2139 Résultats
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Qu’est-ce qu’un jardin, de quel type d’espace s’agit-il, quelle est sa forme temporelle, de quelles pièces et morceaux doit-il se composer pour avoir droit au nom de « jardin » ? En distinguant le jardin de son frère ennemi, le paysage, en évitant de le soumettre à la contagion des « beaux jardins », en essayant d’aller à l’élémentaire, ce petit traité tente de fixer(...)
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Qu’est-ce qu’un jardin, de quel type d’espace s’agit-il, quelle est sa forme temporelle, de quelles pièces et morceaux doit-il se composer pour avoir droit au nom de « jardin » ? En distinguant le jardin de son frère ennemi, le paysage, en évitant de le soumettre à la contagion des « beaux jardins », en essayant d’aller à l’élémentaire, ce petit traité tente de fixer(...)
Titre:
Petit traité du jardin ordinaire
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Qu’est-ce qu’un jardin, de quel type d’espace s’agit-il, quelle est sa forme temporelle, de quelles pièces et morceaux doit-il se composer pour avoir droit au nom de « jardin » ? En distinguant le jardin de son frère ennemi, le paysage, en évitant de le soumettre à la contagion des « beaux jardins », en essayant d’aller à l’élémentaire, ce petit traité tente de fixer pour un moment l’objet jardin, objet toujours en mouvement, toujours inachevé, et dont la composition subtile réclame un prudent dosage. Mais qu’il se montre dans son ingénuité ou qu’il s’expose comme une œuvre contemporaine, le jardin répond à une loi qui le met à part dans les productions humaines : celle de l’anentropie, ce travail incessant de reconstruction, de rapiècement, de rétablissement patient à partir des restes, par lequel le jardinier compose avec la mort.
Petit traité du jardin ordinaire
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Qu’est-ce qu’un jardin, de quel type d’espace s’agit-il, quelle est sa forme temporelle, de quelles pièces et morceaux doit-il se composer pour avoir droit au nom de « jardin » ? En distinguant le jardin de son frère ennemi, le paysage, en évitant de le soumettre à la contagion des « beaux jardins », en essayant d’aller à l’élémentaire, ce petit traité tente de fixer pour un moment l’objet jardin, objet toujours en mouvement, toujours inachevé, et dont la composition subtile réclame un prudent dosage. Mais qu’il se montre dans son ingénuité ou qu’il s’expose comme une œuvre contemporaine, le jardin répond à une loi qui le met à part dans les productions humaines : celle de l’anentropie, ce travail incessant de reconstruction, de rapiècement, de rétablissement patient à partir des restes, par lequel le jardinier compose avec la mort.
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livres
livres
Publication:
avril 2003, Paris
avril 2003, Paris
Sujet:
Théorie du paysage
Théorie du paysage
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livres
livres
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Typography papers 6
Typography papers 6
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This issue focuses on the reconstruction and reinvention of the classical letter in Italy in the fifteenth and sixteenth centuries. It includes a previously unpublished article by the late Nicolete Gray. This reproduces, in 26 full-page illustrations, an unsigned and undated (late fifteenth century) manuscript of an alphabet of capital letters, presently in the Newberry(...)
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This issue focuses on the reconstruction and reinvention of the classical letter in Italy in the fifteenth and sixteenth centuries. It includes a previously unpublished article by the late Nicolete Gray. This reproduces, in 26 full-page illustrations, an unsigned and undated (late fifteenth century) manuscript of an alphabet of capital letters, presently in the Newberry(...)
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Typography papers 6
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This issue focuses on the reconstruction and reinvention of the classical letter in Italy in the fifteenth and sixteenth centuries. It includes a previously unpublished article by the late Nicolete Gray. This reproduces, in 26 full-page illustrations, an unsigned and undated (late fifteenth century) manuscript of an alphabet of capital letters, presently in the Newberry Library, Chicago, and provides the first analysis of this important document. Other articles here are the first English translation of the late Giovanni Mardersteig’s seminal essay of 1959 (‘L.B. Alberti e la rinascita del carattere lapidario romano nel quattrocento’), and James Mosley on Giovan Francesco Cresci’s formative influence on the form of Western handwriting, and hence on typefaces, and on the inscriptional capitals which appeared on new buildings in Rome between 1585 and 1590. Paul Stiff contributes a piece on ‘Designing public letters in fifteenth-century Florence’.
