7378 Résultats
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los(...)
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los(...)
Titre:
Strange new world : art and design from Tijuana
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los Angeles but are now staying or returning, and being joined by friends from Mexico City and beyond. This flourishing, strengthening artistic community has responded to the city’s accelerated evolution with a broad range of work, from painting to conceptually driven installations; from street-level digital video to ambitious photo-documentation, filmmaking and political work; from architectural proposals to product design associated with the "Nortec" musical movement. The work gathered in "Strange new world" embraces Tijuana as a paradigm of a new postmodern form of urbanization shaped by the pressures of economic globalization and cultural transnationalism since 1994. It struggles to make sense of new realities changing the ways in which people live in cities around the globe. Like Aldous Huxley's Brave New World, it is part science fiction, part political commentary and part artistic revolution and cultural critique. Arranged around the concepts of the urban theorist Michael Smith, it features work by ERRE, Einar and Jamex de la Torre and Yvonne Venegas, among others.
Strange new world : art and design from Tijuana
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los Angeles but are now staying or returning, and being joined by friends from Mexico City and beyond. This flourishing, strengthening artistic community has responded to the city’s accelerated evolution with a broad range of work, from painting to conceptually driven installations; from street-level digital video to ambitious photo-documentation, filmmaking and political work; from architectural proposals to product design associated with the "Nortec" musical movement. The work gathered in "Strange new world" embraces Tijuana as a paradigm of a new postmodern form of urbanization shaped by the pressures of economic globalization and cultural transnationalism since 1994. It struggles to make sense of new realities changing the ways in which people live in cities around the globe. Like Aldous Huxley's Brave New World, it is part science fiction, part political commentary and part artistic revolution and cultural critique. Arranged around the concepts of the urban theorist Michael Smith, it features work by ERRE, Einar and Jamex de la Torre and Yvonne Venegas, among others.
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livres
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août 2006, La Jolla
août 2006, La Jolla
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Cet ouvrage questionne une histoire récente du design où la notion d’ornement se donne au cœur de nouvelles logiques de conception et de production. Avec l’avènement du numérique et la redéfinition du rôle de l’ornement, la forme ornementale se donne à présent dans une dimension calculée de morphogenèse : sa dynamique s’ancre dans les processus de croissance de la nature.(...)
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Cet ouvrage questionne une histoire récente du design où la notion d’ornement se donne au cœur de nouvelles logiques de conception et de production. Avec l’avènement du numérique et la redéfinition du rôle de l’ornement, la forme ornementale se donne à présent dans une dimension calculée de morphogenèse : sa dynamique s’ancre dans les processus de croissance de la nature.(...)
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Design et merveilleux : de la nature de l'ornement / Design and the wondrous: on the nature of ornament
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Cet ouvrage questionne une histoire récente du design où la notion d’ornement se donne au cœur de nouvelles logiques de conception et de production. Avec l’avènement du numérique et la redéfinition du rôle de l’ornement, la forme ornementale se donne à présent dans une dimension calculée de morphogenèse : sa dynamique s’ancre dans les processus de croissance de la nature. Dans toutes ces réalisations, la dimension générative de la nature a conféré à l’ornement un rôle structurel nouveau. S'appuyant sur une sélection d'œuvres de plus de cinquante artistes, , quatre essais (Marie-Ange Brayer, Spyros Papapetros, Martine Dancer-Mourès et Sophie Fétro), nous donnent à lire et comprendre, l'évolution du design et de l'ornement, à l'ère du numérique. / This volume presents a new narrative of design, situated somewhere between plant life and ornament, nature and artifice. Through essays by several authors it explores the ornament’s role with respect to morphogenesis, by which the object is continually transformed through an evolving dynamic of forms. With the arrival of the digital age, the ornament’s role in design has been greatly modified. No longer a simple motif, it is used as an animated form. At the intersection of information sciences and biology, designers utilise 3D printing to create carefully calculated objects based on organic growth. With contributions by Spyros Papapetros, Marie-Ange Brayer, and others.
