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Architects draw
Architects draw
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$27.95
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Architects Draw offers a practical and invaluable way to help students and would-be sketchers translate what they see onto the page, not as an imitation of reality, but as a comprehensive union of voids and solids, light and shadows, lines and shapes. For over forty years revered Cooper Union professor and artist Sue Gussow has taught aspiring architects of varying(...)
$27.95
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Résumé:
Architects Draw offers a practical and invaluable way to help students and would-be sketchers translate what they see onto the page, not as an imitation of reality, but as a comprehensive union of voids and solids, light and shadows, lines and shapes. For over forty years revered Cooper Union professor and artist Sue Gussow has taught aspiring architects of varying(...)
Publication:
juin 2008, New York
juin 2008, New York
Titre:
Architects draw
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$27.95
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Architects Draw offers a practical and invaluable way to help students and would-be sketchers translate what they see onto the page, not as an imitation of reality, but as a comprehensive union of voids and solids, light and shadows, lines and shapes. For over forty years revered Cooper Union professor and artist Sue Gussow has taught aspiring architects of varying abilities how to fully observe and perceive the spaces that make up our physical environment. Gussow skillfully applies architectural language to twenty-five drawing exercises that tackle a variety of forms–from peas in a pod to monkeys, skeletons, dinosaur bones, and the art of Giacometti and Mondrian. She shows, for example, how cut fruit and paper bags reveal that the physical world is made up of planes, dimensions, and enclosed space. Architects Draw features examples from postgraduate architectural practice that explicitly connect drawing to the world of architecture. It also includes a guide to artists' materials, a visual checklist of quick drawing exercises, and other invaluable information that can be detached from the book for quick reference. This unique course provides a solid foundation for anyone interested in using drawing as a visual language to describe architecture. Sue Ferguson Gussow is a figurative painter who works in a wide range of drawing and painting media. A graduate of The Cooper Union, Columbia University, and Tulane University, Gussow has served on the faculties of both the School of Art and The Irwin S. Chanin School of Architecture at The Cooper Union and has taught and lectured at several universities and art institutions, among them Yale, Columbia, Bennington, New York University, Maryland Art Institute, Parsons School of Design and the Frick Collection. Now Professor Emerita of the Irwin S. Chanin School of Architecture of the Cooper Union, she has designed and taught Freehand Drawing for three decades and presently teaches the Advanced Drawing Seminar in the School of Architecture.
Architects draw
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$27.95
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Architects Draw offers a practical and invaluable way to help students and would-be sketchers translate what they see onto the page, not as an imitation of reality, but as a comprehensive union of voids and solids, light and shadows, lines and shapes. For over forty years revered Cooper Union professor and artist Sue Gussow has taught aspiring architects of varying abilities how to fully observe and perceive the spaces that make up our physical environment. Gussow skillfully applies architectural language to twenty-five drawing exercises that tackle a variety of forms–from peas in a pod to monkeys, skeletons, dinosaur bones, and the art of Giacometti and Mondrian. She shows, for example, how cut fruit and paper bags reveal that the physical world is made up of planes, dimensions, and enclosed space. Architects Draw features examples from postgraduate architectural practice that explicitly connect drawing to the world of architecture. It also includes a guide to artists' materials, a visual checklist of quick drawing exercises, and other invaluable information that can be detached from the book for quick reference. This unique course provides a solid foundation for anyone interested in using drawing as a visual language to describe architecture. Sue Ferguson Gussow is a figurative painter who works in a wide range of drawing and painting media. A graduate of The Cooper Union, Columbia University, and Tulane University, Gussow has served on the faculties of both the School of Art and The Irwin S. Chanin School of Architecture at The Cooper Union and has taught and lectured at several universities and art institutions, among them Yale, Columbia, Bennington, New York University, Maryland Art Institute, Parsons School of Design and the Frick Collection. Now Professor Emerita of the Irwin S. Chanin School of Architecture of the Cooper Union, she has designed and taught Freehand Drawing for three decades and presently teaches the Advanced Drawing Seminar in the School of Architecture.
