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Rassembler principaux plans anciens de Paris relève de l'évidence : pourtant l'ouvrage manquait. Il devra figurer dans la bibliothèque des historiens et des aménageurs, dans celle aussi des curieux ou des simples amoureux de la capitale. En cinquante planches, il donne à voir l'image de Paris depuis la fin du Moyen-Age et les traces anciennes conservées dans la cité(...)
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Rassembler principaux plans anciens de Paris relève de l'évidence : pourtant l'ouvrage manquait. Il devra figurer dans la bibliothèque des historiens et des aménageurs, dans celle aussi des curieux ou des simples amoureux de la capitale. En cinquante planches, il donne à voir l'image de Paris depuis la fin du Moyen-Age et les traces anciennes conservées dans la cité(...)
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octobre 2014
octobre 2014
Titre:
Les plans de Paris: histoire d'une capitale
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Rassembler principaux plans anciens de Paris relève de l'évidence : pourtant l'ouvrage manquait. Il devra figurer dans la bibliothèque des historiens et des aménageurs, dans celle aussi des curieux ou des simples amoureux de la capitale. En cinquante planches, il donne à voir l'image de Paris depuis la fin du Moyen-Age et les traces anciennes conservées dans la cité moderne. Les plans, commentés, sont précédés d'un exposé sur ce qu'ils apportent à la compréhension de la ville. Que représentent-ils au-delà des rues, des parcelles, des maisons, des monuments ? Pourquoi a-t-on représenté Pans ? Pour préparer des projets d'aménagement par un savant arpentage ou pour magnifier les réalisations des princes ? Comment l'a-t-on représenté ? Dans les vues cavalières qui révèlent sa complexité, dans les plans géométriques qui auscultent la forme urbaine ? L'analyse de cette cartographie montre des familles, des générations, une évolution non linéaire : le plan a valeur d'image qui excite le désir de découverte du voyageur et où l'habitant reconnaît sa ville ; il répond également à une recherche de l'exactitude satisfaisant l'esprit technique et tendant à l'abstraction.
Les plans de Paris: histoire d'une capitale
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Rassembler principaux plans anciens de Paris relève de l'évidence : pourtant l'ouvrage manquait. Il devra figurer dans la bibliothèque des historiens et des aménageurs, dans celle aussi des curieux ou des simples amoureux de la capitale. En cinquante planches, il donne à voir l'image de Paris depuis la fin du Moyen-Age et les traces anciennes conservées dans la cité moderne. Les plans, commentés, sont précédés d'un exposé sur ce qu'ils apportent à la compréhension de la ville. Que représentent-ils au-delà des rues, des parcelles, des maisons, des monuments ? Pourquoi a-t-on représenté Pans ? Pour préparer des projets d'aménagement par un savant arpentage ou pour magnifier les réalisations des princes ? Comment l'a-t-on représenté ? Dans les vues cavalières qui révèlent sa complexité, dans les plans géométriques qui auscultent la forme urbaine ? L'analyse de cette cartographie montre des familles, des générations, une évolution non linéaire : le plan a valeur d'image qui excite le désir de découverte du voyageur et où l'habitant reconnaît sa ville ; il répond également à une recherche de l'exactitude satisfaisant l'esprit technique et tendant à l'abstraction.
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livres
livres
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octobre 2014
octobre 2014
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livres
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1972: Nakagin Capsule Tower
1972: Nakagin Capsule Tower
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In the city of Tokyo, a building stands as an anachronism in relation to the surrounding urban landscape. The building in question is the Nakagin Capsule Tower designed by Kisho Kurokawa (1934 – 2007), one of the founders of an influential architectural movement in the 1960s called Metabolism. The movement’s aim was to formulate flexible designs that facilitate continual(...)
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In the city of Tokyo, a building stands as an anachronism in relation to the surrounding urban landscape. The building in question is the Nakagin Capsule Tower designed by Kisho Kurokawa (1934 – 2007), one of the founders of an influential architectural movement in the 1960s called Metabolism. The movement’s aim was to formulate flexible designs that facilitate continual(...)
