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The celebrated British architect Sir John Soane (1753–1837) created his extraordinary house-museum from three properties in Lincoln’s Inn Fields, London.There, in houses that embody both his architectural vision and his passion for collecting, Soane exhibited a marvellous array of artefacts, including an outstanding collection of plaster casts, and idiosyncratic items(...)
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The celebrated British architect Sir John Soane (1753–1837) created his extraordinary house-museum from three properties in Lincoln’s Inn Fields, London.There, in houses that embody both his architectural vision and his passion for collecting, Soane exhibited a marvellous array of artefacts, including an outstanding collection of plaster casts, and idiosyncratic items(...)
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Sir John Soane's museum London
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The celebrated British architect Sir John Soane (1753–1837) created his extraordinary house-museum from three properties in Lincoln’s Inn Fields, London.There, in houses that embody both his architectural vision and his passion for collecting, Soane exhibited a marvellous array of artefacts, including an outstanding collection of plaster casts, and idiosyncratic items ranging from mummified cats to the sarcophagus of the Egyptian king Seti I. Soane intended the collection to be an ‘Academy of Architecture’ that would inspire students for generations to come, and today it continues to attract more than 90,000 visitors every year.Written by the present director of the museum and featuring specially commissioned photographs by Derry Moore, this absorbing account of a unique, perpetually surprising cabinet of curiosities offers a fascinating insight into the genius of an exceptional man.
Sir John Soane's museum London
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The celebrated British architect Sir John Soane (1753–1837) created his extraordinary house-museum from three properties in Lincoln’s Inn Fields, London.There, in houses that embody both his architectural vision and his passion for collecting, Soane exhibited a marvellous array of artefacts, including an outstanding collection of plaster casts, and idiosyncratic items ranging from mummified cats to the sarcophagus of the Egyptian king Seti I. Soane intended the collection to be an ‘Academy of Architecture’ that would inspire students for generations to come, and today it continues to attract more than 90,000 visitors every year.Written by the present director of the museum and featuring specially commissioned photographs by Derry Moore, this absorbing account of a unique, perpetually surprising cabinet of curiosities offers a fascinating insight into the genius of an exceptional man.
Classification:
livres
livres
Publication:
mars 2009
mars 2009
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
Titre:
The big archive
The big archive
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The typewriter, the card index, and the filing cabinet: these are technologies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork no longer needed; to the historian, on the other hand, the archive’s content stands as a quasi-objective correlative of the “living” past. Twentieth-century art made use of the archive in a(...)
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The typewriter, the card index, and the filing cabinet: these are technologies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork no longer needed; to the historian, on the other hand, the archive’s content stands as a quasi-objective correlative of the “living” past. Twentieth-century art made use of the archive in a(...)
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The big archive
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The typewriter, the card index, and the filing cabinet: these are technologies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork no longer needed; to the historian, on the other hand, the archive’s content stands as a quasi-objective correlative of the “living” past. Twentieth-century art made use of the archive in a variety of ways—from what Spieker calls Marcel Duchamp’s “anemic archive” of readymades and El Lissitzky’s Demonstration Rooms to the compilations of photographs made by such postwar artists as Susan Hiller and Gerhard Richter. In "The big archive", Sven Spieker investigates the archive—as both bureaucratic institution and index of evolving attitudes toward contingent time in science and art—and finds it to be a crucible of twentieth-century modernism.
The big archive
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The typewriter, the card index, and the filing cabinet: these are technologies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork no longer needed; to the historian, on the other hand, the archive’s content stands as a quasi-objective correlative of the “living” past. Twentieth-century art made use of the archive in a variety of ways—from what Spieker calls Marcel Duchamp’s “anemic archive” of readymades and El Lissitzky’s Demonstration Rooms to the compilations of photographs made by such postwar artists as Susan Hiller and Gerhard Richter. In "The big archive", Sven Spieker investigates the archive—as both bureaucratic institution and index of evolving attitudes toward contingent time in science and art—and finds it to be a crucible of twentieth-century modernism.
