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Siri Aurdal
Siri Aurdal
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Norwegian artist Siri Aurdal (born 1937) achieved prominence in her home country during the 1960s and ’70s with works that encouraged public participation. An interest in mathematics moved Aurdal to devise modular forms that could be reconceived for a range of sites, not only in the galleries and museums where they were initially exhibited. These works included(...)
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Norwegian artist Siri Aurdal (born 1937) achieved prominence in her home country during the 1960s and ’70s with works that encouraged public participation. An interest in mathematics moved Aurdal to devise modular forms that could be reconceived for a range of sites, not only in the galleries and museums where they were initially exhibited. These works included(...)
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Siri Aurdal
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Norwegian artist Siri Aurdal (born 1937) achieved prominence in her home country during the 1960s and ’70s with works that encouraged public participation. An interest in mathematics moved Aurdal to devise modular forms that could be reconceived for a range of sites, not only in the galleries and museums where they were initially exhibited. These works included installations made of common materials like Plexiglas or large-scale sinusoidal sculptures made of industrial tubes. The reproductions in this artist’s book include installation views, slides, drawings, collages, portraits and ephemera from the 1960s to 2016, highlighting many pieces that have never been exhibited or are no longer in existence. Aurdal collaborated with Norwegian artist Eline Mugaas on an exhibition at Kunstnernes Hus, and Mugaas extended their collaboration into book form, assembling this catalogue-cum-artist’s book. It gives a kaleidoscopic representation of Aurdal’s past ventures, her archive and her current studio work, lyrically arranged by Mugaas.
Siri Aurdal
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Norwegian artist Siri Aurdal (born 1937) achieved prominence in her home country during the 1960s and ’70s with works that encouraged public participation. An interest in mathematics moved Aurdal to devise modular forms that could be reconceived for a range of sites, not only in the galleries and museums where they were initially exhibited. These works included installations made of common materials like Plexiglas or large-scale sinusoidal sculptures made of industrial tubes. The reproductions in this artist’s book include installation views, slides, drawings, collages, portraits and ephemera from the 1960s to 2016, highlighting many pieces that have never been exhibited or are no longer in existence. Aurdal collaborated with Norwegian artist Eline Mugaas on an exhibition at Kunstnernes Hus, and Mugaas extended their collaboration into book form, assembling this catalogue-cum-artist’s book. It gives a kaleidoscopic representation of Aurdal’s past ventures, her archive and her current studio work, lyrically arranged by Mugaas.
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livres
livres
Publication:
août 2016
août 2016
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livres
livres
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Cookery has never been so high on the agenda of Western popular culture. And yet the endlessly-multiplying TV shows, the obsessive interest in the provenance of ingredients, and the celebration of ‘radical’ experiments in gastronomy, tell us little about the nature of the culinary. Is it possible to maintain that cookery has a philosophical pertinence without merely(...)
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Cookery has never been so high on the agenda of Western popular culture. And yet the endlessly-multiplying TV shows, the obsessive interest in the provenance of ingredients, and the celebration of ‘radical’ experiments in gastronomy, tell us little about the nature of the culinary. Is it possible to maintain that cookery has a philosophical pertinence without merely(...)
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Collapse: philosophical research and development 2012: culinary materialism, volume VII
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Cookery has never been so high on the agenda of Western popular culture. And yet the endlessly-multiplying TV shows, the obsessive interest in the provenance of ingredients, and the celebration of ‘radical’ experiments in gastronomy, tell us little about the nature of the culinary. Is it possible to maintain that cookery has a philosophical pertinence without merely appending philosophy to our burgeoning gastroculture? How might the everyday sense of the culinary be expanded into a philosophy of ‘culinary materialism’ wherein synthesis, experimentation, and operations of mixing and blending take precedence over analysis, subtraction and axiomatisation? Drawing on resources ranging from anthropology to chemistry, from hermetic alchemy to contemporary mathematics, "Collapse VII: culinary materialism" undertakes a trans-modal experiment in culinary thinking. A wide range of contributors including philosophers, chefs, artists, historians, and synaesthetes examine the cultural, industrial, physiological, alchemical and even cosmic dimensions of cookery, and propose new models of culinary thought for the future.