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1972: Nakagin Capsule Tower
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In the city of Tokyo, a building stands as an anachronism in relation to the surrounding urban landscape. The building in question is the Nakagin Capsule Tower designed by Kisho Kurokawa (1934 – 2007), one of the founders of an influential architectural movement in the 1960s called Metabolism. The movement’s aim was to formulate flexible designs that facilitate continual growth and renewal of architecture. As the first capsule apartment in history constructed for everyday use, the Nakagin Capsule Tower is considered the most ambitious attempt in implementing the principles of Metabolism. Kurokawa attached the building with 140 removable capsules to promote modifications to the structure over time, theoretically improving its capacity to adjust to the rapidly changing conditions of the post-industrial society. When the building first opened in March of 1972, it was advertised in the media to signal “the dawn of the capsule age.” At the time, Kurokawa had additional capsule projects planned in the coming years and predicted the mass production of these living unit. Noritaka Minami has been photographing the Nakagin Capsule Tower in Tokyo for the past four years.
1972: Nakagin Capsule Tower
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In the city of Tokyo, a building stands as an anachronism in relation to the surrounding urban landscape. The building in question is the Nakagin Capsule Tower designed by Kisho Kurokawa (1934 – 2007), one of the founders of an influential architectural movement in the 1960s called Metabolism. The movement’s aim was to formulate flexible designs that facilitate continual growth and renewal of architecture. As the first capsule apartment in history constructed for everyday use, the Nakagin Capsule Tower is considered the most ambitious attempt in implementing the principles of Metabolism. Kurokawa attached the building with 140 removable capsules to promote modifications to the structure over time, theoretically improving its capacity to adjust to the rapidly changing conditions of the post-industrial society. When the building first opened in March of 1972, it was advertised in the media to signal “the dawn of the capsule age.” At the time, Kurokawa had additional capsule projects planned in the coming years and predicted the mass production of these living unit. Noritaka Minami has been photographing the Nakagin Capsule Tower in Tokyo for the past four years.
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livres
livres
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août 2015
août 2015
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Monographies photo
Monographies photo
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221 pages : illustrations en partie en couleur ; 23 cm.
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221 pages : illustrations en partie en couleur ; 23 cm.
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Paris : Le Félin, [2023], ©2023
Paris : Le Félin, [2023], ©2023
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Notes sur la nature, la cabane et quelques autres choses / Gilles A. Tiberghien.
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221 pages : illustrations en partie en couleur ; 23 cm.
Notes sur la nature, la cabane et quelques autres choses / Gilles A. Tiberghien.
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221 pages : illustrations en partie en couleur ; 23 cm.
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Paris : Le Félin, [2023], ©2023
Paris : Le Félin, [2023], ©2023
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159 pages : illustrations ; 24 x 29 cm
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159 pages : illustrations ; 24 x 29 cm
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[Millerton, N.Y.] : Aperture ; [New York] : Distributed in the U.S. by Viking Penguin, ©1983.
[Millerton, N.Y.] : Aperture ; [New York] : Distributed in the U.S. by Viking Penguin, ©1983.
Titre:
Tibet, the sacred realm : photographs, 1880-1950 / preface by Tenzin Gyatsho, His Holiness the Dalai Lama ; chronicle by Lobsang P. Lhalungpa ; photographs from the archives of the Academy of Natural Sciences, Philadelphia [and others].
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159 pages : illustrations ; 24 x 29 cm
Tibet, the sacred realm : photographs, 1880-1950 / preface by Tenzin Gyatsho, His Holiness the Dalai Lama ; chronicle by Lobsang P. Lhalungpa ; photographs from the archives of the Academy of Natural Sciences, Philadelphia [and others].
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159 pages : illustrations ; 24 x 29 cm
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[Millerton, N.Y.] : Aperture ; [New York] : Distributed in the U.S. by Viking Penguin, ©1983.
[Millerton, N.Y.] : Aperture ; [New York] : Distributed in the U.S. by Viking Penguin, ©1983.
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480 pages illustrations, maps (1 folded) 44 color plates 32 cm
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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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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
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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Revues d'architecture dans les années 1960 et 1970/ Architectural periodicals in the 1960s and 1970s
Revues d'architecture dans les années 1960 et 1970/ Architectural periodicals in the 1960s and 1970s
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The 1960s and 1970s were the heroic age of the architectural "little magazine". During this period even commercial periodicals were willing to include theoretical discourse as they catered to a profession confronted by radical social change. These essays by nine international architectural scholars are from the Proceedings of the International Colloquium held in 2004 at(...)
