222 Résultats
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The Royal Institute of British Architects'Award are perhaps the most rigorously judged awards in any sector in the world. The overall prize, the RIBA Stirling Prize in association with The Architects'Journal, is chosen from a shortlist that has been visited by four different sets of judges. The process is shown and the winning building announced live in a Channel 4(...)
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The Royal Institute of British Architects'Award are perhaps the most rigorously judged awards in any sector in the world. The overall prize, the RIBA Stirling Prize in association with The Architects'Journal, is chosen from a shortlist that has been visited by four different sets of judges. The process is shown and the winning building announced live in a Channel 4(...)
Publication:
décembre 2007, London, New York
décembre 2007, London, New York
Titre:
Architecture 07: the guide to the Riba Awards
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The Royal Institute of British Architects'Award are perhaps the most rigorously judged awards in any sector in the world. The overall prize, the RIBA Stirling Prize in association with The Architects'Journal, is chosen from a shortlist that has been visited by four different sets of judges. The process is shown and the winning building announced live in a Channel 4 programme made by TalkbackTHAMES and presented by Kevin McCloud. This guide describes and illustrates all eighty-four RIBA, RIBA National, RIBA European and RIBA International Award-winning schemes, including the winners of the international Lubetkin Prize and a series of further prizes for conservation, client of the year, inclusive design, sustainability, houses, schools and small projects.
Architecture 07: the guide to the Riba Awards
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The Royal Institute of British Architects'Award are perhaps the most rigorously judged awards in any sector in the world. The overall prize, the RIBA Stirling Prize in association with The Architects'Journal, is chosen from a shortlist that has been visited by four different sets of judges. The process is shown and the winning building announced live in a Channel 4 programme made by TalkbackTHAMES and presented by Kevin McCloud. This guide describes and illustrates all eighty-four RIBA, RIBA National, RIBA European and RIBA International Award-winning schemes, including the winners of the international Lubetkin Prize and a series of further prizes for conservation, client of the year, inclusive design, sustainability, houses, schools and small projects.
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Publication:
décembre 2007, London, New York
décembre 2007, London, New York
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livres
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The so-called utopia of the centre beaubourg - An interpretation, is the culmination of Luca Frei's fascination with and interest in Swiss sociologist Albert Meister's book 'La soi-disant utopie du centre beaubourg'. This seminal text appeared under the pseudonym of Gustave Affeulpin in 1976. It is a fictional account of the creation of a more than 70-storey, alternative(...)
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The so-called utopia of the centre beaubourg - An interpretation, is the culmination of Luca Frei's fascination with and interest in Swiss sociologist Albert Meister's book 'La soi-disant utopie du centre beaubourg'. This seminal text appeared under the pseudonym of Gustave Affeulpin in 1976. It is a fictional account of the creation of a more than 70-storey, alternative(...)
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So-called utopia of the Centre Beaubourg: an interpretation
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The so-called utopia of the centre beaubourg - An interpretation, is the culmination of Luca Frei's fascination with and interest in Swiss sociologist Albert Meister's book 'La soi-disant utopie du centre beaubourg'. This seminal text appeared under the pseudonym of Gustave Affeulpin in 1976. It is a fictional account of the creation of a more than 70-storey, alternative Centre Beaubourg underneath the existing Parisian cultural centre.
So-called utopia of the Centre Beaubourg: an interpretation
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The so-called utopia of the centre beaubourg - An interpretation, is the culmination of Luca Frei's fascination with and interest in Swiss sociologist Albert Meister's book 'La soi-disant utopie du centre beaubourg'. This seminal text appeared under the pseudonym of Gustave Affeulpin in 1976. It is a fictional account of the creation of a more than 70-storey, alternative Centre Beaubourg underneath the existing Parisian cultural centre.
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livres
livres
Publication:
septembre 2006, London
septembre 2006, London
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and(...)
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and(...)
