12030 Résultats
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De son inauguration à nos jours, quatre décennies d'intrigues et d'"effets-Beaubourg" nous contemplent. Mais les utopies de Mai 68 et de Georges Pompidou semblent avoir vécues. Visages de l'époque, le bâtiment-raffinerie, et l'usine à gaz institutionnelle qu'elle abrite, dévoilent une histoire française des dispositifs de monstration de la création "industrielle" et de(...)
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De son inauguration à nos jours, quatre décennies d'intrigues et d'"effets-Beaubourg" nous contemplent. Mais les utopies de Mai 68 et de Georges Pompidou semblent avoir vécues. Visages de l'époque, le bâtiment-raffinerie, et l'usine à gaz institutionnelle qu'elle abrite, dévoilent une histoire française des dispositifs de monstration de la création "industrielle" et de(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
février 2017
février 2017
Titre:
De Beaubourg à Pompidou III, la machine (1977-2017)
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De son inauguration à nos jours, quatre décennies d'intrigues et d'"effets-Beaubourg" nous contemplent. Mais les utopies de Mai 68 et de Georges Pompidou semblent avoir vécues. Visages de l'époque, le bâtiment-raffinerie, et l'usine à gaz institutionnelle qu'elle abrite, dévoilent une histoire française des dispositifs de monstration de la création "industrielle" et de l'art "contemporain". Or le nouvel effet-Beaubourg n'est-il pas devenu que l'ombre d'un "effet-Bilbao" parisien (une cash-machine d'expositions mainstream itinérantes), récemment augmentée d'une agora de l'ère du Global Circus ? Par-delà les impératifs d'une politique du chiffre, ne sommes-nous pas passés de "Beaubourg" à "Pompidou", puis de "Pompidou" à "Georges" ?
De Beaubourg à Pompidou III, la machine (1977-2017)
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De son inauguration à nos jours, quatre décennies d'intrigues et d'"effets-Beaubourg" nous contemplent. Mais les utopies de Mai 68 et de Georges Pompidou semblent avoir vécues. Visages de l'époque, le bâtiment-raffinerie, et l'usine à gaz institutionnelle qu'elle abrite, dévoilent une histoire française des dispositifs de monstration de la création "industrielle" et de l'art "contemporain". Or le nouvel effet-Beaubourg n'est-il pas devenu que l'ombre d'un "effet-Bilbao" parisien (une cash-machine d'expositions mainstream itinérantes), récemment augmentée d'une agora de l'ère du Global Circus ? Par-delà les impératifs d'une politique du chiffre, ne sommes-nous pas passés de "Beaubourg" à "Pompidou", puis de "Pompidou" à "Georges" ?
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livres
livres
Publication:
février 2017
février 2017
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
L'univers Playboy
L'univers Playboy
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Né en 1926, Hugh Hefner est à l'origine du magazine Playboy et de sa compagne indissociable : la playmate. Pourtant, en dépit d'un tirage centuplé entre 1953 et 1973, il faut se défaire de ce storytelling de banal self-made-man. Car à mi-chemin de Walt Disney et d'Albert R. Broccoli (le principal producteur des films de James Bond), Hefner est d'abord un authentique(...)
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Né en 1926, Hugh Hefner est à l'origine du magazine Playboy et de sa compagne indissociable : la playmate. Pourtant, en dépit d'un tirage centuplé entre 1953 et 1973, il faut se défaire de ce storytelling de banal self-made-man. Car à mi-chemin de Walt Disney et d'Albert R. Broccoli (le principal producteur des films de James Bond), Hefner est d'abord un authentique(...)
