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livres
livres
Titre:
Italia in Miniatura
Italia in Miniatura
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Between the late 1970s and mid-1980s, Luigi Ghirri made a series of photographs meditating on the landscape of his native Italy, all within the grounds of a single theme park in Rimini, Emilia-Romagna. The popular tourist destination Italia in Miniatura presents scale models of Italy’s major natural and architectural landmarks, brought together in surreal proximity.(...)
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Résumé:
Between the late 1970s and mid-1980s, Luigi Ghirri made a series of photographs meditating on the landscape of his native Italy, all within the grounds of a single theme park in Rimini, Emilia-Romagna. The popular tourist destination Italia in Miniatura presents scale models of Italy’s major natural and architectural landmarks, brought together in surreal proximity.(...)
Titre:
Italia in Miniatura
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$90.00
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Résumé:
Between the late 1970s and mid-1980s, Luigi Ghirri made a series of photographs meditating on the landscape of his native Italy, all within the grounds of a single theme park in Rimini, Emilia-Romagna. The popular tourist destination Italia in Miniatura presents scale models of Italy’s major natural and architectural landmarks, brought together in surreal proximity. Ghirri photographed this fabricated world with a characteristic sensitivity for visual coincidence and irony, illusion and reality, ambiguity and artifice. Reflecting on photography’s own processes of shrinking and representing, these images are among Ghirri’s most distinctive, playful, and conceptually compelling. This new book presents the entirety of Ghirri’s In Scala series, expanded with numerous previously unseen images, and places them in conversation with work by the park’s founder and designer, Ivo Rambaldi. Rambaldi’s maps, sketches, collages, and reference images, made on exhaustive research trips across Italy, offer an analogous exploration of the possibilities and paradoxes of miniaturisation. Their frank functionality resonates with Ghirri’s embrace of the perspective and tools of the ama-teur. From the dialogue between these meticulous works of representation and fabrication we discover the possibility that, in Ghirri’s words, "Perhaps it’s in this very space, one of total fiction, that truth is concealed." This publication is brought together by curators Ilaria Campioli, Joan Fontcuberta, and Matteo Guidi, and includes new essays by the curators and by author Simon Garfield. It is completed by a series of images by photographer and theorist Joan Fontcuberta in response to Ghirri’s and Rambaldi’s encounters with the park.
Italia in Miniatura
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$90.00
(disponible en magasin)
Résumé:
Between the late 1970s and mid-1980s, Luigi Ghirri made a series of photographs meditating on the landscape of his native Italy, all within the grounds of a single theme park in Rimini, Emilia-Romagna. The popular tourist destination Italia in Miniatura presents scale models of Italy’s major natural and architectural landmarks, brought together in surreal proximity. Ghirri photographed this fabricated world with a characteristic sensitivity for visual coincidence and irony, illusion and reality, ambiguity and artifice. Reflecting on photography’s own processes of shrinking and representing, these images are among Ghirri’s most distinctive, playful, and conceptually compelling. This new book presents the entirety of Ghirri’s In Scala series, expanded with numerous previously unseen images, and places them in conversation with work by the park’s founder and designer, Ivo Rambaldi. Rambaldi’s maps, sketches, collages, and reference images, made on exhaustive research trips across Italy, offer an analogous exploration of the possibilities and paradoxes of miniaturisation. Their frank functionality resonates with Ghirri’s embrace of the perspective and tools of the ama-teur. From the dialogue between these meticulous works of representation and fabrication we discover the possibility that, in Ghirri’s words, "Perhaps it’s in this very space, one of total fiction, that truth is concealed." This publication is brought together by curators Ilaria Campioli, Joan Fontcuberta, and Matteo Guidi, and includes new essays by the curators and by author Simon Garfield. It is completed by a series of images by photographer and theorist Joan Fontcuberta in response to Ghirri’s and Rambaldi’s encounters with the park.
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livres
livres
Publication:
janvier 2024
janvier 2024
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$60.00
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"This is an experiential architecture, not a theoretical one. It is grounded in reality, not in abstract dogma, yet it seeks the transcendent, every bit as earnestly - perhaps even more so - then architecture that is built on pure theory. It is the way space, texture, light, materials actually feel that motivates these architects, and it is their skill at manipulating(...)
