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CAC : Hadid Studio Yale
CAC : Hadid Studio Yale
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In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio(...)
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In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio(...)
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livres soldés
livres soldés
Publication:
mai 2002, New York
mai 2002, New York
Titre:
CAC : Hadid Studio Yale
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In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio assistants, twelve students, and numerous critics - interpreted the contemporary art center as an invitation to experiment with new forms of public space. Specific contemporary works of art became the programme for a series of radical architectural concepts that expand the space of the art, taking on the scale and materiality of full-scale architectural constructs. The studio - and this volume - was divided into ten segments, addressing such issues as programme analysis, spatialities, system conditions, current contemporary art centers, building types, sites, and linearities. Each segment is represented by original renderings, including computer images. The accompanying text is drawn from transcripts of the studio reviews by the critics: Robert A. M. Stern, dean of the Yale School of Architecture; Terence Riley and Paola Antonelli of the Museum of Modern Art; and architects, critics, and scholars Jeffrey Kipnis, Thomas Krens, Sulan Kolatan, William MacDonald, Fabian Marcaccio, Rebeca Mendez, Paola Sanguinetti, Joseph Giovannini, Marc Cousins, Greg Lynn, and Gail Witwer.
CAC : Hadid Studio Yale
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In spring 2000, as the Eero Saarinen Visiting Professor at Yale University, Zaha Hadid led an intense studio on the topic of the contemporary art center. Such centers are proliferating across the United States and around the world, yet their architectural form remains abstract and open-ended, subject to continual reinterpretation. Hadid’s studio - one leader, three studio assistants, twelve students, and numerous critics - interpreted the contemporary art center as an invitation to experiment with new forms of public space. Specific contemporary works of art became the programme for a series of radical architectural concepts that expand the space of the art, taking on the scale and materiality of full-scale architectural constructs. The studio - and this volume - was divided into ten segments, addressing such issues as programme analysis, spatialities, system conditions, current contemporary art centers, building types, sites, and linearities. Each segment is represented by original renderings, including computer images. The accompanying text is drawn from transcripts of the studio reviews by the critics: Robert A. M. Stern, dean of the Yale School of Architecture; Terence Riley and Paola Antonelli of the Museum of Modern Art; and architects, critics, and scholars Jeffrey Kipnis, Thomas Krens, Sulan Kolatan, William MacDonald, Fabian Marcaccio, Rebeca Mendez, Paola Sanguinetti, Joseph Giovannini, Marc Cousins, Greg Lynn, and Gail Witwer.
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livres
Publication:
mai 2002, New York
mai 2002, New York
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livres soldés
livres soldés
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Titre:
Architecture now! vol 2
Architecture now! vol 2
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The fine line between art and architecture is rapidly becoming harder to perceive. With the aid of sophisticated computer programs, today's most innovative architects are working on designs so conceptual they could not be realized in the physical world. Nevertheless, these sorts of forward-thinking projects are an important influence on the architectural climate. At(...)
$54.95
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The fine line between art and architecture is rapidly becoming harder to perceive. With the aid of sophisticated computer programs, today's most innovative architects are working on designs so conceptual they could not be realized in the physical world. Nevertheless, these sorts of forward-thinking projects are an important influence on the architectural climate. At(...)
Titre:
Architecture now! vol 2
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$54.95
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The fine line between art and architecture is rapidly becoming harder to perceive. With the aid of sophisticated computer programs, today's most innovative architects are working on designs so conceptual they could not be realized in the physical world. Nevertheless, these sorts of forward-thinking projects are an important influence on the architectural climate. At the dawn of the 21st century, architecture is entering a paradigm shift; no longer can it be completely distinguished from art. Be they built from bytes or bricks, the projects in this book represent the imagination of the planet's most talented and creative architects. For all the latest and most important architectural projects and trends, look no further than this volume, the follow-up to our popular and groundbreaking book Architecture Now! Including: Allmann Sattler, Wappner, Tadao Ando, Shigeru Ban, Behnisch, Behnisch & Partner, Bolles & Wilson, Simeon Bruner/Cott & Associates, Santiago Calatrava, Alberto Campo Baeza, Coop Himmelb(l)au, Neil Denari, Diller & Scofidio, Winka Dubbeldam, Jean-Marie Duthilleul, Frank O. Gehry, Sean Godsell, Nicholas Grimshaw, Heikkinen-Komonen, John Hejduk, Steven Holl, Hans Hollein, Toyo Ito, Jakob + MacFarlane, Michael Jantzen, Jones, Partners, Rick Joy, Rei Kawakubo, Waro Kishi, Kohn Shnier Architects, Rem Koolhaas, Kengo Kuma, Lacaton & Vassal, Greg Lynn, Richard Meier, Samuel Mockbee + Rural Studio, Morphosis, Jean Nouvel, Marcos Novak, NOX, Manolo Nunez-Yanofsky, Oosterhuis.nl, Pei Partnership, Pugh + Scarpa, Michele Saee, Harry Seidler, Snøhetta Architects, Julie Snow, Jyrki Tasa, Bernard Tschumi, James Turrell, UN Studio, Ben van Berkel, Various Architects, Hendrik Vermoortel, Makoto Sei Watanabe, Wesley Wei, Williams + Tsien, Jean-Michel Wilmotte
Architecture now! vol 2
