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By the end of the twentieth century, US architecture and engineering firms held more capital than entire countries, employed more people than were housed in most cities, and rented offices in more nations than comprised the UN. Within them, architects were designing not single buildings but urban systems, including the multinational infrastructures, legal codes, and(...)
Incoporating architects: How American architecture became a practice of empire
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By the end of the twentieth century, US architecture and engineering firms held more capital than entire countries, employed more people than were housed in most cities, and rented offices in more nations than comprised the UN. Within them, architects were designing not single buildings but urban systems, including the multinational infrastructures, legal codes, and financial mechanisms on which those systems came to depend. However, despite the extraordinary power of these architects, their histories remain shrouded in myth and concealed—by design. This forensic analysis traces a history of architects at one such firm, AECOM, as they assembled their own multinational corporation and embedded themselves in the operations of American empire after World War II, shielding themselves from the instabilities of a postwar political economy. ''Incorporating Architects'' reveals how architects, through their businesses more than their drawings or buildings, modulated the political economy, gripped the reins of their profession, and produced the global injustices that define our neoliberal present.
Théorie de l’architecture
Lee Friedlander: Christmas
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Whether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on(...)
Lee Friedlander: Christmas
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Whether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on snow-covered lawns; inflatable snowglobes and Santa Clauses; questionable St. Nicholas–themed lingerie; oversize or underwhelming Christmas trees; and houses so covered in string lights as to demand nothing short of a miracle from the local power grid. As in all of his work, Friedlander's images of Christmas reflect his own version of the holiday. Is Christmas in America a religious celebration? A commercial precept? A misunderstanding? An indulgent blasphemy? Or all of the above? The only certain thing is that December 25 has provided an opportunity for the people's photographer to hold up a mirror to a flawed, inventive, preoccupied and wonderful society.
Monographies photo
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Only a few decades ago, Dubai was merely a tranquil Bedouin city. Today, the skyline of a boomtown rises from the desert. Reports about it are distinguished by superlatives. In particular, reports regardign new buildings in this country of little shadow overshadow anything that has been constructed before. Burj Al Arab, currently the world's largest luxury hotel, with its(...)
Dubai : Architecture & design
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Only a few decades ago, Dubai was merely a tranquil Bedouin city. Today, the skyline of a boomtown rises from the desert. Reports about it are distinguished by superlatives. In particular, reports regardign new buildings in this country of little shadow overshadow anything that has been constructed before. Burj Al Arab, currently the world's largest luxury hotel, with its also technically unique facade is just one example of these buildings. Palm Project or Hydropolis, both visionary, artificially created islands belong to the same category. As does the construction of the world's highest apartment tower. Dubai presents a kind of preview of the ultramodern - a trend that is also reflected in the design of various restaurants, hotels and label stores. Representing the most important gate to the Middle East, this city is primarily one thing: thoroghly international and with incredible power on its way to a new future. This is the theme of this book, with chosen objects and crucial information concerning them.
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février 2007
Arch Moyen-Orient
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most(...)
janvier 2005, Windsor
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most comprehensive publication on Dzama's work to date, Patten examines the seminal evolution of Dzama's idiosyncratic approach to drawing between 1996 and 2001. Referring to Mikhail Bakhtin's concept of grotesque humour and the carnivalesque, he demonstrates how each drawing is an amalgam of allusions to 20th century popular culture. With an introduction by Wayne Baerwaldt, director of the Power Plant. Originally from Winnipeg, Marcel Dzama has had numerous solo exhibitions, notably at the Los Angeles Invitational Biennial, Richard Heller Gallery of Santa Monica and Sies + Hoke of Dusseldorf. He has also exhibited widely as a member of the Royal Art Lodge, most recently at New York's Drawing Room.
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Vanessa R. Schwartz engagingly presents the jet plane’s power to define a new age at a critical moment in the mid-20th century, arguing that the craft’s speed and smooth ride allowed people to imagine themselves living in the future. Exploring realms as diverse as airport architecture, theme park design, film, and photography, Schwartz argues that the jet created an(...)
Jet age aesthetic: the glamour of media in motion
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Vanessa R. Schwartz engagingly presents the jet plane’s power to define a new age at a critical moment in the mid-20th century, arguing that the craft’s speed and smooth ride allowed people to imagine themselves living in the future. Exploring realms as diverse as airport architecture, theme park design, film, and photography, Schwartz argues that the jet created an aesthetic that circulated on the ground below. Visual and media culture, including Eero Saarinen’s airports, David Bailey’s photographs of the jet set, and Ernst Haas’s experiments in color photojournalism glamorized the imagery of motion. Drawing on unprecedented access to the archives of The Walt Disney Studios, Schwartz also examines the period’s most successful example of fluid motion meeting media culture: Disneyland. The park’s dedication to “people-moving” defined Walt Disney’s vision, shaping the very identity of the place. The jet age aesthetic laid the groundwork for our contemporary media culture, in which motion is so fluid that we can surf the internet while going nowhere at all.
Design, époques et styles
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The preservation enterprise helps fashion the physical contours of memory in public space, and thus has the power to curate a multidimensional and inclusive representation of societal values and narratives. Increasingly, the field of preservation is being challenged to consider questions of social inclusion, of how multiple publics are—or are not—represented in heritage(...)
