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Built between 1945 and 1951, the Farnsworth House in Plano, Illinois, is among Mies van der Rohe’s most famous works. Having relocated to the United States just prior to the war, he embraced the new opportunities the country provided for his modernist vision. The house appears in the same style as others in a series of buildings from the architect’s American period, and(...)
Residential masterpieces 30: Mies vand der Rohe, Farnsworth House
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Built between 1945 and 1951, the Farnsworth House in Plano, Illinois, is among Mies van der Rohe’s most famous works. Having relocated to the United States just prior to the war, he embraced the new opportunities the country provided for his modernist vision. The house appears in the same style as others in a series of buildings from the architect’s American period, and is considered something of a prototype. Commissioned to design a weekend retreat for a prominent Chicago psychiatrist, Van der Rohe created an enchanting space that was at once both a sanctuary and a monument to modern architecture. With photographs and text by Yoshio Futagawa.
Architecture, monographies
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Publié par Giovanni Battista Piranesi en 1765 contre les expériences néoclassiques françaises, anglaises et allemandes, ce dialogue théorique est certainement le texte le plus radical de l'histoire de la théorie architecturale moderne. Selon Hanno-Walter Kruft, il est clair dès le départ que Piranèse, avec son dialogue, « fait de la provocation ». « Utopie négative », ce(...)
Point de vue sur l'architecture: Dialogue. Protopiro et Didascalo
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Publié par Giovanni Battista Piranesi en 1765 contre les expériences néoclassiques françaises, anglaises et allemandes, ce dialogue théorique est certainement le texte le plus radical de l'histoire de la théorie architecturale moderne. Selon Hanno-Walter Kruft, il est clair dès le départ que Piranèse, avec son dialogue, « fait de la provocation ». « Utopie négative », ce texte préfigure, selon Manfredo Tafuri, la réduction de l'architecture à un « travail abstrait et répétitif » et anticipe « la distinction fondamentale qu'Adolf Loos énoncera entre architecture, monument et tombeau ». Accompagné de deux essais du philosophe Marco Assennato, qui tentent d'en actualiser le problématiques, Caryatide propose ici une première édition française du texte.
Théorie de l’architecture
Critical dictionnary
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"Critical Dictionary" is an ambitious cornucopia of thoughts, images, and illustrations from online art magazine criticaldictionary.com, in addition to newly commissioned work. The title alludes to the mock dictionary that philosopher Georges Bataille edited for "Documents" in 1929 and 1930. Like this famous precedent, "Critical Dictionary" aims to puncture pretension,(...)
Critical dictionnary
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"Critical Dictionary" is an ambitious cornucopia of thoughts, images, and illustrations from online art magazine criticaldictionary.com, in addition to newly commissioned work. The title alludes to the mock dictionary that philosopher Georges Bataille edited for "Documents" in 1929 and 1930. Like this famous precedent, "Critical Dictionary" aims to puncture pretension, bringing words and their referents down to earth. Entries include Accident, Civilization, Drone, Error, Fragment, Informe, Metaphor, Monument: Mycelium, Portrait, Quotation, Retort, Smell, Touch, Umfunktionierung, Voice, Wander, XXX and Zoo. "Critical Dictionary" includes contributions from artists, illustrators and photographers including Adam Broomberg and Oliver Chanarin, David Campany, Common Culture, Karen Knorr, Ann Lee, Jake Walters and Penelope Umbrico.
Théorie de l’art
La Tour Eiffel
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La Tour Eiffel est un livre double qui réunit le texte de Roland Barthes et les photographies d’'André Martin. Symbole de Paris pour le monde entier, ce monument que l’'on voit de partout, nous propose lui-même en retour un regard panoramique pour contempler la ville et en faire la conquête. Édifice longtemps décrié, pleinement et ouvertement inutile, il est d'’abord un(...)
décembre 2011
La Tour Eiffel
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La Tour Eiffel est un livre double qui réunit le texte de Roland Barthes et les photographies d’'André Martin. Symbole de Paris pour le monde entier, ce monument que l’'on voit de partout, nous propose lui-même en retour un regard panoramique pour contempler la ville et en faire la conquête. Édifice longtemps décrié, pleinement et ouvertement inutile, il est d'’abord un objet d’une grande prouesse technique, un signe d'’audace et de modernité qui est devenu au fil du temps une oeuvre artistique, une dentelle de fer, signe de légèreté et, par sa verticalité, de l'’impossible tentative de l'’homme pour atteindre le ciel.
