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This volume explores how leading architects of the twentieth century incorporated climate-mediating strategies into their designs, and shows how regional approaches to climate adaptability were essential to the development of modern architecture. Focusing on the period surrounding World War II—before fossil-fuel powered air-conditioning became widely available—Daniel(...)
Modern architecture and climate: Design before air conditioning
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This volume explores how leading architects of the twentieth century incorporated climate-mediating strategies into their designs, and shows how regional approaches to climate adaptability were essential to the development of modern architecture. Focusing on the period surrounding World War II—before fossil-fuel powered air-conditioning became widely available—Daniel Barber brings to light a vibrant and dynamic architectural discussion involving design, materials, and shading systems as means of interior climate control. He looks at projects by well-known architects such as Richard Neutra, Le Corbusier, Lúcio Costa, Mies van der Rohe, and Skidmore, Owings, and Merrill, and the work of climate-focused architects such as MMM Roberto, Olgyay and Olgyay, and Cliff May. Drawing on the editorial projects of James Marston Fitch, Elizabeth Gordon, and others, he demonstrates how images and diagrams produced by architects helped conceptualize climate knowledge, alongside the work of meteorologists, physicists, engineers, and social scientists. Barber describes how this novel type of environmental media catalyzed new ways of thinking about climate and architectural design.
Théorie de l’architecture
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The cycle of production and consumption, artificially accelerated by advertising and marketing, has characterised our society for decades. This cycle has recently also taken hold of the architecture of the city, leading to a waste that is both economically and ecologically unacceptable. The destruction of buildings that are not actually obsolete is just as questionable as(...)
Radical normal: Propositions for the architecture of the city
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The cycle of production and consumption, artificially accelerated by advertising and marketing, has characterised our society for decades. This cycle has recently also taken hold of the architecture of the city, leading to a waste that is both economically and ecologically unacceptable. The destruction of buildings that are not actually obsolete is just as questionable as the production of extravagant architectures for which there is no real need. This book is a protest against the merciless globalisation of the city and its dissolution into faceless, inhospitable peripheries. At the same time, it puts forward alternative strategies of urban design to counteract such globalisation and dissolution. It formulates a different approach to urbanism, one which views the city not as a carnivalesque display of vanities but as a sophisticated spatial construction that lays down the conditions for a productive, sociable, serene, and happy life.
Théorie de l’architecture
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An urgent call for climate justice from Teen Vogue, one of this generation’s leading voices, using an intersectional lens – with critical feminist, Indigenous, antiracist, and internationalist perspectives. As the political classes watch our world burn, a new movement of young people is rising to meet the challenge of climate catastrophe. This book is a guide, a toolkit,(...)
No Planet B: A Teen Vogue guide to the climate crisis
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An urgent call for climate justice from Teen Vogue, one of this generation’s leading voices, using an intersectional lens – with critical feminist, Indigenous, antiracist, and internationalist perspectives. As the political classes watch our world burn, a new movement of young people is rising to meet the challenge of climate catastrophe. This book is a guide, a toolkit, a warning, and a cause for hope.
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Michel Butor's 'Description of San Marco' (1963) is an unusual book; an unorthodox intermingling of overheard dialogue from the Venetian square in question, thick descriptions of persons and buildings, along with sober historical information. In the original, each genre of information is assigned a distinct typography of its own, hence interacting like voices in a play.(...)
Description of San Marco by Michel Butor
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Michel Butor's 'Description of San Marco' (1963) is an unusual book; an unorthodox intermingling of overheard dialogue from the Venetian square in question, thick descriptions of persons and buildings, along with sober historical information. In the original, each genre of information is assigned a distinct typography of its own, hence interacting like voices in a play. Six decades later, the artist Giovanna Silva stumbled upon an English translation of the French essayist's queer text in an archive at the New York Public Library. Returning to Venice, she cast her eye to the square and its surrounds, an iconic space at once populated by signs of contemporary life, but also astonishingly unchanged.
Monographies photo
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Spaarndammerhart in Amsterdam is designed by the architectural offices of Korth Tielens and Marcel Lok_Architect, artist Martijn Sandberg, and the landscape architects of DS Landschapsarchitecten. Photography of Max Hart Nibbrig, Dennis De Smet, and Raimond Wouda (who has been commissioned to document the life in and of Spaarndammerhart), and texts by Fred Feddes, Hans(...)
mai 2023
Spaarndammerhart: A story of the city
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Spaarndammerhart in Amsterdam is designed by the architectural offices of Korth Tielens and Marcel Lok_Architect, artist Martijn Sandberg, and the landscape architects of DS Landschapsarchitecten. Photography of Max Hart Nibbrig, Dennis De Smet, and Raimond Wouda (who has been commissioned to document the life in and of Spaarndammerhart), and texts by Fred Feddes, Hans Ibelings, Vincent Kompier, and Hannah Schubert document and discuss this housing complex, in which architecture, art, courtyard, gardens and street form a comprehensive whole.
Jonas Mekas: Images are real
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Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to(...)
avril 2023
Jonas Mekas: Images are real
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Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to himself, ''Memories are past, but images are here, and images are real!'' Completing the volume are a collection of texts by Francesco Urbano Ragazzi, Hollis Melton, P. Adams Sitney, Ieva Jasinskaite, and Philipp Scheid.
