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The concept of "the city" — as well as "the state" and "the nation state" — is passé, agree contributors to this insightful book. The new scale for considering economic strength and growth opportunities is "the megaregion", a network of metropolitan centers and their surrounding areas that are spatially and functionally linked through environmental, economic, and(...)
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The concept of "the city" — as well as "the state" and "the nation state" — is passé, agree contributors to this insightful book. The new scale for considering economic strength and growth opportunities is "the megaregion", a network of metropolitan centers and their surrounding areas that are spatially and functionally linked through environmental, economic, and(...)
Titre:
Megaregions ; planning for global competitiveness
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The concept of "the city" — as well as "the state" and "the nation state" — is passé, agree contributors to this insightful book. The new scale for considering economic strength and growth opportunities is "the megaregion", a network of metropolitan centers and their surrounding areas that are spatially and functionally linked through environmental, economic, and infrastructure interactions. Recently a great deal of attention has been focused on the emergence of the European Union and on European spatial planning, which has boosted the region’s competitiveness. Megaregions applies these emerging concepts in an American context. It addresses critical questions for our future : What are the spatial implications of local, regional, national, and global trends within the context of sustainability, economic competitiveness, and social equity? How can we address housing, transportation, and infrastructure needs in growing megaregions? How can we develop and implement the policy changes necessary to make viable, livable megaregions? By the year 2050, megaregions will contain two-thirds of the U.S. population. Given the projected growth of the U.S. population and the accompanying geographic changes, this forward-looking book argues that U.S. planners and policymakers must examine and implement the megaregion as a new and appropriate framework. Contributors, all of whom are leaders in their academic and professional specialties, address the most critical issues confronting the U.S. over the next fifty years. At the same time, they examine ways in which the idea of megaregions might help address our concerns about equity, the economy, and the environment. Together, these essays define the theoretical, analytical, and operational underpinnings of a new structure that could respond to the anticipated upheavals in U.S. population and living patterns.
Megaregions ; planning for global competitiveness
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The concept of "the city" — as well as "the state" and "the nation state" — is passé, agree contributors to this insightful book. The new scale for considering economic strength and growth opportunities is "the megaregion", a network of metropolitan centers and their surrounding areas that are spatially and functionally linked through environmental, economic, and infrastructure interactions. Recently a great deal of attention has been focused on the emergence of the European Union and on European spatial planning, which has boosted the region’s competitiveness. Megaregions applies these emerging concepts in an American context. It addresses critical questions for our future : What are the spatial implications of local, regional, national, and global trends within the context of sustainability, economic competitiveness, and social equity? How can we address housing, transportation, and infrastructure needs in growing megaregions? How can we develop and implement the policy changes necessary to make viable, livable megaregions? By the year 2050, megaregions will contain two-thirds of the U.S. population. Given the projected growth of the U.S. population and the accompanying geographic changes, this forward-looking book argues that U.S. planners and policymakers must examine and implement the megaregion as a new and appropriate framework. Contributors, all of whom are leaders in their academic and professional specialties, address the most critical issues confronting the U.S. over the next fifty years. At the same time, they examine ways in which the idea of megaregions might help address our concerns about equity, the economy, and the environment. Together, these essays define the theoretical, analytical, and operational underpinnings of a new structure that could respond to the anticipated upheavals in U.S. population and living patterns.
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livres
livres
Publication:
juin 2009
juin 2009
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
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Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation(...)
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Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation(...)
Titre:
Alibis Sigmar Polke 1963-2010
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Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation for his punishing critiques of the conventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the xerox machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as newspaper headlines and Durer prints. Polke avoided any one signature style, a fluid method best defined by the word "alibi," which means "in or at another place." This also is a reminder of the deflection of responsibility which shaped German behavior during the Nazi period, compelling Polke's generation to reinvent the role of the artist. Published in conjunction with "Alibis: Sigmar Polke 1963-2010," the first exhibition to encompass the artist's work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists examine the full range of Polke's exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artistic conventions against German history.