Typography papers 6
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This issue focuses on the reconstruction and reinvention of the classical letter in Italy in the fifteenth and sixteenth centuries. It includes a previously unpublished article by the late Nicolete Gray. This reproduces, in 26 full-page illustrations, an unsigned and undated (late fifteenth century) manuscript of an alphabet of capital letters, presently in the Newberry Library, Chicago, and provides the first analysis of this important document. Other articles here are the first English translation of the late Giovanni Mardersteig’s seminal essay of 1959 (‘L.B. Alberti e la rinascita del carattere lapidario romano nel quattrocento’), and James Mosley on Giovan Francesco Cresci’s formative influence on the form of Western handwriting, and hence on typefaces, and on the inscriptional capitals which appeared on new buildings in Rome between 1585 and 1590. Paul Stiff contributes a piece on ‘Designing public letters in fifteenth-century Florence’.
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livres
livres
Publication:
mai 2004, London
mai 2004, London
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livres
livres
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Seen from here : A photographic-literary encounter with buildings by Aebi & Vincent Architekten
Seen from here : A photographic-literary encounter with buildings by Aebi & Vincent Architekten
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For more than twenty-five years, Swiss architects Bernhard Aebi and Pascal Vincent have been running their practice with offices in Bern and Geneva. Housing is one of the firm’s main fields of activity, yet it has also won several high-profile public commissions, such as the restoration and reconstruction of Switzerland’s national parliament building in Bern, the(...)
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For more than twenty-five years, Swiss architects Bernhard Aebi and Pascal Vincent have been running their practice with offices in Bern and Geneva. Housing is one of the firm’s main fields of activity, yet it has also won several high-profile public commissions, such as the restoration and reconstruction of Switzerland’s national parliament building in Bern, the(...)
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février 2024
février 2024
Titre:
Seen from here : A photographic-literary encounter with buildings by Aebi & Vincent Architekten
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For more than twenty-five years, Swiss architects Bernhard Aebi and Pascal Vincent have been running their practice with offices in Bern and Geneva. Housing is one of the firm’s main fields of activity, yet it has also won several high-profile public commissions, such as the restoration and reconstruction of Switzerland’s national parliament building in Bern, the renovation of the Swiss National Bank’s Bern headquarters, and the south wing of Zurich’s main train station. The images by photographers Adrian Scheidegger and Alexander Jaquemet, both longtime companions of the architects, demonstrate how the spaces they created gradually and naturally integrate with their environment. Writer Gianna Molinari joined Scheidegger and Jaquemet on their expeditions to Aebi & Vincent’s buildings. Her literary snapshots supplement the images in this volume, stimulating our imagination of the inner life of these structures and their occupants.
Seen from here : A photographic-literary encounter with buildings by Aebi & Vincent Architekten
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For more than twenty-five years, Swiss architects Bernhard Aebi and Pascal Vincent have been running their practice with offices in Bern and Geneva. Housing is one of the firm’s main fields of activity, yet it has also won several high-profile public commissions, such as the restoration and reconstruction of Switzerland’s national parliament building in Bern, the renovation of the Swiss National Bank’s Bern headquarters, and the south wing of Zurich’s main train station. The images by photographers Adrian Scheidegger and Alexander Jaquemet, both longtime companions of the architects, demonstrate how the spaces they created gradually and naturally integrate with their environment. Writer Gianna Molinari joined Scheidegger and Jaquemet on their expeditions to Aebi & Vincent’s buildings. Her literary snapshots supplement the images in this volume, stimulating our imagination of the inner life of these structures and their occupants.
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livres
livres
Publication:
février 2024
février 2024
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livres
livres
Titre:
Bernard Zehrfuss
Bernard Zehrfuss
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Première édition, deuxième numéros de la collection Carnets d'architectes, bibliographie. Cet ouvrage est la première monographie consacrée à Bernard Zehrfuss Grand Prix de Rome en 1939, qui dirige la reconstruction de la Tunisie et s'engage très tôt dans la modernité pour se rallier aux modes de production les plus novateurs. Figure majeure de l'architecture de la(...)
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Première édition, deuxième numéros de la collection Carnets d'architectes, bibliographie. Cet ouvrage est la première monographie consacrée à Bernard Zehrfuss Grand Prix de Rome en 1939, qui dirige la reconstruction de la Tunisie et s'engage très tôt dans la modernité pour se rallier aux modes de production les plus novateurs. Figure majeure de l'architecture de la(...)