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livres
livres
Publication:
mars 2017
mars 2017
Classification:
livres
livres
Titre:
Sanctuary
Sanctuary
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This fictional work about the construction and decay of a late modernist building can also be read as an essay on our contemporary unease with modernism in general. Author Brian Dillon, UK editor of Cabinet magazine, based it on research into St. Peter's Seminary, a college complex commissioned by the Catholic Church in the 1950s, completed in 1968, and abandoned by 1980.(...)
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This fictional work about the construction and decay of a late modernist building can also be read as an essay on our contemporary unease with modernism in general. Author Brian Dillon, UK editor of Cabinet magazine, based it on research into St. Peter's Seminary, a college complex commissioned by the Catholic Church in the 1950s, completed in 1968, and abandoned by 1980.(...)
Titre:
Sanctuary
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This fictional work about the construction and decay of a late modernist building can also be read as an essay on our contemporary unease with modernism in general. Author Brian Dillon, UK editor of Cabinet magazine, based it on research into St. Peter's Seminary, a college complex commissioned by the Catholic Church in the 1950s, completed in 1968, and abandoned by 1980. On the outskirts of Glasgow - itself a city with a vexed relationship to Le Corbusier-esque modernism - the building is rich with histories: of its architects, its residing student priests, the drug addicts it once housed and treated, and the local teenagers for whom it is a kind of Gothic recreation center. This book takes the material remains of modernism and treats them from a literary point of view.
Sanctuary
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This fictional work about the construction and decay of a late modernist building can also be read as an essay on our contemporary unease with modernism in general. Author Brian Dillon, UK editor of Cabinet magazine, based it on research into St. Peter's Seminary, a college complex commissioned by the Catholic Church in the 1950s, completed in 1968, and abandoned by 1980. On the outskirts of Glasgow - itself a city with a vexed relationship to Le Corbusier-esque modernism - the building is rich with histories: of its architects, its residing student priests, the drug addicts it once housed and treated, and the local teenagers for whom it is a kind of Gothic recreation center. This book takes the material remains of modernism and treats them from a literary point of view.
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livres
livres
Publication:
décembre 2010
décembre 2010
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livres
livres
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$69.95
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''As Far as You Can See'', presented by COMMERCE, is the first comprehensive collection of Erik Kessels’s books, spanning from 1997 to today – including his latest, ''Incomplete Encyclopaedia of Touch''. This richly illustrated volume traces over two decades of Kessels’s artistic, editorial, and photographic explorations. Internationally known for his work with vernacular(...)
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''As Far as You Can See'', presented by COMMERCE, is the first comprehensive collection of Erik Kessels’s books, spanning from 1997 to today – including his latest, ''Incomplete Encyclopaedia of Touch''. This richly illustrated volume traces over two decades of Kessels’s artistic, editorial, and photographic explorations. Internationally known for his work with vernacular(...)
Titre:
Erik Kessels; As Far As You Can See
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''As Far as You Can See'', presented by COMMERCE, is the first comprehensive collection of Erik Kessels’s books, spanning from 1997 to today – including his latest, ''Incomplete Encyclopaedia of Touch''. This richly illustrated volume traces over two decades of Kessels’s artistic, editorial, and photographic explorations. Internationally known for his work with vernacular photography and visual storytelling, Kessels has crafted a body of work that captures the human, the everyday, and the absurd - one book at a time. The publication includes a new text by critic and curator Francesco Zanot, structured as a series of concise reflections - one for each book - offering a fragmented yet cohesive insight into Kessels’s evolving visual language. Designed by Cabinet Milano, the book features a modular layout that integrates video stills made in collaboration with Riccardo Ruffolo and Enrico Zanetti, also part of the accompanying exhibition.