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"This is an experiential architecture, not a theoretical one. It is grounded in reality, not in abstract dogma, yet it seeks the transcendent, every bit as earnestly - perhaps even more so - then architecture that is built on pure theory. It is the way space, texture, light, materials actually feel that motivates these architects, and it is their skill at manipulating(...)
Titre:
Olsen Sundberg Kunding Allen : connecting architecture, art, and craft in twelve residential projects
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"This is an experiential architecture, not a theoretical one. It is grounded in reality, not in abstract dogma, yet it seeks the transcendent, every bit as earnestly - perhaps even more so - then architecture that is built on pure theory. It is the way space, texture, light, materials actually feel that motivates these architects, and it is their skill at manipulating these elements that gives their work the rigor and strength it possesses. This architecture is marked by a sense of a self-assured and sensual presence, shaped by light, texture, materiality and scale. It should almost go without saying at this point that in an age in which most architects actively seek to achieve the identity of a "look," Olson Sundberg's work eschews simple similarities. Certain principles are evident from one building to another, as is the absence of direct historical replication, but consistency is not the same as a packageable style. Indeed, a single, easily identifiable style is something that these architects not only do not have but seem actively to discourage, as if its presence could be taken as a sign that their firm was not sufficiently cognizant of the widely varying demands that are inherent in different clients' programs, sites and esthetic preferences. They seem determined to prove that consistency of belief need not yield similarity of visual appearance – and that it is possible to produce a coherent body of work that does not look precisely the same." Excerpted from the introduction written by Paul Goldberger.
Olsen Sundberg Kunding Allen : connecting architecture, art, and craft in twelve residential projects
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$60.00
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Résumé:
"This is an experiential architecture, not a theoretical one. It is grounded in reality, not in abstract dogma, yet it seeks the transcendent, every bit as earnestly - perhaps even more so - then architecture that is built on pure theory. It is the way space, texture, light, materials actually feel that motivates these architects, and it is their skill at manipulating these elements that gives their work the rigor and strength it possesses. This architecture is marked by a sense of a self-assured and sensual presence, shaped by light, texture, materiality and scale. It should almost go without saying at this point that in an age in which most architects actively seek to achieve the identity of a "look," Olson Sundberg's work eschews simple similarities. Certain principles are evident from one building to another, as is the absence of direct historical replication, but consistency is not the same as a packageable style. Indeed, a single, easily identifiable style is something that these architects not only do not have but seem actively to discourage, as if its presence could be taken as a sign that their firm was not sufficiently cognizant of the widely varying demands that are inherent in different clients' programs, sites and esthetic preferences. They seem determined to prove that consistency of belief need not yield similarity of visual appearance – and that it is possible to produce a coherent body of work that does not look precisely the same." Excerpted from the introduction written by Paul Goldberger.
Classification:
livres
livres
Publication:
juin 2001, New York
juin 2001, New York
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
Titre:
Vanishing British Columbia
Vanishing British Columbia
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$39.95
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Résumé:
The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may(...)
$39.95
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The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may(...)
Sujet:
Architecture du Canada
Architecture du Canada
Publication:
octobre 2005, Vancouver Toronto Seattle
octobre 2005, Vancouver Toronto Seattle
Titre:
Vanishing British Columbia
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$39.95
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The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may disappear as families disperse and memories dim. More than a decade ago, Michael Kluckner began painting these dots on his personal map of the province in a watercolour sketchbook. In 1999, after he put a few of the sketches on his website, a network of correspondents emerged that eventually led him to the family letters, photo albums, and memories – all from a disappearing era of the province. Vanishing British Columbia is a record of these places and the stories they tell. It combines engaging and insightful historical commentary with over 160 of the author’s original paintings. It has an exceptional assortment of historic imagery, including old postcards, architectural plans, and photographs. The study of roadside memory demonstrates the visceral connection that people, especially those who are part of the rural-to-urban diaspora of modern times, have for the sites of their family memories. On a grander scale this approach leads to a broader understanding of more abstract historical themes and of the province’s history and culture. It also presents a compelling argument for stewardship of regional history in the face of urbanization and globalization.