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The fine line between art and architecture is rapidly becoming harder to perceive. With the aid of sophisticated computer programs, today's most innovative architects are working on designs so conceptual they could not be realized in the physical world. Nevertheless, these sorts of forward-thinking projects are an important influence on the architectural climate. At the dawn of the 21st century, architecture is entering a paradigm shift; no longer can it be completely distinguished from art. Be they built from bytes or bricks, the projects in this book represent the imagination of the planet's most talented and creative architects. For all the latest and most important architectural projects and trends, look no further than this volume, the follow-up to our popular and groundbreaking book Architecture Now! Including: Allmann Sattler, Wappner, Tadao Ando, Shigeru Ban, Behnisch, Behnisch & Partner, Bolles & Wilson, Simeon Bruner/Cott & Associates, Santiago Calatrava, Alberto Campo Baeza, Coop Himmelb(l)au, Neil Denari, Diller & Scofidio, Winka Dubbeldam, Jean-Marie Duthilleul, Frank O. Gehry, Sean Godsell, Nicholas Grimshaw, Heikkinen-Komonen, John Hejduk, Steven Holl, Hans Hollein, Toyo Ito, Jakob + MacFarlane, Michael Jantzen, Jones, Partners, Rick Joy, Rei Kawakubo, Waro Kishi, Kohn Shnier Architects, Rem Koolhaas, Kengo Kuma, Lacaton & Vassal, Greg Lynn, Richard Meier, Samuel Mockbee + Rural Studio, Morphosis, Jean Nouvel, Marcos Novak, NOX, Manolo Nunez-Yanofsky, Oosterhuis.nl, Pei Partnership, Pugh + Scarpa, Michele Saee, Harry Seidler, Snøhetta Architects, Julie Snow, Jyrki Tasa, Bernard Tschumi, James Turrell, UN Studio, Ben van Berkel, Various Architects, Hendrik Vermoortel, Makoto Sei Watanabe, Wesley Wei, Williams + Tsien, Jean-Michel Wilmotte
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livres
livres
Publication:
novembre 2002, Cologne
novembre 2002, Cologne
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$39.95
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
Titre:
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
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livres
livres
Publication:
avril 2002, Cambridge, Mass.
avril 2002, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Prix:
$49.50
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Résumé:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
$49.50
(disponible sur commande)
Résumé:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
Titre:
Warped space : art, architecture, and anxiety in modern culture
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$49.50
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Résumé:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
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Prix:
$49.50
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Résumé:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
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livres
livres
Publication:
juin 2000, Cambridge, Mass.
juin 2000, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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$65.99
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Today, the physical scale model is a centrepiece for design education, celebrated practices and architecture’s public relations. The development of digital fabrication devices has made model manufacture even more pervasive. The physical model is the most accessible form of architectural communication. Clients and the general public seem to immediately respond to and(...)
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Today, the physical scale model is a centrepiece for design education, celebrated practices and architecture’s public relations. The development of digital fabrication devices has made model manufacture even more pervasive. The physical model is the most accessible form of architectural communication. Clients and the general public seem to immediately respond to and(...)
Titre:
Architecture and the miniature : models
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Today, the physical scale model is a centrepiece for design education, celebrated practices and architecture’s public relations. The development of digital fabrication devices has made model manufacture even more pervasive. The physical model is the most accessible form of architectural communication. Clients and the general public seem to immediately respond to and understand the model, over blueprints and computer simulations. Many architects use finished models for presentations, competitions and exhibitions. Others also embrace sketch models as quick, economic and flexible generative tools. It is only with the rise of the virtual that the advantages and disadvantages of more traditional models can be fully evaluated. As attested by this book, we are now at an important watershed for the model in architecture. Practitioners and educators alike are seeking to fully understand the multiplicity of model types and how they might be strategically deployed at appropriate stages in the design process. The historic role that the model has played is outlined with attention paid to Alberti, John Soane, the Bauhaus and education reforms. A cultural history is offered by examining models in the guise of toys, food, cinema, product design, souvenirs, narrative and art. Model theories are considered and tied to specific examples in the field. New technologies and creative combinations of traditional model-making techniques are evaluated. Kinetic, multi-media, nightscape and interdisciplinary models reveal the broad scope and exceptional versatility offered by this important tool. Models: Architecture and the Miniature focuses on current model use and experimentation by architects across the globe including David Chipperfield, Peter Eisenman, Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Daniel Libeskind, Greg Lynn and UN Studio.
Architecture and the miniature : models
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Prix:
$65.99
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Résumé:
Today, the physical scale model is a centrepiece for design education, celebrated practices and architecture’s public relations. The development of digital fabrication devices has made model manufacture even more pervasive. The physical model is the most accessible form of architectural communication. Clients and the general public seem to immediately respond to and understand the model, over blueprints and computer simulations. Many architects use finished models for presentations, competitions and exhibitions. Others also embrace sketch models as quick, economic and flexible generative tools. It is only with the rise of the virtual that the advantages and disadvantages of more traditional models can be fully evaluated. As attested by this book, we are now at an important watershed for the model in architecture. Practitioners and educators alike are seeking to fully understand the multiplicity of model types and how they might be strategically deployed at appropriate stages in the design process. The historic role that the model has played is outlined with attention paid to Alberti, John Soane, the Bauhaus and education reforms. A cultural history is offered by examining models in the guise of toys, food, cinema, product design, souvenirs, narrative and art. Model theories are considered and tied to specific examples in the field. New technologies and creative combinations of traditional model-making techniques are evaluated. Kinetic, multi-media, nightscape and interdisciplinary models reveal the broad scope and exceptional versatility offered by this important tool. Models: Architecture and the Miniature focuses on current model use and experimentation by architects across the globe including David Chipperfield, Peter Eisenman, Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Daniel Libeskind, Greg Lynn and UN Studio.
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livres
livres
Publication:
octobre 2005, Chichester
octobre 2005, Chichester
Sujet:
Maquettes
Maquettes