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L'univers Playboy
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Né en 1926, Hugh Hefner est à l'origine du magazine Playboy et de sa compagne indissociable : la playmate. Pourtant, en dépit d'un tirage centuplé entre 1953 et 1973, il faut se défaire de ce storytelling de banal self-made-man. Car à mi-chemin de Walt Disney et d'Albert R. Broccoli (le principal producteur des films de James Bond), Hefner est d'abord un authentique créateur d'univers. Sexy pour les uns, sexiste pour les autres, l'excentricité érotique de ses penthouses cache en réalité une cosmétique bien plus vaste. Avec son jet privé Big Bunny, ses hôtesses, ses clubs, ses Manoirs Est et Ouest, sa Grotte, son zoo, son lit connecté et ses filiales multimédias, Hefner a finalement inventé un monde illusoire à l'image de l'Amérique : le sien.
L'univers Playboy
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Né en 1926, Hugh Hefner est à l'origine du magazine Playboy et de sa compagne indissociable : la playmate. Pourtant, en dépit d'un tirage centuplé entre 1953 et 1973, il faut se défaire de ce storytelling de banal self-made-man. Car à mi-chemin de Walt Disney et d'Albert R. Broccoli (le principal producteur des films de James Bond), Hefner est d'abord un authentique créateur d'univers. Sexy pour les uns, sexiste pour les autres, l'excentricité érotique de ses penthouses cache en réalité une cosmétique bien plus vaste. Avec son jet privé Big Bunny, ses hôtesses, ses clubs, ses Manoirs Est et Ouest, sa Grotte, son zoo, son lit connecté et ses filiales multimédias, Hefner a finalement inventé un monde illusoire à l'image de l'Amérique : le sien.
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livres
livres
Publication:
novembre 2016
novembre 2016
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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In this title, Daniel M. Abramson investigates this notion of architectural expendability and the logic by which buildings lose their value and utility. The idea that the new necessarily outperforms and makes superfluous the old, Abramson argues, helps people come to terms with modernity and capitalism’s fast-paced change. 'Obsolescence', then, gives an unsettling(...)
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In this title, Daniel M. Abramson investigates this notion of architectural expendability and the logic by which buildings lose their value and utility. The idea that the new necessarily outperforms and makes superfluous the old, Abramson argues, helps people come to terms with modernity and capitalism’s fast-paced change. 'Obsolescence', then, gives an unsettling(...)
Titre:
Obsolescence: an architectural history
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In this title, Daniel M. Abramson investigates this notion of architectural expendability and the logic by which buildings lose their value and utility. The idea that the new necessarily outperforms and makes superfluous the old, Abramson argues, helps people come to terms with modernity and capitalism’s fast-paced change. 'Obsolescence', then, gives an unsettling experience purpose and meaning.
Obsolescence: an architectural history
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In this title, Daniel M. Abramson investigates this notion of architectural expendability and the logic by which buildings lose their value and utility. The idea that the new necessarily outperforms and makes superfluous the old, Abramson argues, helps people come to terms with modernity and capitalism’s fast-paced change. 'Obsolescence', then, gives an unsettling experience purpose and meaning.
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livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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"SANAA. Sejima & Nishizawa. 1990-2017" gathers the complete oeuvre of Kazuyo Sejima and Ryue Nishizawa over almost three decades of work of the three studios they lead in Tokyo, and that has produced prominent buildings like the Zollverein School of Design in Essen, the Rolex Center in Lausanne, the Louvre-Lens Museum, or their recent center for the Grace Farms Foundation(...)
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"SANAA. Sejima & Nishizawa. 1990-2017" gathers the complete oeuvre of Kazuyo Sejima and Ryue Nishizawa over almost three decades of work of the three studios they lead in Tokyo, and that has produced prominent buildings like the Zollverein School of Design in Essen, the Rolex Center in Lausanne, the Louvre-Lens Museum, or their recent center for the Grace Farms Foundation(...)
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SANAA. Sejima & Nishizawa 1990-2017
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"SANAA. Sejima & Nishizawa. 1990-2017" gathers the complete oeuvre of Kazuyo Sejima and Ryue Nishizawa over almost three decades of work of the three studios they lead in Tokyo, and that has produced prominent buildings like the Zollverein School of Design in Essen, the Rolex Center in Lausanne, the Louvre-Lens Museum, or their recent center for the Grace Farms Foundation in Connecticut. With articles by Luis Fernández-Galiano and the architects themselves, this monograph examines the principles and methods behind the seeming simplicity of the work of the two Japanese architects, and unveils the keys to the radicalness of their architecture, extremely light and immaterial.