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livres
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juin 2008, New York
juin 2008, New York
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480 pages illustrations, maps (1 folded) 44 color plates 32 cm
Description:
480 pages illustrations, maps (1 folded) 44 color plates 32 cm
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New York, H.N. Abrams [1964]
New York, H.N. Abrams [1964]
Titre:
5000 years of the art of Mesopotamia / Eva Strommenger, photographs by Max Hirmer. [Translated by Christina Haglund].
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Description:
480 pages illustrations, maps (1 folded) 44 color plates 32 cm
5000 years of the art of Mesopotamia / Eva Strommenger, photographs by Max Hirmer. [Translated by Christina Haglund].
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480 pages illustrations, maps (1 folded) 44 color plates 32 cm
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New York, H.N. Abrams [1964]
New York, H.N. Abrams [1964]
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livres
livres
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Inventing American modernism : Joseph Hudnut, Walter Gropius, and the Bauhaus legacy at Harvard
Inventing American modernism : Joseph Hudnut, Walter Gropius, and the Bauhaus legacy at Harvard
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$50.00
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From the late 1930s to the early 1950s, the Harvard Graduate School of Design played a crucial role in shaping a new modern architecture and the modern city. Architects, planners, teachers, and students from all over the world looked to the new GSD, with its celebrated faculty and curriculum, for the path to modern design. While the school’s significance is widely(...)
$50.00
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Résumé:
From the late 1930s to the early 1950s, the Harvard Graduate School of Design played a crucial role in shaping a new modern architecture and the modern city. Architects, planners, teachers, and students from all over the world looked to the new GSD, with its celebrated faculty and curriculum, for the path to modern design. While the school’s significance is widely(...)
Publication:
avril 2007, Charlottesville, London
avril 2007, Charlottesville, London
Titre:
Inventing American modernism : Joseph Hudnut, Walter Gropius, and the Bauhaus legacy at Harvard
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$50.00
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From the late 1930s to the early 1950s, the Harvard Graduate School of Design played a crucial role in shaping a new modern architecture and the modern city. Architects, planners, teachers, and students from all over the world looked to the new GSD, with its celebrated faculty and curriculum, for the path to modern design. While the school’s significance is widely recognized by architectural historians, most studies have concentrated on the Bauhaus founder Walter Gropius and his transformation of Harvard's old Beaux-Arts School of Architecture into a "Harvard-Bauhaus," a radically new school with a single outlook. In "Inventing American modernism", Jill Pearlman argues that Gropius did not effect these changes alone and, further, that the GSD was not merely an offshoot of the Bauhaus. She offers a crucial missing piece to the story — and to the history of modern architecture — by focusing on Joseph Hudnut, the school’s dean and founder. After heading the architecture school at the University of Virginia, and then at Columbia University, Hudnut created the GSD at Harvard in 1936, before Gropius was appointed, and he headed the school until 1953, the year after Gropius resigned. From the beginning, Hudnut gave the GSD its modern pedagogical direction, and he continued to oversee its curriculum and staffing for the next seventeen years. Although originally an admirer of Gropius's work and theories, Hudnut came to clash with him over the control of the direction of modern architecture and planning in the United States Gropius won the battle, but Pearlman shows that, had the GSD followed the path Hudnut wanted, modern architecture and the modern city might well have been different. In his role as public intellectual, Hudnut wielded an influence that reached outside the university, distinguished by his encouraging people to participate in the architectural and urbanistic matters that affected their lives. A story involving European modernists such as Marcel Breuer, Martin Wagner, and Christopher Tunnard, as well as a number of other architects, city planners, and landscape architects, this book is more than the study of a single school; it is a look at the origins of modernism at a defining moment in the history of twentieth-century architecture.
