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Since the earliest days of the pandemic, care work has been thrust into the national spotlight. The notion of care seems simple enough. Care is about nurturing, feeding, nursing, assisting, and loving human beings. It is “the work that makes all other work possible.” But as historian Premilla Nadasen argues, we have only begun to understand the massive role it plays in(...)
Care: The highest stage of capitalism
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Since the earliest days of the pandemic, care work has been thrust into the national spotlight. The notion of care seems simple enough. Care is about nurturing, feeding, nursing, assisting, and loving human beings. It is “the work that makes all other work possible.” But as historian Premilla Nadasen argues, we have only begun to understand the massive role it plays in our lives and our economy. Nadasen traces the rise of the care economy, from its roots in slavery, where there was no clear division between production and social reproduction, to the present care crisis, experienced acutely by more and more Americans. Today’s care economy, Nadasen shows, is an institutionalized, hierarchical system in which some people’s pain translates into other people’s profit. Yet this is also a story of resistance. Low-wage workers, immigrants, and women of color in movements from Wages for Housework and Welfare Rights to the Movement for Black Lives have continued to fight for and practice collective care. These groups help us envision how, given the challenges before us, we can create a caring world as part of a radical future.
Social
John Lehr: The last things
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"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation,(...)
John Lehr: The last things
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"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation, violence, and mourning that are woven into the fabric of contemporary American life. These light-drenched photographs vividly describe a nation speaking through the language of capitalism. Words and images repeat and contradict throughout the work, reflecting emphatic pleas and shifting priorities. At other times, language breaks down completely, giving way to pictographic forms that are both primitive and utterly contemporary. Flaking paint morphs into JPEG vinyl printouts and LED displays, blurring the line between commercial speech and individual expression. Embedded in the work is a belief in the power and absurdity of objects that—like a body—bear the traces of collective experience. In its distilled and emphatic sequencing "The last things" reads as a prose poem and a cryptic cipher about a country at the brink of a tipping point.
Monographies photo
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Quality living in old age is one of the important topics of our time. Architects and builders can contribute innovative types of housing, intelligent concepts for barrier-free buildings, and advanced systems of care for people who are fragile or suffering from dementia. Intelligent design solutions can push back the limits on housing and care, on residential architecture(...)
Living for the elderly : a design manual
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Quality living in old age is one of the important topics of our time. Architects and builders can contribute innovative types of housing, intelligent concepts for barrier-free buildings, and advanced systems of care for people who are fragile or suffering from dementia. Intelligent design solutions can push back the limits on housing and care, on residential architecture and care facilities, on individual, collective, and assisted forms of housing, and even on the various phases of life in favor of a comprehensive trend toward integrated forms of housing. This volume in the series Design Manuals optimizes the concept, content, and presentation of the series to improve its use by the customer. A third of the volume provides detailed expert information from around fifteen contributors, including general questions of energy management and sustainability, open space, and product design. A section of examples provides a building typology, presenting approximately forty international buildings in analyses of up to eight pages that offer exemplary solutions for multigenerational buildings, assisted living, housing for people with dementia and other special target groups, old persons’ homes, nursing homes, and integrated projects.
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''Who is the architect?'' explores how the figure of the architect has been constructed and challenged in recent years. Traditionally perceived as male, Western and individualistic, architects are now being urged to redefine themselves in a more diverse, inclusive manner. The publication discusses the need to challenge norms and establish caring as an essential quality in(...)
Building diversity: Who is the architect?
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''Who is the architect?'' explores how the figure of the architect has been constructed and challenged in recent years. Traditionally perceived as male, Western and individualistic, architects are now being urged to redefine themselves in a more diverse, inclusive manner. The publication discusses the need to challenge norms and establish caring as an essential quality in the architectural discourse. With the threat of environmental collapse and other societal challenges, the need for collective teamwork and empathy has become central in establishing a common understanding that includes all beings. ''Building diversity'' aims to tackle these issues and explore topics on diversity and equality in the architectural field's past, present and future. The publication features thoughts and ideas from a broad range of countries and diverse perspectives on the architectural field, contributing to a wider dialogue about inclusion, intersectionality and progress. ''Building diversity'' is not intended to provide concrete solutions but aims to stimulate discussion and open up venues for hosting dialogues pointing to possible paths and the expansion of perspectives. It is an important contribution to the ongoing conversation about diversity and equality in the architectural field.
