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Cet ouvrage ouvre les portes des plus grands musées d’Europe qui, dans toute la diversité de leur conception et de leurs collections, ont eu pour volonté commune d’offrir une histoire des arts et des cultures. L’on découvrira les collections encyclopédiques du Vatican, les sculptures classiques de la cour du Belvédère, les collections impériales russes des palais de(...)
Grands musées d'Europe : le rêve du musée universel
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Cet ouvrage ouvre les portes des plus grands musées d’Europe qui, dans toute la diversité de leur conception et de leurs collections, ont eu pour volonté commune d’offrir une histoire des arts et des cultures. L’on découvrira les collections encyclopédiques du Vatican, les sculptures classiques de la cour du Belvédère, les collections impériales russes des palais de l’Ermitage, les collections des Habsbourg réunies au Kunsthistorisches Museum de Vienne, les collections des Bourbons conservées au musée du Prado. L’on verra dans le musée du Louvre et dans le British Museum, la réalisation du rêve napoléonien de musée universel. Dans le projet d’une citadelle de la culture, l’on reconnaîtra le système muséal prussien installé sur la Museumsinsel de Berlin, et, plus circonscrit, le Rijskmuseum d’Amsterdam. Huit chapitres et un corpus photographique pour connaître l’historique de ces musées, la genèse et l’évolution des collections, pour cheminer à travers ces lieux emblématiques qui accueillent des chefs-d’œuvre de l’Histoire. Introduction d'Antonio Paolucci. Rédaction scientifique de Valerio Terraroli.
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The theme of the first Rotterdam International Architecture Biennial was mobility--as it relates to the city and the landscape, and the design culture that comes with it. Held between May and July 2003, the biennial brought together numerous universities, architects, urbanists, spatial planners and designers to swap experiences and discuss new strategies for giving shape(...)
août 2003, Rotterdam
Mobility : a room with a view. International Architecture Biennale Rotterdam.
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The theme of the first Rotterdam International Architecture Biennial was mobility--as it relates to the city and the landscape, and the design culture that comes with it. Held between May and July 2003, the biennial brought together numerous universities, architects, urbanists, spatial planners and designers to swap experiences and discuss new strategies for giving shape to (car) mobility. This unique book shows the results of this international research in its various forms: statistics, photography, text, visual collage and design proposals. These together give a tangible and insightful look at the mobile cultures found in a wide range of cities and countries, from Mexico City, Hong Kong and Guangzhou, to Djakarta, Budapest, the Ruhr Valley, Beirut, Los Angeles, Tokyo, Peking and Holland. The aim of the publication is twofold. On the one hand, to understand infrastructures and motorway culture by studying their different cultural and geographical contexts. On the other, to draw up an agenda for the future, one that establishes the role to be played by various design disciplines. This research and publication endeavor is the fruit of a collaboration between the universities of Wuppertal, Aachen, Berlin, California, Monterrey (Mexico), Tokyo, Hong Kong, Peking, Beirut, Budapest, Bandung and Delft.
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
avril 2003, Cambridge / London
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Les cabinets de curiosités
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Du nord au sud de l'Europe, à la fin de la Renaissance, surgirent d'étranges endroits : secrets ou visibles, dans des demeures royales comme chez des notables ou des apothicaires, tenant à la fois de l'antre du magicien et de l'officine, les cabinets de curiosité rassemblaient un incroyable capharnaüm couvrant murs et plafonds, débordants des tiroirs et des cassettes. S'y(...)
Les cabinets de curiosités
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Du nord au sud de l'Europe, à la fin de la Renaissance, surgirent d'étranges endroits : secrets ou visibles, dans des demeures royales comme chez des notables ou des apothicaires, tenant à la fois de l'antre du magicien et de l'officine, les cabinets de curiosité rassemblaient un incroyable capharnaüm couvrant murs et plafonds, débordants des tiroirs et des cassettes. S'y côtoyaient mappemondes et objets d'ivoire, monnaies antiques et crânes de singe, dents de géant et cornes de licornes, pierres magiques et queues de sirène, sans oublier de fascinants oiseaux de paradis qui passaient leur vie à voler, supposait-on, puisqu'ils n'avaient pas de pattes… C'est à l'étrange destin de ces théâtres du bizarre qu'est consacré le présent ouvrage. On y retrace brièvement l'histoire du phénomène, on en montre les survivances et les transformations au cours des siècles suivants, on y évoque des figures peu connues de collectionneurs et d'amateurs attachés au culte de la curiosité ; on en souligne aussi l'influence sur certains des grands mouvements artistiques du XXe siècle, on en suit quelques-uns des développements dans l'art contemporain ; on considère enfin les motifs et les formes de réinvention du cabinet de curiosités dans des décors et des cadres de vie actuels.