Vanishing British Columbia
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$39.95
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Résumé:
The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may disappear as families disperse and memories dim. More than a decade ago, Michael Kluckner began painting these dots on his personal map of the province in a watercolour sketchbook. In 1999, after he put a few of the sketches on his website, a network of correspondents emerged that eventually led him to the family letters, photo albums, and memories – all from a disappearing era of the province. Vanishing British Columbia is a record of these places and the stories they tell. It combines engaging and insightful historical commentary with over 160 of the author’s original paintings. It has an exceptional assortment of historic imagery, including old postcards, architectural plans, and photographs. The study of roadside memory demonstrates the visceral connection that people, especially those who are part of the rural-to-urban diaspora of modern times, have for the sites of their family memories. On a grander scale this approach leads to a broader understanding of more abstract historical themes and of the province’s history and culture. It also presents a compelling argument for stewardship of regional history in the face of urbanization and globalization.
Classification:
livres
livres
Publication:
octobre 2005, Vancouver Toronto Seattle
octobre 2005, Vancouver Toronto Seattle
Sujet:
Architecture du Canada
Architecture du Canada
Classification:
livres
livres
Titre:
The second digital turn
The second digital turn
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Almost a generation ago, the early software for computer aided design and manufacturing (CAD/CAM) spawned a style of smooth and curving lines and surfaces that gave visible form to the first digital age, and left an indelible mark on contemporary architecture. But today's digitally intelligent architecture no longer looks that way. In The Second Digital Turn, Mario Carpo(...)
$33.95
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Résumé:
Almost a generation ago, the early software for computer aided design and manufacturing (CAD/CAM) spawned a style of smooth and curving lines and surfaces that gave visible form to the first digital age, and left an indelible mark on contemporary architecture. But today's digitally intelligent architecture no longer looks that way. In The Second Digital Turn, Mario Carpo(...)
Titre:
The second digital turn
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$33.95
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Almost a generation ago, the early software for computer aided design and manufacturing (CAD/CAM) spawned a style of smooth and curving lines and surfaces that gave visible form to the first digital age, and left an indelible mark on contemporary architecture. But today's digitally intelligent architecture no longer looks that way. In The Second Digital Turn, Mario Carpo explains that this is because the design professions are now coming to terms with a new kind of digital tools they have adopted—no longer tools for making but tools for thinking. In the early 1990s the design professions were the first to intuit and interpret the new technical logic of the digital age: digital mass-customization (the use of digital tools to mass-produce variations at no extra cost) has already changed the way we produce and consume almost everything, and the same technology applied to commerce at large is now heralding a new society without scale—a flat marginal cost society where bigger markets will not make anything cheaper. But today, the unprecedented power of computation also favors a new kind of science where prediction can be based on sheer information retrieval, and form finding by simulation and optimization can replace deduction from mathematical formulas. Designers have been toying with machine thinking and machine learning for some time, and the apparently unfathomable complexity of the physical shapes they are now creating already expresses a new form of artificial intelligence, outside the tradition of modern science and alien to the organic logic of our mind.
The second digital turn
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Almost a generation ago, the early software for computer aided design and manufacturing (CAD/CAM) spawned a style of smooth and curving lines and surfaces that gave visible form to the first digital age, and left an indelible mark on contemporary architecture. But today's digitally intelligent architecture no longer looks that way. In The Second Digital Turn, Mario Carpo explains that this is because the design professions are now coming to terms with a new kind of digital tools they have adopted—no longer tools for making but tools for thinking. In the early 1990s the design professions were the first to intuit and interpret the new technical logic of the digital age: digital mass-customization (the use of digital tools to mass-produce variations at no extra cost) has already changed the way we produce and consume almost everything, and the same technology applied to commerce at large is now heralding a new society without scale—a flat marginal cost society where bigger markets will not make anything cheaper. But today, the unprecedented power of computation also favors a new kind of science where prediction can be based on sheer information retrieval, and form finding by simulation and optimization can replace deduction from mathematical formulas. Designers have been toying with machine thinking and machine learning for some time, and the apparently unfathomable complexity of the physical shapes they are now creating already expresses a new form of artificial intelligence, outside the tradition of modern science and alien to the organic logic of our mind.
Classification:
livres
livres
Publication:
octobre 2017
octobre 2017
Sujet:
Architecture numérique
Architecture numérique
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livres
livres
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$39.95
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Paul Shepheard's previous book, What is Architecture?, was about making real, material things in the world -- landscapes, buildings, and machines. The Cultivated Wilderness is about those landscapes, and about the strategies that govern what we've done in shaping them.In the author's words, this book is about "seeing things that are too big to see." His emphasis on(...)
$39.95
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Résumé:
Paul Shepheard's previous book, What is Architecture?, was about making real, material things in the world -- landscapes, buildings, and machines. The Cultivated Wilderness is about those landscapes, and about the strategies that govern what we've done in shaping them.In the author's words, this book is about "seeing things that are too big to see." His emphasis on(...)