Théorie de l’architecture
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From the early days of recreational camping in the late nineteenth century through the multitude of modern camping options available today, ''Making camp'' explores the history and evolution of the popular activity through the lens of its most important and familiar components: the campsite, the campfire, the picnic table, the map, the tent, the sleeping bag, as well as(...)
Making camp: A visual history of camping's most essential items and activities
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From the early days of recreational camping in the late nineteenth century through the multitude of modern camping options available today, ''Making camp'' explores the history and evolution of the popular activity through the lens of its most important and familiar components: the campsite, the campfire, the picnic table, the map, the tent, the sleeping bag, as well as the oft invisible systems for delivering water and managing trash. Find out how early nineteenth century German peasants fashioned rudimentary sleeping bags by burrowing into bags full of leaves for the night. Look back over several millennia to learn about the progression of tents from animal skins, goat's hair, and heavy canvas to featherweight nylon. Learn about the ways in which the skills to build and maintain a campfire have been displaced by the portable gas stove. Pinpoint the details of the essential campground map and its unique place in the camping imagination. Each chapter includes a broad range of visuals to help illustrate the rich history of camping and our collective devotion to it, including drawings, patents, diagrams, sketches, paintings, advertisements, and historical photographs.
Théorie du paysage
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Untrammelled neoliberalism and the inexorable force of production have produced a 21st century crisis of community: a narcissistic cult of authenticity and mass turning-inward are among the pathologies engendered by it. We are individuals afloat in an atomised society, where the loss of the symbolic structures inherent in ritual behaviour has led to overdependence on the(...)
The disappearance of rituals: A topology of the present
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Untrammelled neoliberalism and the inexorable force of production have produced a 21st century crisis of community: a narcissistic cult of authenticity and mass turning-inward are among the pathologies engendered by it. We are individuals afloat in an atomised society, where the loss of the symbolic structures inherent in ritual behaviour has led to overdependence on the contingent to steer identity. Avoiding saccharine nostalgia for the rituals of the past, Han provides a genealogy of their disappearance as a means of diagnosing the pathologies of the present. He juxtaposes a community without communication – where the intensity of togetherness in silent recognition provides structure and meaning – to today’s communication without community, which does away with collective feelings and leaves individuals exposed to exploitation and manipulation by neoliberal psycho-politics. The community that is invoked everywhere today is an atrophied and commoditized community that lacks the symbolic power to bind people together. For Han, it is only the mutual praxis of recognition borne by the ritualistic sharing of the symbolic between members of a community which creates the footholds of objectivity allowing us to make sense of time.
Théorie/ philosophie
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Un ouvrage à voix multiples pour réinventer nos récits collectifs et construire un « monde d'après » sous le signe du progrès social et du développement durable, coordonné par le laboratoire d'innovation ACIDD'Lab. 86 % des Français estiment qu'ils vont devoir changer leurs comportements du fait de la situation environnementale (étude IFOP/Solutions COP21, octobre 2015).(...)
Architecture écologique
avril 2016
Nouveaux mythes, nouveaux imaginaires pour un monde durable
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Un ouvrage à voix multiples pour réinventer nos récits collectifs et construire un « monde d'après » sous le signe du progrès social et du développement durable, coordonné par le laboratoire d'innovation ACIDD'Lab. 86 % des Français estiment qu'ils vont devoir changer leurs comportements du fait de la situation environnementale (étude IFOP/Solutions COP21, octobre 2015). La prise de conscience est donc bien là. Alors, pourquoi ne passons-nous pas à l'acte? Bien sûr, c'est une question d'argent ; bien sûr, il ne sera pas facile de remettre en cause nos modes de production et de consommation. Mais l'urgence est réelle : il en va de l'héritage que nous laisserons aux générations futures, de la façon dont elles pourront s'adapter et, à court terme, de notre qualité de vie et même très directement de notre santé.Comment transformer cette conscience en actions ? Ni la culpabilisation ni la recherche de boucs émissaires ne sont efficaces. Au contraire, selon les auteurs, seule l'invention d'un nouvel imaginaire positif et partagé, seule une vision créative et collective de l'avenir déclencheront les actions nécessaires pour le réaliser. C'est pourquoi de nombreuses personnalités se sont réunies ici pour participer à la construction des mythes et des imaginaires de demain.
Architecture écologique
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Eliezer (Lazar) Markovitch Lissitzky (Pochinok, près de Smolensk, Russie, 1890 – Moscou, 1941), dit El Lissitzky, est l’un des artistes les plus influents, les plus novateurs et les plus controversés du début du XXe siècle. Peintre, designer, architecte et photographe prolifique, il a travaillé avec l’avant-garde soviétique et européenne des années 1920 et participé(...)
