisir mentalement de ces transformations sont devenues inopérantes. Elles sont à redessiner, à mettre en relation, à assembler autrement. C'est en ces lieux que l'art contemporain peut venir jouer son rôle d'intercesseur entre la matière-forme et ses mises en pratique, entre la méta-réalité de l'oeuvre et notre capacité à penser ces nouvelles émergences. Proposer des image-matières pour nous aider à métamorphoser notre imaginaire, tel est le but de cet essai.
Morphosis
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Depuis 1994, l'Ecole National Supérieure d'Architecture de Marseille invite des architectes à présenter leurs projets au [mac] de Marseille avec l'espoir de mixer les deux publics de l'art et de l'architecture. Cependant, c'est une conférence de Thom Mayne, donnée le mardi 13 mars 2007 dans l'amphithéâtre de l'Ecole, qui fait l'objet d'une première publication : Thom(...)
Morphosis
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Depuis 1994, l'Ecole National Supérieure d'Architecture de Marseille invite des architectes à présenter leurs projets au [mac] de Marseille avec l'espoir de mixer les deux publics de l'art et de l'architecture. Cependant, c'est une conférence de Thom Mayne, donnée le mardi 13 mars 2007 dans l'amphithéâtre de l'Ecole, qui fait l'objet d'une première publication : Thom Mayne a accepté de faire une escale de trois jours ) Marseille entre Los Angeles et le MIPIM de Cannes. Cette présentation de trois heures de l'œuvre de MORPHOSIS nous a inspiré la volonté de garder une trace écrite pour partager ce moment de plaisir avec des lecteurs curieux.
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Inondations, incendies, effondrements, explosions industrielles… bien des territoires sont marqués par des aléas naturels ou technologiques qui conditionnent leur développement. Ces contraintes sont aussi des ressources, témoins de l’identité des lieux. Lorsque le projet de territoire intègre l’aléa comme élément fondateur, la difficulté est souvent une chance. Penser la(...)
Atout risques : des territoires exposés se réinventent
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Inondations, incendies, effondrements, explosions industrielles… bien des territoires sont marqués par des aléas naturels ou technologiques qui conditionnent leur développement. Ces contraintes sont aussi des ressources, témoins de l’identité des lieux. Lorsque le projet de territoire intègre l’aléa comme élément fondateur, la difficulté est souvent une chance. Penser la ville avec l’aléa conduit à être plus inventif, à proposer des espaces urbains moins génériques, mieux ancrés sur leur sol. Ceci facilite le décloisonnement des certitudes et des métiers ; la règle et le projet collaborent très en amont. Cela profite à tous. À l’exemple des fleuves, qui ont été d’abord de féconds bienfaiteurs, offrant eau, connexions et paysages aux villes qu’ils traversent, l’aléa devient un atout.