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Adam Caruso and Peter St. John, partners in the London firm Caruso St. John, insist on architectural history as a creative resource, and on embracing that resource rather than forsaking it for the rat-race Modernist pursuit of novelty: as St. John argues, "The new for its own sake seems to us both hopeless and pathetic. We prefer characterful ugliness to calculated perfection." Aiming for a "richly associative" architecture that draws on the nature of its materials, Caruso St. John embraces outside disciplines like art, design, literature and philosophy to enrich its practice--Claes Oldenburg's 1960s work at the Storefront Gallery, for example. Almost Everything documents buildings and projects in Britain and Continental Europe since the early 1990s, and also assesses Caruso St. John's philosophy. With contributions by Philip Ursprung, Thomas Demand, John Blockehurst and Jonathan Glancey, it is a thorough overview of one of Britain's most independent-minded architectural firms.
architects --- Architecture --- St John, Caruso --- anno 1900-1999 --- anno 2000-2099 --- Great Britain --- Histoire --- Caruso St John, Architects. --- Caruso St John Architects --- Caruso St John, Architects --- Critique et interprétation --- Caruso St John architects --- Caruso St John --- Caruso, Adam --- St John, Peter --- Caruso - St John architects, London - Zürich --- Modern [style or period] --- architecture [object genre] --- Caruso, Adam, --- St John, Peter, --- Critique et interprétation --- Caruso St John Architects [London]
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Architecture --- Architecture in art --- Architecture dans l'art --- History --- Exhibitions. --- Histoire --- Expositions --- Herzog & de Meuron --- HERZOG & DE MEURON (1978 - ....) --- ARCHITECTURE --- 1970 - 2000
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Herzog & De Meuron --- Herzog, Jacques, --- Meuron, Pierre de, --- Herzog & de Meuron --- Herzog, Jacques --- Meuron, Pierre de --- Meuron, de, Pierre --- Herzog & de Meuron [Basel]
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Aus dezidiert subjektiver Sicht zeigt Philip Ursprung in seinen 14 im Rahmen des Projekts entstandenen Essays Verbindungen zwischen Ökonomie, Architektur und Kunst auf. Seine unkonventionellen gedanklichen Pfade regen zur kritischen Reflexion an. Sie führen in teils neue, teils unerwartete, überraschende Denkräume, die es ermöglichen, Phänomene in bisher so nicht gesehenen, einander wechsel- seitig bedingenden Erscheinungsformen zu betrachten. Das Buch plädiert für eine spekulative Geschichtsschreibung und fordert dazu auf, manche theoretische Prämisse zu revidieren.
Architecture --- Architecture --- Art and architecture. --- Economic aspects. --- Philosophy.
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Iconography --- Art --- Sculpture --- outdoor sculpture --- installations [visual works] --- multimedia works --- art [discipline] --- light art --- Nature --- studios [work spaces] --- cities --- public spaces --- sculpting --- water [inorganic material] --- kunst in de openbare ruimte --- kunst en wetenschap --- landscapes [representations] --- Eliasson, Olafur --- anno 1900-1999 --- anno 2000-2099 --- Denmark
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Iconography --- Art --- Sculpture --- installatiekunst --- installatiekunst --- Eliasson, Olafur --- Denmark
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Since its foundation in 2006, the work done by Ábalos+Sentkiewicz, one of the two offices into which the defunct Ábalos&Herreros studio split, has stood out on the Spanish and international architecture scene for its original synthesis of technical rigour, formal richness and its integrating of architecture, landscape and environment. This number of 2G presents 15 recent works and projects carried out by Iñaki Ábalos and Renata Sentkiewicz that extend from museum programmes -like the rehabilitation of the Fundació Antoni Tàpies in Barcelona and two projects for Caixafórum in Saragossa and Seville by way of works relying on private enterprise- painter Albert Oehlen's atelier in Switzerland, the apartment block in Calle Orfila and the Lolita office building, both in Madrid to international competitions for huge complexes, such as the Porte de la Chapelle tower and Osmose Station in Paris, and the Performing Arts Centre in Taipei.