Alibis Sigmar Polke 1963-2010
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Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation for his punishing critiques of the conventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the xerox machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as newspaper headlines and Durer prints. Polke avoided any one signature style, a fluid method best defined by the word "alibi," which means "in or at another place." This also is a reminder of the deflection of responsibility which shaped German behavior during the Nazi period, compelling Polke's generation to reinvent the role of the artist. Published in conjunction with "Alibis: Sigmar Polke 1963-2010," the first exhibition to encompass the artist's work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists examine the full range of Polke's exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artistic conventions against German history.
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livres
livres
Publication:
avril 2014
avril 2014
Classification:
périodiques
périodiques
Titre:
OASE #84: Models Maquettes
OASE #84: Models Maquettes
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of(...)
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of(...)
Titre:
OASE #84: Models Maquettes
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of the Très Grande Bibliothèque in Paris afforded new insights into a space that can be read both as mass and as counter-mass, while the model of the cruise terminal in Zeebrugge exemplified the power of the iconic form. OASE 84 devotes considerable attention to (architectural) models that play an important part in the work of various artists as well, like in the work of Mike Kelley and Thomas Demand. These models are hardly ever meant to be realised on a different scale elsewhere; they work with the dualistic connotations of the model directly. Although the two disciplines have markedly different motives for using models, we are confident that the cross-pollination brought about here will generate novel insights about the model’s significance and possibilities. With contributions by Jacob Bil, Adam Caruso, Thomas Demand, Job Floris, Kersten Geers, Christophe Van Gerrewey, Anne Holtrop, Christian Hubert, Junya Ishigami, Krijn de Koning, Véronique Patteeuw, Bas Princen, Hans Teerds, Milica Topalovic and Stefaan Vervoort OASE is an independent, international journal published in Dutch and English that features architecture, urban design and landscape design. Each issue is devoted to a topical theme and thus makes a significant contribution to international discourse within these fields. OASE is published three times a year
OASE #84: Models Maquettes
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of the Très Grande Bibliothèque in Paris afforded new insights into a space that can be read both as mass and as counter-mass, while the model of the cruise terminal in Zeebrugge exemplified the power of the iconic form. OASE 84 devotes considerable attention to (architectural) models that play an important part in the work of various artists as well, like in the work of Mike Kelley and Thomas Demand. These models are hardly ever meant to be realised on a different scale elsewhere; they work with the dualistic connotations of the model directly. Although the two disciplines have markedly different motives for using models, we are confident that the cross-pollination brought about here will generate novel insights about the model’s significance and possibilities. With contributions by Jacob Bil, Adam Caruso, Thomas Demand, Job Floris, Kersten Geers, Christophe Van Gerrewey, Anne Holtrop, Christian Hubert, Junya Ishigami, Krijn de Koning, Véronique Patteeuw, Bas Princen, Hans Teerds, Milica Topalovic and Stefaan Vervoort OASE is an independent, international journal published in Dutch and English that features architecture, urban design and landscape design. Each issue is devoted to a topical theme and thus makes a significant contribution to international discourse within these fields. OASE is published three times a year
Classification:
périodiques
périodiques
Publication:
août 2011
août 2011
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livres
livres
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At its opening on July 16, 2004, Chicago’s Millennium Park was hailed as one of the most important millennium projects in the world. “Politicians come and go; business leaders come and go,” proclaimed mayor Richard M. Daley, “but artists really define a city.” Part park, part outdoor art museum, part cultural center, and part performance space, Millennium Park is now an(...)
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At its opening on July 16, 2004, Chicago’s Millennium Park was hailed as one of the most important millennium projects in the world. “Politicians come and go; business leaders come and go,” proclaimed mayor Richard M. Daley, “but artists really define a city.” Part park, part outdoor art museum, part cultural center, and part performance space, Millennium Park is now an(...)