Erik Kessels; As Far As You Can See
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''As Far as You Can See'', presented by COMMERCE, is the first comprehensive collection of Erik Kessels’s books, spanning from 1997 to today – including his latest, ''Incomplete Encyclopaedia of Touch''. This richly illustrated volume traces over two decades of Kessels’s artistic, editorial, and photographic explorations. Internationally known for his work with vernacular photography and visual storytelling, Kessels has crafted a body of work that captures the human, the everyday, and the absurd - one book at a time. The publication includes a new text by critic and curator Francesco Zanot, structured as a series of concise reflections - one for each book - offering a fragmented yet cohesive insight into Kessels’s evolving visual language. Designed by Cabinet Milano, the book features a modular layout that integrates video stills made in collaboration with Riccardo Ruffolo and Enrico Zanetti, also part of the accompanying exhibition.
Classification:
livres
livres
Publication:
juillet 2025
juillet 2025
Sujet:
Monographies photo
Monographies photo
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livres
livres
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What makes us love our things? Why do we attach certain sentiments to certain items? How is it that sometimes objects can tell stories more eloquently than people? These are questions explored and answered in "The uncommon life of common objects". Author Akiko Busch devotes a chapter to each of 12 common objects, and discusses her and others’ experiences that give(...)
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What makes us love our things? Why do we attach certain sentiments to certain items? How is it that sometimes objects can tell stories more eloquently than people? These are questions explored and answered in "The uncommon life of common objects". Author Akiko Busch devotes a chapter to each of 12 common objects, and discusses her and others’ experiences that give(...)
Titre:
The uncommon life of common objects : essays on design and the everyday
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What makes us love our things? Why do we attach certain sentiments to certain items? How is it that sometimes objects can tell stories more eloquently than people? These are questions explored and answered in "The uncommon life of common objects". Author Akiko Busch devotes a chapter to each of 12 common objects, and discusses her and others’ experiences that give everyday things their significance. Through her examination of : a video camera, a cellular phone, a vegetable peeler, a snowboard, a baby carriage, a chair, a refrigerator, a mailbox, a medicine cabinet, a cereal box, a backpack, and a desk, Busch illuminates the social and personal issues that shape our lives and the ownership of our things. Each of the 12 chapters is accompanied by a four-color drawing. Edited by Diana Murphy. Foreword by Susan S. Szenasy. Original illustrations by George Skelcher.
The uncommon life of common objects : essays on design and the everyday
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Résumé:
What makes us love our things? Why do we attach certain sentiments to certain items? How is it that sometimes objects can tell stories more eloquently than people? These are questions explored and answered in "The uncommon life of common objects". Author Akiko Busch devotes a chapter to each of 12 common objects, and discusses her and others’ experiences that give everyday things their significance. Through her examination of : a video camera, a cellular phone, a vegetable peeler, a snowboard, a baby carriage, a chair, a refrigerator, a mailbox, a medicine cabinet, a cereal box, a backpack, and a desk, Busch illuminates the social and personal issues that shape our lives and the ownership of our things. Each of the 12 chapters is accompanied by a four-color drawing. Edited by Diana Murphy. Foreword by Susan S. Szenasy. Original illustrations by George Skelcher.
Classification:
livres
livres
Publication:
juillet 2005, New York
juillet 2005, New York
Sujet:
Design d’intérieur
Design d’intérieur
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livres
livres
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$27.95
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This book examines Dutch commemorative coins which will continue to be minted, despite the introduction of the Euro. In a lyrical article, Gert Staal explores the sentimental and symbolical significance of coins. The results of a workshop ‘Design by the mm3’, in which eleven artist/designers took part, is discussed in an article by Lilet Breddels and presented in numerous(...)
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Résumé:
This book examines Dutch commemorative coins which will continue to be minted, despite the introduction of the Euro. In a lyrical article, Gert Staal explores the sentimental and symbolical significance of coins. The results of a workshop ‘Design by the mm3’, in which eleven artist/designers took part, is discussed in an article by Lilet Breddels and presented in numerous(...)