Design et merveilleux : de la nature de l'ornement / Design and the wondrous: on the nature of ornament
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Cet ouvrage questionne une histoire récente du design où la notion d’ornement se donne au cœur de nouvelles logiques de conception et de production. Avec l’avènement du numérique et la redéfinition du rôle de l’ornement, la forme ornementale se donne à présent dans une dimension calculée de morphogenèse : sa dynamique s’ancre dans les processus de croissance de la nature. Dans toutes ces réalisations, la dimension générative de la nature a conféré à l’ornement un rôle structurel nouveau. S'appuyant sur une sélection d'œuvres de plus de cinquante artistes, , quatre essais (Marie-Ange Brayer, Spyros Papapetros, Martine Dancer-Mourès et Sophie Fétro), nous donnent à lire et comprendre, l'évolution du design et de l'ornement, à l'ère du numérique. / This volume presents a new narrative of design, situated somewhere between plant life and ornament, nature and artifice. Through essays by several authors it explores the ornament’s role with respect to morphogenesis, by which the object is continually transformed through an evolving dynamic of forms. With the arrival of the digital age, the ornament’s role in design has been greatly modified. No longer a simple motif, it is used as an animated form. At the intersection of information sciences and biology, designers utilise 3D printing to create carefully calculated objects based on organic growth. With contributions by Spyros Papapetros, Marie-Ange Brayer, and others.
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livres
livres
Publication:
mai 2019
mai 2019
Sujet:
Théorie du design
Théorie du design
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livres
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"A mathematician, like a painter or poet, is a maker of patterns," wrote the British mathematician G. H. Hardy. In "Do not erase," photographer Jessica Wynne presents remarkable examples of this idea through images of mathematicians’ chalkboards. While other fields have replaced chalkboards with whiteboards and digital presentations, mathematicians remain loyal to chalk(...)
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"A mathematician, like a painter or poet, is a maker of patterns," wrote the British mathematician G. H. Hardy. In "Do not erase," photographer Jessica Wynne presents remarkable examples of this idea through images of mathematicians’ chalkboards. While other fields have replaced chalkboards with whiteboards and digital presentations, mathematicians remain loyal to chalk(...)
Titre:
Do not erase: mathematicians and their chalkboards
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"A mathematician, like a painter or poet, is a maker of patterns," wrote the British mathematician G. H. Hardy. In "Do not erase," photographer Jessica Wynne presents remarkable examples of this idea through images of mathematicians’ chalkboards. While other fields have replaced chalkboards with whiteboards and digital presentations, mathematicians remain loyal to chalk for puzzling out their ideas and communicating their research. Wynne offers more than one hundred photographs of these chalkboards, gathered from a diverse group of mathematicians around the world. The photographs are accompanied by essays from each mathematician, reflecting on their work and processes. Together, pictures and words provide an illuminating meditation on the unique relationships among mathematics, art, and creativity. The mathematicians featured in this collection comprise exciting new voices alongside established figures, including Sun-Yung Alice Chang, Alain Connes, Misha Gromov, Andre Neves, Kasso Okoudjou, Peter Shor, Christina Sormani, Terence Tao, Claire Voisin, and many others. The companion essays give insights into how the chalkboard serves as a special medium for mathematical expression. The volume also includes an introduction by the author, an afterword by New Yorker writer Alec Wilkinson, and biographical information for each contributor. "Do not erase" is a testament to the myriad ways that mathematicians use their chalkboards to reveal the conceptual and visual beauty of their discipline- shapes, figures, formulas, and conjectures created through imagination, argument, and speculation.