Collapse: philosophical research and development 2012: culinary materialism, volume VII
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Cookery has never been so high on the agenda of Western popular culture. And yet the endlessly-multiplying TV shows, the obsessive interest in the provenance of ingredients, and the celebration of ‘radical’ experiments in gastronomy, tell us little about the nature of the culinary. Is it possible to maintain that cookery has a philosophical pertinence without merely appending philosophy to our burgeoning gastroculture? How might the everyday sense of the culinary be expanded into a philosophy of ‘culinary materialism’ wherein synthesis, experimentation, and operations of mixing and blending take precedence over analysis, subtraction and axiomatisation? Drawing on resources ranging from anthropology to chemistry, from hermetic alchemy to contemporary mathematics, "Collapse VII: culinary materialism" undertakes a trans-modal experiment in culinary thinking. A wide range of contributors including philosophers, chefs, artists, historians, and synaesthetes examine the cultural, industrial, physiological, alchemical and even cosmic dimensions of cookery, and propose new models of culinary thought for the future.
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livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Bouffe
Bouffe
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livres
livres
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This book presents a refreshed, design-led approach to waste-to-energy (WTE) plants, reflecting work done at Harvard’s Graduate School of Design over a period of three years. Architecture and design currently play a minor role in the design and construction of industrial building types, especially waste-to-energy facilities. As densities increase and consumption patterns(...)
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This book presents a refreshed, design-led approach to waste-to-energy (WTE) plants, reflecting work done at Harvard’s Graduate School of Design over a period of three years. Architecture and design currently play a minor role in the design and construction of industrial building types, especially waste-to-energy facilities. As densities increase and consumption patterns(...)
Sujet:
Architecture écologique
Architecture écologique
Publication:
juin 2017
juin 2017
Titre:
Architecture and waste: a (re)planned obsolescence
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This book presents a refreshed, design-led approach to waste-to-energy (WTE) plants, reflecting work done at Harvard’s Graduate School of Design over a period of three years. Architecture and design currently play a minor role in the design and construction of industrial building types, especially waste-to-energy facilities. As densities increase and consumption patterns change, the need for more waste-to-energy facilities is only going to increase. Through comparing the well-established waste-to-energy industries in Sweden with less established engagements in the northeast of the United States, opportunities and lessons are revealed. Architects have a role to play in integrating waste-to-energy plants physically and programmatically within their urban or suburban contexts, as well as potentially lessening the generally negative perception of energy recovery plants. These hybrid WTE building typologies have the potential not only re-connect and communicate to the public, but also weave new public or institutional programs with energy production in a mutually beneficial way.
Architecture and waste: a (re)planned obsolescence
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This book presents a refreshed, design-led approach to waste-to-energy (WTE) plants, reflecting work done at Harvard’s Graduate School of Design over a period of three years. Architecture and design currently play a minor role in the design and construction of industrial building types, especially waste-to-energy facilities. As densities increase and consumption patterns change, the need for more waste-to-energy facilities is only going to increase. Through comparing the well-established waste-to-energy industries in Sweden with less established engagements in the northeast of the United States, opportunities and lessons are revealed. Architects have a role to play in integrating waste-to-energy plants physically and programmatically within their urban or suburban contexts, as well as potentially lessening the generally negative perception of energy recovery plants. These hybrid WTE building typologies have the potential not only re-connect and communicate to the public, but also weave new public or institutional programs with energy production in a mutually beneficial way.
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livres
livres
Publication:
juin 2017
juin 2017
Sujet:
Architecture écologique
Architecture écologique
Classification:
périodiques
périodiques
Titre:
Border crossings issue 145
Border crossings issue 145
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Border Crossings takes an in-depth look at California-based American artist Nancy Rubins. For over forty years, Rubins’ work has contained unpredictable elements as she has transformed industrial materials such as mattresses, television sets, RV campers and boat parts into large-scale installations. This issue also includes a look into the world of one of Canada’s most(...)
