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Published on the occasion of the 15th Venice Architecture Biennale, this book offers an in-depth look at the exhibition of the Japanese Pavilion. Rather than attempt to formulate a vehicle that intends to convey some overarching narrative or slogan, it instead examines a variety of aspects related to individual struggles in the engagement with conditions and issues that we are confronting today. Though this fight may be in its infancy, the group of works presented in the exhibition has the latent potential to serve as a basis for social change. It takes the Japanese character ‘en’ as its basis, the meaning of which can shift between “fortuitous encounters” and “edge” or “margin”.

Biënnale Venetië --- Biennale Venezia --- Biennale di Venezia --- 72.078 --- 72.037 --- Japan --- Architectuurtentoonstellingen --- Eenentwintigste eeuw (architectuur) --- 21ste eeuw (architectuur) --- Exhibitions --- Architecture and society --- Architecture --- Architecture et société --- History --- Expositions --- Histoire --- International Architectural Exhibition --- Architecture et société --- Exhibitions.

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En 1894, L'architecte belge Paul Hankar - un des trois pères de l'Art Nouveau, avec Victor Horta et Henry van de Velde - conçoit un projet de " Quartier moderne " pour l'Exposition universelle de 1897 à Bruxelles. Il le présentera également pour l'Exposition de 1900 à Paris. Dans une architecture de fer et de verre d'expression Art nouveau, Hankar et son complice, le décorateur Adolphe Crespin, imaginent une petite ville articulée autour d'une place publique bordée de magasins, d'hôtels et de restaurants, d'une salle d'exposition, d'une salle de théâtre ainsi que d'une salle de sports. Juste à côté, ils disposent des quartiers d'habitation constitués de petites maisons ouvrières avec jardin mais également de grandes villas, sans oublier, à la périphérie, une piscine, un gymnase et un vélodrome. On accède au quartier par une ligne de tram et un canal, alors qu'une centrale électrique assure son autonomie énergétique. En somme, c'est ce qu'on appelle aujourd'hui un morceau de ville mixte et compacte. Le projet ne verra jamais le jour, ni à Bruxelles ni à Paris, mais donnera lieu à une intense polémique avec un projet " concurrent " de " Quartier XXe siècle ", une polémique qui débouchera sur un procès que Hankar et Crespin perdront. L'analyse détaillée des documents d'archives et de la presse de l'époque éclaire les enjeux des débats sur l'architecture dite moderne en ce XIXe siècle finissant, où les styles néo-historiques font florès. Ce siècle au sujet duquel Viollet-le-Duc demandait s'il était " condamné à finir sans avoir possédé une architecture à lui ". Ensuite, dans une seconde partie, l'auteur s'interroge sur les Expositions universelles d'une manière plus générale et sur la criante absence de l'architecture moderne en leur sein, ceci pouvant expliquer l'échec du projet d'Hankar et Crespin. Temples de l'accumulation des marchandises, lieux du spectacle de l'innovation mais aussi de la tradition, les Expositions universelles, ont concentré bon nombre des contradictions du XIXe siècle. Étaient-elles compatibles avec l'architecture moderne ? Et inversement ?

Exhibitions --- Expositions --- Hankar, Paul, --- Crespin, Adolphe, --- Art nouveau (Architecture) --- History --- Histoire --- Exposition universelle et internationale --- Exposition universelle --- Expositions internationales --- Architecture --- Architecture Art nouveau --- Hankar, Paul --- Bâtiment d'exposition --- Mouvement moderne --- Bruxelles --- 72.078 --- 72.03 --- Architectuurtentoonstellingen --- Architectuurgeschiedenis

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Introduces the urban theory of Tokyo of Koh Kitayama and Yoshiharu Tsukamoto, using the detached houses and condominiums that Kitayama, Tsukamoto (Atelier Bow-Wow), and Ryue Nishizawa are actually creating in Tokyo as practical examples of the theory. Two of the buildings described in detail by the designers themselves are the "House & Atelier Bow-Wow" (designed by Atelier Bow-Wow) and "Moriyama House" (designed by Nishizawa). The authors point out that the complexion of the city that is changing as a result of small architectural innovations is precisely the concept of the state of architecture that was formerly called "metabolism" and is now being put into practice at the level of the city known as Tokyo.

Nishizawa, Ryue, --- Kitayama, Kō, --- Tokyo --- Japan --- Metabolisme --- 711.4 --- 72.036 --- 72.037 --- Biënnale Venetië --- Biennale Venezia --- Biennale di Venezia --- 72.078 --- Stedenbouw --- 20ste eeuw (architectuur) --- Twintigste eeuw (architectuur) --- 21ste eeuw (architectuur) --- Eenentwintigste eeuw (architectuur) --- Architectuurtentoonstellingen --- Exhibitions --- Kitayama, Kō, --- Métabolisme (architecture) --- Architecture --- Japon --- 20e siècle --- Expositions --- 21e siècle

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"This revealing book looks at the groundbreaking work of Gordon Matta-Clark (1943-1978), whose socially conscious practice blurred the boundaries between contemporary art and architecture. After completing a degree in architecture at Cornell University, Matta-Clark returned to his home city of New York, where he initiated a series of site-specific works in derelict areas of the South Bronx. The borough's many abandoned buildings, the result of economic decline and middle-class flight, served as Matta-Clark's raw material. His series 'Bronx Floors' dissected these structures, performing an anatomical study of ther ravaged urban landscape. Moving from New York to Paris with 'Conical Interserct', a piece that became emblematic of artistic protest, Matta-Clark applied this same method to a pair of seventeenth-century row houses slatted for demolition as a result of the Centre Pompidou's construction. This compelling volume grounds Matta-Clark's practice against the framework of architectural and urban history, stressing his pioneering activist-inspired approach, as well as his contribution to the nascent fields of social practice and relational aesthetics."

Art and architecture --- Conceptual art --- Site-specific art --- Matta-Clark, Gordon, --- Criticism and interpretation. --- Art and architecture. --- Conceptual art. --- Site-specific art. --- 1900-1999 --- United States. --- United States --- Matta-Clark, Gordon --- 72.078 --- 72.01 --- Exhibitions --- Art et architecture --- Art conceptuel --- Œuvres in situ --- History --- Exhibitions. --- Histoire --- Expositions --- Matta-Clark, G.

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exhibitions [events] --- Building design --- Architecture --- architectural history --- Museology --- Architecture, Modern --- Architectural models --- Modèles architecturaux --- History --- Exhibitions. --- Histoire --- Expositions --- 069 --- 72.078 --- Tentoonstellen ; architectuurtentoonstellingen ; 20ste eeuw --- Libeskind, Daniel --- Architectuur en politiek ; Zuid-Afrika ; apartheid --- Morphosis --- Van den Broek & Bakema --- De Stijl --- Architectuur ; stadia ; sport --- Oud, J.J.P. --- Johnson, Philip --- Tentoonstellingen ; Nederlands Architectuurinstituut (NAI) ; Rotterdam --- Museologie ; museumpresentatie --- 069.53 --- 069.5 --- (069) --- Tentoonstellingsarchitectuur --- Tentoonstellingen (architectuur) --- Architectuurtentoonstellingen --- Museologie ; collecties ; techniek van het tentoonstellen --- Museologie ; collecties --- (Musea. Collecties) --- Modèles architecturaux --- Oud, J.J.P