Do not erase: mathematicians and their chalkboards
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"A mathematician, like a painter or poet, is a maker of patterns," wrote the British mathematician G. H. Hardy. In "Do not erase," photographer Jessica Wynne presents remarkable examples of this idea through images of mathematicians’ chalkboards. While other fields have replaced chalkboards with whiteboards and digital presentations, mathematicians remain loyal to chalk for puzzling out their ideas and communicating their research. Wynne offers more than one hundred photographs of these chalkboards, gathered from a diverse group of mathematicians around the world. The photographs are accompanied by essays from each mathematician, reflecting on their work and processes. Together, pictures and words provide an illuminating meditation on the unique relationships among mathematics, art, and creativity. The mathematicians featured in this collection comprise exciting new voices alongside established figures, including Sun-Yung Alice Chang, Alain Connes, Misha Gromov, Andre Neves, Kasso Okoudjou, Peter Shor, Christina Sormani, Terence Tao, Claire Voisin, and many others. The companion essays give insights into how the chalkboard serves as a special medium for mathematical expression. The volume also includes an introduction by the author, an afterword by New Yorker writer Alec Wilkinson, and biographical information for each contributor. "Do not erase" is a testament to the myriad ways that mathematicians use their chalkboards to reveal the conceptual and visual beauty of their discipline- shapes, figures, formulas, and conjectures created through imagination, argument, and speculation.
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livres
livres
Publication:
juin 2021
juin 2021
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Books: a living history
Books: a living history
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From the first scribbling on papyrus to the emergence of the e-book, this wide-ranging overview of the history of the book provides a fascinating look at one of the most efficient, versatile, and enduring technologies ever developed. The author traces the evolution of the book from the rarefied world of the hand-copied and illuminated volume in ancient and medieval times,(...)
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From the first scribbling on papyrus to the emergence of the e-book, this wide-ranging overview of the history of the book provides a fascinating look at one of the most efficient, versatile, and enduring technologies ever developed. The author traces the evolution of the book from the rarefied world of the hand-copied and illuminated volume in ancient and medieval times,(...)
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Books: a living history
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From the first scribbling on papyrus to the emergence of the e-book, this wide-ranging overview of the history of the book provides a fascinating look at one of the most efficient, versatile, and enduring technologies ever developed. The author traces the evolution of the book from the rarefied world of the hand-copied and illuminated volume in ancient and medieval times, through the revolutionary impact of Gutenberg’s invention of the printing press, to the rise of a publishing culture in the nineteenth and twentieth centuries, and the subsequent impact of new technologies on this culture. Many of the great individual titles of the past two millennia are discussed as well as the range of book types and formats that have emerged in the last few hundred years, from serial and dime novels to paperbacks, children’s books, and Japanese manga. The volume ends with a discussion of the digital revolution in book production and distribution and the ramifications for book lovers, who can’t help but wonder whether the book will thrive—or even survive—in a form they recognize. Martyn Lyons is professor of history at the University of New South Wales in Sydney, Australia, and the author of A History of Reading and Writing in the Western World (Palgrave Macmillan, 2009) and Reading Culture and Writing Practices in Nineteenth-Century France (University of Toronto Press, 2008).
Books: a living history
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From the first scribbling on papyrus to the emergence of the e-book, this wide-ranging overview of the history of the book provides a fascinating look at one of the most efficient, versatile, and enduring technologies ever developed. The author traces the evolution of the book from the rarefied world of the hand-copied and illuminated volume in ancient and medieval times, through the revolutionary impact of Gutenberg’s invention of the printing press, to the rise of a publishing culture in the nineteenth and twentieth centuries, and the subsequent impact of new technologies on this culture. Many of the great individual titles of the past two millennia are discussed as well as the range of book types and formats that have emerged in the last few hundred years, from serial and dime novels to paperbacks, children’s books, and Japanese manga. The volume ends with a discussion of the digital revolution in book production and distribution and the ramifications for book lovers, who can’t help but wonder whether the book will thrive—or even survive—in a form they recognize. Martyn Lyons is professor of history at the University of New South Wales in Sydney, Australia, and the author of A History of Reading and Writing in the Western World (Palgrave Macmillan, 2009) and Reading Culture and Writing Practices in Nineteenth-Century France (University of Toronto Press, 2008).
