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In the trajectory of the consolidated traditional stream of previous Major Project books, this publication documents the best final theses in Design produced within the Architecture Program of RMIT University.
octobre 2002, Melbourne
dia - Architecture thesis projects : 2000-2001
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In the trajectory of the consolidated traditional stream of previous Major Project books, this publication documents the best final theses in Design produced within the Architecture Program of RMIT University.
Architecture expo 02
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Five iconic installations: one mobile and four fixed “Arteplage” locations; 500 individual structures in transition from experimental architecture to scenographics; 45 international designer teams. Illustrations, detailed plans, and instructive texts portray the architecture of the Expo in all its complexity: from Pipilotti Rist’s "Laboratory of Ideas" (Ideenlabor),(...)
Architecture expo 02
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Five iconic installations: one mobile and four fixed “Arteplage” locations; 500 individual structures in transition from experimental architecture to scenographics; 45 international designer teams. Illustrations, detailed plans, and instructive texts portray the architecture of the Expo in all its complexity: from Pipilotti Rist’s "Laboratory of Ideas" (Ideenlabor), visionary models of 1998 and the international competition, through to its fulfilment. The project concepts are explained by the authors in their own words: Coop Himmelb(l)au and GLS, Jean Nouvel and GIM, J. Sbriglio, and Extasia with T. Kobler/Vehovar + Jauslin, West 8/Diller + Scofidio.
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Implying always a beginning, teaching is about initiating excitement. It entails the deployment of pleasure, the built-up of passion, and obsession vis-à-vis a particular field of endeavour, the grounds on which a discipline operates, and its intellectual as well as physical practices. Notwithstanding the optimistic implications of such a claim, teaching inevitably(...)
Inchoate : an experiment in architectural education
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Implying always a beginning, teaching is about initiating excitement. It entails the deployment of pleasure, the built-up of passion, and obsession vis-à-vis a particular field of endeavour, the grounds on which a discipline operates, and its intellectual as well as physical practices. Notwithstanding the optimistic implications of such a claim, teaching inevitably involves a contradictory bias both in favour as well as against the discipline at issue, promoting an understanding of its regulating principles while at the same time questioning the seemingly secure bases on which it is presumed to stand. Whereas teaching is affirmative, it simultaneously introduces a distancing from the very subject matter that it promotes.
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Catalogue de l'exposition "Futur antérieur" qui eut lieu au Musée romain de Lausanne-Vidy.
janvier 1900, Gollion
Futur antérieur : trésors archéologiques du 21e siècle après J.-C.
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Catalogue de l'exposition "Futur antérieur" qui eut lieu au Musée romain de Lausanne-Vidy.
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"Old Europe" is beginning to show strong signs of renewed vitality, to judge from the results of this latest edition of the European Union prize for contemporary architecture - Mies van der Rohe award 2003. And not only because 269 works were selected, or because the number of competing countries (particularly those of Eastern Europe) is steadily increasing, bit also by(...)
janvier 1900, Barcelona
Mies van der Rohe Award 2003 : European Union prize for contemporary architecture
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"Old Europe" is beginning to show strong signs of renewed vitality, to judge from the results of this latest edition of the European Union prize for contemporary architecture - Mies van der Rohe award 2003. And not only because 269 works were selected, or because the number of competing countries (particularly those of Eastern Europe) is steadily increasing, bit also by virtue of the high average standard of the entries, particularly of the winning projects and 40 runner-up featured in this catalogue. In the end, the winning project encompasses all this : Zaha Hadid's tram station in Strasbourg is at the same time a strategy, open-ended, imperfect, intelligent and playful. But it also resolved and unafraid to identify with conventional architectural qualities.
