1056 Résultats
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livres
livres
Titre:
Roger Boltshauser
Roger Boltshauser
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$175.00
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Résumé:
The act of building and its material reality play a defining role in the work of Swiss architect Roger Boltshauser. His architectural language thus develops in the context of the examination of materials and their intrinsic constructive and structural possibilities. Edited by architect and lecturer Martin Tschanz, this monograph examines how Boltshauser’s architecture is(...)
$175.00
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Résumé:
The act of building and its material reality play a defining role in the work of Swiss architect Roger Boltshauser. His architectural language thus develops in the context of the examination of materials and their intrinsic constructive and structural possibilities. Edited by architect and lecturer Martin Tschanz, this monograph examines how Boltshauser’s architecture is(...)
Titre:
Roger Boltshauser
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$175.00
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The act of building and its material reality play a defining role in the work of Swiss architect Roger Boltshauser. His architectural language thus develops in the context of the examination of materials and their intrinsic constructive and structural possibilities. Edited by architect and lecturer Martin Tschanz, this monograph examines how Boltshauser’s architecture is neither an implementation of a pictorial idea nor a display of a certain principle. Rather, it is integrative and open to complexity, particularly that of the act of building itself. Contrary to the abstractness of modernism and neo-modernism and the arbitrariness of free forms, his is a unique, contemporary expression.
Roger Boltshauser
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$175.00
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Résumé:
The act of building and its material reality play a defining role in the work of Swiss architect Roger Boltshauser. His architectural language thus develops in the context of the examination of materials and their intrinsic constructive and structural possibilities. Edited by architect and lecturer Martin Tschanz, this monograph examines how Boltshauser’s architecture is neither an implementation of a pictorial idea nor a display of a certain principle. Rather, it is integrative and open to complexity, particularly that of the act of building itself. Contrary to the abstractness of modernism and neo-modernism and the arbitrariness of free forms, his is a unique, contemporary expression.
Classification:
livres
livres
Publication:
août 2021
août 2021
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
Prix:
$31.50
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Résumé:
For hundreds of years, Ireland has been a testing ground for colonizing techniques. Postcolonial Dublin shows how perpetrators of colonialism have made use of urban planning and architecture to underscore and legitimate ideologies. From suburban development to building facades, the conflict between nationalists and colonialists has inscribed itself on Dublin’s landscape.(...)
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For hundreds of years, Ireland has been a testing ground for colonizing techniques. Postcolonial Dublin shows how perpetrators of colonialism have made use of urban planning and architecture to underscore and legitimate ideologies. From suburban development to building facades, the conflict between nationalists and colonialists has inscribed itself on Dublin’s landscape.(...)
Titre:
Postcolonial Dublin : imperial legacies and the built environment
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For hundreds of years, Ireland has been a testing ground for colonizing techniques. Postcolonial Dublin shows how perpetrators of colonialism have made use of urban planning and architecture to underscore and legitimate ideologies. From suburban development to building facades, the conflict between nationalists and colonialists has inscribed itself on Dublin’s landscape. Andrew Kincaid illustrates how the architecture and urban planning of Dublin have been integral to debates about nationalism, modernism, and Ireland’s relationship to the rest of the world. Looking at objects such as Londonderry’s Market House, Patrick Abercrombie’s Dublin of the Future, and the urban renewal project of today’s Temple Bar, Kincaid highlights Ireland’s colonial history and the significance of architecture in the evolution of national identity. In doing so, he demonstrates how ideology “spatializes” itself. Postcolonial Dublin engages the prevailing historical representations of Irish nationalism, arguing that the evolving city reflected a debate over who would hold the reins of power. Bringing the tools of literary criticism and postcolonial theory to bear on the field of urban studies, Kincaid places Dublin at the forefront of debates over modernism, modernity, and globalization.
Postcolonial Dublin : imperial legacies and the built environment
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$31.50
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Résumé:
For hundreds of years, Ireland has been a testing ground for colonizing techniques. Postcolonial Dublin shows how perpetrators of colonialism have made use of urban planning and architecture to underscore and legitimate ideologies. From suburban development to building facades, the conflict between nationalists and colonialists has inscribed itself on Dublin’s landscape. Andrew Kincaid illustrates how the architecture and urban planning of Dublin have been integral to debates about nationalism, modernism, and Ireland’s relationship to the rest of the world. Looking at objects such as Londonderry’s Market House, Patrick Abercrombie’s Dublin of the Future, and the urban renewal project of today’s Temple Bar, Kincaid highlights Ireland’s colonial history and the significance of architecture in the evolution of national identity. In doing so, he demonstrates how ideology “spatializes” itself. Postcolonial Dublin engages the prevailing historical representations of Irish nationalism, arguing that the evolving city reflected a debate over who would hold the reins of power. Bringing the tools of literary criticism and postcolonial theory to bear on the field of urban studies, Kincaid places Dublin at the forefront of debates over modernism, modernity, and globalization.