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livres
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Publication:
octobre 2011
octobre 2011
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Description:
107 pages : illustrations (chiefly color) ; 34 cm
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107 pages : illustrations (chiefly color) ; 34 cm
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Lima : UAP, Universidad Alas Peruanas, 2013.
Lima : UAP, Universidad Alas Peruanas, 2013.
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Machu Picchu : Schatz der Inka-Architektur / Federico Kauffmann Doig.
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107 pages : illustrations (chiefly color) ; 34 cm
Machu Picchu : Schatz der Inka-Architektur / Federico Kauffmann Doig.
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107 pages : illustrations (chiefly color) ; 34 cm
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Lima : UAP, Universidad Alas Peruanas, 2013.
Lima : UAP, Universidad Alas Peruanas, 2013.
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Titre:
Shaping things
Shaping things
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Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic,(...)
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Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic,(...)
Sujet:
Théorie du design
Théorie du design
Publication:
septembre 2005, Cambridge, Massachusetts
septembre 2005, Cambridge, Massachusetts
Titre:
Shaping things
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Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic, are not sustainable. The future will see a new kind of object - we have the primitive forms of them now in our pockets and briefcases: user-alterable, baroquely multi-featured, and programmable - that will be sustainable, enhanceable, and uniquely identifiable. Sterling coins the term "spime" for them, these future manufactured objects with informational support so extensive and rich that they are regarded as material instantiations of an immaterial system. Spimes are designed on screens, fabricated by digital means, and precisely tracked through space and time. They are made of substances that can be folded back into the production stream of future spimes, challenging all of us to become involved in their production. Spimes are coming, says Sterling. We will need these objects in order to live; we won't be able to surrender their advantages without awful consequences. The vision of ‘Shaping Things’ is given material form by the intricate design of Lorraine Wild. ‘Shaping Things’ is for designers and thinkers, engineers and scientists, entrepreneurs and financiers - and anyone who wants to understand and be part of the process of techno-social transformation.
Shaping things
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Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic, are not sustainable. The future will see a new kind of object - we have the primitive forms of them now in our pockets and briefcases: user-alterable, baroquely multi-featured, and programmable - that will be sustainable, enhanceable, and uniquely identifiable. Sterling coins the term "spime" for them, these future manufactured objects with informational support so extensive and rich that they are regarded as material instantiations of an immaterial system. Spimes are designed on screens, fabricated by digital means, and precisely tracked through space and time. They are made of substances that can be folded back into the production stream of future spimes, challenging all of us to become involved in their production. Spimes are coming, says Sterling. We will need these objects in order to live; we won't be able to surrender their advantages without awful consequences. The vision of ‘Shaping Things’ is given material form by the intricate design of Lorraine Wild. ‘Shaping Things’ is for designers and thinkers, engineers and scientists, entrepreneurs and financiers - and anyone who wants to understand and be part of the process of techno-social transformation.
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livres
livres
Publication:
septembre 2005, Cambridge, Massachusetts
septembre 2005, Cambridge, Massachusetts
Sujet:
Théorie du design
Théorie du design
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livres
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$46.99
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Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, "Let Us Now Praise Famous Men" (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled "Many Are Called". This three-year photographic study of subway passengers made with a(...)
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Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, "Let Us Now Praise Famous Men" (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled "Many Are Called". This three-year photographic study of subway passengers made with a(...)
Titre:
Many are called : Walker Evans
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Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, "Let Us Now Praise Famous Men" (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled "Many Are Called". This three-year photographic study of subway passengers made with a hidden camera was first published in 1966, with an introduction written by Agee in 1940. Long out of print, "Many Are Called" is now being reissued with a new foreword and afterword and with exquisitely reproduced images from newly prepared digital scans. "Many Are Called" came to fruition at a slow pace. In 1938, Walker Evans began surreptitiously photographing people on the New York City subway. With his camera hidden in his coat--the lens peeking through a buttonhole--he captured the faces of riders hurtling through the dark tunnels, wrapped in their own private thoughts. By 1940-41, Evans had made over six hundred photographs and had begun to edit the series. The book remained unpublished until 1966 when The Museum of Modern Art mounted an exhibition of Evans’s subway portraits. This beautiful new edition--published in the centenary year of the NYC subway--is an essential book for all admirers of Evans’s unparalleled photographs, Agee’s elegant prose, and the great City of New York. Designed by Katy Homans with an introduction by Luc Santé.