Publication:
avril 2006, Chicago, London
avril 2006, Chicago, London
Titre:
Millennium park : creating a Chicago landscape
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At its opening on July 16, 2004, Chicago’s Millennium Park was hailed as one of the most important millennium projects in the world. “Politicians come and go; business leaders come and go,” proclaimed mayor Richard M. Daley, “but artists really define a city.” Part park, part outdoor art museum, part cultural center, and part performance space, Millennium Park is now an unprecedented combination of distinctive architecture, monumental sculpture, and innovative landscaping. Including structures and works by Frank Gehry, Anish Kapoor, Jaume Plensa, and Kathryn Gustafson, the park represents the collaborative efforts of hundreds to turn an unused railroad yard in the heart of the city into a world-class civic space—and, in the process, to create an entirely new kind of cultural philanthropy. Timothy Gilfoyle here offers a biography of this phenomenal undertaking, beginning before 1850 when the site of the park, the “city’s front yard,” was part of Lake Michigan. Gilfoyle studied the history of downtown; spent years with the planners, artists, and public officials behind Millennium Park; documented it at every stage of its construction; and traced the skeins of financing through municipal government, global corporations, private foundations, and wealthy civic leaders. The result is an illustrated testament to the park, the city, and all those attempting to think and act on a monumental scale. And underlying Gilfoyle’s history is also a revealing study of the globalization of art, the use of culture as an engine of economic expansion, and the nature of political and philanthropic power. Born out of civic idealism, raised in political controversy, and maturing into a symbol of the new Chicago, Millennium Park is truly a twenty-first-century landmark, and it now has the history it deserves.
Millennium park : creating a Chicago landscape
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At its opening on July 16, 2004, Chicago’s Millennium Park was hailed as one of the most important millennium projects in the world. “Politicians come and go; business leaders come and go,” proclaimed mayor Richard M. Daley, “but artists really define a city.” Part park, part outdoor art museum, part cultural center, and part performance space, Millennium Park is now an unprecedented combination of distinctive architecture, monumental sculpture, and innovative landscaping. Including structures and works by Frank Gehry, Anish Kapoor, Jaume Plensa, and Kathryn Gustafson, the park represents the collaborative efforts of hundreds to turn an unused railroad yard in the heart of the city into a world-class civic space—and, in the process, to create an entirely new kind of cultural philanthropy. Timothy Gilfoyle here offers a biography of this phenomenal undertaking, beginning before 1850 when the site of the park, the “city’s front yard,” was part of Lake Michigan. Gilfoyle studied the history of downtown; spent years with the planners, artists, and public officials behind Millennium Park; documented it at every stage of its construction; and traced the skeins of financing through municipal government, global corporations, private foundations, and wealthy civic leaders. The result is an illustrated testament to the park, the city, and all those attempting to think and act on a monumental scale. And underlying Gilfoyle’s history is also a revealing study of the globalization of art, the use of culture as an engine of economic expansion, and the nature of political and philanthropic power. Born out of civic idealism, raised in political controversy, and maturing into a symbol of the new Chicago, Millennium Park is truly a twenty-first-century landmark, and it now has the history it deserves.
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livres
livres
Publication:
avril 2006, Chicago, London
avril 2006, Chicago, London
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livres
livres
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In December 2006, close to Zurich airport, Opfikerpark was completed after a construction period of 79 weeks. Central element of the park is a concrete sculpture, over 500m-long, accommodating a lake surrounded by sandy beaches and a reed belt. The idea for the design of the park was the result of an international competition initiated in 2001 and won by Berlin practice(...)
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In December 2006, close to Zurich airport, Opfikerpark was completed after a construction period of 79 weeks. Central element of the park is a concrete sculpture, over 500m-long, accommodating a lake surrounded by sandy beaches and a reed belt. The idea for the design of the park was the result of an international competition initiated in 2001 and won by Berlin practice(...)
