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livres
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The term 'style' has fallen spectacularly out of fashion in architectural circles. Once a conceptual key to understanding architecture’s inner workings, today style seems to be associated with superficiality, formalism, and obsolete periodization. But how did style—once defined by German sociologist Georg Simmel as a place where one is 'no longer alone'—in architecture(...)
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The term 'style' has fallen spectacularly out of fashion in architectural circles. Once a conceptual key to understanding architecture’s inner workings, today style seems to be associated with superficiality, formalism, and obsolete periodization. But how did style—once defined by German sociologist Georg Simmel as a place where one is 'no longer alone'—in architecture(...)
Titre:
Style and solitude: The history of an architectural problem
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The term 'style' has fallen spectacularly out of fashion in architectural circles. Once a conceptual key to understanding architecture’s inner workings, today style seems to be associated with superficiality, formalism, and obsolete periodization. But how did style—once defined by German sociologist Georg Simmel as a place where one is 'no longer alone'—in architecture actually work? How was it used and what did it mean? In ''Style and solitude,'' Mari Hvattum seeks to understand the apparent death of style, returning to its birthplace in the late eighteenth century, and charting how it grew to influence modern architectural discourse and practice. As Hvattum explains, German thinkers of the eighteenth and nineteenth century offered competing ideas of what style was and how it should be applied in architecture. From Karl Friedrich Schinkel’s thoughtful eclecticism to King Maximilian II’s attempt to capture the zeitgeist in an architectural competition, style was at the center of fascinating experiments and furious disputes. Starting with Johann Joachim Winckelmann’s invention of the period style and ending a century later with Gottfried Semper’s generative theory of style, Hvattum explores critical debates that are still ongoing today.
Style and solitude: The history of an architectural problem
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The term 'style' has fallen spectacularly out of fashion in architectural circles. Once a conceptual key to understanding architecture’s inner workings, today style seems to be associated with superficiality, formalism, and obsolete periodization. But how did style—once defined by German sociologist Georg Simmel as a place where one is 'no longer alone'—in architecture actually work? How was it used and what did it mean? In ''Style and solitude,'' Mari Hvattum seeks to understand the apparent death of style, returning to its birthplace in the late eighteenth century, and charting how it grew to influence modern architectural discourse and practice. As Hvattum explains, German thinkers of the eighteenth and nineteenth century offered competing ideas of what style was and how it should be applied in architecture. From Karl Friedrich Schinkel’s thoughtful eclecticism to King Maximilian II’s attempt to capture the zeitgeist in an architectural competition, style was at the center of fascinating experiments and furious disputes. Starting with Johann Joachim Winckelmann’s invention of the period style and ending a century later with Gottfried Semper’s generative theory of style, Hvattum explores critical debates that are still ongoing today.
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livres
livres
Publication:
juin 2023
juin 2023
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years(...)
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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years(...)
Titre:
Susan Cianciolo: the lilac spaceship fanzine
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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years involved the collaboration of some of New York�s leading artists and musicians. The Lilac Spaceship Fanzine, created over the last year, embodies the idea of what has been Cianciolo�s most fond images to be inspired by and the complete joy and magical beauty of having her baby - Lilac Sky - who inspired the completion and the title of this publication, �..since she is another dimension, just like a space ship!�. Susan Cianciolo has been included in i-D�s Fashion Now book, among 150 of the most important designers of our times, and she has been one of the pioneers in using eco friendly materials in her collections. Her illustrations and paintings have also been exhibited worldwide in several galleries and museums.
Susan Cianciolo: the lilac spaceship fanzine
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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years involved the collaboration of some of New York�s leading artists and musicians. The Lilac Spaceship Fanzine, created over the last year, embodies the idea of what has been Cianciolo�s most fond images to be inspired by and the complete joy and magical beauty of having her baby - Lilac Sky - who inspired the completion and the title of this publication, �..since she is another dimension, just like a space ship!�. Susan Cianciolo has been included in i-D�s Fashion Now book, among 150 of the most important designers of our times, and she has been one of the pioneers in using eco friendly materials in her collections. Her illustrations and paintings have also been exhibited worldwide in several galleries and museums.