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Each year the best projects by students at Dutch educational institutions teaching architecture, urban design and landscape architecture are assessed by a panel of experts in these fields for the Archiprix competition. In all their diversity, the projects submitted in 2002 give the state of play in Dutch design education. This book presents the winners and the jury's(...)
octobre 2002, Rotterdam
Archiprix 2002 : the best plans by Dutch students
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Each year the best projects by students at Dutch educational institutions teaching architecture, urban design and landscape architecture are assessed by a panel of experts in these fields for the Archiprix competition. In all their diversity, the projects submitted in 2002 give the state of play in Dutch design education. This book presents the winners and the jury's assessment. A shared first prize was awarded to Harm Timmermans and William Verbeek.
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The international touring exhibition "Die gute Form" was conceived by MAx Bill on behalf of the Swiss Werkbund SWB and was shown for the first time in 1949 at the Basel Mustermesse trade fair. The exhibition consisted of 80 dispay panels, designed by Bill, presenting a selection of consumer goods from all over the world and chosen by him as examples of good design. The(...)
Max Bill's view of things: Die gute form, an exhibition 1949
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The international touring exhibition "Die gute Form" was conceived by MAx Bill on behalf of the Swiss Werkbund SWB and was shown for the first time in 1949 at the Basel Mustermesse trade fair. The exhibition consisted of 80 dispay panels, designed by Bill, presenting a selection of consumer goods from all over the world and chosen by him as examples of good design. The show caused some upset in Switzerland and fueled heated debates abroad. But it also exerted a wide-reaching influence-for example, on the way in which consumer goods were perceived.
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juin 2013
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The story of the most influential art exhibitions from 1960, Biennials and Beyond assembles a wealth of rare and never before published documentation, from installation photographs and reviews to floor plans, catalogue excerpts and other primary ephemera, looking at the history of contemporary art through the lens of 25 significant exhibitions. With an introductory essay(...)
Biennials and beyond: exhibitions that made art history, 1962-2002
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The story of the most influential art exhibitions from 1960, Biennials and Beyond assembles a wealth of rare and never before published documentation, from installation photographs and reviews to floor plans, catalogue excerpts and other primary ephemera, looking at the history of contemporary art through the lens of 25 significant exhibitions. With an introductory essay and concise overviews of each exhibition by art historian Bruce Altshuler, Biennials and Beyond is a unique sourcebook that offers direct access to the most influential exhibitions of the last 50 years.
Stedelijk architecture
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Grand celebrations marked the reopening of Amsterdam’s Stedelijk Museum in September 2012, following a renovation that took eight years. Published for the occasion, Stedelijk Architecture examines the renovation, in photographs by the photographer Iwan Baan, plus floor plans, cross sections and details of the new structure. Architecture critic Hans Ibelings relates the(...)
mars 2013
Stedelijk architecture
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Grand celebrations marked the reopening of Amsterdam’s Stedelijk Museum in September 2012, following a renovation that took eight years. Published for the occasion, Stedelijk Architecture examines the renovation, in photographs by the photographer Iwan Baan, plus floor plans, cross sections and details of the new structure. Architecture critic Hans Ibelings relates the museum’s history from the 1895 inauguration of the original building to the completion of the extension.
New exhibition design 02
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The book offers an up-to-date and comprehensive insight into state-of-the-art design and planning of exhibitions by presenting more than 80 project examples of renowned international designers from Germany to Korea, from Japan to the USA and Canada, from Norway to Italy.
New exhibition design 02
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The book offers an up-to-date and comprehensive insight into state-of-the-art design and planning of exhibitions by presenting more than 80 project examples of renowned international designers from Germany to Korea, from Japan to the USA and Canada, from Norway to Italy.
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Structured around the key phases of the exhibition design process, this guide offers a coverage of the tools and processes required to develop an exhibitions. It offers this critical information in the context of a collaborative process intended to drive innovation for exhibition design.
Creating exhibitions: collaboration in the planning, development, and design of innovative experiences
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Structured around the key phases of the exhibition design process, this guide offers a coverage of the tools and processes required to develop an exhibitions. It offers this critical information in the context of a collaborative process intended to drive innovation for exhibition design.