Sujet:
Design industriel
Design industriel
Publication:
janvier 2002,
janvier 2002,
Titre:
Design by the mm3 munt : picturing coins
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This book examines Dutch commemorative coins which will continue to be minted, despite the introduction of the Euro. In a lyrical article, Gert Staal explores the sentimental and symbolical significance of coins. The results of a workshop ‘Design by the mm3’, in which eleven artist/designers took part, is discussed in an article by Lilet Breddels and presented in numerous illustrations. Gerard Unger subverts his own specialization in typography by arguing that artists are perfectly capable of creating their own lettering for coin designs. Hans Jacobi, keeper of the Koninklijke Penningen Kabinet (Royal Coins Cabinet) in Leiden, throws light on the vicissitudes of Dutch coin design during the last twenty years. In an epilogue, Janwillem Schrofer, a member of the Advisory Commission for New Coinage and the president of the Rijksakademie, Amsterdam, presents his outlook on the importance of good coin design.
Design by the mm3 munt : picturing coins
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Résumé:
This book examines Dutch commemorative coins which will continue to be minted, despite the introduction of the Euro. In a lyrical article, Gert Staal explores the sentimental and symbolical significance of coins. The results of a workshop ‘Design by the mm3’, in which eleven artist/designers took part, is discussed in an article by Lilet Breddels and presented in numerous illustrations. Gerard Unger subverts his own specialization in typography by arguing that artists are perfectly capable of creating their own lettering for coin designs. Hans Jacobi, keeper of the Koninklijke Penningen Kabinet (Royal Coins Cabinet) in Leiden, throws light on the vicissitudes of Dutch coin design during the last twenty years. In an epilogue, Janwillem Schrofer, a member of the Advisory Commission for New Coinage and the president of the Rijksakademie, Amsterdam, presents his outlook on the importance of good coin design.
Classification:
livres
livres
Publication:
janvier 2002,
janvier 2002,
Sujet:
Design industriel
Design industriel
Classification:
livres
livres
Titre:
Mark Dion
Mark Dion
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$65.00
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Since the late 1980s Dion (b. 1961, Massachusetts) has been delving into the tropes and research methods of scientists, explorers, museum curators and archaeologists. He has created a body of work that playfully presents art as scientific enquiry or field work, questioning how knowledge is gathered, classified and displayed. Five installations will be displayed at(...)
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Since the late 1980s Dion (b. 1961, Massachusetts) has been delving into the tropes and research methods of scientists, explorers, museum curators and archaeologists. He has created a body of work that playfully presents art as scientific enquiry or field work, questioning how knowledge is gathered, classified and displayed. Five installations will be displayed at(...)
Publication:
mai 2018
mai 2018
Titre:
Mark Dion
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$65.00
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Since the late 1980s Dion (b. 1961, Massachusetts) has been delving into the tropes and research methods of scientists, explorers, museum curators and archaeologists. He has created a body of work that playfully presents art as scientific enquiry or field work, questioning how knowledge is gathered, classified and displayed. Five installations will be displayed at Whitechapel Gallery: a scholar’s study invites us to unravel intricate drawings and models; the "Bureau for the Centre of the Study for Surrealism and its Legacy" displays the strange magic of obsolete things; the muddy banks of the Thames have also yielded their treasures for poetic display in a gigantic cabinet; while a Dickensian Curiosity Shop tempts us with the bizarre aura of American bric-a-brac. Each immersive environment is also a habitat, evoking the characters that observe, conserve or exploit the natural world.
Mark Dion
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Since the late 1980s Dion (b. 1961, Massachusetts) has been delving into the tropes and research methods of scientists, explorers, museum curators and archaeologists. He has created a body of work that playfully presents art as scientific enquiry or field work, questioning how knowledge is gathered, classified and displayed. Five installations will be displayed at Whitechapel Gallery: a scholar’s study invites us to unravel intricate drawings and models; the "Bureau for the Centre of the Study for Surrealism and its Legacy" displays the strange magic of obsolete things; the muddy banks of the Thames have also yielded their treasures for poetic display in a gigantic cabinet; while a Dickensian Curiosity Shop tempts us with the bizarre aura of American bric-a-brac. Each immersive environment is also a habitat, evoking the characters that observe, conserve or exploit the natural world.