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livres
livres
Publication:
juillet 2008, Z�rich
juillet 2008, Z�rich
Sujet:
livres soldés
livres soldés
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livres
livres
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Few twentieth-century writers on architecture and design have enjoyed the renown of Reyner Banham. Born and trained in England and a U.S. resident starting in 1976, Banham wrote incisively about American and European buildings and culture. Now readers can enjoy a chronological cross-section of essays, polemics, and reviews drawn from more than three decades of Banham's(...)
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Few twentieth-century writers on architecture and design have enjoyed the renown of Reyner Banham. Born and trained in England and a U.S. resident starting in 1976, Banham wrote incisively about American and European buildings and culture. Now readers can enjoy a chronological cross-section of essays, polemics, and reviews drawn from more than three decades of Banham's(...)
Titre:
A critic writes : essays by Reyner Banham
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Few twentieth-century writers on architecture and design have enjoyed the renown of Reyner Banham. Born and trained in England and a U.S. resident starting in 1976, Banham wrote incisively about American and European buildings and culture. Now readers can enjoy a chronological cross-section of essays, polemics, and reviews drawn from more than three decades of Banham's writings. The volume, which includes discussions of Italian Futurism, Adolf Loos, Paul Scheerbart, and the Bauhaus as well as explorations of contemporary architecture by Frank Gehry, James Stirling, and Norman Foster, conveys the full range of Banham's belief in industrial and technological development as the motor of architectural evolution. Banham's interests and passions ranged from architecture and the culture of pop art to urban and industrial design. In brilliant analyses of automobile styling, mobile homes, science fiction films, and the American predilection for gadgets, he anticipated many of the preoccupations of contemporary cultural studies. Los Angeles, the city that Banham commemorated in a book and a film, receives extensive attention in essays on the Santa Monica Pier, the Getty Museum, Forest Lawn cemetery, and the ubiquitous freeway system. Eminently readable, provocative, and entertaining, this book is certain to consolidate Banham's reputation among architects and students of contemporary culture. For those acquainted with his writing, it offers welcome surprises as well as familiar delights. For those encountering Banham for the first time, it comprises the perfect introduction.
A critic writes : essays by Reyner Banham
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Few twentieth-century writers on architecture and design have enjoyed the renown of Reyner Banham. Born and trained in England and a U.S. resident starting in 1976, Banham wrote incisively about American and European buildings and culture. Now readers can enjoy a chronological cross-section of essays, polemics, and reviews drawn from more than three decades of Banham's writings. The volume, which includes discussions of Italian Futurism, Adolf Loos, Paul Scheerbart, and the Bauhaus as well as explorations of contemporary architecture by Frank Gehry, James Stirling, and Norman Foster, conveys the full range of Banham's belief in industrial and technological development as the motor of architectural evolution. Banham's interests and passions ranged from architecture and the culture of pop art to urban and industrial design. In brilliant analyses of automobile styling, mobile homes, science fiction films, and the American predilection for gadgets, he anticipated many of the preoccupations of contemporary cultural studies. Los Angeles, the city that Banham commemorated in a book and a film, receives extensive attention in essays on the Santa Monica Pier, the Getty Museum, Forest Lawn cemetery, and the ubiquitous freeway system. Eminently readable, provocative, and entertaining, this book is certain to consolidate Banham's reputation among architects and students of contemporary culture. For those acquainted with his writing, it offers welcome surprises as well as familiar delights. For those encountering Banham for the first time, it comprises the perfect introduction.
Classification:
livres
livres
Publication:
avril 1999, Berkeley
avril 1999, Berkeley
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists(...)
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists(...)
Titre:
Simon Starling : Nachbau / Reconstruction
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists such as Matisse and CEzanne--were declared ""degenerate"" and locked away by the Nazi government. The museum itself was destroyed in 1944 and 1945, rebuilt after the war, and is now about to be partially demolished once again in the course of renovations. Working in the museum's confines, using four photographs of its galleries taken between 1929 and 1944 by Albert Renger-Patzsch, (a key photographer in the ""Neue Sachlichkeit,"" or ""New Objectivity""), Starling reconstructs that era's art placement and surroundings in a detailed, film set-like installation, bringing this charged historical background forward into the present. This two-volume artist's book on the project documents and elaborates on the installation and ideas it explores: the continuities, transformations and alterations that the artist shows shaping art and history. Simon Starling, born in Surrey in 1967, lives and works in Glasgow.
