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Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from(...)
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Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from(...)
Sujet:
Modernisme
Modernisme
Publication:
décembre 2002, Cambridge, Mass.
décembre 2002, Cambridge, Mass.
Titre:
Primary documents : a sourcebook for Eastern and Central European art since the 1950s
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Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from the artistic archives of Eastern and Central Europe during the second half of the twentieth century. Because the practice of criticism in this region was for many years almost completely suppressed, the writings of the artists themselves often fulfill a critical as well as an aesthetic and ideological function. The manifestoes, photo essays, proposals, scripts, and other writings assembled here comprise the first anthology of this material in any language. The source materials presented--almost all of them previously untranslated into English--are from Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Latvia, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, and Slovenia. The book is introduced by Ilya Kabakov. Each chapter is preceded by a brief introduction and is followed by a case study that chronicles an event or the creation or reception of an artwork, illustrating the issues raised in that chapter.
Primary documents : a sourcebook for Eastern and Central European art since the 1950s
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Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from the artistic archives of Eastern and Central Europe during the second half of the twentieth century. Because the practice of criticism in this region was for many years almost completely suppressed, the writings of the artists themselves often fulfill a critical as well as an aesthetic and ideological function. The manifestoes, photo essays, proposals, scripts, and other writings assembled here comprise the first anthology of this material in any language. The source materials presented--almost all of them previously untranslated into English--are from Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Latvia, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, and Slovenia. The book is introduced by Ilya Kabakov. Each chapter is preceded by a brief introduction and is followed by a case study that chronicles an event or the creation or reception of an artwork, illustrating the issues raised in that chapter.
Classification:
livres
livres
Publication:
décembre 2002, Cambridge, Mass.
décembre 2002, Cambridge, Mass.
Sujet:
Modernisme
Modernisme
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livres
livres
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$72.00
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s(...)
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s(...)
Publication:
décembre 2002, Cambridge / London
décembre 2002, Cambridge / London
Titre:
The glass state : the technology of the spectacle - Paris, 1981-1998
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s program of Grands Projets. The Grands Projets provide a rare opportunity to study a finite set of buildings constructed of similar materials, in the same time period, in a specific urban landscape, and with related ideological missions. Fierro employs a "discourse of the detail," in which the smallest architectural detail manifests the political, theoretical, and urban contexts of the building’s design and construction. She examines the paradox of the most pared down architectural configurations being used to support the most complex meanings. Intrinsic to Mitterrand’s glass buildings in Paris, for example, is a political concept: the metaphor of accessibility as a means of breaking open cultural institutions previously closed to the public. In addition to the structures of the Grands Projets--the Institut du Monde Arabe, the Grande and Petite Pyramides du Louvre, the glass greenhouses at utopian park projects at La Villette and Andre Citroën, and the Bibliothèque nationale de France--Fierro discusses the Fondation Cartier and two precedent structures, the Centre Georges Pompidou and the Eiffel Tower.
The glass state : the technology of the spectacle - Paris, 1981-1998
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s program of Grands Projets. The Grands Projets provide a rare opportunity to study a finite set of buildings constructed of similar materials, in the same time period, in a specific urban landscape, and with related ideological missions. Fierro employs a "discourse of the detail," in which the smallest architectural detail manifests the political, theoretical, and urban contexts of the building’s design and construction. She examines the paradox of the most pared down architectural configurations being used to support the most complex meanings. Intrinsic to Mitterrand’s glass buildings in Paris, for example, is a political concept: the metaphor of accessibility as a means of breaking open cultural institutions previously closed to the public. In addition to the structures of the Grands Projets--the Institut du Monde Arabe, the Grande and Petite Pyramides du Louvre, the glass greenhouses at utopian park projects at La Villette and Andre Citroën, and the Bibliothèque nationale de France--Fierro discusses the Fondation Cartier and two precedent structures, the Centre Georges Pompidou and the Eiffel Tower.
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livres
livres
Publication:
décembre 2002, Cambridge / London
décembre 2002, Cambridge / London
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livres
livres
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$63.95
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
Titre:
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
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livres
livres
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
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livres
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In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the(...)
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In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the(...)
Sujet:
Gratte-ciels
Gratte-ciels
Publication:
novembre 2002, Cambridge / London
novembre 2002, Cambridge / London
Titre:
Tower and office : from modernist theory to contentemporary practice
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In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war was the source of powerful new structural models and construction methods. The authors examine the ways these technologies have been inflected over the last half century by more subjective and integrated processes of spatial organization.