SANAA. Sejima & Nishizawa 1990-2017
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"SANAA. Sejima & Nishizawa. 1990-2017" gathers the complete oeuvre of Kazuyo Sejima and Ryue Nishizawa over almost three decades of work of the three studios they lead in Tokyo, and that has produced prominent buildings like the Zollverein School of Design in Essen, the Rolex Center in Lausanne, the Louvre-Lens Museum, or their recent center for the Grace Farms Foundation in Connecticut. With articles by Luis Fernández-Galiano and the architects themselves, this monograph examines the principles and methods behind the seeming simplicity of the work of the two Japanese architects, and unveils the keys to the radicalness of their architecture, extremely light and immaterial.
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livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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Published for a major exhibition at The Museum of Modern Art, this catalog reveals new perspectives on the work of Frank Lloyd Wright, a designer so prolific and familiar as to nearly preclude critical reexamination. Structured as a series of inquiries into the Frank Lloyd Wright Foundation Archives at Taliesin West, Arizona (recently acquired by MoMA and Avery(...)
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Published for a major exhibition at The Museum of Modern Art, this catalog reveals new perspectives on the work of Frank Lloyd Wright, a designer so prolific and familiar as to nearly preclude critical reexamination. Structured as a series of inquiries into the Frank Lloyd Wright Foundation Archives at Taliesin West, Arizona (recently acquired by MoMA and Avery(...)
Titre:
Frank Lloyd Wright: unpacking the archive
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Published for a major exhibition at The Museum of Modern Art, this catalog reveals new perspectives on the work of Frank Lloyd Wright, a designer so prolific and familiar as to nearly preclude critical reexamination. Structured as a series of inquiries into the Frank Lloyd Wright Foundation Archives at Taliesin West, Arizona (recently acquired by MoMA and Avery Architectural & Fine Arts Library, Columbia University), the book is a collection of scholarly explorations rather than an attempt to construct a master narrative. Each chapter centers on a key object from the archive that an invited author has “unpacked”— tracing its meanings and connections, and juxtaposing it with other works from the archive, from MoMA, or from outside collections. Wright’s quest to build a mile-high skyscraper reveals him to be one of the earliest celebrity architects, using television, press relations and other forms of mass media to advance his own self-crafted image. A little-known project for a Rosenwald School for African-American children, together with other projects that engage Japanese and Native American culture, ask provocative questions about Wright’s positions on race and cultural identity. Still other investigations engage the architect’s lifelong dedication to affordable and do-it-yourself housing, as well as the ecological systems, both social and environmental, that informed his approach to cities, landscapes and even ornament. The publication aims to open up Wright’s work to questions, interrogations and debates, and to highlight interpretations by contemporary scholars, both established Wright experts and others considering this iconic figure from new and illuminating perspectives.
Frank Lloyd Wright: unpacking the archive
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Published for a major exhibition at The Museum of Modern Art, this catalog reveals new perspectives on the work of Frank Lloyd Wright, a designer so prolific and familiar as to nearly preclude critical reexamination. Structured as a series of inquiries into the Frank Lloyd Wright Foundation Archives at Taliesin West, Arizona (recently acquired by MoMA and Avery Architectural & Fine Arts Library, Columbia University), the book is a collection of scholarly explorations rather than an attempt to construct a master narrative. Each chapter centers on a key object from the archive that an invited author has “unpacked”— tracing its meanings and connections, and juxtaposing it with other works from the archive, from MoMA, or from outside collections. Wright’s quest to build a mile-high skyscraper reveals him to be one of the earliest celebrity architects, using television, press relations and other forms of mass media to advance his own self-crafted image. A little-known project for a Rosenwald School for African-American children, together with other projects that engage Japanese and Native American culture, ask provocative questions about Wright’s positions on race and cultural identity. Still other investigations engage the architect’s lifelong dedication to affordable and do-it-yourself housing, as well as the ecological systems, both social and environmental, that informed his approach to cities, landscapes and even ornament. The publication aims to open up Wright’s work to questions, interrogations and debates, and to highlight interpretations by contemporary scholars, both established Wright experts and others considering this iconic figure from new and illuminating perspectives.