Simon Starling : Nachbau / Reconstruction
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists such as Matisse and CEzanne--were declared ""degenerate"" and locked away by the Nazi government. The museum itself was destroyed in 1944 and 1945, rebuilt after the war, and is now about to be partially demolished once again in the course of renovations. Working in the museum's confines, using four photographs of its galleries taken between 1929 and 1944 by Albert Renger-Patzsch, (a key photographer in the ""Neue Sachlichkeit,"" or ""New Objectivity""), Starling reconstructs that era's art placement and surroundings in a detailed, film set-like installation, bringing this charged historical background forward into the present. This two-volume artist's book on the project documents and elaborates on the installation and ideas it explores: the continuities, transformations and alterations that the artist shows shaping art and history. Simon Starling, born in Surrey in 1967, lives and works in Glasgow.
Classification:
livres
livres
Publication:
juillet 2007, Essen
juillet 2007, Essen
Classification:
livres
livres
Titre:
Étapes 03 : international
Étapes 03 : international
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Exhibitions, platform events and publications track graphic design and boost its development. They enable designers and enthusiasts to keep tabs on recent experiments in the discipline and to appreciate the work of its stellar exponents. Indeed the public at large is starting to acquire an affinity and a feel for this strand of graphic culture. Tapping this trend, graphic(...)
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Exhibitions, platform events and publications track graphic design and boost its development. They enable designers and enthusiasts to keep tabs on recent experiments in the discipline and to appreciate the work of its stellar exponents. Indeed the public at large is starting to acquire an affinity and a feel for this strand of graphic culture. Tapping this trend, graphic(...)
Publication:
septembre 2005, Paris
septembre 2005, Paris
Titre:
Étapes 03 : international
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Exhibitions, platform events and publications track graphic design and boost its development. They enable designers and enthusiasts to keep tabs on recent experiments in the discipline and to appreciate the work of its stellar exponents. Indeed the public at large is starting to acquire an affinity and a feel for this strand of graphic culture. Tapping this trend, graphic design is still an applied art with the ability to cross over into other creative approaches and other cultures. British pop culture and musical genres are good examples of this. Vaughan Oliver is one of the graphic designers to have been spotted and then elevated to stardom for their work with a label, band or publication. Yet the picking-out of an individual style or attitude must not let us forget, and must not mask, the fact that the quality of such graphic output stems primarily from its complementarity with its subject. For Blue Note or 4AD, beautiful sleeves weren’t vital; the music and editorial project took pride of place. A lesser talent of the designers behind the artwork was to grasp this state of affairs and act accordingly. Peer recognition is relatively secondary, though it has the merit of underscoring excellence – and, even better, the exacting quest for the finest possible result.
Étapes 03 : international
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Exhibitions, platform events and publications track graphic design and boost its development. They enable designers and enthusiasts to keep tabs on recent experiments in the discipline and to appreciate the work of its stellar exponents. Indeed the public at large is starting to acquire an affinity and a feel for this strand of graphic culture. Tapping this trend, graphic design is still an applied art with the ability to cross over into other creative approaches and other cultures. British pop culture and musical genres are good examples of this. Vaughan Oliver is one of the graphic designers to have been spotted and then elevated to stardom for their work with a label, band or publication. Yet the picking-out of an individual style or attitude must not let us forget, and must not mask, the fact that the quality of such graphic output stems primarily from its complementarity with its subject. For Blue Note or 4AD, beautiful sleeves weren’t vital; the music and editorial project took pride of place. A lesser talent of the designers behind the artwork was to grasp this state of affairs and act accordingly. Peer recognition is relatively secondary, though it has the merit of underscoring excellence – and, even better, the exacting quest for the finest possible result.
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livres
livres
Publication:
septembre 2005, Paris
septembre 2005, Paris
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livres
livres
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$37.50
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of(...)
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of(...)
