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Bringing together a broad range of contributors including art,
architecture, and design academic theorists and historians, in
addition to practicing artists, architects, and designers, this
volume explores the place of the sketchbook in contemporary art and
architecture. Drawing upon a diverse range of theories, practices,
and reflections common to the contemporary conceptualisation of the
sketchbook and its associated environments, it offers a dialogue in
which the sketchbook can be understood as a pivotal working tool
that contributes to the creative process and the formulation and
production of visual ideas. Along with exploring the theoretical,
philosophical, psychological, and curatorial implications of the
sketchbook, the book addresses emergent digital practices by way of
examining contemporary developments in sketchbook productions and
pedagogical applications. Consequently, these more recent
developments question the validity of the sketchbook as both an
instrument of practice and creativity, and as an educational
device. International in scope, it not only explores European
intellectual and artistic traditions, but also intercultural and
cross-cultural perspectives, including reviews of practices in
Chinese artworks or Islamic calligraphy, and situational contexts
that deal with historical examples, such as Roman art, or modern
practices in geographical-cultural regions like Pakistan.
Bringing together a broad range of contributors including art,
architecture, and design academic theorists and historians, in
addition to practicing artists, architects, and designers, this
volume explores the place of the sketchbook in contemporary art and
architecture. Drawing upon a diverse range of theories, practices,
and reflections common to the contemporary conceptualisation of the
sketchbook and its associated environments, it offers a dialogue in
which the sketchbook can be understood as a pivotal working tool
that contributes to the creative process and the formulation and
production of visual ideas. Along with exploring the theoretical,
philosophical, psychological, and curatorial implications of the
sketchbook, the book addresses emergent digital practices by way of
examining contemporary developments in sketchbook productions and
pedagogical applications. Consequently, these more recent
developments question the validity of the sketchbook as both an
instrument of practice and creativity, and as an educational
device. International in scope, it not only explores European
intellectual and artistic traditions, but also intercultural and
cross-cultural perspectives, including reviews of practices in
Chinese artworks or Islamic calligraphy, and situational contexts
that deal with historical examples, such as Roman art, or modern
practices in geographical-cultural regions like Pakistan.
The lost, forgotten or overlooked marginal zones and irregularities
of buildings are often unrecorded within traditional architectural
systems of representation. The marks, blemishes and scars that come
to exist within a space through use and over time are left
uncharted and unrepresented. This text explores how the body can
perform as an instrument to record and describe such trace
phenomena when used in collaboration with orthographic drawing
conventions. It reflects on a process that fuses the dynamics and
complexities of the performer's body with the fixed conventions of
architectural drawing to give a more comprehensive and detailed
representation of space.
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