Tower and office : from modernist theory to contentemporary practice
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In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war was the source of powerful new structural models and construction methods. The authors examine the ways these technologies have been inflected over the last half century by more subjective and integrated processes of spatial organization.
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livres
livres
Publication:
novembre 2002, Cambridge / London
novembre 2002, Cambridge / London
Sujet:
Gratte-ciels
Gratte-ciels
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livres
livres
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"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless(...)
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"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
octobre 2002, Cambridge, Mass.
octobre 2002, Cambridge, Mass.
Titre:
Vitruvius: Writing the body of architecture
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"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless source of valuable metaphors. Departing from both perspectives, Indra Kagis McEwen examines the work’s meaning and significance in its own time. Vitruvius dedicated De architectura to his patron Augustus Caesar, the first Roman emperor, whose rise to power inspired its composition near the end of the first century B.C. McEwen argues that the imperial project of world dominion shaped Vitruvius’s purpose in writing what he calls "the whole body of architecture." Specifically, Vitruvius’s aim was to present his discipline as the means for making the emperor’s body congruent with the imagined body of the world he would rule.
Vitruvius: Writing the body of architecture
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"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless source of valuable metaphors. Departing from both perspectives, Indra Kagis McEwen examines the work’s meaning and significance in its own time. Vitruvius dedicated De architectura to his patron Augustus Caesar, the first Roman emperor, whose rise to power inspired its composition near the end of the first century B.C. McEwen argues that the imperial project of world dominion shaped Vitruvius’s purpose in writing what he calls "the whole body of architecture." Specifically, Vitruvius’s aim was to present his discipline as the means for making the emperor’s body congruent with the imagined body of the world he would rule.
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livres
livres
Publication:
octobre 2002, Cambridge, Mass.
octobre 2002, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
The spirit of terrorism
The spirit of terrorism
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«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
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«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
septembre 2002, London / New York
septembre 2002, London / New York
Titre:
The spirit of terrorism
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«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
The spirit of terrorism
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«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
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livres
livres
Publication:
septembre 2002, London / New York
septembre 2002, London / New York
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic(...)
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Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic(...)
Sujet:
Arch Moyen-Orient
Arch Moyen-Orient
Publication:
novembre 2002, Durham, N.C.
novembre 2002, Durham, N.C.
Titre:
Orientalism's interlocutors : painting, architecture and photography
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Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, upon examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints—especially women‘s—within Western Orientalism decentered and destabilized colonial authority Among the artists considered are the Algerian painters Azouoau Mammeri and Mohammed Racim; Turkish painter Osman Hamdi Bey; British landscape painter Barbara Bodichon; and the French painter Henri Regnault.
Orientalism's interlocutors : painting, architecture and photography
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Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, upon examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints—especially women‘s—within Western Orientalism decentered and destabilized colonial authority Among the artists considered are the Algerian painters Azouoau Mammeri and Mohammed Racim; Turkish painter Osman Hamdi Bey; British landscape painter Barbara Bodichon; and the French painter Henri Regnault.
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livres
livres
Publication:
novembre 2002, Durham, N.C.
novembre 2002, Durham, N.C.
Sujet:
Arch Moyen-Orient
Arch Moyen-Orient
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livres
livres
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$34.95
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Comme Bernard Palissy, Hugues Sambin relève du mythe. Certes, sa vie ne fut pas transformée en légende, mais on sent la même intensité vitale, la même soif de recherches, le refus de se laisser cantonner dans un domaine trop étroit, qui le conduisirent à se faire tour à tour menuisier, dessinateur, graveur, ingénieur militaire, hydraulicien, et architecte. L'acquisition(...)
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Comme Bernard Palissy, Hugues Sambin relève du mythe. Certes, sa vie ne fut pas transformée en légende, mais on sent la même intensité vitale, la même soif de recherches, le refus de se laisser cantonner dans un domaine trop étroit, qui le conduisirent à se faire tour à tour menuisier, dessinateur, graveur, ingénieur militaire, hydraulicien, et architecte. L'acquisition(...)