Many are called : Walker Evans
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Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, "Let Us Now Praise Famous Men" (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled "Many Are Called". This three-year photographic study of subway passengers made with a hidden camera was first published in 1966, with an introduction written by Agee in 1940. Long out of print, "Many Are Called" is now being reissued with a new foreword and afterword and with exquisitely reproduced images from newly prepared digital scans. "Many Are Called" came to fruition at a slow pace. In 1938, Walker Evans began surreptitiously photographing people on the New York City subway. With his camera hidden in his coat--the lens peeking through a buttonhole--he captured the faces of riders hurtling through the dark tunnels, wrapped in their own private thoughts. By 1940-41, Evans had made over six hundred photographs and had begun to edit the series. The book remained unpublished until 1966 when The Museum of Modern Art mounted an exhibition of Evans’s subway portraits. This beautiful new edition--published in the centenary year of the NYC subway--is an essential book for all admirers of Evans’s unparalleled photographs, Agee’s elegant prose, and the great City of New York. Designed by Katy Homans with an introduction by Luc Santé.
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livres
livres
Publication:
janvier 1900, New Haven, London
janvier 1900, New Haven, London
Sujet:
Monographies photo
Monographies photo
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livres
livres
Prix:
$77.00
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The occupation of space is a trend that can currently be recognized in many creative fields. While furniture and product design were once largely driven by classical industrial and interior design, these disciplines are now also being shaped by the visual culture of graphic design and high-tech production processes. These new influences are contributing to the creation of(...)
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The occupation of space is a trend that can currently be recognized in many creative fields. While furniture and product design were once largely driven by classical industrial and interior design, these disciplines are now also being shaped by the visual culture of graphic design and high-tech production processes. These new influences are contributing to the creation of(...)
Titre:
Furnish: Furniture and interior design for the 21st century
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$77.00
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The occupation of space is a trend that can currently be recognized in many creative fields. While furniture and product design were once largely driven by classical industrial and interior design, these disciplines are now also being shaped by the visual culture of graphic design and high-tech production processes. These new influences are contributing to the creation of furniture and interiors that go beyond anything previously designed or imagined. Furnish presents domestic territories that expand upon our current understanding of interior design. The book documents recent work by designers, artists and architects that shows how they are using furniture in pioneering ways: as environment, as art object, as digital-organic growth, as mutation or as insertion. These cutting-edge examples are a sure indicator of the trends that will be influencing interiors as well as hotel, restaurant and club design for the next several years. Furnish also explores the new hybrid nature of occupied spaces, where the domestic enters the realm of fine art and where objects from pimped heirlooms to rapid prototypes find their homes. The book also presents surprising interdisciplinary work, for example, the results of architects engineering tables, graphic designers creating soft furniture and industrial designers making concept art. The experimental spaces that are shown in Furnish are not only interesting for interior designers, but also contain innovative examples of interdisciplinary design work that are relevant and inspiring for anyone working creatively.