Publication:
août 2007, Minneapolis, London
août 2007, Minneapolis, London
Titre:
Building a century of progress : the architecture of Chicago's 1933-34 World's Fair
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and cultural displays, many of which were housed in fifty massive and colorful exhibition halls, the largest architectural project realized in the United States during the Great Depression. In the richly illustrated "Building a century of progress", Lisa D. Schrenk explores the pivotal role of the 1933 Chicago World’s Fair in modern American architecture. She recounts how the exposition’s architectural commission promoted a broad definition of modern architecture, not relying on purely aesthetic characteristics but instead focusing on new design solutions. The fair’s pavilions incorporated recently introduced building materials such as masonite and gypsum board; structural innovations (for example, the first thin-shell concrete roof and the first suspended roof structures built in the United States); and new construction processes, most notably the use of prefabrication. They also featured curiosities like the giant, constantly operating mayonnaise maker and the glass-walled House of Tomorrow, which had no operable windows. Schrenk shows how the halls’ designs reflected cultural and political developments of the period, including the expanding relationships between science, industry, and government; the rise of a corporate consumer culture; and the impact of the Great Depression. Many of the designs provoked intense responses from critics and other prominent architects, including Frank Lloyd Wright and Ralph Adams Cram, fueling heated debates over the appropriate direction for architecture in the United States. Demonstrating the rich diversity of progressive American building design seen at the fair, this book captures a crucial moment in American modernism.
Building a century of progress : the architecture of Chicago's 1933-34 World's Fair
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and cultural displays, many of which were housed in fifty massive and colorful exhibition halls, the largest architectural project realized in the United States during the Great Depression. In the richly illustrated "Building a century of progress", Lisa D. Schrenk explores the pivotal role of the 1933 Chicago World’s Fair in modern American architecture. She recounts how the exposition’s architectural commission promoted a broad definition of modern architecture, not relying on purely aesthetic characteristics but instead focusing on new design solutions. The fair’s pavilions incorporated recently introduced building materials such as masonite and gypsum board; structural innovations (for example, the first thin-shell concrete roof and the first suspended roof structures built in the United States); and new construction processes, most notably the use of prefabrication. They also featured curiosities like the giant, constantly operating mayonnaise maker and the glass-walled House of Tomorrow, which had no operable windows. Schrenk shows how the halls’ designs reflected cultural and political developments of the period, including the expanding relationships between science, industry, and government; the rise of a corporate consumer culture; and the impact of the Great Depression. Many of the designs provoked intense responses from critics and other prominent architects, including Frank Lloyd Wright and Ralph Adams Cram, fueling heated debates over the appropriate direction for architecture in the United States. Demonstrating the rich diversity of progressive American building design seen at the fair, this book captures a crucial moment in American modernism.
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livres
livres
Publication:
août 2007, Minneapolis, London
août 2007, Minneapolis, London
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livres
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$19.50
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One hundred twenty-eight rare photos show Beaux-Arts architecture. Midway, Ferris Wheel, more. Architectural emphasis; full text.
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One hundred twenty-eight rare photos show Beaux-Arts architecture. Midway, Ferris Wheel, more. Architectural emphasis; full text.
Publication:
janvier 1900, New York
janvier 1900, New York
Titre:
The Chicago world's fair of 1893 : A photographic record
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One hundred twenty-eight rare photos show Beaux-Arts architecture. Midway, Ferris Wheel, more. Architectural emphasis; full text.
The Chicago world's fair of 1893 : A photographic record
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One hundred twenty-eight rare photos show Beaux-Arts architecture. Midway, Ferris Wheel, more. Architectural emphasis; full text.
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livres
livres
Publication:
janvier 1900, New York
janvier 1900, New York
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livres
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The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of(...)
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The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of(...)
Titre:
Egon Eierman / Sep Ruf : Deutsch Pavillons, Brüssel 1958
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The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of the architectural resources, and by the happy combination of men who created it, all so similar in the nature of their thinking: Egon Eiermann and Sep Ruf as architects, Walter Rossow as landscape and garden planner, and Hans Schwippert responsible for the exhibition programme.
Egon Eierman / Sep Ruf : Deutsch Pavillons, Brüssel 1958
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The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of the architectural resources, and by the happy combination of men who created it, all so similar in the nature of their thinking: Egon Eiermann and Sep Ruf as architects, Walter Rossow as landscape and garden planner, and Hans Schwippert responsible for the exhibition programme.