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Bernard Zehrfuss
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Première édition, deuxième numéros de la collection Carnets d'architectes, bibliographie. Cet ouvrage est la première monographie consacrée à Bernard Zehrfuss Grand Prix de Rome en 1939, qui dirige la reconstruction de la Tunisie et s'engage très tôt dans la modernité pour se rallier aux modes de production les plus novateurs. Figure majeure de l'architecture de la seconde moitié du XXe siècle en France, il est l'auteur ou le coauteur de quelques-uns des bâtiments les plus marquants de l'après-guerre. On citera notamment l'imprimerie Mame à Tours, l'usine Renault de Flins, le siège de l'Unesco à Paris, le CNIT à la Défense ou, plus tard, le musée de la Civilisation gallo-romaine à Lyon. Au fil de ces projets, Zehrfuss collabore avec les plus grands ingénieurs ou constructeurs de son temps (Jean Prouvé, Pier Luigi Nervi).
Bernard Zehrfuss
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Première édition, deuxième numéros de la collection Carnets d'architectes, bibliographie. Cet ouvrage est la première monographie consacrée à Bernard Zehrfuss Grand Prix de Rome en 1939, qui dirige la reconstruction de la Tunisie et s'engage très tôt dans la modernité pour se rallier aux modes de production les plus novateurs. Figure majeure de l'architecture de la seconde moitié du XXe siècle en France, il est l'auteur ou le coauteur de quelques-uns des bâtiments les plus marquants de l'après-guerre. On citera notamment l'imprimerie Mame à Tours, l'usine Renault de Flins, le siège de l'Unesco à Paris, le CNIT à la Défense ou, plus tard, le musée de la Civilisation gallo-romaine à Lyon. Au fil de ces projets, Zehrfuss collabore avec les plus grands ingénieurs ou constructeurs de son temps (Jean Prouvé, Pier Luigi Nervi).
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livres
livres
Publication:
octobre 2008, Gollion
octobre 2008, Gollion
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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Finding your way around Sami building culture and architecture can be a challenge, as the material is scattered and sometimes inaccessible. This book is intended as both an introduction and a guide to deepening one's knowledge of the subject - in North Sami, Norwegian and English. In October 2021, the National Museum opened an exhibition of architect and artist Joar(...)
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Finding your way around Sami building culture and architecture can be a challenge, as the material is scattered and sometimes inaccessible. This book is intended as both an introduction and a guide to deepening one's knowledge of the subject - in North Sami, Norwegian and English. In October 2021, the National Museum opened an exhibition of architect and artist Joar(...)
Titre:
Huksendaidda: Architecture in Sapmi
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Finding your way around Sami building culture and architecture can be a challenge, as the material is scattered and sometimes inaccessible. This book is intended as both an introduction and a guide to deepening one's knowledge of the subject - in North Sami, Norwegian and English. In October 2021, the National Museum opened an exhibition of architect and artist Joar Nango's nomadic architectural library Girjegumpi. During the opening weekend, the museum organized a seminar on Sami architecture, and the lectures from the seminar are the basis for the book. Here you can read more about Nango's work Girjegumpi, Sami building practices, the treatment of the Sami in the history of architecture in Norway, how reconstruction and Norwegianization went hand in hand, the phenomenon of kjempelávvu, and also get an overview of Sami architecture on the Norwegian side of Sápmi.
Huksendaidda: Architecture in Sapmi
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Finding your way around Sami building culture and architecture can be a challenge, as the material is scattered and sometimes inaccessible. This book is intended as both an introduction and a guide to deepening one's knowledge of the subject - in North Sami, Norwegian and English. In October 2021, the National Museum opened an exhibition of architect and artist Joar Nango's nomadic architectural library Girjegumpi. During the opening weekend, the museum organized a seminar on Sami architecture, and the lectures from the seminar are the basis for the book. Here you can read more about Nango's work Girjegumpi, Sami building practices, the treatment of the Sami in the history of architecture in Norway, how reconstruction and Norwegianization went hand in hand, the phenomenon of kjempelávvu, and also get an overview of Sami architecture on the Norwegian side of Sápmi.
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livres
livres
Publication:
janvier 2022
janvier 2022
Sujet:
Architecture autochtone
Architecture autochtone
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The contributors to this volume, devoted entirely to Mies van der Rohe’s Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion’s genesis. Habitually thought of as an abstract, unpolluted, and splendidly isolated building—a precursor of Mies’s American period—the Pavilion is revealed here as a thoroughly European work, perhaps(...)
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The contributors to this volume, devoted entirely to Mies van der Rohe’s Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion’s genesis. Habitually thought of as an abstract, unpolluted, and splendidly isolated building—a precursor of Mies’s American period—the Pavilion is revealed here as a thoroughly European work, perhaps(...)