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livres
livres
Publication:
mai 2018
mai 2018
Classification:
livres
livres
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$38.00
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Résumé:
From the Tower of Babel to the Leaning Tower of Pisa, from European cathedrals to the Twin Towers and the currently scandalous Freedom Tower, highrises have always been a symbol of mankind's cultural aspirations and technological achievements. The biennial International Highrise Award specifies that an ideal contemporary tower should make exceptional use of aesthetics,(...)
$38.00
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From the Tower of Babel to the Leaning Tower of Pisa, from European cathedrals to the Twin Towers and the currently scandalous Freedom Tower, highrises have always been a symbol of mankind's cultural aspirations and technological achievements. The biennial International Highrise Award specifies that an ideal contemporary tower should make exceptional use of aesthetics,(...)
Sujet:
Gratte-ciels
Gratte-ciels
Publication:
avril 2007, Frankfurt / Main
avril 2007, Frankfurt / Main
Titre:
High Society: Contemporary highrise architecture and the international highrise Award 2006 / Aktuelle hochhausarchitektur und der nternationale hochhaus preis 2006
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$38.00
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From the Tower of Babel to the Leaning Tower of Pisa, from European cathedrals to the Twin Towers and the currently scandalous Freedom Tower, highrises have always been a symbol of mankind's cultural aspirations and technological achievements. The biennial International Highrise Award specifies that an ideal contemporary tower should make exceptional use of aesthetics, design and technology, and show cost-effectiveness, sustainability and integration into town planning. This album of the 2006 contenders honors foremost the winners, Jean Nouvel and Fermin Vasquez, who designed the Torre Agbar building in Barcelona. The Agbar Tower's distinctive rounded crown had already earned it a nominee spot in Cabinet Magazine's Most Phallic Building in the World Contest. Here, the Highrise Award's more serious honor cites the building's "expressive shape," "pulsating dynamism" and "a multi-layer outer skin that generates its varied and exciting appearance." Runners-up include Santiago Calatrava's Turning Torso in Malmo, Sweden.
High Society: Contemporary highrise architecture and the international highrise Award 2006 / Aktuelle hochhausarchitektur und der nternationale hochhaus preis 2006
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$38.00
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Résumé:
From the Tower of Babel to the Leaning Tower of Pisa, from European cathedrals to the Twin Towers and the currently scandalous Freedom Tower, highrises have always been a symbol of mankind's cultural aspirations and technological achievements. The biennial International Highrise Award specifies that an ideal contemporary tower should make exceptional use of aesthetics, design and technology, and show cost-effectiveness, sustainability and integration into town planning. This album of the 2006 contenders honors foremost the winners, Jean Nouvel and Fermin Vasquez, who designed the Torre Agbar building in Barcelona. The Agbar Tower's distinctive rounded crown had already earned it a nominee spot in Cabinet Magazine's Most Phallic Building in the World Contest. Here, the Highrise Award's more serious honor cites the building's "expressive shape," "pulsating dynamism" and "a multi-layer outer skin that generates its varied and exciting appearance." Runners-up include Santiago Calatrava's Turning Torso in Malmo, Sweden.
Classification:
livres
livres
Publication:
avril 2007, Frankfurt / Main
avril 2007, Frankfurt / Main
Sujet:
Gratte-ciels
Gratte-ciels
Classification:
livres
livres
Titre:
Janette Laverrière
Janette Laverrière
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Janette Laverrière. Née en 1909 en Suisse, Janette Laverrière suit des études à l'Allgemeine Gewerbeschule de Bâle et une formation dans le cabinet de son père, célèbre architecte. En 1931, elle intègre l'agence de Jacques-Émile Ruhlmann et épouse le décorateur Maurice Pré, avec qui elle travaille jusqu'en 1945. À l'Exposition internationale des arts et techniques de 1937(...)