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Border Crossings takes an in-depth look at California-based American artist Nancy Rubins. For over forty years, Rubins’ work has contained unpredictable elements as she has transformed industrial materials such as mattresses, television sets, RV campers and boat parts into large-scale installations. This issue also includes a look into the world of one of Canada’s most(...)
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Border crossings issue 145
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Border Crossings takes an in-depth look at California-based American artist Nancy Rubins. For over forty years, Rubins’ work has contained unpredictable elements as she has transformed industrial materials such as mattresses, television sets, RV campers and boat parts into large-scale installations. This issue also includes a look into the world of one of Canada’s most important conceptual artists, Toronto-based Kelly Mark; a portfolio of charcoal drawings by Berlin-based Canadian artist Ambera Wellmann, winner of the 2017 RBC painting competition; Stephen Horne looks at artifact and artifice in Sophie Calle’s and Serena Carone’s quiet insertions into the quirky, lavish and eccentric Paris museum, La Musée de la Chasse et de la Nature; Robin Laurence presents a profile of Inuit artist Shuvinai Ashoona and writes about the work recently presented at the Marion Scott Gallery; Ray Cronin looks at "Places, paths and pauses", a retrospective of Newfoundland photographer Marlene Creates.
Border crossings issue 145
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Border Crossings takes an in-depth look at California-based American artist Nancy Rubins. For over forty years, Rubins’ work has contained unpredictable elements as she has transformed industrial materials such as mattresses, television sets, RV campers and boat parts into large-scale installations. This issue also includes a look into the world of one of Canada’s most important conceptual artists, Toronto-based Kelly Mark; a portfolio of charcoal drawings by Berlin-based Canadian artist Ambera Wellmann, winner of the 2017 RBC painting competition; Stephen Horne looks at artifact and artifice in Sophie Calle’s and Serena Carone’s quiet insertions into the quirky, lavish and eccentric Paris museum, La Musée de la Chasse et de la Nature; Robin Laurence presents a profile of Inuit artist Shuvinai Ashoona and writes about the work recently presented at the Marion Scott Gallery; Ray Cronin looks at "Places, paths and pauses", a retrospective of Newfoundland photographer Marlene Creates.
Classification:
périodiques
périodiques
Publication:
mars 2018
mars 2018
Sujet:
Revues
Revues
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livres
livres
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$42.95
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An increasing proportion of exhibitions are curated by artists rather than professional curators. In this ground-breaking book Alison Green provides the first critical history of visual artists curating exhibitions. The artist emerges as someone who carries a special responsibility for critiquing art’s institutions, brings considerable creativity to the craft of making(...)
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An increasing proportion of exhibitions are curated by artists rather than professional curators. In this ground-breaking book Alison Green provides the first critical history of visual artists curating exhibitions. The artist emerges as someone who carries a special responsibility for critiquing art’s institutions, brings considerable creativity to the craft of making(...)
Titre:
When artists curate: contemporary art and the exhibition as medium
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An increasing proportion of exhibitions are curated by artists rather than professional curators. In this ground-breaking book Alison Green provides the first critical history of visual artists curating exhibitions. The artist emerges as someone who carries a special responsibility for critiquing art’s institutions, brings considerable creativity to the craft of making exhibitions and, through experimentation, has changed the way exhibitions are understood to be authored and experienced. But the book also establishes a curious ubiquity to the artist-curated exhibition. Rather than being exceptional or rare, artists curate all the time and in all kinds of places: in galleries and in museums, in studios, in borrowed spaces such as shopfronts or industrial buildings, in front rooms and front windows, in zoos or concert halls, on streets and in nature. Seen from the perspective of artists, showing is a part of making art. Once this idea is understood, the history of art starts to look very different.
When artists curate: contemporary art and the exhibition as medium
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An increasing proportion of exhibitions are curated by artists rather than professional curators. In this ground-breaking book Alison Green provides the first critical history of visual artists curating exhibitions. The artist emerges as someone who carries a special responsibility for critiquing art’s institutions, brings considerable creativity to the craft of making exhibitions and, through experimentation, has changed the way exhibitions are understood to be authored and experienced. But the book also establishes a curious ubiquity to the artist-curated exhibition. Rather than being exceptional or rare, artists curate all the time and in all kinds of places: in galleries and in museums, in studios, in borrowed spaces such as shopfronts or industrial buildings, in front rooms and front windows, in zoos or concert halls, on streets and in nature. Seen from the perspective of artists, showing is a part of making art. Once this idea is understood, the history of art starts to look very different.