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livres
livres
Publication:
juin 2017
juin 2017
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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"Rebuild by Design" (RBD) was developed for the "Presidential Hurricane Sandy Rebuilding Task Force" after hurricane Sandy hit the North-East Coast of the United States in 2012. Using an innovative, design-driven process based on the design competition model. 'RBD' places local communities and civic leaders at the heart of a robust, interdisciplinary creative process to(...)
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"Rebuild by Design" (RBD) was developed for the "Presidential Hurricane Sandy Rebuilding Task Force" after hurricane Sandy hit the North-East Coast of the United States in 2012. Using an innovative, design-driven process based on the design competition model. 'RBD' places local communities and civic leaders at the heart of a robust, interdisciplinary creative process to(...)
Titre:
Rebuild by design: new approaches to climate change
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"Rebuild by Design" (RBD) was developed for the "Presidential Hurricane Sandy Rebuilding Task Force" after hurricane Sandy hit the North-East Coast of the United States in 2012. Using an innovative, design-driven process based on the design competition model. 'RBD' places local communities and civic leaders at the heart of a robust, interdisciplinary creative process to generate implementable solutions for a more resilient region. This book aims to reflect 'RBD', assess all its aspects, and embed it in a broader context to offer a guide for politicians, designers, researchers, activists, and others.
Rebuild by design: new approaches to climate change
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"Rebuild by Design" (RBD) was developed for the "Presidential Hurricane Sandy Rebuilding Task Force" after hurricane Sandy hit the North-East Coast of the United States in 2012. Using an innovative, design-driven process based on the design competition model. 'RBD' places local communities and civic leaders at the heart of a robust, interdisciplinary creative process to generate implementable solutions for a more resilient region. This book aims to reflect 'RBD', assess all its aspects, and embed it in a broader context to offer a guide for politicians, designers, researchers, activists, and others.
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livres
livres
Publication:
mai 2018
mai 2018
Sujet:
Architecture écologique
Architecture écologique
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livres
livres
Titre:
Maison d'Artiste, an unfinished icon by De Stijl. Theo van Doesburg and Cornelis van Eesteren
Maison d'Artiste, an unfinished icon by De Stijl. Theo van Doesburg and Cornelis van Eesteren
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Though it was never built, the design for the legendary artist’s house Maison d’Artiste is one of the key works of the Dutch avant-garde movement De Stijl. Created in 1923 by painter Theo van Doesburg and architect Cornelis van Eesteren for De Stijl’s first group exhibition, the Maison d’Artiste was intended to encapsulate what De Stijl aspired to: a new everyday(...)
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Though it was never built, the design for the legendary artist’s house Maison d’Artiste is one of the key works of the Dutch avant-garde movement De Stijl. Created in 1923 by painter Theo van Doesburg and architect Cornelis van Eesteren for De Stijl’s first group exhibition, the Maison d’Artiste was intended to encapsulate what De Stijl aspired to: a new everyday(...)
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Maison d'Artiste, an unfinished icon by De Stijl. Theo van Doesburg and Cornelis van Eesteren
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Though it was never built, the design for the legendary artist’s house Maison d’Artiste is one of the key works of the Dutch avant-garde movement De Stijl. Created in 1923 by painter Theo van Doesburg and architect Cornelis van Eesteren for De Stijl’s first group exhibition, the Maison d’Artiste was intended to encapsulate what De Stijl aspired to: a new everyday environment achieved through the harmonious fusion of painting and architecture. The scale model presented De Stijl’s ideal space for life and work, with a gym, a music room and a studio, as well as living spaces like guest rooms and bathrooms. Maison d’Artiste: An Unfinished Icon by De Stijl explores the revolutionary cultural importance of the design, its significance for the history of De Stijl and its place in a history of the unbuilt architecture of the 20th century.