Titre:
Local treasures : geocaching across America
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of locations - from a grove of trees to a cliff ledge to the depths of a riverbed - and then inviting others to find them, leave a note, and swap a treasure of their own. In "Local Treasures" Margot Anne Kelley offers one of the first books on "geocaching," exploring what compels ordinary people across the world to take part in these extraordinary treasure hunts. Kelley traveled throughout the U.S. to chronicle the sites and stories of geocaching adventures, from the rocky coasts of Maine to the deserts surrounding Las Vegas to the starting point of the Mason-Dixon Line. Each full-color photograph exposes a vision of America quite unlike that presented in a traditional guidebook : truly off the beaten path, these are non-idealized landscapes, often places with special meaning for the players alone. Kelley's accompanying writings explore the world of geocaching communities, their rare ability to integrate new technologies with the natural world, and their complex and often ambivalent relationships to the surveillance technologies that sustain the game. Kelley's text is an examination of a new and creative diversion emerging from the intersection of the virtual world with the real. With a foreword by Frank Gohlke.
Local treasures : geocaching across America
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of locations - from a grove of trees to a cliff ledge to the depths of a riverbed - and then inviting others to find them, leave a note, and swap a treasure of their own. In "Local Treasures" Margot Anne Kelley offers one of the first books on "geocaching," exploring what compels ordinary people across the world to take part in these extraordinary treasure hunts. Kelley traveled throughout the U.S. to chronicle the sites and stories of geocaching adventures, from the rocky coasts of Maine to the deserts surrounding Las Vegas to the starting point of the Mason-Dixon Line. Each full-color photograph exposes a vision of America quite unlike that presented in a traditional guidebook : truly off the beaten path, these are non-idealized landscapes, often places with special meaning for the players alone. Kelley's accompanying writings explore the world of geocaching communities, their rare ability to integrate new technologies with the natural world, and their complex and often ambivalent relationships to the surveillance technologies that sustain the game. Kelley's text is an examination of a new and creative diversion emerging from the intersection of the virtual world with the real. With a foreword by Frank Gohlke.
Classification:
livres
livres
Publication:
octobre 2005, Santa Fe
octobre 2005, Santa Fe
Sujet:
Monographies photo
Monographies photo
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livres
livres
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The idea of fashion under socialism conjures up images of babushka headscarves and black market blue jeans. And yet, as Djurdja Bartlett shows in this groundbreaking book, the socialist East had an intimate relationship with fashion. Official antagonism—which cast fashion as frivolous and antirevolutionary—eventually gave way to grudging acceptance and creeping(...)
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The idea of fashion under socialism conjures up images of babushka headscarves and black market blue jeans. And yet, as Djurdja Bartlett shows in this groundbreaking book, the socialist East had an intimate relationship with fashion. Official antagonism—which cast fashion as frivolous and antirevolutionary—eventually gave way to grudging acceptance and creeping(...)
Titre:
Fashion East : the spectre that haunted socialism
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The idea of fashion under socialism conjures up images of babushka headscarves and black market blue jeans. And yet, as Djurdja Bartlett shows in this groundbreaking book, the socialist East had an intimate relationship with fashion. Official antagonism—which cast fashion as frivolous and antirevolutionary—eventually gave way to grudging acceptance and creeping consumerism. Bartlett outlines three phases in socialist fashion, and illustrates them with abundant images from magazines of the period: postrevolutionary utopian dress, official state-sanctioned socialist fashion, and samizdat-style everyday fashion. Utopian dress, ranging from the geometric abstraction of the constructivists under Bolshevism in the Soviet Union to the no-frills desexualized uniform of a factory worker in Czechoslovakia, reflected the revolutionary urge for a clean break with the past. The highly centralized socialist fashion system, part of Stalinist industrialization, offered official prototypes of high fashion that were never available in stores—mythical images of smart and luxurious dresses that symbolized the economic progress that socialist regimes dreamed of. Everyday fashion, starting in the 1950s, was an unofficial, do-it-yourself enterprise: Western fashions obtained through semiclandestine channels or sewn at home. The state tolerated the demand for Western fashion, promising the burgeoning middle class consumer goods in exchange for political loyalty. Bartlett traces the progress of socialist fashion in the Soviet Union, Czechoslovakia, Hungary, East Germany, Poland, and Yugoslavia, drawing on state-sponsored socialist women’s magazines, etiquette books, socialist manuals on dress, private archives, and her own interviews with designers, fashion editors, and other key figures. Fashion, she suggests, with all its ephemerality and dynamism, was in perpetual conflict with the socialist regimes’ fear of change and need for control. It was, to echo the famous first sentence from the Communist Manifesto, the spectre that haunted socialism until the end.