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livres
livres
Publication:
janvier 1900, London
janvier 1900, London
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a(...)
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a(...)
Publication:
juillet 2007, London, Baden
juillet 2007, London, Baden
Titre:
Serpentine Gallery Pavillon 2007
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a constitutive element of spaces, private or public. We both work within a field of spatial experimentation that renders conceptual differences between art and architecture superfluous.” The publication comprises extensive visual material documenting the development and realisation of the pavilion; two essays by Doreen Massey, Professor of Geography at The Open University (UK), and Andreas Ruby, architecture critic; a conversation between Olafur Eliasson, Kjetil Thorsen, Hans Ulrich Obrist and Julia Peyton-Jones (Co-directors, Serpentine Gallery).
Serpentine Gallery Pavillon 2007
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a constitutive element of spaces, private or public. We both work within a field of spatial experimentation that renders conceptual differences between art and architecture superfluous.” The publication comprises extensive visual material documenting the development and realisation of the pavilion; two essays by Doreen Massey, Professor of Geography at The Open University (UK), and Andreas Ruby, architecture critic; a conversation between Olafur Eliasson, Kjetil Thorsen, Hans Ulrich Obrist and Julia Peyton-Jones (Co-directors, Serpentine Gallery).
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Publication:
juillet 2007, London, Baden
juillet 2007, London, Baden
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Présentation d'une cinquantaine de projets architecturaux dessinés à l'occasion des expositions universelles de Paris. Véritables laboratoires, vivants recueils d'architectures et d'ornements, les expositions universelles rythment la vie des grandes capitales, à partir de 1851. L'idée d'une confrontation pacifique, internationale, qui rassemble commerce, industrie et(...)
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Présentation d'une cinquantaine de projets architecturaux dessinés à l'occasion des expositions universelles de Paris. Véritables laboratoires, vivants recueils d'architectures et d'ornements, les expositions universelles rythment la vie des grandes capitales, à partir de 1851. L'idée d'une confrontation pacifique, internationale, qui rassemble commerce, industrie et(...)
Titre:
Les expositions universelles à Paris : architectures réelles ou utopiques
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Présentation d'une cinquantaine de projets architecturaux dessinés à l'occasion des expositions universelles de Paris. Véritables laboratoires, vivants recueils d'architectures et d'ornements, les expositions universelles rythment la vie des grandes capitales, à partir de 1851. L'idée d'une confrontation pacifique, internationale, qui rassemble commerce, industrie et beaux-arts se concrétise avec la première Exposition universelle de Londres : Le Crystal Palace, élevé par Joseph Paxton, devient un monument symbolique et novateur par sa transparence, ses dimensions grandioses, le modernisme de sa réalisation. Lors de la première Exposition universelle parisienne de 1855, l'éblouissante réalisation londonienne suscite le vif désir de donner une expression monumentale à un bâtiment conçu pour durer : le Palais de l'industrie, situé au bas des Champs-Elysées. Il accueille les expositions du Salon jusqu'à sa destruction, pour faire place aux Grand et Petit Palais de l'Exposition de 1900. D'abord peu étendues, centrées autour d'un unique palais, les expositions prennent, à partir de 1867, le visage de véritables cités de l'éphémère, bariolées et colorées, qui, lorsqu'elles sont situées au coeur même de la ville, entrent en totale contradiction avec elle. Grâce à la riche collection de dessins d'architecture du musée d'Orsay et du Fonds Eiffel, cet ouvrage permet d'illustrer l'imagination des architectes, la diversité des édifices et ressuscite d'extraordinaires réalisations aujourd'hui disparues.