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The 1960s and 1970s were the heroic age of the architectural "little magazine". During this period even commercial periodicals were willing to include theoretical discourse as they catered to a profession confronted by radical social change. These essays by nine international architectural scholars are from the Proceedings of the International Colloquium held in 2004 at(...)
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septembre 2008, Montreal
septembre 2008, Montreal
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Revues d'architecture dans les années 1960 et 1970/ Architectural periodicals in the 1960s and 1970s
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The 1960s and 1970s were the heroic age of the architectural "little magazine". During this period even commercial periodicals were willing to include theoretical discourse as they catered to a profession confronted by radical social change. These essays by nine international architectural scholars are from the Proceedings of the International Colloquium held in 2004 at the Canadian Centre for Architecture. They enrich our understanding of a format which monopolized the space for professional debate about what mattered most in architecture at the time. These contributions give architectural periodicals a central place in the historical debates on the period with particular emphasis on material production, intellectual contribution, and critical reception. Six essays in English and three essays in French with a bilingual introduction. Neuf historiens en architecture examinent l’architecture radicale dans la presse parallèle des années 1960 et 1970. Ces périodiques novateurs ont été marqués par les idées expérimentales et les designs avant-gardistes qui ont grandement influencées le discours architectural de la période. Actes du colloque tenu en 2004 au Centre Canadien d'Architecture. Six textes en anglais, trois textes en français avec une introduction bilingue.
Revues d'architecture dans les années 1960 et 1970/ Architectural periodicals in the 1960s and 1970s
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$25.95
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The 1960s and 1970s were the heroic age of the architectural "little magazine". During this period even commercial periodicals were willing to include theoretical discourse as they catered to a profession confronted by radical social change. These essays by nine international architectural scholars are from the Proceedings of the International Colloquium held in 2004 at the Canadian Centre for Architecture. They enrich our understanding of a format which monopolized the space for professional debate about what mattered most in architecture at the time. These contributions give architectural periodicals a central place in the historical debates on the period with particular emphasis on material production, intellectual contribution, and critical reception. Six essays in English and three essays in French with a bilingual introduction. Neuf historiens en architecture examinent l’architecture radicale dans la presse parallèle des années 1960 et 1970. Ces périodiques novateurs ont été marqués par les idées expérimentales et les designs avant-gardistes qui ont grandement influencées le discours architectural de la période. Actes du colloque tenu en 2004 au Centre Canadien d'Architecture. Six textes en anglais, trois textes en français avec une introduction bilingue.
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livres
livres
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septembre 2008, Montreal
septembre 2008, Montreal
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$71.95
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In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as(...)
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In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as(...)
Titre:
The soundscape of modernity : architectural acoustics and the culture of listening in America, 1900-1933
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In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston’s Symphony Hall, New York’s office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound--clear, direct, efficient, and nonreverberant—-had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
The soundscape of modernity : architectural acoustics and the culture of listening in America, 1900-1933
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In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston’s Symphony Hall, New York’s office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound--clear, direct, efficient, and nonreverberant—-had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
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livres
livres
Publication:
avril 2002, Cambridge, Mass.
avril 2002, Cambridge, Mass.
Sujet:
Matériaux et éclairage
Matériaux et éclairage
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livres
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$44.00
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What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958(...)
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What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958(...)
Sujet:
Architecture, monographies
Architecture, monographies
Publication:
novembre 2001, New York
novembre 2001, New York
Titre:
Frank Lloyd Wright + Lewis Mumford : thirty years of correspondence
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What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958 covered a wide range of topics, including Wright's position in the history of American architecture and contemporary practice, their friends and rivals, the invention and spread of the International Style, and political events in Europe and the US. A fallout over isolationist politics in the early 1940s led to a 10-year gap in their exchange, and when it resumed the two were on an entirely different footing: Wright, the elder dean of American architecture at the height of his creative powers, and Mumford, an established critic in late middle age deeply committed to rebuilding a humanist outlook in the aftermath of World War II. Frank Lloyd Wright & Lewis Mumford offers an intimate look inside the minds and hearts of these two cultural giants, deepening our understanding of the men and the society they helped shape.