Classification:
livres
livres
Publication:
mai 2018
mai 2018
Sujet:
Muséologie
Muséologie
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livres
livres
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde(...)
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde(...)
Titre:
Avant-garde as method: Vkhutemas and the pedagogy of space 1920-1930
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde as method,'' architect and historian Anna Bokov explores the nature of art and technology education in the Soviet Union. The pedagogical program at Vkhutemas, she shows, combined longstanding academic ideas and practices with more nascent industrial era ones to initiate a new type of pedagogy that took an explorative approach and drew its strength from continuous feedback and exchange between students and educators. Elaborating on the ways the Vkhutemas curriculum challenged established canons of academic tradition by replacing it with open-ended inquiry, Bokov then shows how this came to be articulated in architectural and urban projects within the school’s advanced studios.
Avant-garde as method: Vkhutemas and the pedagogy of space 1920-1930
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde as method,'' architect and historian Anna Bokov explores the nature of art and technology education in the Soviet Union. The pedagogical program at Vkhutemas, she shows, combined longstanding academic ideas and practices with more nascent industrial era ones to initiate a new type of pedagogy that took an explorative approach and drew its strength from continuous feedback and exchange between students and educators. Elaborating on the ways the Vkhutemas curriculum challenged established canons of academic tradition by replacing it with open-ended inquiry, Bokov then shows how this came to be articulated in architectural and urban projects within the school’s advanced studios.
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livres
livres
Publication:
avril 2020
avril 2020
Sujet:
Modernisme
Modernisme
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livres
livres
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$63.00
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Disapproved of by the critics and extremely nonconformist, Carlo Mollino expressed himself through his architectural designs, his furniture and interiors, in a language assimilated from futurism and surrealism. The influence of architects ranging from Gaudí to Mendelsohn, from Aalto to Le Corbusier, can be seen in his highly individual designs. Projects such as the(...)
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Disapproved of by the critics and extremely nonconformist, Carlo Mollino expressed himself through his architectural designs, his furniture and interiors, in a language assimilated from futurism and surrealism. The influence of architects ranging from Gaudí to Mendelsohn, from Aalto to Le Corbusier, can be seen in his highly individual designs. Projects such as the(...)
Titre:
Carlo Mollino : architecture as autobiography
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Disapproved of by the critics and extremely nonconformist, Carlo Mollino expressed himself through his architectural designs, his furniture and interiors, in a language assimilated from futurism and surrealism. The influence of architects ranging from Gaudí to Mendelsohn, from Aalto to Le Corbusier, can be seen in his highly individual designs. Projects such as the sledge-lift station at Lago Nero, the Teatro Regio in Turin and the Lutrario ballroom demonstrated his exceptional powers of imagination. The interaction between Mollino’s professional activities and his many interests, which included aeronautics, downhill racing, set design and eroticism. With the demolition of his massive masterpiece, the Ippica in Turin, and the destruction of his most prestigious interiors, all that remains today of Mollino’s work is his furniture. Drawing on rare photographs and documents, this important monograph reconstructs Mollino’s work through more than eighty interiors and pieces of furniture spanning his career, pieces built with such bravura that they often resemble sculpture more than works of industrial design.
Carlo Mollino : architecture as autobiography
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$63.00
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Disapproved of by the critics and extremely nonconformist, Carlo Mollino expressed himself through his architectural designs, his furniture and interiors, in a language assimilated from futurism and surrealism. The influence of architects ranging from Gaudí to Mendelsohn, from Aalto to Le Corbusier, can be seen in his highly individual designs. Projects such as the sledge-lift station at Lago Nero, the Teatro Regio in Turin and the Lutrario ballroom demonstrated his exceptional powers of imagination. The interaction between Mollino’s professional activities and his many interests, which included aeronautics, downhill racing, set design and eroticism. With the demolition of his massive masterpiece, the Ippica in Turin, and the destruction of his most prestigious interiors, all that remains today of Mollino’s work is his furniture. Drawing on rare photographs and documents, this important monograph reconstructs Mollino’s work through more than eighty interiors and pieces of furniture spanning his career, pieces built with such bravura that they often resemble sculpture more than works of industrial design.