Furnish: Furniture and interior design for the 21st century
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The occupation of space is a trend that can currently be recognized in many creative fields. While furniture and product design were once largely driven by classical industrial and interior design, these disciplines are now also being shaped by the visual culture of graphic design and high-tech production processes. These new influences are contributing to the creation of furniture and interiors that go beyond anything previously designed or imagined. Furnish presents domestic territories that expand upon our current understanding of interior design. The book documents recent work by designers, artists and architects that shows how they are using furniture in pioneering ways: as environment, as art object, as digital-organic growth, as mutation or as insertion. These cutting-edge examples are a sure indicator of the trends that will be influencing interiors as well as hotel, restaurant and club design for the next several years. Furnish also explores the new hybrid nature of occupied spaces, where the domestic enters the realm of fine art and where objects from pimped heirlooms to rapid prototypes find their homes. The book also presents surprising interdisciplinary work, for example, the results of architects engineering tables, graphic designers creating soft furniture and industrial designers making concept art. The experimental spaces that are shown in Furnish are not only interesting for interior designers, but also contain innovative examples of interdisciplinary design work that are relevant and inspiring for anyone working creatively.
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livres
livres
Publication:
octobre 2007, Berlin
octobre 2007, Berlin
Sujet:
Design industriel
Design industriel
Classification:
périodiques
périodiques
Titre:
ARCH+ : Release architecture
ARCH+ : Release architecture
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An architecture biennale can be more than a place to simply represent and celebrate the status quo in architectural production. Exhibitions are increasingly becoming a place for researching and producing an experimental and critical architectural practice: a place not for the presentation of finished products, but for the production of content. This calls into question(...)
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An architecture biennale can be more than a place to simply represent and celebrate the status quo in architectural production. Exhibitions are increasingly becoming a place for researching and producing an experimental and critical architectural practice: a place not for the presentation of finished products, but for the production of content. This calls into question(...)
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ARCH+ : Release architecture
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An architecture biennale can be more than a place to simply represent and celebrate the status quo in architectural production. Exhibitions are increasingly becoming a place for researching and producing an experimental and critical architectural practice: a place not for the presentation of finished products, but for the production of content. This calls into question the supposed boundary between architecture and exhibition. Inquiry becomes a form of display. Christian Kerez’s Incidental Space, exhibited in the Swiss Pavilion at the 2016 Architecture Biennale in Venice, attempts to inquire into the outer limits of what can be achieved in architecture today—in terms of both technical feasibility and the limits of our own imagination. How can you use the medium of architecture to contemplate an architectural space that is entirely abstract and as complex as possible? How could this kind of imaginary space even be visualized, and how could it be produced? Conceived in close collaboration with Sandra Oehy, the curator of the Swiss Pavilion, and Christian Kerez, the Swiss Pavilion architect, this issue of ARCH+ delves into the questions posed by Kerez’s “speculative space.” Contributors like Philip Ursprung, Mario Carpo, Armen Avanessian, and Timothy Morton consider how the object stands in relation to the subject in a world where the capacity for technological and digital reproduction increasingly renders the distinction between depiction and reality moot. Where is the space for architectural autonomy in this? How can we “Release Architecture”? A report from architecture’s speculative front.
ARCH+ : Release architecture
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(disponible en magasin)
Résumé:
An architecture biennale can be more than a place to simply represent and celebrate the status quo in architectural production. Exhibitions are increasingly becoming a place for researching and producing an experimental and critical architectural practice: a place not for the presentation of finished products, but for the production of content. This calls into question the supposed boundary between architecture and exhibition. Inquiry becomes a form of display. Christian Kerez’s Incidental Space, exhibited in the Swiss Pavilion at the 2016 Architecture Biennale in Venice, attempts to inquire into the outer limits of what can be achieved in architecture today—in terms of both technical feasibility and the limits of our own imagination. How can you use the medium of architecture to contemplate an architectural space that is entirely abstract and as complex as possible? How could this kind of imaginary space even be visualized, and how could it be produced? Conceived in close collaboration with Sandra Oehy, the curator of the Swiss Pavilion, and Christian Kerez, the Swiss Pavilion architect, this issue of ARCH+ delves into the questions posed by Kerez’s “speculative space.” Contributors like Philip Ursprung, Mario Carpo, Armen Avanessian, and Timothy Morton consider how the object stands in relation to the subject in a world where the capacity for technological and digital reproduction increasingly renders the distinction between depiction and reality moot. Where is the space for architectural autonomy in this? How can we “Release Architecture”? A report from architecture’s speculative front.