Frank Lloyd Wright + Lewis Mumford : thirty years of correspondence
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What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958 covered a wide range of topics, including Wright's position in the history of American architecture and contemporary practice, their friends and rivals, the invention and spread of the International Style, and political events in Europe and the US. A fallout over isolationist politics in the early 1940s led to a 10-year gap in their exchange, and when it resumed the two were on an entirely different footing: Wright, the elder dean of American architecture at the height of his creative powers, and Mumford, an established critic in late middle age deeply committed to rebuilding a humanist outlook in the aftermath of World War II. Frank Lloyd Wright & Lewis Mumford offers an intimate look inside the minds and hearts of these two cultural giants, deepening our understanding of the men and the society they helped shape.
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livres
livres
Publication:
novembre 2001, New York
novembre 2001, New York
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$45.50
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its(...)
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its(...)
Titre:
Chronophobia : on time in the art of the 1960's
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyze it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in postwar culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing; the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present. Lee sees the attitude of 1960s art to time as a historical prelude to our current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicize our current relation to technology and time.
Chronophobia : on time in the art of the 1960's
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyze it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in postwar culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing; the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present. Lee sees the attitude of 1960s art to time as a historical prelude to our current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicize our current relation to technology and time.
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livres
livres
Publication:
mai 2004, Cambridge, Mass.
mai 2004, Cambridge, Mass.
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livres
livres
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$34.00
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The open terrain of new media is closing fast. Market concentration, legal consolidation and tightening governmental control have effectively ended the myth of the free and open networks. In Delusive Spaces, Eric Kluitenberg takes a critical position that retains a utopian potential for emerging media cultures. The book investigates the archeology of media and machine,(...)
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The open terrain of new media is closing fast. Market concentration, legal consolidation and tightening governmental control have effectively ended the myth of the free and open networks. In Delusive Spaces, Eric Kluitenberg takes a critical position that retains a utopian potential for emerging media cultures. The book investigates the archeology of media and machine,(...)
Titre:
Delusive spaces: essays on culture, media and technology
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$34.00
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The open terrain of new media is closing fast. Market concentration, legal consolidation and tightening governmental control have effectively ended the myth of the free and open networks. In Delusive Spaces, Eric Kluitenberg takes a critical position that retains a utopian potential for emerging media cultures. The book investigates the archeology of media and machine, mapping the different methods and metaphors that speak about technology. Returning to the present, Kluitenberg discusses the cultural use of new media in an age of post-governmental politics. Delusive Spaces concludes with the impossibility of representation. Going beyond the obvious delusions of the 'new' and the 'free', Kluitenberg theorizes artistic practices and European cultural policies, demonstrating a provocative engagement with the utopian dimension of technology. Eric Kluitenberg is a Dutch media theorist, writer and organizer. Since the late 1980s, he has been involved in numerous international projects in the field of electronic art, media culture, and information politics. Kluitenberg heads the media program at De Balie, Centre for Culture and Politics in Amsterdam. He is the editor of the Book of Imaginary Media (NAi Publishers, 2006) and the theme issue Hybrid Space of Open, journal on art and the public domain (2007).
Delusive spaces: essays on culture, media and technology
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$34.00
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The open terrain of new media is closing fast. Market concentration, legal consolidation and tightening governmental control have effectively ended the myth of the free and open networks. In Delusive Spaces, Eric Kluitenberg takes a critical position that retains a utopian potential for emerging media cultures. The book investigates the archeology of media and machine, mapping the different methods and metaphors that speak about technology. Returning to the present, Kluitenberg discusses the cultural use of new media in an age of post-governmental politics. Delusive Spaces concludes with the impossibility of representation. Going beyond the obvious delusions of the 'new' and the 'free', Kluitenberg theorizes artistic practices and European cultural policies, demonstrating a provocative engagement with the utopian dimension of technology. Eric Kluitenberg is a Dutch media theorist, writer and organizer. Since the late 1980s, he has been involved in numerous international projects in the field of electronic art, media culture, and information politics. Kluitenberg heads the media program at De Balie, Centre for Culture and Politics in Amsterdam. He is the editor of the Book of Imaginary Media (NAi Publishers, 2006) and the theme issue Hybrid Space of Open, journal on art and the public domain (2007).
Classification:
livres
livres
Publication:
avril 2008, Rotterdam
avril 2008, Rotterdam
Sujet:
Épistémologie et réseau
Épistémologie et réseau
