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Showing 1 - 13 of
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Hélène Binet
Martino Stierli, Marco Iuliano
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R1,383
Discovery Miles 13 830
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Ships in 12 - 17 working days
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Over a period of forty years, Hélène Binet has photographed both
contemporary and historical architecture – this is the first
retrospective monograph of her work. It includes two extensive
essays: In ‘Becoming Binet’, Marco Iuliano details Hélène
Binet’s background, from her childhood in the Italian fishing
village of Sperlonga and in Rome, through her early ‘discovery’
of architectural photographer Lucien Hervé, to other significant
influences, like the early collaborations with Daniel Libeskind,
John Hedjuk and the connections with Architectural Association (AA)
in London where she met Zaha Hadid. The essay discusses in detail
Binet’s approach to photography, her process and archive. It also
examines key themes running through her work and the more recent
developments, which include abstraction through photography. In
‘Positioning Binet’, Martino Stierli sets Binet’s work within
the conceptual framework of architectural photography, discussing
whether an architectural photograph is an inventory of a building
or space, a translation into a two-dimensional image or, rather, an
image in its own right; an artifact that loosely relates to the
original object or phenomenon. Within this context, Stierli argues
that Binet’s oeuvre seems to oscillate between two obsessions: a
desire to translate spatial phenomena into the two-dimensional
space of the image and a quest to articulate the modulation of
light on a surface. These essays are followed by a catalogue of
Binet's work, which is framed within a series of her recurring
themes.
In 2014, Xu Tiantian, founder of Beijing-based studio Design and
Architecture (DnA) began to work in Songyang County, in China's
Zhejiang Province. Her exemplary holistic planning concept of
Architectural Acupuncture, which has gained the support of local
administrative and political leadership, aims at revitalising rural
areas and comprises the renovation of production plants and of
tourist and technical infrastructure as well as the creation of
venues for culture and education and of social housing. Each of
Xu's small-scale interventions at local level is unique, only the
small budget is common to all of them. Moreover, they are all
inter-related with each other and in their entirety serve the
broader goal of mutual enhancement. This book introduces Xu's
concept of Architectural Acupuncture and discusses the influence of
architecture on cultural self-understanding and economic renewal in
21st-century rural China. It features some 20 new buildings and
conversions of existing structures with diverse functions.
Published alongside are essays by international economists,
sociologists, and curators as well as by the secretary of the
Songyang County Party Committee, examining the social, political,
and economic implications of sustainable planning and collective
action in the Chinese province.
A two-volume boxset facsimile of the first printing of Complexity and Contradiction paired with a compendium of new scholarship on and around Robert Venturi’s seminal treatise.
First published in 1966, this remarkable book by Robert Venturi has become an essential document in architectural literature. This two-volume boxed set presents a facsimile of the first printing of Complexity and Contradiction paired with a compendium of new scholarship on and around Venturi’s seminal treatise. Ten essays and a selection of original papers – introduced at a three-day international conference co-organized by MoMA to celebrate the fiftieth anniversary of the book – address diverse issues, such as the book’s relationship to Venturi’s own built oeuvre and its significance in the contemporary landscape. Together, these volumes expand the horizons of Venturi’s original ideas on creating and experiencing architecture.
At the peak of the 1968/69 students' riots at American
Universities, Robert Venturi and Denise Scott Brown, together with
Steven Izenour, pursued their Design and Research Studio on the
topic of Las Vegas at Yale School of Architecture. The results of
this were condensed into the book Learning from Las Vegas that
became a classic almost instantly upon its first publication in
1972. The treatise excited the 1970s architecture world and has
remained influential to architects, teachers and theoreticians to
the present day. Some forty years later, Eyes that Saw:
Architecture after Las Vegas offers a richly illustrated collection
of essays by renowned scholars of art and architectural history,
eminent architects, and artists, investigating Learning from Las
Vegas and its heritage from various perspectives. Each chapter
builds on the knowledge of the radical influence it had on
architecture and urban design, visual art, and even on history more
generally. Published alongside are documents from the Venturi,
Scott Brown & Associates Archive at the University of
Pennsylvania, as well as an illustrated chronology of the resonance
in international media following the publication of Learning from
Las Vegas in 1972.
Montage has been hailed as one of the key structural principles of
modernity, yet its importance to the history of modern thought
about cities and their architecture has never been adequately
explored. In this groundbreaking new work, Martino Stierli charts
the history of montage in late 19th-century urban and architectural
contexts, its application by the early 20th-century avant-gardes,
and its eventual appropriation in the postmodern period. With
chapters focusing on photomontage, the film theories of Sergei
Eisenstein, Mies van der Rohe's spatial experiments, and Rem
Koolhaas's use of literary montage in his seminal manifesto
Delirious New York (1978), Stierli demonstrates the centrality of
montage in modern explorations of space, and in conceiving and
representing the contemporary city. Beautifully illustrated, this
interdisciplinary book looks at architecture, photography, film,
literature, and visual culture, featuring works by artists and
architects including Mies, Koolhaas, Paul Citroen, George Grosz,
Hannah Hoech, El Lissitzky, and Le Corbusier.