Abalos+Sentkiewicz --- Abalos, Iñaki --- Sentkiewicz, Renata --- Ábalos, Iñaki --- Constructions --- Économies d'énergie. --- Sentkiewicz Arquitectos (Madrid) --- Architecture --- architecture [discipline] --- Spain
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Non-standard shapes, complex curves, self-generating patterns, all have proliferated in the last few years in response to the infinite capacities of the computer to generate new forms of seemingly unprecedented complexity, a proliferation that thus far seems as immune to the worldwide economic downturn as it often has been to the real problems of architecture. In this hyperactive field of formal experimentation the work of Matthias Sauerbruch and Louisa Hutton, with its eye-catching pillboxes, boomerang-shaped plans, intricate mosaics of colour patterns and often free-form perimeters, stands ever more resolutely apart, maturing since before the dawn of digital dominance and in a very different crucible of ideas and values.And, unlike so much of the work of those enthralled with the computer as generator of complexity, Sauerbruch Hutton's now well-defined architectural vocabulary is as much about the end users of buildings as about its authors. Theirs, however, is a dialogue with users in which the architect no longer, as so often in the 1970s, relinquishes the role of providing strong signature form.This new issue of 2G magazine presents 15 works and projects of the German-British team, amongst them the Museum Brandhorts in Munich or the Municipal Savings Bank in Oberhausen.
Sauerbruch Hutton --- Sauerbruch, Matthias --- Hutton, Louisa --- Sauerbruch Hutton [Berlin] --- Couleur en architecture. --- Sauerbruch Hutton Architekten. --- architecture [discipline] --- Germany
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"Gordon Matta-Clark (1943-1978) has never been an easy artist to categorize or to explain. Although trained as an architect, he has been described as a sculptor, a photographer, an organizer of performances, and a writer of manifestos, but he is best known for un-building abandoned structures. In the brief span of his career, from 1968 to his early death in 1978, he created an oeuvre that has made him an enduring cult figure. In 2002, when Gordon Matta-Clark's widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architecture in Montreal, it revealed a new voice in the ongoing discussion of artist/architect Matta-Clark's work: his own. Gwendolyn Owens and Philip Ursprung's careful selection and ordering of letters, interviews, statements, and the now-famous art cards from the CCA as well as other sources deepens our understanding of one of the most original thinkers of his generation. Gordon Matta-Clark: An Archival Sourcebook creates a multidimensional portrait that provides an opportunity for readers to explore and enjoy the complexity and contradiction that was Gordon Matta-Clark"--
Matta-Clark, Gordon, --- Art and architecture --- Conceptual art --- Site-specific art --- Art --- Architecture --- fonds [collections] --- Matta-Clark, Gordon
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"The Swiss Pavilion at the 18th International Architecture Exhibition of the Venice Biennale exhibits itself and its relations to its immediate surroundings. The exhibition is a conversation over the shared boundary of the pavilions of Switzerland (1952, designed by Bruno Giacometti) and Venezuela (1954, designed by Carlo Scarpa), the only two in the Giardini not fully detached: they share one wall. Artist Karin Sander and art historian Philip Ursprung temporarily open this wall and dismantle the gates from the Swiss Pavilion, thus revealing unanticipated connections between the two neighbors, both distant and close. The complementing book Neighbours offers a manifesto, a play with the two buildings as dramatis personae, and three brief topical essays. Ten conversations with figures such as architectural historian Kurt W. Forster, photographers Paolo Gasparini and Guido Giudi, and Venezuelan architects Elisa Silva and Margarita López-Maya round off this volume." --
Bâtiment d'exposition --- Suisse --- Venezuela --- Giacometti, Bruno, --- Scarpa, Carlo, --- International Architectural Exhibition --- History.
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