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Economy of means is an aesthetic category as well as a design tool. It makes it possible to imagine and evaluate results. It is at the core of any relevant design, whatever the medium. In its usual meaning, it signifies using as few means as possible to reach a specific goal. Beyond this, one can link it to any attitude based on a critical approach to the means used to create something. Economy of means has as much to do with the process as it does with the results. It is an investigation of form in all its dimensions. Form is the horizon of any human activity pushed to a high level of accomplishment. Economy of means is the DNA of good forms. Architecture is defining the good form for a building. Using few and carefully surveyed means enables architects to give meaning and intelligibility to their buildings.This exhibition, part of the Lisbon Triennale under the theme The Poetics of Reason, seeks to contribute to the definition of the specificity of architectural rationality, as do the four other that make up the event. Each of its first four sections shows a specific regime of economy of means. Economy of repetition leads to typology and interest in ordinary architecture and the city. Economy of void leads to the invention of space. Economy of measurements leads to surreal poetics and mass housing. Economy of material leads to the fantasised possibility of building the whole Earth. Economy of procedures expands the limits of architecture. Economy of means is the condition of possibility for architecture to be able to speak its own language under any superimposed vocabulary. Measure, rhythm, repetition, type, exception, system, order, geometry, analogy are some of its main words; economy of means is the grammar; poetics of reason is the result.

Architecture and rationality. --- Architecture --- Trienal de arquitectura de Lisboa --- 72.078 --- 72.012/013 --- Architectuurtentoonstellingen --- Vorm (architectuur)

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'The exhibition 'Soviet Architecture 1917-1987', that consists of original drawings, lended by the A.V. Shchussev Museum in Moscow, offers an unique opportunity to get acquainted with material that has rarely been exhibited outside Russia. The exhibition, one of the reasons to publish this book, shows the development of the Soviet history of architecture with an emphasis on the 1920s, 1930s and 1980s. For the tremendous vitality and dramatic intensity of the developments in the Soviet Union after the Revolution could specifically be expressed in architecture.'

Sovjet-Unie --- 72.036 --- 72.078 --- 72.02 --- 72.072 --- 20ste eeuw (architectuur) --- Twintigste eeuw (architectuur) --- Architectuurtentoonstellingen --- Architectuurtekeningen --- Architectuurwedstrijden --- Wedstrijden (architectuur) --- Exhibitions --- Architecture

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Migration. Refugees --- Architecture --- migration [function] --- Social geography --- architecture [object genre] --- Architecture and migration --- Cultural identity --- Architecture and globalization --- Urbanism and globalization --- Cultural theory --- History --- Architecture and migration. --- Cultural identity. --- Cultural theory. --- Oslo architecture triennale --- 72.078 --- Architectuurtentoonstellingen

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Recueil de projets architecturaux réalisés, et présentés à l'occasion de la 11e biennale d'architecture de Venise en 2008.

Architecture --- Architecture, Modern --- Architecture moderne --- History --- Histoire --- 72.037 --- 711.4 --- Frankrijk --- Biënnale Venetië --- Biennale Venezia --- Biennale di Venezia --- 72.078 --- Eenentwintigste eeuw (architectuur) --- 21ste eeuw (architectuur) --- Stedenbouw --- Architectuurtentoonstellingen --- Exhibitions --- 21e siècle --- France

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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.

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