Publication:
juillet 2007, Berlin
juillet 2007, Berlin
Titre:
79 KW Zurich : building Opfikerpark
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In December 2006, close to Zurich airport, Opfikerpark was completed after a construction period of 79 weeks. Central element of the park is a concrete sculpture, over 500m-long, accommodating a lake surrounded by sandy beaches and a reed belt. The idea for the design of the park was the result of an international competition initiated in 2001 and won by Berlin practice Kiefer. As the second exhibition at gallery AedesLand, this project will be introduced in June 2007. Contrary to the usual approach, the exhibition does not aim to present an already completed construction but rather make transparent the process of creation and realization of the building project ‘opfikerpark’. The efforts and challenges to create a complex and outstanding structure, which were faced by client, planners, engineers as well as executing contractors, shall be recorded in a commented illustration of the construction work. Building sites are temporary production sites involving a multitude of disciplines and trades which need to be coordinated. The exhibition reflects the progressing technological, organizational and design process as well as the objective and subjective influences in effect and thus aims to convey a realistic image of the building activities. Photographer Hanns Joosten has documented the construction progress at regular intervals. His high-quality, large-scale images communicate the special aesthetics of a building site in all its diversity and affect the atmosphere of the exhibition. The whole exhibition space will be part of the exhibition, even floors and ceilings. In addition, a media installation explains the progress of constructing Opfikerpark where viewpoints of diverse disciplines and participants meet. The players get a chance to speak and express their personal perspective on the building process with spoken commentaries. How is a large park constructed? How does a building site work? What do you need so many planners for? And how do they work together? Based on these questions, spontaneous contributions shall throw a critical and ironic light on the expert discourse.
79 KW Zurich : building Opfikerpark
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In December 2006, close to Zurich airport, Opfikerpark was completed after a construction period of 79 weeks. Central element of the park is a concrete sculpture, over 500m-long, accommodating a lake surrounded by sandy beaches and a reed belt. The idea for the design of the park was the result of an international competition initiated in 2001 and won by Berlin practice Kiefer. As the second exhibition at gallery AedesLand, this project will be introduced in June 2007. Contrary to the usual approach, the exhibition does not aim to present an already completed construction but rather make transparent the process of creation and realization of the building project ‘opfikerpark’. The efforts and challenges to create a complex and outstanding structure, which were faced by client, planners, engineers as well as executing contractors, shall be recorded in a commented illustration of the construction work. Building sites are temporary production sites involving a multitude of disciplines and trades which need to be coordinated. The exhibition reflects the progressing technological, organizational and design process as well as the objective and subjective influences in effect and thus aims to convey a realistic image of the building activities. Photographer Hanns Joosten has documented the construction progress at regular intervals. His high-quality, large-scale images communicate the special aesthetics of a building site in all its diversity and affect the atmosphere of the exhibition. The whole exhibition space will be part of the exhibition, even floors and ceilings. In addition, a media installation explains the progress of constructing Opfikerpark where viewpoints of diverse disciplines and participants meet. The players get a chance to speak and express their personal perspective on the building process with spoken commentaries. How is a large park constructed? How does a building site work? What do you need so many planners for? And how do they work together? Based on these questions, spontaneous contributions shall throw a critical and ironic light on the expert discourse.
Classification:
livres
livres
Publication:
juillet 2007, Berlin
juillet 2007, Berlin
Classification:
livres
livres
Prix:
$75.95
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Résumé:
More than one hundred exhibitions of Frank Lloyd Wright's work were mounted between 1894 and his death in 1959. Wright organized the majority of these exhibitions himself and viewed them as crucial to his self-presentation as his extensive writings. He used them to promote his designs, appeal to new viewers, and persuade his detractors. Wright on Exhibit presents the(...)
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More than one hundred exhibitions of Frank Lloyd Wright's work were mounted between 1894 and his death in 1959. Wright organized the majority of these exhibitions himself and viewed them as crucial to his self-presentation as his extensive writings. He used them to promote his designs, appeal to new viewers, and persuade his detractors. Wright on Exhibit presents the(...)