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livres
livres
Publication:
mai 2006, Minneapolis
mai 2006, Minneapolis
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livres
livres
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$44.95
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for(...)
$44.95
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for(...)
Titre:
Museum architecture : texts and projects by artists
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$44.95
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for how museums should be constructed. When discussing the increasing number of museums and exhibition spaces for modern art which have come into being in recent years, the deep-seated differences of opinion between architects and artists keep coming to the fore. The discussion seems to be almost exclusively dominated by the point of view of the architect and defined by his/her interests. The needs of the art itself are being widely neglected and the voice of the artist is simply not being heard. Donald Judd, the American sculptor and minimalist artist, once noted that museums are so rarely built on functional lines these days, the trend being more towards the creation of a showpiece for the architect. Why are painters and sculptors not asked for their input? The very obvious question was addressed by the Espace de l’art concret when in 1997, it asked a number of well-known artists to come up with ideas and projects for a museum for concrete art. They were invited to submit their ideal utopian suggestions as well as very concrete and architectural proposals and written statements. These are documented in this publication, supplemented with the material for the collection owned by the Kunsthaus in Bregenz and expanded with an extensive anthology of texts by artists on this subject. The résumé of the contributions presents a searing criticism of contemporary museum architecture by its most important users. Their voice will at last find an ear in the current architectural discussion about the new cathedrals of the post-industrial society.
Museum architecture : texts and projects by artists
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$44.95
(disponible sur commande)
Résumé:
Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for how museums should be constructed. When discussing the increasing number of museums and exhibition spaces for modern art which have come into being in recent years, the deep-seated differences of opinion between architects and artists keep coming to the fore. The discussion seems to be almost exclusively dominated by the point of view of the architect and defined by his/her interests. The needs of the art itself are being widely neglected and the voice of the artist is simply not being heard. Donald Judd, the American sculptor and minimalist artist, once noted that museums are so rarely built on functional lines these days, the trend being more towards the creation of a showpiece for the architect. Why are painters and sculptors not asked for their input? The very obvious question was addressed by the Espace de l’art concret when in 1997, it asked a number of well-known artists to come up with ideas and projects for a museum for concrete art. They were invited to submit their ideal utopian suggestions as well as very concrete and architectural proposals and written statements. These are documented in this publication, supplemented with the material for the collection owned by the Kunsthaus in Bregenz and expanded with an extensive anthology of texts by artists on this subject. The résumé of the contributions presents a searing criticism of contemporary museum architecture by its most important users. Their voice will at last find an ear in the current architectural discussion about the new cathedrals of the post-industrial society.
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livres
livres
Publication:
janvier 1900, Cologne
janvier 1900, Cologne
Sujet:
Muséologie
Muséologie
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livres
livres
Titre:
Endo Shuhei : paramodern
Endo Shuhei : paramodern
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Endo Shuhei, a young Japanese architect based in Osaka who attracted international attention when he won the Andrea Palladio Prize in 1993. Shuhei's architecture situates itself at the intersection of two paths: on the one hand, his experimentation with non-Euclidean geometries, an essentially three-dimensional undertaking, and on the other his researches into the use of(...)
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Endo Shuhei, a young Japanese architect based in Osaka who attracted international attention when he won the Andrea Palladio Prize in 1993. Shuhei's architecture situates itself at the intersection of two paths: on the one hand, his experimentation with non-Euclidean geometries, an essentially three-dimensional undertaking, and on the other his researches into the use of(...)
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Endo Shuhei : paramodern
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Endo Shuhei, a young Japanese architect based in Osaka who attracted international attention when he won the Andrea Palladio Prize in 1993. Shuhei's architecture situates itself at the intersection of two paths: on the one hand, his experimentation with non-Euclidean geometries, an essentially three-dimensional undertaking, and on the other his researches into the use of particular material, galvanized sheet metal. The resulting spaces are fluid, dynamic, mobile, ambiguous, incomplete and even indeterminate. Shuhei curves, doubles, folds and twists a series of metal sheets to the point of dissolving the limits between interior and exterior, between surface and volume, between floor and roof, achieving dramatic effect with a great economy of means.