El Lissitzky : l'expérience de la totalité
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Eliezer (Lazar) Markovitch Lissitzky (Pochinok, près de Smolensk, Russie, 1890 – Moscou, 1941), dit El Lissitzky, est l’un des artistes les plus influents, les plus novateurs et les plus controversés du début du XXe siècle. Peintre, designer, architecte et photographe prolifique, il a travaillé avec l’avant-garde soviétique et européenne des années 1920 et participé activement à l’art propagandiste stalinien des années 1930. L’une des spécificités majeures de son œuvre comme de sa vie est le « franchissement des limites » : il a rapproché les pays et les cultures, l’art et le design, l’Est et l’Ouest. Après 1917, pendant la période du communisme de guerre, il vit à l'étranger où il fait office d'ambassadeur culturel, promouvant l'art russe et les idées soviétiques à l'Ouest tout en s'informant sur la culture occidentale. Pour lui, l’art ne doit pas être considéré comme le fruit d’une expression personnelle ou comme une production d’objets, mais comme une activité sociale et collective. Avec Kazimir Malevitch, il développe un nouveau langage visuel – le suprématisme révolutionnaire – employé non seulement en peinture, mais aussi en arts graphiques et en gravure, en architecture et en théâtre, en céramique, dans les théories de l’éducation et dans les écrits révolutionnaires.
Artivisme
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Quel art, quelle action politique possibles dans une société vouée au marché ? À cette double question, certains artistes et activistes répondent d'un pas de côté : en dehors des disciplines instituées et des routines protestataires, ils inventent des manières d'agir et de créer qui se nouent à l'articulation de la vie, de la performance, de la fête et du jeu. De même que(...)
Artivisme
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Quel art, quelle action politique possibles dans une société vouée au marché ? À cette double question, certains artistes et activistes répondent d'un pas de côté : en dehors des disciplines instituées et des routines protestataires, ils inventent des manières d'agir et de créer qui se nouent à l'articulation de la vie, de la performance, de la fête et du jeu. De même que le queer pose l'existence d'un troisième genre par delà féminin et masculin, de même l'artivisme suggère qu'il existe un troisième terme entre esthétique et politique. C'est l'art festif des collectifs décidés à réenchanter la vie, l'utopie des squats et des zones d'autonomie temporaire, la fronde libertaire des hackers et artistes du Net. Ce sont les détournements du Critical Art Ensemble, de Banksy et du Billboard Liberation Front, les sabotages joyeux de la guérilla pâtissière et des Yes Men, les infiltrations de JR, les performances de Steven Cohen ou Oreet Ashery, les prêches de Reverend Billy... Toutes ces pratiques, dont l'enjeu est d'opposer l'imagination et la créativité à l'ennui, la liberté d'action à la surveillance généralisée, la révolte collective au repli individuel, s'inscrivent dans une galaxie sans frontières...
Théorie de l’art
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TASS posters were created by a large collective of Soviet writers, printers, and artists, including such notables as Mikhail Cheremnykh, Nikolai Denisovskii, the Kukryniksy, and Pavel Sokolov-Skalia. Often six feet tall and always striking and bold, these stenciled posters were printed and placed daily in windows for the public to see. They were also sent abroad to serve(...)
Windows on the war: soviet TASS posters at home and abroad 1941-1945
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TASS posters were created by a large collective of Soviet writers, printers, and artists, including such notables as Mikhail Cheremnykh, Nikolai Denisovskii, the Kukryniksy, and Pavel Sokolov-Skalia. Often six feet tall and always striking and bold, these stenciled posters were printed and placed daily in windows for the public to see. They were also sent abroad to serve as international cultural "ambassadors," rallying Allied and neutral nations to the Soviet cause. Drawn from the Art Institute of Chicago''s collection, as well as other private and public holdings, these TASS posters have not been seen since World War II. An international team of scholars presents the TASS posters both as unique historical objects and as artworks that reveal how preeminent artists of the day used unconventional technical and visual means to contribute to the war effort, marking a major chapter in the history of design and propaganda. Generously illustrated, the book presents photographs, documentary materials, and memorabilia in meaningful juxtapositions with images of the TASS posters. Also included are documents illuminating the expression of Russian cultural life in the United States during the war, opening a fascinating window onto the war along the Eastern Front.
Arts graphiques imprimés