Fashion East : the spectre that haunted socialism
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The idea of fashion under socialism conjures up images of babushka headscarves and black market blue jeans. And yet, as Djurdja Bartlett shows in this groundbreaking book, the socialist East had an intimate relationship with fashion. Official antagonism—which cast fashion as frivolous and antirevolutionary—eventually gave way to grudging acceptance and creeping consumerism. Bartlett outlines three phases in socialist fashion, and illustrates them with abundant images from magazines of the period: postrevolutionary utopian dress, official state-sanctioned socialist fashion, and samizdat-style everyday fashion. Utopian dress, ranging from the geometric abstraction of the constructivists under Bolshevism in the Soviet Union to the no-frills desexualized uniform of a factory worker in Czechoslovakia, reflected the revolutionary urge for a clean break with the past. The highly centralized socialist fashion system, part of Stalinist industrialization, offered official prototypes of high fashion that were never available in stores—mythical images of smart and luxurious dresses that symbolized the economic progress that socialist regimes dreamed of. Everyday fashion, starting in the 1950s, was an unofficial, do-it-yourself enterprise: Western fashions obtained through semiclandestine channels or sewn at home. The state tolerated the demand for Western fashion, promising the burgeoning middle class consumer goods in exchange for political loyalty. Bartlett traces the progress of socialist fashion in the Soviet Union, Czechoslovakia, Hungary, East Germany, Poland, and Yugoslavia, drawing on state-sponsored socialist women’s magazines, etiquette books, socialist manuals on dress, private archives, and her own interviews with designers, fashion editors, and other key figures. Fashion, she suggests, with all its ephemerality and dynamism, was in perpetual conflict with the socialist regimes’ fear of change and need for control. It was, to echo the famous first sentence from the Communist Manifesto, the spectre that haunted socialism until the end.
Classification:
livres
livres
Publication:
octobre 2010
octobre 2010
Sujet:
Création de mode
Création de mode
Classification:
livres
livres
Titre:
The coming insurrection
The coming insurrection
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The Coming Insurrection is an eloquent call to arms arising from the recent waves of social contestation in France and Europe. Written by the anonymous Invisible Committee in the vein of Guy Debord — and with comparable elegance — it has been proclaimed a manual for terrorism by the French government (who recently arrested its alleged authors). One of its members more(...)
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The Coming Insurrection is an eloquent call to arms arising from the recent waves of social contestation in France and Europe. Written by the anonymous Invisible Committee in the vein of Guy Debord — and with comparable elegance — it has been proclaimed a manual for terrorism by the French government (who recently arrested its alleged authors). One of its members more(...)
Titre:
The coming insurrection
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The Coming Insurrection is an eloquent call to arms arising from the recent waves of social contestation in France and Europe. Written by the anonymous Invisible Committee in the vein of Guy Debord — and with comparable elegance — it has been proclaimed a manual for terrorism by the French government (who recently arrested its alleged authors). One of its members more adequately described the group as "the name given to a collective voice bent on denouncing contemporary cynicism and reality." The Coming Insurrection is a strategic prescription for an emergent war-machine to "spread anarchy and live communism." Written in the wake of the riots that erupted throughout the Paris suburbs in the fall of 2005 and presaging more recent riots and general strikes in France and Greece, The Coming Insurrection articulates a rejection of the official Left and its reformist agenda, aligning itself instead with the younger, wilder forms of resistance that have emerged in Europe around recent struggles against immigration control and the "war on terror." Hot-wired to the movement of '77 in Italy, its preferred historical reference point, The Coming Insurrection formulates an ethics that takes as its starting point theft, sabotage, the refusal to work, and the elaboration of collective, self-organized forms-of-life. It is a philosophical statement that addresses the growing number of those — in France, in the United States, and elsewhere — who refuse the idea that theory, politics, and life are separate realms.
