c3 383 : wood
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c3 383 : wood
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AV Proyectos 075: dossier estudio Herreros
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Nouveau projet 10, automne hiver 2016
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Built in the early 1950s in São Paulo, Lina Bo Bardi’s Casa de Vidro (Glass House) was the first real architectural project she completed after her arrival in Brazil. Built as a home for herself and her husband, it clearly demonstrates how architecture and design should keep a distance from individuals, society or community, and the natural environment – a stance that(...)
GA residential masterpieces 22: Lina Bo Bardi, Casa De Vidro, São Paulo, 1950-51
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Built in the early 1950s in São Paulo, Lina Bo Bardi’s Casa de Vidro (Glass House) was the first real architectural project she completed after her arrival in Brazil. Built as a home for herself and her husband, it clearly demonstrates how architecture and design should keep a distance from individuals, society or community, and the natural environment – a stance that would come to underlie all of the Italian-born architect’s subsequent works. Photographed by master architectural photographer Yukio Futagawa, Casa de Vidro still appears as its designer intended, a prototype that responded to a new society, rising directly from the earth and embedded in the surrounding jungle.
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Border Crossings 139: painting
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The Funambulist 7: Health struggles
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Connaissance des arts, hors-série n. 720
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Site 35 fall 2016 : Borders
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Site 35 fall 2016 : Borders
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Even more than authorship, ownership is challenged by the rise of digital and computational methods of design and production. These challenges are simultaneously legal, ethical and economic. How are new methods of fabrication and manufacture going to irreversibly change not only ways of working, but also designers’ ethics and their stance on ownership? In his 2013(...)
AD Digital property : open-source architecture
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Even more than authorship, ownership is challenged by the rise of digital and computational methods of design and production. These challenges are simultaneously legal, ethical and economic. How are new methods of fabrication and manufacture going to irreversibly change not only ways of working, but also designers’ ethics and their stance on ownership? In his 2013 second-term State of the Union address, President Obama stated that 3D printing ‘has the potential to revolutionize the way we make almost everything’. Nowhere will the impact of 3D printing be felt greater than in the architectural and design communities. When anyone can print out an object or structure from a digital file, will designers still exert the same creative rights or will they need to develop new practice and payment models? As architecture becomes more collaborative with open-source processes, will the emphasis on signature as the basis of ownership remain relevant? How will wider teams working globally be accredited and compensated? This issue of AD explores this subject; it features the work of designers who are developing wholly new approaches to practice by exploring means of commercialising process-based products rather than objects.
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Grey room 64
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Grey room 64
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