Classification:
livres
livres
Publication:
avril 2006, New York
avril 2006, New York
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
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$45.50
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Saarinen's buildings are famous worldwide: the Gateway Arch in St. Louis, the TWA terminal in JFK Airport, Dulles Airport, outside Washington D.C., the CBS Building in New York, the General Motors Technical Center in Michigan, the US Embassy in London, and many other landmarks. Equally celebrated are his furniture designs, including the Tulip Table and Womb Chair. While(...)
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Saarinen's buildings are famous worldwide: the Gateway Arch in St. Louis, the TWA terminal in JFK Airport, Dulles Airport, outside Washington D.C., the CBS Building in New York, the General Motors Technical Center in Michigan, the US Embassy in London, and many other landmarks. Equally celebrated are his furniture designs, including the Tulip Table and Womb Chair. While(...)
Titre:
Eero Saarinen : an architecture of multiplicity
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Saarinen's buildings are famous worldwide: the Gateway Arch in St. Louis, the TWA terminal in JFK Airport, Dulles Airport, outside Washington D.C., the CBS Building in New York, the General Motors Technical Center in Michigan, the US Embassy in London, and many other landmarks. Equally celebrated are his furniture designs, including the Tulip Table and Womb Chair. While Saarinen's exuberant, even expressionistic, forms were lightning rods for many critics, his unique personal style is now much admired, making him a key figure for many designers practicing today. Saarinen's was a career of innovation. His airport terminals combined the poetry of sculpture with daring structural feats and raganizational genius; his pioneering industrial complexes for GM, IBM, and Bell Labs brought rational modernism to corporate America; and his furniture and residential buildings conveyed an optimistic, humane vision for the future. This illustrated monograph spans Saarinen's entire career, including his drawings, models, most important built works, and furniture.
Eero Saarinen : an architecture of multiplicity
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$45.50
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Saarinen's buildings are famous worldwide: the Gateway Arch in St. Louis, the TWA terminal in JFK Airport, Dulles Airport, outside Washington D.C., the CBS Building in New York, the General Motors Technical Center in Michigan, the US Embassy in London, and many other landmarks. Equally celebrated are his furniture designs, including the Tulip Table and Womb Chair. While Saarinen's exuberant, even expressionistic, forms were lightning rods for many critics, his unique personal style is now much admired, making him a key figure for many designers practicing today. Saarinen's was a career of innovation. His airport terminals combined the poetry of sculpture with daring structural feats and raganizational genius; his pioneering industrial complexes for GM, IBM, and Bell Labs brought rational modernism to corporate America; and his furniture and residential buildings conveyed an optimistic, humane vision for the future. This illustrated monograph spans Saarinen's entire career, including his drawings, models, most important built works, and furniture.
Classification:
livres
livres
Publication:
juillet 2006, New York
juillet 2006, New York
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
Titre:
Domus volume 2 1940-1949
Domus volume 2 1940-1949
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1940-1949: Destruction and Reconstruction. This volume covers the 1940s, when fascism came to a climax and World War II led to the extensive destruction of Europe. But the second half of this decade was also a time of reconstruction, democratization, and the related search for new social values. Unlike in Nazi Germany, in fascist Italy Modernism was able to advance in(...)
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1940-1949: Destruction and Reconstruction. This volume covers the 1940s, when fascism came to a climax and World War II led to the extensive destruction of Europe. But the second half of this decade was also a time of reconstruction, democratization, and the related search for new social values. Unlike in Nazi Germany, in fascist Italy Modernism was able to advance in(...)