Endo Shuhei : paramodern
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Endo Shuhei, a young Japanese architect based in Osaka who attracted international attention when he won the Andrea Palladio Prize in 1993. Shuhei's architecture situates itself at the intersection of two paths: on the one hand, his experimentation with non-Euclidean geometries, an essentially three-dimensional undertaking, and on the other his researches into the use of particular material, galvanized sheet metal. The resulting spaces are fluid, dynamic, mobile, ambiguous, incomplete and even indeterminate. Shuhei curves, doubles, folds and twists a series of metal sheets to the point of dissolving the limits between interior and exterior, between surface and volume, between floor and roof, achieving dramatic effect with a great economy of means.
Classification:
livres
livres
Publication:
décembre 2002, Osaka
décembre 2002, Osaka
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$61.00
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Christ & Gantenbein Review is a new series of books edited by Swiss architects Emanuel Christ and Christoph Gantenbein, in which they explore issues and topics arising from their architectural work. Pictures From Italy, the series' initial volume, also represents Christ & Gantenbein's first architectural project after they had setup their studio in Basel. The pictures(...)
$61.00
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Christ & Gantenbein Review is a new series of books edited by Swiss architects Emanuel Christ and Christoph Gantenbein, in which they explore issues and topics arising from their architectural work. Pictures From Italy, the series' initial volume, also represents Christ & Gantenbein's first architectural project after they had setup their studio in Basel. The pictures(...)
Sujet:
Architecture, monographies
Architecture, monographies
Publication:
septembre 2012
septembre 2012
Titre:
Review N. 1 : Pictures from Italy
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$61.00
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Christ & Gantenbein Review is a new series of books edited by Swiss architects Emanuel Christ and Christoph Gantenbein, in which they explore issues and topics arising from their architectural work. Pictures From Italy, the series' initial volume, also represents Christ & Gantenbein's first architectural project after they had setup their studio in Basel. The pictures were shot during a six week journey throughout Italy in 1999. The journey itself and the images seen and taken proved to be of fundamental influence to Christ & Gantenbein's entire work since. Intending to look at historical architecture, in a quasi-unhistorical way, with the contemporary view of the 21st century, they chose Italy in search for absolute timelessness.
Review N. 1 : Pictures from Italy
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$61.00
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Résumé:
Christ & Gantenbein Review is a new series of books edited by Swiss architects Emanuel Christ and Christoph Gantenbein, in which they explore issues and topics arising from their architectural work. Pictures From Italy, the series' initial volume, also represents Christ & Gantenbein's first architectural project after they had setup their studio in Basel. The pictures were shot during a six week journey throughout Italy in 1999. The journey itself and the images seen and taken proved to be of fundamental influence to Christ & Gantenbein's entire work since. Intending to look at historical architecture, in a quasi-unhistorical way, with the contemporary view of the 21st century, they chose Italy in search for absolute timelessness.
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livres
livres
Publication:
septembre 2012
septembre 2012
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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Description:
xvi, 258 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm
Description:
xvi, 258 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm
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Publication:
Cambridge [England] ; New York : Cambridge University Press, 1994.
Cambridge [England] ; New York : Cambridge University Press, 1994.
Titre:
The decoration of the royal basilica of El Escorial / Rosemarie Mulcahy.
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Description:
xvi, 258 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm
The decoration of the royal basilica of El Escorial / Rosemarie Mulcahy.
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Description:
xvi, 258 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm
Classification:
livres
livres
Publication:
Cambridge [England] ; New York : Cambridge University Press, 1994.
Cambridge [England] ; New York : Cambridge University Press, 1994.
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livres
livres
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$38.95
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Thanks to digital technology and post-structuralist thought, architects and artists are facing a brave new world of bodies without organs, buildings that circumscribe their function, and art that forms a prosthetic hard drive for our consciousness. In this schema, technology, which Marshal McLuhan theorized as the extension of our bodies into the world, has become(...)