Maison d'Artiste, an unfinished icon by De Stijl. Theo van Doesburg and Cornelis van Eesteren
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Though it was never built, the design for the legendary artist’s house Maison d’Artiste is one of the key works of the Dutch avant-garde movement De Stijl. Created in 1923 by painter Theo van Doesburg and architect Cornelis van Eesteren for De Stijl’s first group exhibition, the Maison d’Artiste was intended to encapsulate what De Stijl aspired to: a new everyday environment achieved through the harmonious fusion of painting and architecture. The scale model presented De Stijl’s ideal space for life and work, with a gym, a music room and a studio, as well as living spaces like guest rooms and bathrooms. Maison d’Artiste: An Unfinished Icon by De Stijl explores the revolutionary cultural importance of the design, its significance for the history of De Stijl and its place in a history of the unbuilt architecture of the 20th century.
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livres
livres
Publication:
février 2017
février 2017
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$29.95
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L’histoire de Montréal est abordée ici sous un angle distinct, celui des traces de son histoire, visibles dans l’espace urbain et dans la mémoire collective. Ces traces s’observent dans les vestiges et les bâtiments de diverses époques qui parsèment le paysage montréalais. Elles sont visibles dans les objets et les lieux de la vie quotidienne. Elles sont perpétuées dans(...)
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L’histoire de Montréal est abordée ici sous un angle distinct, celui des traces de son histoire, visibles dans l’espace urbain et dans la mémoire collective. Ces traces s’observent dans les vestiges et les bâtiments de diverses époques qui parsèment le paysage montréalais. Elles sont visibles dans les objets et les lieux de la vie quotidienne. Elles sont perpétuées dans(...)
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Architecture de Montréal
Architecture de Montréal
Publication:
janvier 2017
janvier 2017
Titre:
Traces de l'histoire de Montréal
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L’histoire de Montréal est abordée ici sous un angle distinct, celui des traces de son histoire, visibles dans l’espace urbain et dans la mémoire collective. Ces traces s’observent dans les vestiges et les bâtiments de diverses époques qui parsèment le paysage montréalais. Elles sont visibles dans les objets et les lieux de la vie quotidienne. Elles sont perpétuées dans le souvenir des événements du passé. Ces traces ont été produites, transmises et conservées par des générations de Montréalaises et de Montréalais. Elles sont révélées ici à travers l’œil d’artistes qui, en utilisant divers médias, en ont assuré la pérennité.
Traces de l'histoire de Montréal
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L’histoire de Montréal est abordée ici sous un angle distinct, celui des traces de son histoire, visibles dans l’espace urbain et dans la mémoire collective. Ces traces s’observent dans les vestiges et les bâtiments de diverses époques qui parsèment le paysage montréalais. Elles sont visibles dans les objets et les lieux de la vie quotidienne. Elles sont perpétuées dans le souvenir des événements du passé. Ces traces ont été produites, transmises et conservées par des générations de Montréalaises et de Montréalais. Elles sont révélées ici à travers l’œil d’artistes qui, en utilisant divers médias, en ont assuré la pérennité.
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livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Architecture de Montréal
Architecture de Montréal
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livres
livres
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Collaborating with residents, Burkina Faso architect Francis Kéré places social and historical needs at the heart of his design thinking More than almost any other contemporary architect, Burkina Faso–born Diébédo Francis Kéré (born 1965) stands for the social and cultural possibilities of architecture: the innovative aspect of his work lies in his reliance on local(...)