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''Digital Monuments'' radically explodes "iconic architecture" of the new millennium and its hijacking of the public imagination via the digital image. Hallucinatory constructions such as Rem Koolhaas’s CCTV headquarters in Beijing, Frank Gehry’s Guggenheim Museum in Bilbao and Zaha Hadid’s Performing Arts Centre in Abu Dhabi are all introduced to the world by immortal(...)
Digital monuments: The dreams and abuses of iconic architecture
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''Digital Monuments'' radically explodes "iconic architecture" of the new millennium and its hijacking of the public imagination via the digital image. Hallucinatory constructions such as Rem Koolhaas’s CCTV headquarters in Beijing, Frank Gehry’s Guggenheim Museum in Bilbao and Zaha Hadid’s Performing Arts Centre in Abu Dhabi are all introduced to the world by immortal digital imagery that floods the internet- yet comes to haunt the actualised buildings. Like holograms, these "digital monuments," which violently push physics and engineering to their limits, flicker eerily between the real and the unreal- invoking fantasies of omnipotence, immortality and utopian cities. But this experience of iconic architecture as a digital dream on the ground conceals from the urban spectator the social reality of the buildings and the rigidity of their ideology.
Théorie de l’architecture
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xxviii, 310 pages : illustrations, maps ; 29 cm
Karachi : Oxford University Press, 2003, ©2003.
Islamic architecture in South Asia : Pakistan, India, Bangladesh / Ahmad Nabi Khan ; foreword by R.E. Mortimer Wheeler.
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xxviii, 310 pages : illustrations, maps ; 29 cm
livres
Karachi : Oxford University Press, 2003, ©2003.
livres
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240 pages : illustrations (some color), map ; 29 cm
London : The Museum ; Ahmedabad : Mapin Pub. Pvt. ; Middletown, NJ : Grantha Corp., 1992.
Company paintings : Indian paintings of the British period / Mildred Archer, assisted by Graham Parlett.
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240 pages : illustrations (some color), map ; 29 cm
livres
London : The Museum ; Ahmedabad : Mapin Pub. Pvt. ; Middletown, NJ : Grantha Corp., 1992.
livres
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vii, 141 pages : illustrations (chiefly color) ; 24 cm.
Cham : Springer, [2020]
Postcolonialism, heritage, and the built environment : new approaches to architecture in archaeology / Jessica L. Nitschke, Marta Lorenzon, editors.
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vii, 141 pages : illustrations (chiefly color) ; 24 cm.
livres
Cham : Springer, [2020]
livres
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vi, 314 pages : illustrations ; 23 cm
Montréal ; Kingston ; London ; Chicago : McGill-Queen's University Press, [2016], ©2016
Speaking memory : how translation shapes city life / edited by Sherry Simon.
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vi, 314 pages : illustrations ; 23 cm
livres
Montréal ; Kingston ; London ; Chicago : McGill-Queen's University Press, [2016], ©2016
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"[The exhibition is] powerful and unhinged and overbuilt—a monument to the entropy of the postindustrial city, and the tenuous dance of its inhabitants." —New York Times Gordon Matta-Clark and Pope.L are esteemed for their respective interdisciplinary practices that examine the value and paradoxes of urban life as well as the risk inherent in art making. Utilizing(...)
Gordon Matta-Clark and Pope.L: Impossible failures
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"[The exhibition is] powerful and unhinged and overbuilt—a monument to the entropy of the postindustrial city, and the tenuous dance of its inhabitants." —New York Times Gordon Matta-Clark and Pope.L are esteemed for their respective interdisciplinary practices that examine the value and paradoxes of urban life as well as the risk inherent in art making. Utilizing performance, film, drawing, and various multimedia projects, the two artists often open up interstitial spaces by realizing sweeping gestures that take into account shifting, decentralized zones. Grounded in the concept of failure, the sixth exhibition at 52 Walker and its accompanying catalogue reconsider societal, artistic, and structural failure—and its related expressions of hope.