The coming insurrection
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The Coming Insurrection is an eloquent call to arms arising from the recent waves of social contestation in France and Europe. Written by the anonymous Invisible Committee in the vein of Guy Debord — and with comparable elegance — it has been proclaimed a manual for terrorism by the French government (who recently arrested its alleged authors). One of its members more adequately described the group as "the name given to a collective voice bent on denouncing contemporary cynicism and reality." The Coming Insurrection is a strategic prescription for an emergent war-machine to "spread anarchy and live communism." Written in the wake of the riots that erupted throughout the Paris suburbs in the fall of 2005 and presaging more recent riots and general strikes in France and Greece, The Coming Insurrection articulates a rejection of the official Left and its reformist agenda, aligning itself instead with the younger, wilder forms of resistance that have emerged in Europe around recent struggles against immigration control and the "war on terror." Hot-wired to the movement of '77 in Italy, its preferred historical reference point, The Coming Insurrection formulates an ethics that takes as its starting point theft, sabotage, the refusal to work, and the elaboration of collective, self-organized forms-of-life. It is a philosophical statement that addresses the growing number of those — in France, in the United States, and elsewhere — who refuse the idea that theory, politics, and life are separate realms.
Classification:
livres
livres
Publication:
novembre 2012
novembre 2012
Sujet:
Social
Social
Classification:
livres
livres
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One of Spain’s most prominent and innovative artists, Joan Fontcuberta is best known for exploring the interstices between art, science, and illusion. Where science reaches its limits in his works, the imagination frequently finds a creative space in which to flourish. In "Landscapes without memory", Fontcuberta has co-opted a piece of computer software originally(...)
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One of Spain’s most prominent and innovative artists, Joan Fontcuberta is best known for exploring the interstices between art, science, and illusion. Where science reaches its limits in his works, the imagination frequently finds a creative space in which to flourish. In "Landscapes without memory", Fontcuberta has co-opted a piece of computer software originally(...)
Sujet:
Monographies photo
Monographies photo
Publication:
janvier 1900, New York
janvier 1900, New York
Titre:
Joan Fontcuberta : landscapes without memory
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One of Spain’s most prominent and innovative artists, Joan Fontcuberta is best known for exploring the interstices between art, science, and illusion. Where science reaches its limits in his works, the imagination frequently finds a creative space in which to flourish. In "Landscapes without memory", Fontcuberta has co-opted a piece of computer software originally designed for military or scientific use in rendering three-dimensional images of landscapes. The software enables the user to build photo-realistic models based on information scanned from two-dimensional sources—usually satellite surveys or cartographic data. The result gives the user the illusion of navigating in three dimensions which had previously been visualized only as a flat image. With this widely available “freeware” as his starting point, Fontcuberta has created the two series that constitute his "Landscapes without memory". In the “Landscapes of landscapes” series, Fontcuberta feeds the software fragments of pictures by Turner, Cézanne, Dalí, Stieglitz, Weston, and others, forcing the program to interpret a variety of landscape masterworks as “real.” The contours and tones of these painted and photographic landscapes are transformed into three-dimensional mountains, rivers, valleys, and clouds. The vocabulary of art is thus transmuted into that of cartography. In the “Bodyscapes” series, Fontcuberta uses the same software to reinterpret photographs depicting fragments of his own body. The result? A wild, baroque, virtual- fantasy world. While referring to the contemporary exchange between illusion, nature, culture, and technology, "Landscapes without memory" also makes a pointed gesture aimed at fooling that epitome of machine rationalism: the computer.
Joan Fontcuberta : landscapes without memory
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Prix:
$40.00
(disponible sur commande)
Résumé:
One of Spain’s most prominent and innovative artists, Joan Fontcuberta is best known for exploring the interstices between art, science, and illusion. Where science reaches its limits in his works, the imagination frequently finds a creative space in which to flourish. In "Landscapes without memory", Fontcuberta has co-opted a piece of computer software originally designed for military or scientific use in rendering three-dimensional images of landscapes. The software enables the user to build photo-realistic models based on information scanned from two-dimensional sources—usually satellite surveys or cartographic data. The result gives the user the illusion of navigating in three dimensions which had previously been visualized only as a flat image. With this widely available “freeware” as his starting point, Fontcuberta has created the two series that constitute his "Landscapes without memory". In the “Landscapes of landscapes” series, Fontcuberta feeds the software fragments of pictures by Turner, Cézanne, Dalí, Stieglitz, Weston, and others, forcing the program to interpret a variety of landscape masterworks as “real.” The contours and tones of these painted and photographic landscapes are transformed into three-dimensional mountains, rivers, valleys, and clouds. The vocabulary of art is thus transmuted into that of cartography. In the “Bodyscapes” series, Fontcuberta uses the same software to reinterpret photographs depicting fragments of his own body. The result? A wild, baroque, virtual- fantasy world. While referring to the contemporary exchange between illusion, nature, culture, and technology, "Landscapes without memory" also makes a pointed gesture aimed at fooling that epitome of machine rationalism: the computer.