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The 2nd Valencia Biennial explores, together with leading international artists and creators, a central problem facing the world today: the destiny of diversity. Specially commissioned projects question the power and potential of the city, of "The Ideal City", understood as a prismatic place capable of symbolically ordering and accommodating difference and differences(...)
septembre 2003, Valencia
The ideal city: the 2nd Valencia biennal
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The 2nd Valencia Biennial explores, together with leading international artists and creators, a central problem facing the world today: the destiny of diversity. Specially commissioned projects question the power and potential of the city, of "The Ideal City", understood as a prismatic place capable of symbolically ordering and accommodating difference and differences without smothering them. The participating artists include Alicia Alonso, Will Alsop, Peter Brook, Gavin Bryars, Pino Cacucci, Mike Figgis, Andrea Gambetta, Vicente Guallart, Lorand Hegyi, James Hulme, Francisco Jarauta, Pablo Ley, Jean Louis Maubant, José Monleón, Bruce McLean, Vicente Muñoz Puelles, Irene Papas, Tomás Ruiz, Carles Santos, Luigi Settembrini, Rafael Sierra, Lucas Soler, Francesca Sorace.
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The Serpentine Gallery Pavilion 2003, by the Brazilian architect Oscar Niemeyer, was his first completed, though temporary, structure in the UK. Sited on the Gallery's lawn from June 20th to September 14th, it offered visitors an opportunity to experience a space designed by one of the founding figures of modern architecture.
Oscar Niemeyer : Serpentine Gallery Pavillion 2003
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The Serpentine Gallery Pavilion 2003, by the Brazilian architect Oscar Niemeyer, was his first completed, though temporary, structure in the UK. Sited on the Gallery's lawn from June 20th to September 14th, it offered visitors an opportunity to experience a space designed by one of the founding figures of modern architecture.
Les bâtisseurs du Louvre
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Ce guide se propose, en suivant l'évolution du monument, de retracer une certain histoire de l'architecture française, depuis les premières murailles de Philippe Auguste jusque'aux structures de verre et d'acier de la pyramide de Pei.
juin 2003, Paris
Les bâtisseurs du Louvre
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Ce guide se propose, en suivant l'évolution du monument, de retracer une certain histoire de l'architecture française, depuis les premières murailles de Philippe Auguste jusque'aux structures de verre et d'acier de la pyramide de Pei.
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The Architecture Annual offers a selection of articles on the school's progress in research and education. Embracing a broad range of topical issues, it includes a cross-section of research performed by Faculty members and coverage of the graduation projects carried out by students in the academic year 2001-2002. This year, design research has been the main focus of(...)
janvier 1900, Rotterdam
The architecture annual 2001-2002 : Delft University of Technology.
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The Architecture Annual offers a selection of articles on the school's progress in research and education. Embracing a broad range of topical issues, it includes a cross-section of research performed by Faculty members and coverage of the graduation projects carried out by students in the academic year 2001-2002. This year, design research has been the main focus of activity. In addition, extensive attention has been devoted to new developments in the field of building technology, computer use, and management. The current discourse on planning issues, the network society, problems of integration, increasing individualisation, and the rise of ICT does much to define the research themes treated within its pages.
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During the economic boom of the 1990's, art museums expanded dramatically in size, scope, and ambition. They came to be seen as new civic centers : on the one hand as places of entertainment, leisure, and commerce, on the other as socially therapeutic institutions. But museums were also criticized for everything from elitism to looting or illegally exporting works from(...)
janvier 2004, Princeton / Cambridge, Mass.
Whose muse? : art museums and the public trust
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During the economic boom of the 1990's, art museums expanded dramatically in size, scope, and ambition. They came to be seen as new civic centers : on the one hand as places of entertainment, leisure, and commerce, on the other as socially therapeutic institutions. But museums were also criticized for everything from elitism to looting or illegally exporting works from other countries, to exhibiting works offensive to the public taste. "Whose Muse?" brings together five directors of leading American and British art museums who together offer a forward-looking alternative to such prevailing views. While their approaches differ, certain themes recur : as museums have become increasingly complex and costly to manage, and as government support has waned, the temptation is great to follow policies driven not by a mission but by the market. However, the directors concur that public trust can be upheld only if museums continue to see their core mission as building collections that reflect a nation's artistic legacy and providing informed and unfettered access to them. The book, based on a lecture series of the same title held in 2000-2001 by the Harvard Program for Art Museum Directors, also includes an introduction by Cuno and a fascinating - and surprisingly frank - roundtable discussion among the participating directors. A rare collection of sustained reflections by prominent museum directors on the current state of affairs in their profession, this book is without equal. It will be read widely not only by museum professionals, trustees, critics, and scholars, but also by the art-loving public itself.