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Collaborating with residents, Burkina Faso architect Francis Kéré places social and historical needs at the heart of his design thinking More than almost any other contemporary architect, Burkina Faso–born Diébédo Francis Kéré (born 1965) stands for the social and cultural possibilities of architecture: the innovative aspect of his work lies in his reliance on local(...)
Titre:
Francis Kéré: radically simple
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Collaborating with residents, Burkina Faso architect Francis Kéré places social and historical needs at the heart of his design thinking More than almost any other contemporary architect, Burkina Faso–born Diébédo Francis Kéré (born 1965) stands for the social and cultural possibilities of architecture: the innovative aspect of his work lies in his reliance on local residents. Kéré first made a name for himself in 2008 with his designs for Christoph Schlingensief’s Opera Village Africa, and since then he has received numerous international awards (including the 2004 Aga Khan Award for Architecture), primarily for his building projects in his native Burkina Faso.
Francis Kéré: radically simple
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Collaborating with residents, Burkina Faso architect Francis Kéré places social and historical needs at the heart of his design thinking More than almost any other contemporary architect, Burkina Faso–born Diébédo Francis Kéré (born 1965) stands for the social and cultural possibilities of architecture: the innovative aspect of his work lies in his reliance on local residents. Kéré first made a name for himself in 2008 with his designs for Christoph Schlingensief’s Opera Village Africa, and since then he has received numerous international awards (including the 2004 Aga Khan Award for Architecture), primarily for his building projects in his native Burkina Faso.
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livres
livres
Publication:
avril 2017
avril 2017
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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Cities structure our lives, resources, interactions, and identities. From Sebastiano Serlio to Rem Koolhaas, architects have used the metaphor of theater, presenting the city as stage, a comic set for comic acts, delirious city for delirious subjects, generic city for generic subjects, and so on. Today, however, we are social anywhere, actors onstage and off. So what(...)
$64.95
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Cities structure our lives, resources, interactions, and identities. From Sebastiano Serlio to Rem Koolhaas, architects have used the metaphor of theater, presenting the city as stage, a comic set for comic acts, delirious city for delirious subjects, generic city for generic subjects, and so on. Today, however, we are social anywhere, actors onstage and off. So what(...)
Titre:
A Situation constructed from loose and overlapping social and architectural aggregates: MOS Venice Biennale 2016
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Cities structure our lives, resources, interactions, and identities. From Sebastiano Serlio to Rem Koolhaas, architects have used the metaphor of theater, presenting the city as stage, a comic set for comic acts, delirious city for delirious subjects, generic city for generic subjects, and so on. Today, however, we are social anywhere, actors onstage and off. So what happens when the city no longer structures us, or when basic urban elements—streets, buildings, facades, and addresses—have been augmented, superimposed, and untethered by or replaced through technology? First presented at the 2016 Venice Architecture Biennale, A Situation Constructed from Loose and Overlapping Social and Architectural Aggregates is a playful investigation into urban alternatives. Employing neither the holistic worldview of mapping nor the isolated islands of architectural typology, MOS imagines a proposal where the city is everywhere.…
A Situation constructed from loose and overlapping social and architectural aggregates: MOS Venice Biennale 2016
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Cities structure our lives, resources, interactions, and identities. From Sebastiano Serlio to Rem Koolhaas, architects have used the metaphor of theater, presenting the city as stage, a comic set for comic acts, delirious city for delirious subjects, generic city for generic subjects, and so on. Today, however, we are social anywhere, actors onstage and off. So what happens when the city no longer structures us, or when basic urban elements—streets, buildings, facades, and addresses—have been augmented, superimposed, and untethered by or replaced through technology? First presented at the 2016 Venice Architecture Biennale, A Situation Constructed from Loose and Overlapping Social and Architectural Aggregates is a playful investigation into urban alternatives. Employing neither the holistic worldview of mapping nor the isolated islands of architectural typology, MOS imagines a proposal where the city is everywhere.…
Classification:
livres
livres
Publication:
février 2017
février 2017
Sujet:
Architecture, monographies
Architecture, monographies