$38.95
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Thanks to digital technology and post-structuralist thought, architects and artists are facing a brave new world of bodies without organs, buildings that circumscribe their function, and art that forms a prosthetic hard drive for our consciousness. In this schema, technology, which Marshal McLuhan theorized as the extension of our bodies into the world, has become(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
août 2004, New York
août 2004, New York
Titre:
Beyond form : architecture and art in the space of media
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$38.95
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Thanks to digital technology and post-structuralist thought, architects and artists are facing a brave new world of bodies without organs, buildings that circumscribe their function, and art that forms a prosthetic hard drive for our consciousness. In this schema, technology, which Marshal McLuhan theorized as the extension of our bodies into the world, has become inverted and is now literally seen as modifying and transforming our relation to that world through media's ability to not only create the means of representation, its subject and content, but also organize author and audience alike. Beyond Form is both a celebration of our situation and a critical survival manual. The contributors to this volume, including artists Jennifer Steinkamp and Maureen Connor, respond to the mediating space of technology, aware that the forms of the future lie within the indeterminate content of cultural production and consumption itself, and not within the ideal of the technological sublime of modernism that had in the past reduced this issue, both performatively and iconographically, to a question of form, function and style. Essays by Neil Leach, Jeffrey Kipnis, Omer Fast, Andrew Benjamin, Donald Kunze, et al.
Beyond form : architecture and art in the space of media
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$38.95
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Résumé:
Thanks to digital technology and post-structuralist thought, architects and artists are facing a brave new world of bodies without organs, buildings that circumscribe their function, and art that forms a prosthetic hard drive for our consciousness. In this schema, technology, which Marshal McLuhan theorized as the extension of our bodies into the world, has become inverted and is now literally seen as modifying and transforming our relation to that world through media's ability to not only create the means of representation, its subject and content, but also organize author and audience alike. Beyond Form is both a celebration of our situation and a critical survival manual. The contributors to this volume, including artists Jennifer Steinkamp and Maureen Connor, respond to the mediating space of technology, aware that the forms of the future lie within the indeterminate content of cultural production and consumption itself, and not within the ideal of the technological sublime of modernism that had in the past reduced this issue, both performatively and iconographically, to a question of form, function and style. Essays by Neil Leach, Jeffrey Kipnis, Omer Fast, Andrew Benjamin, Donald Kunze, et al.
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livres
livres
Publication:
août 2004, New York
août 2004, New York
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$43.95
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David Morley Architects prides itself in developing a working practice which sees constructive dialogue with partners as well as research and innovation as the basis of its work: an ethos that has gained the practice numerous prizes and accolades since its founding in 1987.
$43.95
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David Morley Architects prides itself in developing a working practice which sees constructive dialogue with partners as well as research and innovation as the basis of its work: an ethos that has gained the practice numerous prizes and accolades since its founding in 1987.
Titre:
David Morley architects : five by 5
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David Morley Architects prides itself in developing a working practice which sees constructive dialogue with partners as well as research and innovation as the basis of its work: an ethos that has gained the practice numerous prizes and accolades since its founding in 1987.
David Morley architects : five by 5
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$43.95
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David Morley Architects prides itself in developing a working practice which sees constructive dialogue with partners as well as research and innovation as the basis of its work: an ethos that has gained the practice numerous prizes and accolades since its founding in 1987.
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livres
livres
Publication:
août 2012
août 2012
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
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$58.50
(disponible en magasin)
Résumé:
Over 60 years on from its inception, the celebrated Fun Palace civic project – developed in the 1960s by the radical theatre director Joan Littlewood and the architect Cedric Price – continues to capture the architectural imagination. Despite the building itself never being realized, much of the previous analysis of the Fun Palace has been devoted to Price and his(...)
$58.50
(disponible en magasin)
Résumé:
Over 60 years on from its inception, the celebrated Fun Palace civic project – developed in the 1960s by the radical theatre director Joan Littlewood and the architect Cedric Price – continues to capture the architectural imagination. Despite the building itself never being realized, much of the previous analysis of the Fun Palace has been devoted to Price and his(...)
Titre:
Architecture, media, archives: The fun palace of Joan Littlewood and Cedric Price as a cultural project
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$58.50
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Over 60 years on from its inception, the celebrated Fun Palace civic project – developed in the 1960s by the radical theatre director Joan Littlewood and the architect Cedric Price – continues to capture the architectural imagination. Despite the building itself never being realized, much of the previous analysis of the Fun Palace has been devoted to Price and his drawings. The critical role that Littlewood played, however, remains largely unrecognized by architectural scholarship, and a whole area of the project's cultural agenda remains overlooked. ''Architecture, Media, Archives'' is the first serious study of the complex relations between Littlewood and Price, reframing the Fun Palace as an extended media project and positioning Littlewood more clearly as co-designer. Drawing on extensive archival material, the book considers how, due to a lack of institutional support, the aims of the Fun Palace – to transform the passive mass-audiences of post-war consumer society into active citizens, through forms of self-directed, pleasure-led and open exchange – were realized through different 'sites of information' throughout the 1960s. From broadsheets, pamphlets and journals to films and press news, the book addresses the conditions of production, circulation, storage and reception of these 'sites' and reveals how they not only recorded the transformation of the project, but also fundamentally enhanced and informed its meaning in specific ways.