Classification:
périodiques
périodiques
Publication:
mai 2016
mai 2016
Sujet:
Revues
Revues
Classification:
livres
livres
Prix:
$58.00
(disponible en magasin)
Résumé:
From the 1960s onward, Allan Chasanoff (1936–2020) maintained a daily photographic practice, producing tens of thousands of images that pushed the limits of the medium and questioned its reliability as a document of reality. Preferring to experiment away from the art world, Chasanoff rarely exhibited his photographs, his art remaining unknown to all but a select circle of(...)
$58.00
(disponible en magasin)
Résumé:
From the 1960s onward, Allan Chasanoff (1936–2020) maintained a daily photographic practice, producing tens of thousands of images that pushed the limits of the medium and questioned its reliability as a document of reality. Preferring to experiment away from the art world, Chasanoff rarely exhibited his photographs, his art remaining unknown to all but a select circle of(...)
Titre:
Seeing and not believing: The photography of Allan Chasanoff
Actions:
Prix:
$58.00
(disponible en magasin)
Résumé:
From the 1960s onward, Allan Chasanoff (1936–2020) maintained a daily photographic practice, producing tens of thousands of images that pushed the limits of the medium and questioned its reliability as a document of reality. Preferring to experiment away from the art world, Chasanoff rarely exhibited his photographs, his art remaining unknown to all but a select circle of friends and collaborators. This catalogue is the first to survey his beguiling work. Artist Mónika Sziládi, who worked as an archivist for Chasanoff, contributes an outline of Chasanoff’s life and practice, tracing the development of his art from his early experiments with light, shadow, and color in his lens-shot photographs to his late-career foray into 3D printing, which he viewed as the latest frontier of photography. Influenced by the ideas of Marshall McLuhan and Jacques Derrida, Chasanoff understood photographic images to be full of multivalent symbolism, and his art highlights the fluid nature of the medium. Using analog optical effects, such as blurring and other distortions, and on-screen tools to cut and layer digital images, Chasanoff created a wide range of pictures, some of which reference or appropriate the work of artists like Henri Matisse, Mark Rothko, or Giorgio Morandi. With nearly 200 plates organized into 7 thematic sections, ''Seeing and not believing'' brings Chasanoff’s contribution to postmodern photography to a wider audience and underlines how the artist’s work challenges our assumptions about believing what we see.
Seeing and not believing: The photography of Allan Chasanoff
Actions:
Prix:
$58.00
(disponible en magasin)
Résumé:
From the 1960s onward, Allan Chasanoff (1936–2020) maintained a daily photographic practice, producing tens of thousands of images that pushed the limits of the medium and questioned its reliability as a document of reality. Preferring to experiment away from the art world, Chasanoff rarely exhibited his photographs, his art remaining unknown to all but a select circle of friends and collaborators. This catalogue is the first to survey his beguiling work. Artist Mónika Sziládi, who worked as an archivist for Chasanoff, contributes an outline of Chasanoff’s life and practice, tracing the development of his art from his early experiments with light, shadow, and color in his lens-shot photographs to his late-career foray into 3D printing, which he viewed as the latest frontier of photography. Influenced by the ideas of Marshall McLuhan and Jacques Derrida, Chasanoff understood photographic images to be full of multivalent symbolism, and his art highlights the fluid nature of the medium. Using analog optical effects, such as blurring and other distortions, and on-screen tools to cut and layer digital images, Chasanoff created a wide range of pictures, some of which reference or appropriate the work of artists like Henri Matisse, Mark Rothko, or Giorgio Morandi. With nearly 200 plates organized into 7 thematic sections, ''Seeing and not believing'' brings Chasanoff’s contribution to postmodern photography to a wider audience and underlines how the artist’s work challenges our assumptions about believing what we see.
Classification:
livres
livres
Publication:
septembre 2023
septembre 2023
Sujet:
Monographies photo
Monographies photo