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livres
livres
Publication:
janvier 1900, New York
janvier 1900, New York
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
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$46.95
(disponible en magasin)
Résumé:
With its head office in Munich, the architecture studio HildundK, consisting of Andreas Hild and Dionys Ottl, bases its design activities as a whole on a single premise: to produce modern architecture without the latter entering into conflict with the urban setting, historical tradition, local craftsmanship and, of course, the needs of users. Its projects are articulated(...)
$46.95
(disponible en magasin)
Résumé:
With its head office in Munich, the architecture studio HildundK, consisting of Andreas Hild and Dionys Ottl, bases its design activities as a whole on a single premise: to produce modern architecture without the latter entering into conflict with the urban setting, historical tradition, local craftsmanship and, of course, the needs of users. Its projects are articulated(...)
Sujet:
Architecture, monographies
Architecture, monographies
Publication:
juillet 2007, Barcelona
juillet 2007, Barcelona
Titre:
2 G 42 : Hildundk, Obra recent work
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$46.95
(disponible en magasin)
Résumé:
With its head office in Munich, the architecture studio HildundK, consisting of Andreas Hild and Dionys Ottl, bases its design activities as a whole on a single premise: to produce modern architecture without the latter entering into conflict with the urban setting, historical tradition, local craftsmanship and, of course, the needs of users. Its projects are articulated around three fundamental types of intervention. The first consists of taking some datum or other of the surroundings, in particular the city of Munich, its history and building tradition, as a point of departure. The resonance of the context enables their constructed buildings to have an evocative power that goes beyond the formal. In fact, theirs is a way of doing things that is deliberately at odds with the notion of form as a starting point. Secondly, they tackle the issue of ornamentation as a basic part of their project designs by linking it to the artisanal decorative traditions of the region. Lastly, and without losing a proximity to the simplicity of traditional buildings and their decoration, they incorporate a tremendous sensitivity towards materials and contemporary technical conditions. In the last analysis, HildundK hope their architecture is understood by its users, that its cultural contents communicate and connect the public with the discipline of architecture by providing a response to their requirements. To quote Mechthild Stuhlmacher, author of one of the introductory texts: Andreas Hild and Dionys Ottl regard it as imperative to escape from an architectural discourse that is purely internal. In their view architecture must also be comprehensible to the layman if it is to survive as a discipline.
2 G 42 : Hildundk, Obra recent work
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Prix:
$46.95
(disponible en magasin)
Résumé:
With its head office in Munich, the architecture studio HildundK, consisting of Andreas Hild and Dionys Ottl, bases its design activities as a whole on a single premise: to produce modern architecture without the latter entering into conflict with the urban setting, historical tradition, local craftsmanship and, of course, the needs of users. Its projects are articulated around three fundamental types of intervention. The first consists of taking some datum or other of the surroundings, in particular the city of Munich, its history and building tradition, as a point of departure. The resonance of the context enables their constructed buildings to have an evocative power that goes beyond the formal. In fact, theirs is a way of doing things that is deliberately at odds with the notion of form as a starting point. Secondly, they tackle the issue of ornamentation as a basic part of their project designs by linking it to the artisanal decorative traditions of the region. Lastly, and without losing a proximity to the simplicity of traditional buildings and their decoration, they incorporate a tremendous sensitivity towards materials and contemporary technical conditions. In the last analysis, HildundK hope their architecture is understood by its users, that its cultural contents communicate and connect the public with the discipline of architecture by providing a response to their requirements. To quote Mechthild Stuhlmacher, author of one of the introductory texts: Andreas Hild and Dionys Ottl regard it as imperative to escape from an architectural discourse that is purely internal. In their view architecture must also be comprehensible to the layman if it is to survive as a discipline.
Classification:
livres
livres
Publication:
juillet 2007, Barcelona
juillet 2007, Barcelona
Sujet:
Architecture, monographies
Architecture, monographies