Titre:
The cultivated wilderness or, what is landscape?
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Paul Shepheard's previous book, What is Architecture?, was about making real, material things in the world -- landscapes, buildings, and machines. The Cultivated Wilderness is about those landscapes, and about the strategies that govern what we've done in shaping them.In the author's words, this book is about "seeing things that are too big to see." His emphasis on strategy makes landscape fundamental -- he says that every architectural move is set in a landscape. Norman England, for example, was constructed as a network of strong points, in a strategy of occupation. The eighteenth-century grid cities of the New World reflect a strategy of reason. Our current strategy is the economic exploitation of the Earth, an intricately woven blanket of commerce that covers up a multitude of other possibilities, many other ways to treat the surface of the globe -- some of which are the landscapes revealed in this book.In a series of first-person narratives, reminiscent of his last book, the author pairs six landscapes, in order of descending scale from global to local, from the seven wonders of the ancient world to the condensed destruction of World War I's Western Front. In an engaging style, Shepheard takes the reader on an odyssey through these landscapes, meeting people and seeing places. He states that now, at the end of a century in which the appropriate landscape was sought but never found, the strategy of turning the land to profit is under review -- and offers this book as his contribution to that review.
The cultivated wilderness or, what is landscape?
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$39.95
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Résumé:
Paul Shepheard's previous book, What is Architecture?, was about making real, material things in the world -- landscapes, buildings, and machines. The Cultivated Wilderness is about those landscapes, and about the strategies that govern what we've done in shaping them.In the author's words, this book is about "seeing things that are too big to see." His emphasis on strategy makes landscape fundamental -- he says that every architectural move is set in a landscape. Norman England, for example, was constructed as a network of strong points, in a strategy of occupation. The eighteenth-century grid cities of the New World reflect a strategy of reason. Our current strategy is the economic exploitation of the Earth, an intricately woven blanket of commerce that covers up a multitude of other possibilities, many other ways to treat the surface of the globe -- some of which are the landscapes revealed in this book.In a series of first-person narratives, reminiscent of his last book, the author pairs six landscapes, in order of descending scale from global to local, from the seven wonders of the ancient world to the condensed destruction of World War I's Western Front. In an engaging style, Shepheard takes the reader on an odyssey through these landscapes, meeting people and seeing places. He states that now, at the end of a century in which the appropriate landscape was sought but never found, the strategy of turning the land to profit is under review -- and offers this book as his contribution to that review.
Classification:
livres
livres
Publication:
mars 1997, Cambridge, Mass.
mars 1997, Cambridge, Mass.
Sujet:
Théorie du paysage
Théorie du paysage
Classification:
livres
livres
Prix:
$157.00
(disponible sur commande)
Résumé:
In recent years the Basel architects Herzog & de Meuron have seen several major competitions judged in their favor. Their museum to house the Goetz art collection in Munich, as well as projects to convert new exhibition space for the Tate Gallery in London and redesign the Hypobank quarter of Munich's inner city have earned international acclaim. Now this multi-volume(...)
$157.00
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In recent years the Basel architects Herzog & de Meuron have seen several major competitions judged in their favor. Their museum to house the Goetz art collection in Munich, as well as projects to convert new exhibition space for the Tate Gallery in London and redesign the Hypobank quarter of Munich's inner city have earned international acclaim. Now this multi-volume(...)
Titre:
Herzog & de Meuron 1989-1991 : the complete works volume 2
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$157.00
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In recent years the Basel architects Herzog & de Meuron have seen several major competitions judged in their favor. Their museum to house the Goetz art collection in Munich, as well as projects to convert new exhibition space for the Tate Gallery in London and redesign the Hypobank quarter of Munich's inner city have earned international acclaim. Now this multi-volume Birkhäuser edition is tracing the development of their complete work. Published out of sequence, Volume 2 is the first of this set to appear and spans the years 1989 1991. Included among its 32 projects are the well-known copper-clad signal box and locomotive depot, the repository for the Goetz art collection, the campus dormitory at the University of Dijon, and the Pfaffenholz sports center in St. Louis. Their approach to the building envelope, for all of its sobriety, evidences a richness not normally associated with the leading proponents of the new Swiss architecture. Lessons from early experimentation with imprinted glass and concrete have been adapted for many of their new buildings. Building envelopes, such as for the Cultural Center in Blois, are conceived as "information skins." At the same time, a fastidious examination of the site leads to a critical dialogue with the city. The urban analyses emerging from the large-scale study, "Basel, a City in the Making?", but also the work on the master plans for the university campus at Dijon and the town sector of Sils Cuncas in the upper Engadine form a focal point in this volume.
