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Candide is a peer-reviewed journal dedicated to exploring the
culture of knowledge specific to architecture. It is released twice
a year in English and German. Each issue of Candide is made up of
five distinct sections. This frame- work responds to the diversity
of architectural knowledge being produced, while challenging
authors from all disciplines to test a variety of genres in order
to write about and represent architecture. "Essay" provides a forum
for discussion of architectural knowledge, including both
fundamental research into and speculative arguments on its
nature.
"Analysis" allows for in-depth examination of built form: how can
the knowledge embodied in buildings be retrospectively extracted
and creatively re-used? "Project" is directed at architects who see
design as a theoretical tool: how can a specific design proposal
become a model of thought? "Encounters" gives access to the
personal knowledge of renowned, unjustly forgotten, or entirely
unknown protagonists of architecture. "Fiction" reflects the
editors' conviction that sometimes the imaginary may reveal more
about architectural knowledge than science.
Candide 13 results of a joint effort of scholars, researchers and
students who address the theme of "Experimental Architecture and
Material Culture" from different perspectives. The issue reports on
the outcomes of a transnational cooperation between the RWTH Aachen
University (Department of Architecture) and the Indian Institute of
Technology Roorkee (Department of Architecture and Planning). It
gives voice to students and researchers who, traveling in Germany
and India, have stored up intercultural experiences of intellectual
and human growth. The issue features also scholarly contributions
on experimental architecture, design-build procedures, and
sustainable construction.
Candide is a peer-reviewed journal dedicated to exploring the
culture of knowledge specific to architecture. In this fifth issue
of Candide, rather than one Essay, you will find six articles on
the notion of architectural knowledge, and rather than one piece of
Fiction, you will be pulled into seven episodes on the elusive
quest for architectural greatness. Framed by these shorts, in
Analysis, Ian Pepper challenges the reception of Richard Serra by
looking at the American artist's intervention on a
nineteenth-century railroad bridge, previously transformed by the
Swiss engineer Robert Maillart. In Encounters, Kim Forster employs
oral history to unearth stories from behind the scenes of New
York's Institute of Architecture and Urban Studies (IAUS), focusing
on its program of publications in the late 1970s and early 1980s.
In Project, Luc Merx reflects on aspects of ruin and figuration in
"Rokokorelevanz," a research and design project ongoing since 2005.
With contributions by Mario Carpo, Kim Forster, Pedro Gadanho,
Sophie Houdart, Luc Merx, Ian Pepper, and Katherine Romba, among
others."
This title includes text in English & Portuguese. In the second
half of 2007, the baton of the EU Council Presidency was passed to
Portugal. The country decided to hold the majority of the planned
meetings, conferences and summits at a central location in Lisbon.
The chosen venue was the Sala Tejo des Pavilhao Atlantico, which
was converted to host the meetings on the future of Europe,
culminating in the Treaty of Lisbon. The architects commissioned
for this project, Baixa, Atelier de Arquitectura, successfully gave
the venue - as well as the event - an impressive identity, marked
by Portuguese culture and contemporary architecture. This book pays
tribute to this ephemeral piece of architecture with a
comprehensive collection of sketches, drawings and photos. In the
accompanying and introductory texts, the project is viewed through
the eyes of two well-known architecture critics as well as the Head
of Mission of the Portuguese Presidency.
How is an architect's knowledge generated, gathered, and passed on?
Who are the people, institutions, and groups involved, and how do
these participants go about their work? These questions are at the
heart of the series of essays, Candide. Journal for Architectural
Knowledge, which has been published biannually since 2009,
describing and promoting a specific culture of knowledge about
architecture. In order to do justice to the many different kinds of
approach to research, each edition is divided into five sections:
"Analysis" investigates forms of the built environment, looking for
the knowledge invested in them. "Essay" offers space for a personal
exploration of one of the grand themes of architecture. "Project"
serves as a forum for practicing architects and their works.
"Encounter" highlights the wealth of experience of famous or
unjustly forgotten architects. "Fiction" appeals to the power of
the imagination, which occasionally transports more knowledge than
does empirical research. Candide per subscription. So that you
don't miss an issue, you can also order Candide in installments.
This way, every issue will be automatically sent to you immediately
after its release date-without any contractual obligation. You can
cancel at any time. Each issue costs 19.80 EUR (including postage);
you will be billed with every issue. Please send your subscription
order to [email protected]
In recent years, visual urbanism has emerged as a new research
field. Photographers and researchers had been experimenting with
critical visual methodologies in anthropology, cultural studies,
sociology, and cultural geography. They underlined the importance
of reflexivity and questioned the uncritical use of both cameras
and images. Yet, until now, a discussion of incorporating visual
research methods into the knowledge of architectural design and
urban planning has been very minimal. Candide N° 12 gathers voices
of a cross-disciplinary dialogue between theoreticians and
practitioners of urbanism and photography. The authors of the
forthcoming issue provide answers to a number of key questions:
What can architects, urban planners and designers learn from
photographers and visual artists and vice versa? How can we define
a new common ground between making photography and designing urban
spaces?
Text in French and English. Mouans-Sartoux, a small community near
Cannes, has become a Mecca for concrete art. Since 1990 two
collectors from Switzerland, Sybil Albers and the artist Gottfried
Honegger, have been working to establish the Espace de l'Art
Concret (EAC). Neither a museum nor a municipal gallery, this
institution is located in the Chateau de Mouans and in two new
buildings in its large park. The first of the two new buildings was
a studio designed by Marc Barani from Nice for children who come
here to paint and to develop their aesthetic senses. Barani began
work in 1990 with the extension to the cemetery of Saint Pancrace
in Roquebrune-Cap-Martin. The way he located the cemetery in the
local landscape and his use of original vegetable and mineral
materials immediately brought him to international notice. In 2000
Albers and Honegger decided to donate their collections to the
French state, on the understanding that it would finance a building
to house the nearly 500 works of art. A competition was launched
and was won by the Zurich architects Annette Gigon and Mike Guyer.
The building, which opened its doors in 2004, stands on a steeply
sloping wooded terrain. As one enters the park, one sees its
yellowish-green hues through the branches of the trees. The
monochrome colour unifies the five levels of the building that give
no clue as to what it contains. While the outside of the building
looks artificial, independent, sculptural, its interior is set up
in accordance with Honegger's special instructions. He wanted the
building that was to house his collection to be distinct from the
official and sterile museums that are often laid out on the gallery
model, passageways for contemplation, internal streets with
overhead lighting. Honegger prefers an interior that is like a
private home rather than a public institution. The domestic
framework of the rooms must reflect a principle dear to the heart
of the donors: that the works are to be lived with. Honegger takes
an overall view of our material environment and emphasises that for
him the distinction between fine arts and applied arts has no
meaning, because "an unapplied art would have no purpose and would
be bound to be insignificant and disappear".
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