Publication:
octobre 2001, Paris
octobre 2001, Paris
Titre:
Hugues Sambin : un créateur au XVIè siècle (vers 1520-1601)
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Comme Bernard Palissy, Hugues Sambin relève du mythe. Certes, sa vie ne fut pas transformée en légende, mais on sent la même intensité vitale, la même soif de recherches, le refus de se laisser cantonner dans un domaine trop étroit, qui le conduisirent à se faire tour à tour menuisier, dessinateur, graveur, ingénieur militaire, hydraulicien, et architecte. L'acquisition récente d'un meuble qui pourrait être attribué à son atelier conduit aujourd'hui le Musée national de la Renaissance à rouvrir le dossier. Fortement marqué dans sa jeunesse par son passage sur le chantier de château de Fontainebleau, il semble avoir exercé une forme de fascination chez ses riches commanditaires de Bourgogne et de Franche-Comté. Il fut actif puisque dans les anciens Pays-Bas espapagnols, pour le gouverneur du duché de Luxembourg. Sa pratique de menuisier, qu'il n'a jamais reniée, offre l'occasion d'aborder dans cet ouvrage certaines questions touchant au mobilier, en particulier dans cette période charnière qui voit un renforcement de la spécialisation des meubles et notamment la naissance du "cabinet". Une telle approche permet d'évoquer les "manières d'habiter" dont l'ameublement ne peut être dissocié. Des études techniques poussées permettent enfin d'approcher au plus près les processus de création d'oeuvres de menuiserie, fruit de la collaboration de nombreux intervenants.
Hugues Sambin : un créateur au XVIè siècle (vers 1520-1601)
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Comme Bernard Palissy, Hugues Sambin relève du mythe. Certes, sa vie ne fut pas transformée en légende, mais on sent la même intensité vitale, la même soif de recherches, le refus de se laisser cantonner dans un domaine trop étroit, qui le conduisirent à se faire tour à tour menuisier, dessinateur, graveur, ingénieur militaire, hydraulicien, et architecte. L'acquisition récente d'un meuble qui pourrait être attribué à son atelier conduit aujourd'hui le Musée national de la Renaissance à rouvrir le dossier. Fortement marqué dans sa jeunesse par son passage sur le chantier de château de Fontainebleau, il semble avoir exercé une forme de fascination chez ses riches commanditaires de Bourgogne et de Franche-Comté. Il fut actif puisque dans les anciens Pays-Bas espapagnols, pour le gouverneur du duché de Luxembourg. Sa pratique de menuisier, qu'il n'a jamais reniée, offre l'occasion d'aborder dans cet ouvrage certaines questions touchant au mobilier, en particulier dans cette période charnière qui voit un renforcement de la spécialisation des meubles et notamment la naissance du "cabinet". Une telle approche permet d'évoquer les "manières d'habiter" dont l'ameublement ne peut être dissocié. Des études techniques poussées permettent enfin d'approcher au plus près les processus de création d'oeuvres de menuiserie, fruit de la collaboration de nombreux intervenants.
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livres
livres
Publication:
octobre 2001, Paris
octobre 2001, Paris
Classification:
livres
livres
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$46.95
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Jean-Pierre Barillet-Deschamps (1824-1873), premier jardinier en chef du service des promenades et plantations de la ville de Paris, est l’auteur de l’aménagement paysager de la capitale au moment de sa transformation par le préfet Haussmann. Transformant notamment les bois de Boulogne et de Vincennes, le parc Monceau, réalisant le parc des Buttes-Chaumont, il inaugure(...)
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Jean-Pierre Barillet-Deschamps (1824-1873), premier jardinier en chef du service des promenades et plantations de la ville de Paris, est l’auteur de l’aménagement paysager de la capitale au moment de sa transformation par le préfet Haussmann. Transformant notamment les bois de Boulogne et de Vincennes, le parc Monceau, réalisant le parc des Buttes-Chaumont, il inaugure(...)