Titre:
Mies van der Rohe: Barcelona-1929
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The contributors to this volume, devoted entirely to Mies van der Rohe’s Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion’s genesis. Habitually thought of as an abstract, unpolluted, and splendidly isolated building—a precursor of Mies’s American period—the Pavilion is revealed here as a thoroughly European work, perhaps less pristine but more authentic. Mies and Lilly Reich were commissioned to design not only the Pavilion but also more than one hundred thousand square feet of German stands spread throughout the Exposition. By examining that work in addition to the Pavilion itself, the contributors present a far-reaching reinterpretation of the whole. They also explore connections with the mass media, highlight the work’s antecedents and meaning in the history of architecture, and analyze the current pavilion, a reconstruction of the original built in 1986.
Mies van der Rohe: Barcelona-1929
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The contributors to this volume, devoted entirely to Mies van der Rohe’s Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion’s genesis. Habitually thought of as an abstract, unpolluted, and splendidly isolated building—a precursor of Mies’s American period—the Pavilion is revealed here as a thoroughly European work, perhaps less pristine but more authentic. Mies and Lilly Reich were commissioned to design not only the Pavilion but also more than one hundred thousand square feet of German stands spread throughout the Exposition. By examining that work in addition to the Pavilion itself, the contributors present a far-reaching reinterpretation of the whole. They also explore connections with the mass media, highlight the work’s antecedents and meaning in the history of architecture, and analyze the current pavilion, a reconstruction of the original built in 1986.
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livres
livres
Publication:
avril 2018
avril 2018
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$95.00
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Our time is an urban age. More people live in cities than ever before, cities are growing larger and denser than ever, and urbanity has reached unprecedented levels of complexity. This boom in urbanization began in earnest around the turn of the twentieth century when technological advancement and the extraction of seemingly endless supplies of natural resources propelled(...)
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Our time is an urban age. More people live in cities than ever before, cities are growing larger and denser than ever, and urbanity has reached unprecedented levels of complexity. This boom in urbanization began in earnest around the turn of the twentieth century when technological advancement and the extraction of seemingly endless supplies of natural resources propelled(...)
Titre:
Urban design in the 20th century
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Our time is an urban age. More people live in cities than ever before, cities are growing larger and denser than ever, and urbanity has reached unprecedented levels of complexity. This boom in urbanization began in earnest around the turn of the twentieth century when technological advancement and the extraction of seemingly endless supplies of natural resources propelled urban development. As urban populations steadily increased, architects and planners were not only faced with designing housing and public space but also with responding to emerging societal challenges such as political tensions, reconstruction, decolonization, economic crises, growing climatic concerns, and cultural shifts. Through the analysis of more than one hundred richly illustrated urban design projects and initiatives, this book provides a comprehensive history of how these challenges have fomented new attitudes and approaches in the discipline of urban design.
Urban design in the 20th century
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Our time is an urban age. More people live in cities than ever before, cities are growing larger and denser than ever, and urbanity has reached unprecedented levels of complexity. This boom in urbanization began in earnest around the turn of the twentieth century when technological advancement and the extraction of seemingly endless supplies of natural resources propelled urban development. As urban populations steadily increased, architects and planners were not only faced with designing housing and public space but also with responding to emerging societal challenges such as political tensions, reconstruction, decolonization, economic crises, growing climatic concerns, and cultural shifts. Through the analysis of more than one hundred richly illustrated urban design projects and initiatives, this book provides a comprehensive history of how these challenges have fomented new attitudes and approaches in the discipline of urban design.
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livres
livres
Publication:
mars 2022
mars 2022
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
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$119.00
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Following "Adjaye: Works 1995-2007", this second volume looks back on the impressive portfolio of work created by architect David Adjaye between 2007 and 2015. During the years covered in this book, the acclaimed architect embraced expansive projects, taking him outside Europe to work on major ventures, such as the Museum of Contemporary Art in Denver and the Moscow(...)
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Following "Adjaye: Works 1995-2007", this second volume looks back on the impressive portfolio of work created by architect David Adjaye between 2007 and 2015. During the years covered in this book, the acclaimed architect embraced expansive projects, taking him outside Europe to work on major ventures, such as the Museum of Contemporary Art in Denver and the Moscow(...)
Titre:
Adjaye: Works 2007-2015. House, pavilions, installations, buildings
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Following "Adjaye: Works 1995-2007", this second volume looks back on the impressive portfolio of work created by architect David Adjaye between 2007 and 2015. During the years covered in this book, the acclaimed architect embraced expansive projects, taking him outside Europe to work on major ventures, such as the Museum of Contemporary Art in Denver and the Moscow School of Management Skolkovo. Designing buildings around the world, including two projects connected with the post-Katrina reconstruction program in New Orleans, Adjaye carefully tailored his approach to each place, sensitive to the important role architecture plays in affirming a sense of community and identity. This volume brings together these recent projects and presents them with new analyses and personal insights from the architect, including detailed drawing and site plans and stunning color photography, demonstrating the originality of Adjaye’s talents.