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Janette Laverrière. Née en 1909 en Suisse, Janette Laverrière suit des études à l'Allgemeine Gewerbeschule de Bâle et une formation dans le cabinet de son père, célèbre architecte. En 1931, elle intègre l'agence de Jacques-Émile Ruhlmann et épouse le décorateur Maurice Pré, avec qui elle travaille jusqu'en 1945. À l'Exposition internationale des arts et techniques de 1937(...)
Titre:
Janette Laverrière
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Janette Laverrière. Née en 1909 en Suisse, Janette Laverrière suit des études à l'Allgemeine Gewerbeschule de Bâle et une formation dans le cabinet de son père, célèbre architecte. En 1931, elle intègre l'agence de Jacques-Émile Ruhlmann et épouse le décorateur Maurice Pré, avec qui elle travaille jusqu'en 1945. À l'Exposition internationale des arts et techniques de 1937 à Paris, ils réalisent Le Pied-à-terre d'un archéologue aux côtés de Maxime Old. Séparée de Maurice Pré, Janette Laverrière s'oriente vers un mobilier économique et novateur. Dès 1950, elle entre dans les collections du Mobilier national. Ses chantiers les plus importants sont l'aménagement du palais présidentiel de Niamey et l'Hôpital suisse de Paris. Dans son travail, couvrant une grande partie du XXe siècle, on retrouve une quête de simplicité et une poésie qui se révèlent particulièrement dans les miroirs qu'elle n'a cessé de créer de 1936 à aujourd'hui.
Janette Laverrière
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Janette Laverrière. Née en 1909 en Suisse, Janette Laverrière suit des études à l'Allgemeine Gewerbeschule de Bâle et une formation dans le cabinet de son père, célèbre architecte. En 1931, elle intègre l'agence de Jacques-Émile Ruhlmann et épouse le décorateur Maurice Pré, avec qui elle travaille jusqu'en 1945. À l'Exposition internationale des arts et techniques de 1937 à Paris, ils réalisent Le Pied-à-terre d'un archéologue aux côtés de Maxime Old. Séparée de Maurice Pré, Janette Laverrière s'oriente vers un mobilier économique et novateur. Dès 1950, elle entre dans les collections du Mobilier national. Ses chantiers les plus importants sont l'aménagement du palais présidentiel de Niamey et l'Hôpital suisse de Paris. Dans son travail, couvrant une grande partie du XXe siècle, on retrouve une quête de simplicité et une poésie qui se révèlent particulièrement dans les miroirs qu'elle n'a cessé de créer de 1936 à aujourd'hui.
Classification:
livres
livres
Publication:
avril 2004, Paris
avril 2004, Paris
Sujet:
Design, monographies
Design, monographies
Classification:
livres
livres
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$21.48
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Résumé:
This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for(...)
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Résumé:
This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for(...)
Titre:
Harvard Design magazine 43: shelf life
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This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for economic and ecological bankruptcy? Is storage about greed or need? Storage, perhaps, is everything we can live without but insist on living with. "Shelf Life" explores what’s inside the box (shed, tank, urn, vault, crypt, crate, case, pot, bag, vat, morgue, safe, bin, archive, warehouse, cabinet, cellar, cemetery, depository, locker, freezer, landfill, library). Even as we attempt to reduce and recycle, the stuff that we dispose of also needs to be stored. Where do we put it? Our planet is now a saturated receptacle. This warehouse is full, and we’re all inside it.
Harvard Design magazine 43: shelf life
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Résumé:
This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for economic and ecological bankruptcy? Is storage about greed or need? Storage, perhaps, is everything we can live without but insist on living with. "Shelf Life" explores what’s inside the box (shed, tank, urn, vault, crypt, crate, case, pot, bag, vat, morgue, safe, bin, archive, warehouse, cabinet, cellar, cemetery, depository, locker, freezer, landfill, library). Even as we attempt to reduce and recycle, the stuff that we dispose of also needs to be stored. Where do we put it? Our planet is now a saturated receptacle. This warehouse is full, and we’re all inside it.
Classification:
livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Revues
Revues