Titre:
L'art des jardins sous le Second Empire : Jean-Pierre Barillet-Deschamps (1824-1873)
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Jean-Pierre Barillet-Deschamps (1824-1873), premier jardinier en chef du service des promenades et plantations de la ville de Paris, est l’auteur de l’aménagement paysager de la capitale au moment de sa transformation par le préfet Haussmann. Transformant notamment les bois de Boulogne et de Vincennes, le parc Monceau, réalisant le parc des Buttes-Chaumont, il inaugure un nouveau type de jardin, caractérisé par les vallonnements, les formes sinueuses des allées et des pelouses, la richesse de la décoration végétale, qui exalte la modernité du Second Empire et de la bourgeoisie, nouvelle classe dominante. Les nouveaux jardins parisiens se font le reflet de cette société, de ses désirs, ses principes et ses valeurs; et révèlent en même temps ses faiblesses et ses contradictions. Image fidèle de la bourgeoisie parisienne, le nouveau jardin est diversement accueilli dans les pays où il est exporté: en province, à Lille, Marseille, Avignon, Hyères, ainsi qu’à l’étranger, à Genève, Milan, Turin, Vienne et Le Caire. Le jardin parisien du Second Empire caractérisera ainsi l’art des jardins du XIXè siècle, et marquera de son empreinte la plupart des réalisations paysagères du XXè siècle. Luisa Limido est née en Italie en 1964. Architecte, Docteur en géographie à l’Université de Paris I, elle a préparé une thèse sur les jardins publics parisiens sous le Second Empire. Elle travaille actuellement sur le rapport ville-nature et société dans la ville du XIXè et XXè siècles.
L'art des jardins sous le Second Empire : Jean-Pierre Barillet-Deschamps (1824-1873)
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Jean-Pierre Barillet-Deschamps (1824-1873), premier jardinier en chef du service des promenades et plantations de la ville de Paris, est l’auteur de l’aménagement paysager de la capitale au moment de sa transformation par le préfet Haussmann. Transformant notamment les bois de Boulogne et de Vincennes, le parc Monceau, réalisant le parc des Buttes-Chaumont, il inaugure un nouveau type de jardin, caractérisé par les vallonnements, les formes sinueuses des allées et des pelouses, la richesse de la décoration végétale, qui exalte la modernité du Second Empire et de la bourgeoisie, nouvelle classe dominante. Les nouveaux jardins parisiens se font le reflet de cette société, de ses désirs, ses principes et ses valeurs; et révèlent en même temps ses faiblesses et ses contradictions. Image fidèle de la bourgeoisie parisienne, le nouveau jardin est diversement accueilli dans les pays où il est exporté: en province, à Lille, Marseille, Avignon, Hyères, ainsi qu’à l’étranger, à Genève, Milan, Turin, Vienne et Le Caire. Le jardin parisien du Second Empire caractérisera ainsi l’art des jardins du XIXè siècle, et marquera de son empreinte la plupart des réalisations paysagères du XXè siècle. Luisa Limido est née en Italie en 1964. Architecte, Docteur en géographie à l’Université de Paris I, elle a préparé une thèse sur les jardins publics parisiens sous le Second Empire. Elle travaille actuellement sur le rapport ville-nature et société dans la ville du XIXè et XXè siècles.
Classification:
livres
livres
Publication:
mars 2002, Seyssel
mars 2002, Seyssel
Sujet:
Théorie du paysage
Théorie du paysage
Classification:
livres
livres
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$25.95
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Résumé:
Cet ouvrage réunit diverses contributions à propos de l'oeuvre de Rem Koolhaas. La première conversation, "un rationalisme paradoxal", a eu lieu à Rotterdam en février 1992. la seconde, "Face à la rupture" a eu lieu en avril 2001 à Bouliac. Et certains articles et une notice bibliographique.
$25.95
(disponible sur commande)
Résumé:
Cet ouvrage réunit diverses contributions à propos de l'oeuvre de Rem Koolhaas. La première conversation, "un rationalisme paradoxal", a eu lieu à Rotterdam en février 1992. la seconde, "Face à la rupture" a eu lieu en avril 2001 à Bouliac. Et certains articles et une notice bibliographique.
Titre:
Deux conservations avec Rem Koolhaas et caetera
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Prix:
$25.95
(disponible sur commande)
Résumé:
Cet ouvrage réunit diverses contributions à propos de l'oeuvre de Rem Koolhaas. La première conversation, "un rationalisme paradoxal", a eu lieu à Rotterdam en février 1992. la seconde, "Face à la rupture" a eu lieu en avril 2001 à Bouliac. Et certains articles et une notice bibliographique.
Deux conservations avec Rem Koolhaas et caetera
Actions:
Prix:
$25.95
(disponible sur commande)
Résumé:
Cet ouvrage réunit diverses contributions à propos de l'oeuvre de Rem Koolhaas. La première conversation, "un rationalisme paradoxal", a eu lieu à Rotterdam en février 1992. la seconde, "Face à la rupture" a eu lieu en avril 2001 à Bouliac. Et certains articles et une notice bibliographique.
Classification:
livres
livres
Publication:
janvier 1900,
janvier 1900,
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