Titre:
Wright on exhibit: Frank Lloyd Wright's architectural exhibitions
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More than one hundred exhibitions of Frank Lloyd Wright's work were mounted between 1894 and his death in 1959. Wright organized the majority of these exhibitions himself and viewed them as crucial to his self-presentation as his extensive writings. He used them to promote his designs, appeal to new viewers, and persuade his detractors. Wright on Exhibit presents the first history of this neglected aspect of the architect’s influential career. Drawing extensively from Wright’s unpublished correspondence, Kathryn Smith challenges the preconceived notion of Wright as a self-promoter who displayed his work in search of money, clients, and fame. She shows how he was an artist-architect projecting an avant-garde program, an innovator who expanded the palette of installation design as technology evolved, and a social activist driven to revolutionize society through design. While Wright’s earliest exhibitions were largely for other architects, by the 1930s he was creating public installations intended to inspire debate and change public perceptions about architecture. The nature of his exhibitions expanded with the times beyond models, drawings, and photographs to include more immersive tools such as slides, film, and even a full-scale structure built especially for his 1953 retrospective at the Guggenheim Museum. Placing Wright’s exhibitions side by side with his writings, Smith shows how integral these exhibitions were to his vision and sheds light on the broader discourse concerning architecture and modernism during the first half of the twentieth century. Wright on Exhibit features color renderings, photos, and plans, as well as a checklist of exhibitions and an illustrated catalog of extant and lost models made under Wright’s supervision.
Wright on exhibit: Frank Lloyd Wright's architectural exhibitions
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More than one hundred exhibitions of Frank Lloyd Wright's work were mounted between 1894 and his death in 1959. Wright organized the majority of these exhibitions himself and viewed them as crucial to his self-presentation as his extensive writings. He used them to promote his designs, appeal to new viewers, and persuade his detractors. Wright on Exhibit presents the first history of this neglected aspect of the architect’s influential career. Drawing extensively from Wright’s unpublished correspondence, Kathryn Smith challenges the preconceived notion of Wright as a self-promoter who displayed his work in search of money, clients, and fame. She shows how he was an artist-architect projecting an avant-garde program, an innovator who expanded the palette of installation design as technology evolved, and a social activist driven to revolutionize society through design. While Wright’s earliest exhibitions were largely for other architects, by the 1930s he was creating public installations intended to inspire debate and change public perceptions about architecture. The nature of his exhibitions expanded with the times beyond models, drawings, and photographs to include more immersive tools such as slides, film, and even a full-scale structure built especially for his 1953 retrospective at the Guggenheim Museum. Placing Wright’s exhibitions side by side with his writings, Smith shows how integral these exhibitions were to his vision and sheds light on the broader discourse concerning architecture and modernism during the first half of the twentieth century. Wright on Exhibit features color renderings, photos, and plans, as well as a checklist of exhibitions and an illustrated catalog of extant and lost models made under Wright’s supervision.
Classification:
livres
livres
Publication:
mai 2017
mai 2017
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
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$24.95
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In the 1970s, early in his career, Appelt first saw the spectacular cantilevered steel bridge, a marvel of 19th-century engineering spanning over 8,000 feet and still in regular use today. Fascinated by its kinetic and cinematic appearance, when he was invited to reflect on the works in the CCA’s collection, Appelt took the opportunity to revisit the bridge. He reframed(...)
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In the 1970s, early in his career, Appelt first saw the spectacular cantilevered steel bridge, a marvel of 19th-century engineering spanning over 8,000 feet and still in regular use today. Fascinated by its kinetic and cinematic appearance, when he was invited to reflect on the works in the CCA’s collection, Appelt took the opportunity to revisit the bridge. He reframed(...)