Adjaye: Works 2007-2015. House, pavilions, installations, buildings
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Following "Adjaye: Works 1995-2007", this second volume looks back on the impressive portfolio of work created by architect David Adjaye between 2007 and 2015. During the years covered in this book, the acclaimed architect embraced expansive projects, taking him outside Europe to work on major ventures, such as the Museum of Contemporary Art in Denver and the Moscow School of Management Skolkovo. Designing buildings around the world, including two projects connected with the post-Katrina reconstruction program in New Orleans, Adjaye carefully tailored his approach to each place, sensitive to the important role architecture plays in affirming a sense of community and identity. This volume brings together these recent projects and presents them with new analyses and personal insights from the architect, including detailed drawing and site plans and stunning color photography, demonstrating the originality of Adjaye’s talents.
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livres
livres
Publication:
octobre 2022
octobre 2022
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$44.00
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects(...)
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects(...)
Publication:
mai 2016
mai 2016
Titre:
Collective for a socialist architecture: proletarian building exhibition 1931
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects participating in the German Building Exhibition and CIAM, they cast architecture as an instrument of power, questioned capitalist solutions to the housing question, and unveiled planning approaches imported from the then-Soviet Union. A full facsimile of the exhibition manifesto/catalog and exhibition panels is featured in addition to contributing essays by contemporary architects, writers and educators, and the Collectives’ Annual Report including a proposed work program and statement of intent. Historical photos are interspersed throughout providing a full reconstruction of this significant architectural and sociopolitical event.
Collective for a socialist architecture: proletarian building exhibition 1931
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects participating in the German Building Exhibition and CIAM, they cast architecture as an instrument of power, questioned capitalist solutions to the housing question, and unveiled planning approaches imported from the then-Soviet Union. A full facsimile of the exhibition manifesto/catalog and exhibition panels is featured in addition to contributing essays by contemporary architects, writers and educators, and the Collectives’ Annual Report including a proposed work program and statement of intent. Historical photos are interspersed throughout providing a full reconstruction of this significant architectural and sociopolitical event.
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livres
livres
Publication:
mai 2016
mai 2016
Classification:
livres
livres
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$51.95
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Much of our understanding of the origins and early development of the Greek architectural order is based on the writings of ancient authors, such as Virtruvius, and those of modern interpreters. Traditionally, the archaeological evidence has been viewed secondarily and often made to fit within a literary context, despite contradictions that occur. Barbara Barletta's study(...)
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Much of our understanding of the origins and early development of the Greek architectural order is based on the writings of ancient authors, such as Virtruvius, and those of modern interpreters. Traditionally, the archaeological evidence has been viewed secondarily and often made to fit within a literary context, despite contradictions that occur. Barbara Barletta's study(...)
Titre:
The origins of the Greek architectural orders
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Much of our understanding of the origins and early development of the Greek architectural order is based on the writings of ancient authors, such as Virtruvius, and those of modern interpreters. Traditionally, the archaeological evidence has been viewed secondarily and often made to fit within a literary context, despite contradictions that occur. Barbara Barletta's study examines both forms of evidence in an effort to reconcile the two sources, as well as to offer a coherent reconstruction of the origins and early development of the Greek architectural orders. Beginning with the pre-canonical material, she demonstrates that the relatively late emergence of the Doric and Ionic orders arose from contributions of separate regions of the Greek world, rather than a single center. Barletta's reinterpretations of the evidence also assigns greater importance to the often overlooked contributions of Western Greece and the Cycladic Islands.
The origins of the Greek architectural orders
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Much of our understanding of the origins and early development of the Greek architectural order is based on the writings of ancient authors, such as Virtruvius, and those of modern interpreters. Traditionally, the archaeological evidence has been viewed secondarily and often made to fit within a literary context, despite contradictions that occur. Barbara Barletta's study examines both forms of evidence in an effort to reconcile the two sources, as well as to offer a coherent reconstruction of the origins and early development of the Greek architectural orders. Beginning with the pre-canonical material, she demonstrates that the relatively late emergence of the Doric and Ionic orders arose from contributions of separate regions of the Greek world, rather than a single center. Barletta's reinterpretations of the evidence also assigns greater importance to the often overlooked contributions of Western Greece and the Cycladic Islands.
Classification:
livres
livres
Publication:
septembre 2009
septembre 2009