Architecture, media, archives: The fun palace of Joan Littlewood and Cedric Price as a cultural project
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Prix:
$58.50
(disponible en magasin)
Résumé:
Over 60 years on from its inception, the celebrated Fun Palace civic project – developed in the 1960s by the radical theatre director Joan Littlewood and the architect Cedric Price – continues to capture the architectural imagination. Despite the building itself never being realized, much of the previous analysis of the Fun Palace has been devoted to Price and his drawings. The critical role that Littlewood played, however, remains largely unrecognized by architectural scholarship, and a whole area of the project's cultural agenda remains overlooked. ''Architecture, Media, Archives'' is the first serious study of the complex relations between Littlewood and Price, reframing the Fun Palace as an extended media project and positioning Littlewood more clearly as co-designer. Drawing on extensive archival material, the book considers how, due to a lack of institutional support, the aims of the Fun Palace – to transform the passive mass-audiences of post-war consumer society into active citizens, through forms of self-directed, pleasure-led and open exchange – were realized through different 'sites of information' throughout the 1960s. From broadsheets, pamphlets and journals to films and press news, the book addresses the conditions of production, circulation, storage and reception of these 'sites' and reveals how they not only recorded the transformation of the project, but also fundamentally enhanced and informed its meaning in specific ways.
Classification:
livres
livres
Publication:
avril 2026
avril 2026
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Classification:
livres
livres
Prix:
$36.00
(disponible sur commande)
Résumé:
Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort(...)
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort(...)
Titre:
The gardener's cottage in Riverside, Illinois: Living in a
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$36.00
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort by Frank Lloyd Wright and landscape architect Jens Jensen. At the center of the estate, itself a National Historic Landmark, sits the Gardener’s Cottage, a small but unassuming masterpiece built for the estate’s gardener and his wife. The cottage matches the architectural aesthetic of the estate, and its naturalistic, stunning gardens reflect the overall emphasis on landscape and nature in Riverside. But what is it truly like to live within a historic work of architectural art? Current owner and gardening writer Cathy Jean Maloney here records her discoveries and personal reflections on living in the Gardener’s Cottage with her family. In The Gardener’s Cottage in Riverside, Illinois, Maloney describes the cottage’s beginnings, providing biographical background and design insight into the house itself and Riverside’s key creators. She also highlights the often overlooked beauty of the cottage and illustrates how it is emblematic of Wright and Jensen’s holistic Prairie Style approach to building and landscape architecture. The size of the Gardener’s Cottage allows us to witness Wright’s aesthetic concerns in small detail and to understand his ideas on a more accessible and livable scale.
The gardener's cottage in Riverside, Illinois: Living in a
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$36.00
(disponible sur commande)
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Riverside, Illinois, was designed in 1869 by landscape architect Frederick Law Olmsted and his architect partner Calvert Vaux. Their unique design, which followed the contours of the landscape and emphasized open spaces, inspired the greatest architects of the time to undertake projects in Riverside. Among those projects was the Avery Coonley Estate, a rare joint effort by Frank Lloyd Wright and landscape architect Jens Jensen. At the center of the estate, itself a National Historic Landmark, sits the Gardener’s Cottage, a small but unassuming masterpiece built for the estate’s gardener and his wife. The cottage matches the architectural aesthetic of the estate, and its naturalistic, stunning gardens reflect the overall emphasis on landscape and nature in Riverside. But what is it truly like to live within a historic work of architectural art? Current owner and gardening writer Cathy Jean Maloney here records her discoveries and personal reflections on living in the Gardener’s Cottage with her family. In The Gardener’s Cottage in Riverside, Illinois, Maloney describes the cottage’s beginnings, providing biographical background and design insight into the house itself and Riverside’s key creators. She also highlights the often overlooked beauty of the cottage and illustrates how it is emblematic of Wright and Jensen’s holistic Prairie Style approach to building and landscape architecture. The size of the Gardener’s Cottage allows us to witness Wright’s aesthetic concerns in small detail and to understand his ideas on a more accessible and livable scale.
Classification:
livres
livres
Publication:
février 2009
février 2009
Sujet:
Architecture, monographies
Architecture, monographies