Inventing American modernism : Joseph Hudnut, Walter Gropius, and the Bauhaus legacy at Harvard
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$50.00
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From the late 1930s to the early 1950s, the Harvard Graduate School of Design played a crucial role in shaping a new modern architecture and the modern city. Architects, planners, teachers, and students from all over the world looked to the new GSD, with its celebrated faculty and curriculum, for the path to modern design. While the school’s significance is widely recognized by architectural historians, most studies have concentrated on the Bauhaus founder Walter Gropius and his transformation of Harvard's old Beaux-Arts School of Architecture into a "Harvard-Bauhaus," a radically new school with a single outlook. In "Inventing American modernism", Jill Pearlman argues that Gropius did not effect these changes alone and, further, that the GSD was not merely an offshoot of the Bauhaus. She offers a crucial missing piece to the story — and to the history of modern architecture — by focusing on Joseph Hudnut, the school’s dean and founder. After heading the architecture school at the University of Virginia, and then at Columbia University, Hudnut created the GSD at Harvard in 1936, before Gropius was appointed, and he headed the school until 1953, the year after Gropius resigned. From the beginning, Hudnut gave the GSD its modern pedagogical direction, and he continued to oversee its curriculum and staffing for the next seventeen years. Although originally an admirer of Gropius's work and theories, Hudnut came to clash with him over the control of the direction of modern architecture and planning in the United States Gropius won the battle, but Pearlman shows that, had the GSD followed the path Hudnut wanted, modern architecture and the modern city might well have been different. In his role as public intellectual, Hudnut wielded an influence that reached outside the university, distinguished by his encouraging people to participate in the architectural and urbanistic matters that affected their lives. A story involving European modernists such as Marcel Breuer, Martin Wagner, and Christopher Tunnard, as well as a number of other architects, city planners, and landscape architects, this book is more than the study of a single school; it is a look at the origins of modernism at a defining moment in the history of twentieth-century architecture.
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livres
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Publication:
avril 2007, Charlottesville, London
avril 2007, Charlottesville, London
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volumes <1-3, 5-15> ; 24 cm
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volumes <1-3, 5-15> ; 24 cm
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Cambridge [England] ; New York : Cambridge University Press, 1978-<2019>
Cambridge [England] ; New York : Cambridge University Press, 1978-<2019>
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The Cambridge history of China / general editors, Denis Twitchett and John K. Fairbank.
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volumes <1-3, 5-15> ; 24 cm
The Cambridge history of China / general editors, Denis Twitchett and John K. Fairbank.
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volumes <1-3, 5-15> ; 24 cm
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Cambridge [England] ; New York : Cambridge University Press, 1978-<2019>
Cambridge [England] ; New York : Cambridge University Press, 1978-<2019>
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audio
audio
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1 online resource.
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[Place of publication not identified] : Lateral Addition, 2018.
[Place of publication not identified] : Lateral Addition, 2018.
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June 21, 2018 : Listening for Southwest Key in San Diego.
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1 online resource.
June 21, 2018 : Listening for Southwest Key in San Diego.
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1 online resource.
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audio
audio
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[Place of publication not identified] : Lateral Addition, 2018.
[Place of publication not identified] : Lateral Addition, 2018.
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$29.95
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Van Alen Institute mounted the exhibition "Renewing, Rebuilding, Remembering" to demonstrate how cities, after incomparable loss of people and places, find ways to plan, design, and reconstruct the life of the city. The book is both a catalogue and a special edition of our series of "Van Alen Reports," the publication both documents the exhibit and expands on it with(...)
$29.95
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Résumé:
Van Alen Institute mounted the exhibition "Renewing, Rebuilding, Remembering" to demonstrate how cities, after incomparable loss of people and places, find ways to plan, design, and reconstruct the life of the city. The book is both a catalogue and a special edition of our series of "Van Alen Reports," the publication both documents the exhibit and expands on it with(...)