Sujet:
Publications du CCA
Publications du CCA
Publication:
mars 2005, Montréal
mars 2005, Montréal
Titre:
Dieter Appelt / Forth Bridge cinema. metric space = espace métrique
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In the 1970s, early in his career, Appelt first saw the spectacular cantilevered steel bridge, a marvel of 19th-century engineering spanning over 8,000 feet and still in regular use today. Fascinated by its kinetic and cinematic appearance, when he was invited to reflect on the works in the CCA’s collection, Appelt took the opportunity to revisit the bridge. He reframed it in light of his long-standing preoccupation with the analysis of architectural constructs in spatial and temporal terms, producing 312 black-and-white 35mm film stills as well as sound recordings. Eight large-scale photographic panels will be presented at the CCA, each comprising a montage of 39 of the film stills edited so as to propose a series of horizontal and vertical readings of the bridge. A selection of albums and photographs from the CCA’s Forth Bridge archives will also be presented accompanied by drawings from Appelt. The beautifully produced publication includes essays by Dieter Appel, Hubertus von Amelunxen, and Louise Désy, as well as a forword by Phyllis Lambert. Au début de sa carrière, dans les années 1970, Appelt avait vu pour la première fois ce spectaculaire pont cantilever en acier, une merveille de l’ingénierie du XIXe siècle, encore en service aujourd’hui, qui s’étend sur 8 000 pieds. Fasciné par son aspect cinétique et cinématique, Appelt a profité de cette invitation pour livrer une réflexion sur les œuvres de la collection du CCA et offrir ainsi une relecture du pont. Fidèle à son intérêt de longue date pour l’analyse spatiale et temporelle des constructions architecturales, il l’a recadré et a produit 312 photos de film 35 mm noir et blanc ainsi que des enregistrements sonores. Huit panneaux photographiques grand format seront exposés au CCA, chacun comportant un montage de 39 photos de films agencées de façon à proposer une série de lectures horizontales et verticales du pont. On pourra aussi voir une sélection d’albums et de photographies des archives du Forth Bridge du CCA, accompagnés de dessins d’Appelt. La publication contient des essais de Dieter Appelt, Hubertus von Amelunxen, et Louise Désy ainsi qu'une préface de Phyllis Lambert.
Dieter Appelt / Forth Bridge cinema. metric space = espace métrique
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In the 1970s, early in his career, Appelt first saw the spectacular cantilevered steel bridge, a marvel of 19th-century engineering spanning over 8,000 feet and still in regular use today. Fascinated by its kinetic and cinematic appearance, when he was invited to reflect on the works in the CCA’s collection, Appelt took the opportunity to revisit the bridge. He reframed it in light of his long-standing preoccupation with the analysis of architectural constructs in spatial and temporal terms, producing 312 black-and-white 35mm film stills as well as sound recordings. Eight large-scale photographic panels will be presented at the CCA, each comprising a montage of 39 of the film stills edited so as to propose a series of horizontal and vertical readings of the bridge. A selection of albums and photographs from the CCA’s Forth Bridge archives will also be presented accompanied by drawings from Appelt. The beautifully produced publication includes essays by Dieter Appel, Hubertus von Amelunxen, and Louise Désy, as well as a forword by Phyllis Lambert. Au début de sa carrière, dans les années 1970, Appelt avait vu pour la première fois ce spectaculaire pont cantilever en acier, une merveille de l’ingénierie du XIXe siècle, encore en service aujourd’hui, qui s’étend sur 8 000 pieds. Fasciné par son aspect cinétique et cinématique, Appelt a profité de cette invitation pour livrer une réflexion sur les œuvres de la collection du CCA et offrir ainsi une relecture du pont. Fidèle à son intérêt de longue date pour l’analyse spatiale et temporelle des constructions architecturales, il l’a recadré et a produit 312 photos de film 35 mm noir et blanc ainsi que des enregistrements sonores. Huit panneaux photographiques grand format seront exposés au CCA, chacun comportant un montage de 39 photos de films agencées de façon à proposer une série de lectures horizontales et verticales du pont. On pourra aussi voir une sélection d’albums et de photographies des archives du Forth Bridge du CCA, accompagnés de dessins d’Appelt. La publication contient des essais de Dieter Appelt, Hubertus von Amelunxen, et Louise Désy ainsi qu'une préface de Phyllis Lambert.
Classification:
livres
livres
Publication:
mars 2005, Montréal
mars 2005, Montréal
Sujet:
Publications du CCA
Publications du CCA