Titre:
Domus volume 2 1940-1949
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1940-1949: Destruction and Reconstruction. This volume covers the 1940s, when fascism came to a climax and World War II led to the extensive destruction of Europe. But the second half of this decade was also a time of reconstruction, democratization, and the related search for new social values. Unlike in Nazi Germany, in fascist Italy Modernism was able to advance in architecture and design - as proved impressively by the buildings and designs by Carlo Mollino, Gian Luigi Banfi, Franco Albini, and Giuseppe Terragni that are documented herein. After the war, Organic Design emerged alongside the International style. This edition reflects upon the economic, social, and cultural problems of the time, but also shows how the force of the avant-garde continued to thrive in Italy, Switzerland, Scandinavia and the USA. Reports and features on modern industrial design and furniture, as well as domestic and business interiors stand side by side with articles about novel prefabricated houses
Domus volume 2 1940-1949
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1940-1949: Destruction and Reconstruction. This volume covers the 1940s, when fascism came to a climax and World War II led to the extensive destruction of Europe. But the second half of this decade was also a time of reconstruction, democratization, and the related search for new social values. Unlike in Nazi Germany, in fascist Italy Modernism was able to advance in architecture and design - as proved impressively by the buildings and designs by Carlo Mollino, Gian Luigi Banfi, Franco Albini, and Giuseppe Terragni that are documented herein. After the war, Organic Design emerged alongside the International style. This edition reflects upon the economic, social, and cultural problems of the time, but also shows how the force of the avant-garde continued to thrive in Italy, Switzerland, Scandinavia and the USA. Reports and features on modern industrial design and furniture, as well as domestic and business interiors stand side by side with articles about novel prefabricated houses
Classification:
livres
livres
Publication:
octobre 2008
octobre 2008
Sujet:
Design d’intérieur
Design d’intérieur
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livres
livres
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$9.95
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The use of glass as a building material was encouraged in particular by garden design, as the protection of exotic plants required the construction of greenhouses and orangeries. In a record time of just five months, Joseph Paxton, himself a garden designer, put up the Crystal Palace in London's Hyde Park for the Great Exhibition of 1851. A totally glazed exhibition hall,(...)
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The use of glass as a building material was encouraged in particular by garden design, as the protection of exotic plants required the construction of greenhouses and orangeries. In a record time of just five months, Joseph Paxton, himself a garden designer, put up the Crystal Palace in London's Hyde Park for the Great Exhibition of 1851. A totally glazed exhibition hall,(...)
Publication:
octobre 2008, Köln
octobre 2008, Köln
Titre:
Architecture materials glass verre glas
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$9.95
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The use of glass as a building material was encouraged in particular by garden design, as the protection of exotic plants required the construction of greenhouses and orangeries. In a record time of just five months, Joseph Paxton, himself a garden designer, put up the Crystal Palace in London's Hyde Park for the Great Exhibition of 1851. A totally glazed exhibition hall, of gigantic proportions by the standards of the time, it was a milestone in the history of building in glass. The result was a totally new spatial quality and a new aesthetic, as interior and exterior could now enter into a quite unique mutual relationship. Since then, architecture without glass has been inconceivable, and glass has been used as a construction material by renowned architects worldwide for industrial buildings and private houses. Glass masterpieces, erected in particular in combination with other materials, for example, wood, stone or steel, demonstrate the potential and variety of glass architecture.
Architecture materials glass verre glas
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$9.95
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The use of glass as a building material was encouraged in particular by garden design, as the protection of exotic plants required the construction of greenhouses and orangeries. In a record time of just five months, Joseph Paxton, himself a garden designer, put up the Crystal Palace in London's Hyde Park for the Great Exhibition of 1851. A totally glazed exhibition hall, of gigantic proportions by the standards of the time, it was a milestone in the history of building in glass. The result was a totally new spatial quality and a new aesthetic, as interior and exterior could now enter into a quite unique mutual relationship. Since then, architecture without glass has been inconceivable, and glass has been used as a construction material by renowned architects worldwide for industrial buildings and private houses. Glass masterpieces, erected in particular in combination with other materials, for example, wood, stone or steel, demonstrate the potential and variety of glass architecture.
Classification:
livres
livres
Publication:
octobre 2008, Köln
octobre 2008, Köln