Les expositions universelles à Paris : architectures réelles ou utopiques
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Présentation d'une cinquantaine de projets architecturaux dessinés à l'occasion des expositions universelles de Paris. Véritables laboratoires, vivants recueils d'architectures et d'ornements, les expositions universelles rythment la vie des grandes capitales, à partir de 1851. L'idée d'une confrontation pacifique, internationale, qui rassemble commerce, industrie et beaux-arts se concrétise avec la première Exposition universelle de Londres : Le Crystal Palace, élevé par Joseph Paxton, devient un monument symbolique et novateur par sa transparence, ses dimensions grandioses, le modernisme de sa réalisation. Lors de la première Exposition universelle parisienne de 1855, l'éblouissante réalisation londonienne suscite le vif désir de donner une expression monumentale à un bâtiment conçu pour durer : le Palais de l'industrie, situé au bas des Champs-Elysées. Il accueille les expositions du Salon jusqu'à sa destruction, pour faire place aux Grand et Petit Palais de l'Exposition de 1900. D'abord peu étendues, centrées autour d'un unique palais, les expositions prennent, à partir de 1867, le visage de véritables cités de l'éphémère, bariolées et colorées, qui, lorsqu'elles sont situées au coeur même de la ville, entrent en totale contradiction avec elle. Grâce à la riche collection de dessins d'architecture du musée d'Orsay et du Fonds Eiffel, cet ouvrage permet d'illustrer l'imagination des architectes, la diversité des édifices et ressuscite d'extraordinaires réalisations aujourd'hui disparues.
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livres
livres
Publication:
mai 2007, Paris
mai 2007, Paris
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livres
livres
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$57.00
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Focusing on the golden era of world's fairs, from the 1930s to the 1970s, this book offers a nostalgic glimpse of the future in vintage photographs, postcards, previously unpublished memorabilia, and drawings of pavilions, created by such designers and architects as Buckminster Fuller, Norman Bel Geddes, Kisho Kurokawa, and Le Corbusier. Innovative, informative, and(...)
$57.00
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Focusing on the golden era of world's fairs, from the 1930s to the 1970s, this book offers a nostalgic glimpse of the future in vintage photographs, postcards, previously unpublished memorabilia, and drawings of pavilions, created by such designers and architects as Buckminster Fuller, Norman Bel Geddes, Kisho Kurokawa, and Le Corbusier. Innovative, informative, and(...)
Titre:
Exit to tomorrow : world's fair architecture, design, fashion, 1933-2005
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Focusing on the golden era of world's fairs, from the 1930s to the 1970s, this book offers a nostalgic glimpse of the future in vintage photographs, postcards, previously unpublished memorabilia, and drawings of pavilions, created by such designers and architects as Buckminster Fuller, Norman Bel Geddes, Kisho Kurokawa, and Le Corbusier. Innovative, informative, and entertaining, this souvenir of yesterday's tomorrow is a tour of the achievements of avant-garde architecture and design.
Exit to tomorrow : world's fair architecture, design, fashion, 1933-2005
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$57.00
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Focusing on the golden era of world's fairs, from the 1930s to the 1970s, this book offers a nostalgic glimpse of the future in vintage photographs, postcards, previously unpublished memorabilia, and drawings of pavilions, created by such designers and architects as Buckminster Fuller, Norman Bel Geddes, Kisho Kurokawa, and Le Corbusier. Innovative, informative, and entertaining, this souvenir of yesterday's tomorrow is a tour of the achievements of avant-garde architecture and design.
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livres
livres
Publication:
octobre 2007, New York
octobre 2007, New York
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livres
livres
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$34.95
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
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Résumé:
From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
Publication:
octobre 2007, Syracuse
octobre 2007, Syracuse
Titre:
The end of innocence : The 1964-1965 New York world's fair
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
The end of innocence : The 1964-1965 New York world's fair
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
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livres
livres
Publication:
octobre 2007, Syracuse
octobre 2007, Syracuse
Classification:
livres
livres
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$99.95
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Catalogue de l'exposition « D'un regard l'autre » au musée du quai Branly.
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Résumé:
Catalogue de l'exposition « D'un regard l'autre » au musée du quai Branly.
Titre:
D'un regard l'autre : histoire des regards européens sur l'Afrique, l'Amérique et l'Océanie
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Catalogue de l'exposition « D'un regard l'autre » au musée du quai Branly.
D'un regard l'autre : histoire des regards européens sur l'Afrique, l'Amérique et l'Océanie
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Catalogue de l'exposition « D'un regard l'autre » au musée du quai Branly.
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livres
livres
Publication:
octobre 2006, Paris
octobre 2006, Paris