Titre:
Information exchange : how cities renew, rebuild, and remember
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$29.95
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Van Alen Institute mounted the exhibition "Renewing, Rebuilding, Remembering" to demonstrate how cities, after incomparable loss of people and places, find ways to plan, design, and reconstruct the life of the city. The book is both a catalogue and a special edition of our series of "Van Alen Reports," the publication both documents the exhibit and expands on it with personal essays, articles and interviews. The point of the exhibition was not to compare catastrophes, but to compare, contrast, and try to explicate and understand initiatives, projects, plans, and actions that took place after the bomb, the earthquake, the war. After that, what worked, what would they do differently, what mattered right away, what mattered for the long-term? In October, the Institute put out a call for ideas for the exhibit. Students, designers, planners, artists, professors, photographers, public officials and a wide range of respondents from around the world were generous in suggesting places, projects, issues, and designs that were telling for the future of New York. From this response and ongoing research, the Institute chose to focus on specific processes and projects in seven cities. In Beirut, a public art installation that progressed through the city was a first step in reclaiming its war-torn districts, and the Lebanese capital has continued not only with master plans and major new developments, but also with works such as the Garden of Forgiveness, grappling with a hard history to contemplate. In Berlin, a center for information about the city and its reconstruction rose above the ruins of the Berlin Wall, half a century after the city had been devastated and divided. In San Francisco, an earthquake left the elevated highway downtown in such precarious decision that the city decided to tear it down-and implement a long-held dream of reopening the city to the waterfront. In Kobe, where an earthquake resulted not only in billions of dollars of damage to infrastructure, but also in a terrible loss of life, architects responded with an outpouring of energy to survey the damage and construct innovative emergency housing, proving the old adage that necessity is the mother of invention. In addition, they strove to understand the disaster, building a museum about, and at, the geological fault that brought down so much of their city. Manchester had a terrorist attack in the mid-1990s, and rebuilt its center city better than before, as well as setting up an institute for the study of cities around the world, to better understand that the life of the city and its public realm can not be taken for granted. So, too, did Oklahoma City, where a public process led to an international design competition for a memorial, and the city has rebuilt itself around it. Sarajevo, after years of civil war, pulled together its citizens through restoring the landmarks of their public life.
Information exchange : how cities renew, rebuild, and remember
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$29.95
(disponible sur commande)
Résumé:
Van Alen Institute mounted the exhibition "Renewing, Rebuilding, Remembering" to demonstrate how cities, after incomparable loss of people and places, find ways to plan, design, and reconstruct the life of the city. The book is both a catalogue and a special edition of our series of "Van Alen Reports," the publication both documents the exhibit and expands on it with personal essays, articles and interviews. The point of the exhibition was not to compare catastrophes, but to compare, contrast, and try to explicate and understand initiatives, projects, plans, and actions that took place after the bomb, the earthquake, the war. After that, what worked, what would they do differently, what mattered right away, what mattered for the long-term? In October, the Institute put out a call for ideas for the exhibit. Students, designers, planners, artists, professors, photographers, public officials and a wide range of respondents from around the world were generous in suggesting places, projects, issues, and designs that were telling for the future of New York. From this response and ongoing research, the Institute chose to focus on specific processes and projects in seven cities. In Beirut, a public art installation that progressed through the city was a first step in reclaiming its war-torn districts, and the Lebanese capital has continued not only with master plans and major new developments, but also with works such as the Garden of Forgiveness, grappling with a hard history to contemplate. In Berlin, a center for information about the city and its reconstruction rose above the ruins of the Berlin Wall, half a century after the city had been devastated and divided. In San Francisco, an earthquake left the elevated highway downtown in such precarious decision that the city decided to tear it down-and implement a long-held dream of reopening the city to the waterfront. In Kobe, where an earthquake resulted not only in billions of dollars of damage to infrastructure, but also in a terrible loss of life, architects responded with an outpouring of energy to survey the damage and construct innovative emergency housing, proving the old adage that necessity is the mother of invention. In addition, they strove to understand the disaster, building a museum about, and at, the geological fault that brought down so much of their city. Manchester had a terrorist attack in the mid-1990s, and rebuilt its center city better than before, as well as setting up an institute for the study of cities around the world, to better understand that the life of the city and its public realm can not be taken for granted. So, too, did Oklahoma City, where a public process led to an international design competition for a memorial, and the city has rebuilt itself around it. Sarajevo, after years of civil war, pulled together its citizens through restoring the landmarks of their public life.
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livres
livres
Publication:
mars 2003, New York
mars 2003, New York
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