Herzog & de Meuron 1989-1991 : the complete works volume 2
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$157.00
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Résumé:
In recent years the Basel architects Herzog & de Meuron have seen several major competitions judged in their favor. Their museum to house the Goetz art collection in Munich, as well as projects to convert new exhibition space for the Tate Gallery in London and redesign the Hypobank quarter of Munich's inner city have earned international acclaim. Now this multi-volume Birkhäuser edition is tracing the development of their complete work. Published out of sequence, Volume 2 is the first of this set to appear and spans the years 1989 1991. Included among its 32 projects are the well-known copper-clad signal box and locomotive depot, the repository for the Goetz art collection, the campus dormitory at the University of Dijon, and the Pfaffenholz sports center in St. Louis. Their approach to the building envelope, for all of its sobriety, evidences a richness not normally associated with the leading proponents of the new Swiss architecture. Lessons from early experimentation with imprinted glass and concrete have been adapted for many of their new buildings. Building envelopes, such as for the Cultural Center in Blois, are conceived as "information skins." At the same time, a fastidious examination of the site leads to a critical dialogue with the city. The urban analyses emerging from the large-scale study, "Basel, a City in the Making?", but also the work on the master plans for the university campus at Dijon and the town sector of Sils Cuncas in the upper Engadine form a focal point in this volume.
Classification:
livres
livres
Publication:
septembre 1996, Basel
septembre 1996, Basel
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
Titre:
Jeff Wall: picture for women
Jeff Wall: picture for women
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Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs--from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham--seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the(...)
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Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs--from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham--seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the(...)
Titre:
Jeff Wall: picture for women
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$18.95
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Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs--from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham--seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergere, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or "picture," inherited from the history of painting, with the works of the "Pictures Generation" - including Richard Prince, Cindy Sherman, and Jack Goldstein - and argues that Picture for Women is inseparable from the modern fate of the picture in general.
Jeff Wall: picture for women
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$18.95
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Résumé:
Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs--from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham--seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergere, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or "picture," inherited from the history of painting, with the works of the "Pictures Generation" - including Richard Prince, Cindy Sherman, and Jack Goldstein - and argues that Picture for Women is inseparable from the modern fate of the picture in general.
Classification:
livres
livres
Publication:
mars 2011
mars 2011
Classification:
livres
livres
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$79.95
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The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens,(...)
$79.95
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Résumé:
The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens,(...)
Sujet:
Jardins
Jardins
Publication:
décembre 2001, Philadelphia
décembre 2001, Philadelphia
Titre:
La Foce : a garden and landscape in Tuscany
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$79.95
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Résumé:
The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens, Origo and her husband, Antonio, purchased the dilapidated villa in 1924, soliciting the help of English architect and family friend Cecil Pinsent to reawaken the natural magic of the property. Pinsent designed the structure of simple, elegant, box-edged beds and green enclosures that give shape to the Origos' shrubs, perennials, and vines, and created a garden of soaring cypress walks, native cyclamen, lawns, and wildflower meadows. Today the garden is a place of unusual and striking beauty, a green oasis in the barren Siena countryside. Situated in the Val d'Orcia, a wide valley in southeastern Tuscany that seems to exist on a larger, wilder scale than the rest of the Tuscan landscape, it is run by Benedetta and Donata Origo, and is open to the public one day a week. "La Foce : a garden and landscape in Tuscany" includes a historical essay and memoir by the daughter of La Foce's creators, Antonio and Iris Origo, along with photographs, sketches, and a critical analysis of the gardens. The volume not only focuses on the beauty of the gardens themselves and their indisputable merit as fascinating works of landscape architecture but also sees them within the context of both the larger Tuscan topography and the wider landscape of geography and history.
