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In the wake of the Second World War, aiming to occupy the children rampaging streets and parks, the City of Amsterdam founded Jongensland, a space where boys (and the occasional, officially disallowed girl) could play, build, create, and destroy, largely without supervision. Located on an island accessible only by rowboat, Jongensland grew into a sprawling settlement built experimentally from scrap materials by its young inhabitants. Here, children would cook food, raise animals, build fires, and trade with each other. Without adult intervention, they relied on shared resourcefulness and collaborative ingenuity. In 1969, when the architectural photographer Ursula Schulz-Dornburg moved to Düsseldorf with her two young children, she discovered Jongensland the other side of the border from Germany’s strictly regulated playgrounds. Fas­cinated by the improvised buildings where her children would play, she made extensive photographs capturing them being constructed, used, demolished, and reshaped. Her images capture an intuitive architectural intelligence and capture a genre of vernacular construction with its own conventions and inno­vations, one which illuminates the role of imagination in defining a building’s identity and purpose. This book presents Schulz-Dornburg’s largely unseen series alongside an ex­tended alongside an extended essay by architectural historian Tom Wilkinson reflecting on the architectural themes and lessons Jongensland continues to offer.

fotografie --- documentaire fotografie --- architectuurfotografie --- portretfotografie --- kinderen --- twintigste eeuw --- Nederland --- Schulz-Dornburg, Ursula --- 77.071 SCHULZ-DORNBURG --- Architectuurfotografie ; 20ste eeuw --- Cabines ; hutten ; barakken --- Architectuur ; Nederland ; Amsterdam ; 20ste eeuw ; Jongensland --- Speeltuinen; Nederland; Amsterdam --- Schulz-Dornburg, Ursula °1938 (°Berlijn, Duitsland) --- 711.558 --- 77.092.07 --- Stedenbouw. Ruimtelijke ordening ; recreatieterreinen --- Fotografen A - Z

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"This revised edition of Grospierre's celebrated tour of modernist architecture has been expanded beyond Europe and North America to a truly global reach, featuring buildings in Southeast Asia, Australia, Africa and South America. Featuring new and revised texts from Barbican, MoMA and independent curators, this book offers intriguing insights into the history of modernist design, the origins of architectural photography and the reasons why architectural forms repeat in otherwise dissimilar countries"

Modern movement (Architecture) --- Architectural photography --- 77.092.07 --- 72.038 --- Architectuurfotografie ; 21ste eeuw ; 2003-2019 ; N. Grospierre --- Architectuur ; modernisme --- Architectuur en architecturale monumenten ; 20ste eeuw --- Grospierre, Nicolas °1975 (°Genève, Zwitserland) --- Photography, Architectural --- Photography of architecture --- Photography of buildings --- Photography --- Modernism (Architecture) --- Modernist architecture --- Architecture, Modern --- International style (Architecture) --- Fotografen A - Z --- Architectuurgeschiedenis ; 1950 - 2000 --- Histoire de l'architecture --- Mouvement moderne --- Panorama mondial --- Mouvement moderne (architecture) --- Architectural photography. --- Photographie d'architecture.

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For more than five decades, Bernd (1931-2007) and Hilla (1934-2015) Becher collaborated on extraordinary photographs of industrial architecture in Germany, France, Belgium, Holland, Great Britain, and the United States. This sweeping monograph features 150 of the Bechers' quintessential pictures of water towers, gas tanks, and blast furnaces that became sculptural objects through their lens and presentation methods. Also included are little-known or unpublished works beyond the Bechers' iconic Typologies, such as Bernd's early drawings, Hilla's independent photographs, and excerpts from their notes, sketchbooks, and journals. Essays by Virginia Heckert and Gabriele Conrath-Scholl offer new insights into the development of the artists' exacting process; their work's precedents and conceptual underpinnings; and their legacy. Award-winning cultural historian Lucy Sante places the Bechers' photographs within the context of deindustrialization and its impact on the physical and cultural landscape. An interview with Max Becher, the artists' son, explores their artistic methods and collaborative relationship. Showcasing the photographic, architectural, and emotional aspects of their starkly beautiful work, this volume offers an unrivaled look into the Bechers' art alongside their career, life, and subjects.

Photography, Industrial --- Architectural photography --- kunst --- fotografie --- architectuurfotografie --- industriële fotografie --- documentaire fotografie --- twintigste eeuw --- Duitsland --- Becher Bernd --- Becher Hilla --- 77.071 BECHER --- Photography, Architectural --- Photography of architecture --- Photography of buildings --- Photography --- Industrial photography --- Photography in industry --- Commercial photography --- Industrial applications --- Becher, Bernd, --- Becher, Hilla --- Becher, Hilda --- Wobeser, Hilla --- Becher, Bernhard --- Becher, Bernhard, --- Architecturale structuren ; vormen ; typologieën --- Fotografie ; Dusseldorfse school --- Architectuur ; industriële gebouwen ; 18de tot 21ste eeuw --- Architectuur ; industrieel erfgoed ; België ; Wallonië --- Bernd Becher (° 1931, Siegen, Duitsland) Hilla Becher (° 1934, Potsdam, Berlijn, Duitsland, als Hilla Wobeser) --- 77.092.07 --- Fotografen A - Z --- Photography, Artistic --- Criticism and interpretation. --- Themes, motives. --- Metropolitan Museum of Art (New York, N.Y.) --- Exhibitions --- Becher, Bernd --- architecture [object genre] --- artistieke fotografie --- Becher, Bernd und Hilla