Preservation and social exclusion
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The preservation enterprise helps fashion the physical contours of memory in public space, and thus has the power to curate a multidimensional and inclusive representation of societal values and narratives. Increasingly, the field of preservation is being challenged to consider questions of social inclusion, of how multiple publics are—or are not—represented in heritage decision-making, geographies, and governance structures. Community engagement is increasingly being integrated into project-based preservation practice, but the policy toolbox has been slower to evolve. Recognizing how preservation and other land use decisions can both empower and marginalize publics compels greater reflection on preservation’s past and future and collective action beyond the project level. This requires professionals and institutions to consider systemic policy change with integrity, sensitivity, and intentionality. Bringing together a broad range of academics, historians, and practitioners, this second volume in the Issues in Preservation Policy series documents historic preservation’s progress toward inclusivity and explores further steps to be taken.
Théorie de l’architecture
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What might our cities look like in ten, twenty or fifty years? How may future cities face global challenges? Imagining the city of the future has long been an inspiration for many architects, artists and designers. This book examines how cities of the future have been visualised, what these projects sought to communicate and what the implications may be for us now. It(...)
Future cities: a visual guide
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What might our cities look like in ten, twenty or fifty years? How may future cities face global challenges? Imagining the city of the future has long been an inspiration for many architects, artists and designers. This book examines how cities of the future have been visualised, what these projects sought to communicate and what the implications may be for us now. It provides a visual history of the future and explores the relationships between different visualisation techniques and ideologies for cities. Thinking about what futures are, who they are for, why they are desirable, and how and when they are to be brought into being is central to this book. Through visualisation we are able to experiment in ways that would be impractical and potentially hazardous in the real world, and this book, therefore, aims to contribute toward a better understanding of the power and agency of visualisations for future cities.
Théorie de l’urbanisme
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A feminist silkscreen poster collective founded in London in 1974 by three former art students, the See Red Women’s Workshop grew out of a shared desire to combat sexist images of women and to create positive and challenging alternatives. Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression.(...)
See Red Women's Workshop: feminist posters 1974-1990
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A feminist silkscreen poster collective founded in London in 1974 by three former art students, the See Red Women’s Workshop grew out of a shared desire to combat sexist images of women and to create positive and challenging alternatives. Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression. With humor and bold, colorful graphics, See Red expressed the personal experiences of women as well as their role in wider struggles for change. Written by See Red members, detailing the group’s history up until the closure of the workshop in 1990, and with a foreword by celebrated feminist historian Sheila Rowbotham, See Red Women’s Workshop features all of the collective’s original screenprints and posters. Confronting negative stereotypes, questioning the role of women in society, and promoting women’s self-determination, the power and energy of these images reflect an important and dynamic era of women’s liberation—with continued relevance for today.
Arts graphiques imprimés
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When officially announced in 2015 that the Four Seasons Hotel restaurant and bar was closing, one could hear a gasp of disbelief around the world. The bastion of power lunches and the stunning elegance of Philip Johnson's 1959 interiors in Mies van der Rohe's landmark Seagram Building was over, to be disassembled and auctioned off. The only solace is that respected(...)
Philip Johnson, Mies van der Rohe: The Four Seasons restaurant
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When officially announced in 2015 that the Four Seasons Hotel restaurant and bar was closing, one could hear a gasp of disbelief around the world. The bastion of power lunches and the stunning elegance of Philip Johnson's 1959 interiors in Mies van der Rohe's landmark Seagram Building was over, to be disassembled and auctioned off. The only solace is that respected auction house Wright, was chosen to disperse the treasure trove of classic mid-century modern furniture and objects into new and loving hands. This slender catalog creates an invaluable record of all the items that made the restaurant memorable and adored. From custom furniture by Mies and Johnson with Knoll to Hans Wegner's The Chair, tableware designed by L. Garth and Ada Louis Huxtable to Saarinen's tulip tables and chairs, one can see why dining felt so special. Essays by architectural critic Paul Goldberger, food journalist Alan Richman and Vanity Fair editor-in-chief Graydon Carter plus historical photos make for an vital tribute.
Architecture, monographies
Fear, reverence, terror
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We are surrounded by images, fairly drowning in them. From our cell phones to our computers, from our televisions at home to the screens that light up while we wait in the grocery store checkout line, images of all kinds are seducing us, commanding us to buy!, scaring us, dazzling us. "Fear, reverence, terror" invites us to look at images slowly, with the help of a few(...)
Fear, reverence, terror
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We are surrounded by images, fairly drowning in them. From our cell phones to our computers, from our televisions at home to the screens that light up while we wait in the grocery store checkout line, images of all kinds are seducing us, commanding us to buy!, scaring us, dazzling us. "Fear, reverence, terror" invites us to look at images slowly, with the help of a few examples: Picasso’s Guernica, the “Lord Kitchener wants you” World War I recruitment poster, Jacques-Louis David’s Marat, the frontispiece of Thomas Hobbes’s Leviathan, a cup of gilded silver with scenes from the conquest of the New World. Are these political images, Carlo Ginzburg asks? Yes, because every image is, in a sense, political—an instrument of power. Tacitus once wrote, unforgettably, that we are enslaved by lies of which we ourselves are the authors. Is it possible to break this bond? Fear, Reverence, Terror will answer this question.
Théorie de l’art