Since it was first published in 1972, "Learning from Las Vegas" has
become a classic in the theory of architecture and one of the most
influential architecture texts of the twentieth century. The
treatise by Robert Venturi (*1925), Denise Scott Brown (*1931), and
Steven Izenour (1940 2001) enjoys a reputation as a signal work of
postmodernism in architecture and urban planning. Yet none of the
book s editions have ever featured high-quality color images of the
field research the authors conducted to illustrate their argument.
"Las Vegas Studio "is the first book ever to present these
significant photographs in large color reproductions. Now available
again in a new paperback edition, this unique book features 102 of
these iconic images and film stills, alongside essays by Swiss
scholars Stanislaus von Moos Martino Stierli that explore how the
pictures contemplate the phenomenon of the modern city. Also
included is a discussion by curator and critic Hans Ulrich Obrist
with Dutch architect Rem Koolhaas and Swiss artist Peter Fischli
that speaks to the strong and lasting influence these images still
have on contemporary art and movies.A unique opportunity to
experience the full intent and import of the Learning from Las
Vegas project, "Las Vegas Studio" continues to appeal to
architects, architectural historians, and scholars alike. "
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Stephen Shore (Hardcover)
Stephen Shore; Edited by Quentin Bajac; Text written by Quentin Bajac, David Campany, Kristen Gaylord, …
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R2,154
R1,718
Discovery Miles 17 180
Save R436 (20%)
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Ships in 10 - 15 working days
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For two decades, Swiss photographer Serge Fruehauf has documented
fascinating architectural details cast in concrete. But his focus
lies not only in the beauty of the built environment, but also in
the surprising and sometimes absurd puzzles created by later
interventions: stairways that lead to dead ends, disfigured garden
walls that have long outlived their purpose. With Serge Fruehauf -
Extra Normal, Joerg Bader has selected the best and most
interesting of more than one thousand images in Fruehauf's most
recent series. Taken throughout Paris, Geneva, Grenoble, and Lyon,
Fruehauf's photographs form a critical reflection on architectural
modernity mitigated by the photographer's love of the spaces he has
photographed, and his deep sympathy for the architects and planners
who were drawn to concrete as a versatile and multifaceted building
material in the latter part of the twentieth century. Despite its
promise, the buildings or clusters of buildings that have come out
of the modern methods of construction with concrete appear today as
bland monstrosities or grotesque hybrids of traditional and modern
architecture. Fruehauf's photographs are joined by a preface by
scholar and curator Martino Stierli, which offers an insightful
discussion of how Fruehauf's work highlights these structures as
allegories of the current cultural situation.
If participation has been an ideal in politics since ancient
democracy, in art it became central only with the avant-gardes
emerging from WWI and the Russian Revolution. Politics and
aesthetics are still catching up with each other. In the 21st
century, since the revolutionary unrest of the 1960s, participation
in art and architecture has lost its utopian glow and become the
focus of a fierce debate: does 'participatory' art and architecture
shape social reality, or is it shaped by it? Contemporary critics
see in participation only technocratic control, while others
embrace it as a viable politics in an era of global capitalism.
This innovative book breaks the impasse by looking at how
participants themselves exert power, rather than being victimized
or liberated from it. From artists hijacking Google Earth to
protesters setting up a museum of the revolution in Cairo, art,
architecture and daily life are explored in their participatory
dimension.
Does 'participatory' art and architecture shape social reality, or
is it shaped by it? Shifting the ground of this debate, which tends
to assume one or other direction of influence, this innovative book
explores the inherently dialectic relationship between society and
the built environment. At the same time, it strives for a
historically conscious discussion of a very contemporary issue.
Chapters rethink the top-down model of participation and audience
activation of high modernism, from Alexander Dorner's immersive
museum to Mies van der Rohe's 'room(s) for play'; investigate
participation in spaces under political pressure, from exhibitions
in bombed-out buildings in besieged Sarajevo (1992-5) to the art
and organizing of revolution in Egypt (2012-13); draw historical
parallels between modes of participation and the exercise of power
that are seldom compared with one another, from sites of occupation
in 1968 Mexico and 2011 Spain; finally creating links between
cartography and feminism and between tourism and internet
surveillance. With these juxtapositions of the aesthetic and the
everyday, and the built and the mediated, new questions arise: is
space formed once and for all, or is it the changeable product of
changeable patterns of use? Does the aesthetic always correspond to
the political, or might an aesthetically authoritarian space be
conducive to social justice? In exploring these questions, this
book looks at how participants themselves exert power, rather than
being victimised or liberated from it.
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