La Foce : a garden and landscape in Tuscany
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$79.95
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Résumé:
The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens, Origo and her husband, Antonio, purchased the dilapidated villa in 1924, soliciting the help of English architect and family friend Cecil Pinsent to reawaken the natural magic of the property. Pinsent designed the structure of simple, elegant, box-edged beds and green enclosures that give shape to the Origos' shrubs, perennials, and vines, and created a garden of soaring cypress walks, native cyclamen, lawns, and wildflower meadows. Today the garden is a place of unusual and striking beauty, a green oasis in the barren Siena countryside. Situated in the Val d'Orcia, a wide valley in southeastern Tuscany that seems to exist on a larger, wilder scale than the rest of the Tuscan landscape, it is run by Benedetta and Donata Origo, and is open to the public one day a week. "La Foce : a garden and landscape in Tuscany" includes a historical essay and memoir by the daughter of La Foce's creators, Antonio and Iris Origo, along with photographs, sketches, and a critical analysis of the gardens. The volume not only focuses on the beauty of the gardens themselves and their indisputable merit as fascinating works of landscape architecture but also sees them within the context of both the larger Tuscan topography and the wider landscape of geography and history.
Classification:
livres
livres
Publication:
décembre 2001, Philadelphia
décembre 2001, Philadelphia
Sujet:
Jardins
Jardins
Classification:
livres
livres
Actions:
Prix:
$41.95
(disponible sur commande)
Résumé:
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(...)
$41.95
(disponible sur commande)
Résumé:
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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Prix:
$41.95
(disponible sur commande)
Résumé:
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
Actions:
Prix:
$41.95
(disponible sur commande)
Résumé:
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.
Classification:
livres
livres
Publication:
juin 2009
juin 2009
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
Classification:
livres
livres
Titre:
Gunnar Asplund
Gunnar Asplund
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Prix:
$99.95
(disponible sur commande)
Résumé:
Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive(...)
$99.95
(disponible sur commande)
Résumé:
Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive(...)
Titre:
Gunnar Asplund
Actions:
Prix:
$99.95
(disponible sur commande)
Résumé:
Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive understanding of the relationship between architecture and its surrounding landscape. His abilities are amply demonstrated in masterpieces like the Woodland Cemetery. In 1915 Asplund and Sigurd Lewerentz won the competition to plan a new cemetery for Stockholm. Their romantic plan, in which a symbolically straight, narrow pathway abruptly curves blindly away into the forest, and with open fields capped by burial-mound-like hillocks, earned both of them further commissions for buildings within the cemetery. Asplund’s Woodland Chapel of 1920 is tucked into the forest and uses classical elements such as Doric columns, but sparingly and in unusual ways, while manipulating scale in ways that further the spiritual and contemplative nature of the building. The Crematorium and Monument Hall of 1935 are dignified and powerful, unornamented but not austere, to offer comfort to those who use them. The Gothenburg Law Courts, another critical work which was finally completed in 1937, shows how Asplund relates the architecture of Modernism to a historical plan and façade. Buildings such as the architect’s own summer house at Stennäs and the crematoria at Kviberg and Skövde, dating from the later part of his life when he had begun to embrace Modernism, still show traditional classical and vernacular influences and are evidence that not all forms of Modernism constituted a fresh start.
Gunnar Asplund
Actions:
Prix:
$99.95
(disponible sur commande)
Résumé:
Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive understanding of the relationship between architecture and its surrounding landscape. His abilities are amply demonstrated in masterpieces like the Woodland Cemetery. In 1915 Asplund and Sigurd Lewerentz won the competition to plan a new cemetery for Stockholm. Their romantic plan, in which a symbolically straight, narrow pathway abruptly curves blindly away into the forest, and with open fields capped by burial-mound-like hillocks, earned both of them further commissions for buildings within the cemetery. Asplund’s Woodland Chapel of 1920 is tucked into the forest and uses classical elements such as Doric columns, but sparingly and in unusual ways, while manipulating scale in ways that further the spiritual and contemplative nature of the building. The Crematorium and Monument Hall of 1935 are dignified and powerful, unornamented but not austere, to offer comfort to those who use them. The Gothenburg Law Courts, another critical work which was finally completed in 1937, shows how Asplund relates the architecture of Modernism to a historical plan and façade. Buildings such as the architect’s own summer house at Stennäs and the crematoria at Kviberg and Skövde, dating from the later part of his life when he had begun to embrace Modernism, still show traditional classical and vernacular influences and are evidence that not all forms of Modernism constituted a fresh start.
Classification:
livres
livres
Publication:
octobre 2004, London
octobre 2004, London
Sujet:
Architecture, monographies
Architecture, monographies