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The Colour Journal is not simply another publication about the meaning of colour. Colours have not been approached in a literal way but as a starting point, a pretext to tell bigger stories, a means of revealing the story within the story: we all know Henri Matisse's Blue Nudes, but who can say the same about Biskra, the forgotten Algerian oasis that inspired him? We may(...)
The Colour Journal: The blue issue, Vol. 1
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The Colour Journal is not simply another publication about the meaning of colour. Colours have not been approached in a literal way but as a starting point, a pretext to tell bigger stories, a means of revealing the story within the story: we all know Henri Matisse's Blue Nudes, but who can say the same about Biskra, the forgotten Algerian oasis that inspired him? We may also know about the ultramarine pigment that Yves Klein patented, but who has heard of Edouard Adam, a merchant in Montparnasse who discovered its formula? The Colour Journal intends to fight against the dictatorship of immediacy, to give depth to the pretty images of fashion magazines and Instagram feeds, to delve into familiar moments of art history and discover what lies beneath, to dig into museum libraries and reveal unseen treasures. To bring this enterprise to life, The Colour Journal travelled from Idaho to Guangxi, from antiquity to the present day, to bring you a dialogue between forgotten archives and contemporary photography: follow a denim hunter in the American West, visit one of China's last cultural minorities, peek into Helmut Newton's private collection of Polaroids and dive into David Hockney's chlorinated swimming pools.
Sur la photographie
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« Tout a débuté par un essai, consacré à quelques uns des problèmes esthétiques, et moraux, que pose l’omniprésence des images photographiques : mais plus je réfléchissais à la nature des photographies, plus elles devenaient complexes et suggestives. Si bien qu’un essai en engendra un autre, qui à son tour (à mon grand étonnement), en engendra un troisième, et ainsi de(...)
Sur la photographie
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« Tout a débuté par un essai, consacré à quelques uns des problèmes esthétiques, et moraux, que pose l’omniprésence des images photographiques : mais plus je réfléchissais à la nature des photographies, plus elles devenaient complexes et suggestives. Si bien qu’un essai en engendra un autre, qui à son tour (à mon grand étonnement), en engendra un troisième, et ainsi de suite, chacun ajoutant un maillon à une chaîne d’essais sur le sens et la vie des photographies, jusqu’à ce que je fusse allée assez loin pour que le développement esquissé dans le premier essai, étayé puis prolongé dans les suivants, pût être récapitulé et généralisé de façon plus théorique. Et trouver son terme. […] Ecrire sur la photographie, c’est écrire sur le monde. Et ces essais sont en fait une méditation prolongée sur la nature de notre modernité. » (Susan Sontag)
Théorie de la photographie
La maladie comme métaphore
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Dans ces deux essais complémentaires, à partir de métaphores suscitées par la tuberculose, le cancer ou le sida, Susan Sontag propose une réflexion sur la propension qu’a l’homme à s’emparer d’une maladie pour y greffer les métaphores les moins innocentes. Nourrie de culture historique, littéraire, philosophique, cette analyse embrasse sources médicales ou psychiatriques(...)
La maladie comme métaphore
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Dans ces deux essais complémentaires, à partir de métaphores suscitées par la tuberculose, le cancer ou le sida, Susan Sontag propose une réflexion sur la propension qu’a l’homme à s’emparer d’une maladie pour y greffer les métaphores les moins innocentes. Nourrie de culture historique, littéraire, philosophique, cette analyse embrasse sources médicales ou psychiatriques et textes littéraires, de l’Antiquité aux temps modernes. Sontag démystifie les fantasmes idéologiques qui démonisent certaines maladies et souligne à quel point le sida a réactivé le spectre de l’épidémie dont le monde moderne se croyait débarrassé. Certains en font la « peste » de notre temps, le châtiment infligé par Dieu aux groupes « déviants ». En dénonçant ce catastrophisme, Susan Sontag propose une réflexion extraordinaire d’intelligence. En creux, c’est l’Histoire de nos sociétés qui est donnée à lire.
Théorie de la photographie
Devant la douleur des autres
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Dans cet essai rédigé au lendemain des attentats du 11 Septembre, Susan Sontag pose un regard neuf sur les emplois de la photographie devant les souffrances de la guerre. Près de quatre décennies après Sur la photographie, elle dessille une fois de plus les yeux de ses contemporains en s’interrogeant sur nos façons de voir et de représenter le monde. Les images « chocs »,(...)
Devant la douleur des autres
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Dans cet essai rédigé au lendemain des attentats du 11 Septembre, Susan Sontag pose un regard neuf sur les emplois de la photographie devant les souffrances de la guerre. Près de quatre décennies après Sur la photographie, elle dessille une fois de plus les yeux de ses contemporains en s’interrogeant sur nos façons de voir et de représenter le monde. Les images « chocs », omniprésentes, nous rapprochent-elles ou nous éloignent-elles de la réalité ? Nous aident-elles à comprendre les souffrances d’autrui, ou érigent-elles au contraire, entre notre oeil et ce qu’il voit, un mur d’indifférence ? Susan Sontag retrace l’évolution de la sensibilité collective face aux visions d’horreur auxquelles l’humanité ne cesse de se confronter, des tableaux de Goya aux charniers du Rwanda ou de Sarajevo en passant par les photographies de la guerre de Sécession, des tranchées de Verdun et des camps de la mort.
Théorie de la photographie