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Title:
Stefano Graziani: Picture window frame

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Summary:
Graziani is a collector of objects, not a storyteller. With the meticulous eye of an archivist, he detaches things from their context, revealing them to us. Whether the object of his photographic exploration is a stack of aluminum profiles, a mock-up of a window section, or an artwork, it is “objectified” in the same way, contributing portrait and to question Finstral‘s production facilities as well as the idea of the window itself. The fact that it is shown primarily through its form, independent of its function, gives it a sculptural quality. Picture Window Frame is a book designed by Giulia Cordin and a traveling show with the exhibition design by Brussel architectural firm Office Kersten Geers David Van Severen.

Title:
Everything XI-XV. Everything without content 232

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This book chronicles the third academic year of the studio led by Kersten Geers, Jelena Pancevac, Guido Tesio and Fabrizio Ballabio at the Academy of Architecture USI in Mendrisio. Stemming from the idea of ‘large form’ and the built environment as a testament to the futility of the virtual one, this body of work investigates how the model of grand ensembles can perform in urban fringes (in Milan), and what to do with the existing obsolete office space in the urban centre (in Brussels). Our unlikely guide to the contemporary idea of sustainable living and working in the city was the work of Aldo and Hannie van Eyck, which would grow into a separate book itself (Excess of Architecture). Brussels also served as a testbed for establishing a relation between the production of culture and the instrumental role of architecture within that process.

Title:
From Brussels with love: Office Kersten Geers David Van Severen

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In 2016, an article in The New York Times with a probing title: “Why Brussels Is the New Berlin?” brought mainstream confirmation of a trend Brussels has been undergoing, with international artists flocking into the city, and galleries and art events following. As with so many other cities that have experienced similar trends, there are many reasons for this cultural flourishing, but they can be broken down to the simple conditions of the city itself: it is cosmopolitan and cheap. And there is available space. Beyond the visible art venues – museums and galleries, theatres and concert halls, established institutions, or converted industrial spaces – there is space where artists can live and work, go out and exchange ideas. The production of culture happens (also) in clubs and salons, offices and lofts, studios and ateliers. Our aim was to investigate these spaces and identify an urban prerequisite for such an elusive category as culture. Furthermore, we wanted to examine how spatial types can be appropriated for a new (cultural) practice.

Title:
Future Real: Kersten Geers, Michael Young, David Erdman

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The future is not as far away as it might seem. What seemed a problem of the next generation now has become a problem of tomorrow. We are accelerating towards a future that is evermore present, guided by political and economic forces that seem unintelligible. Is this quick-paced intangible progression, the role of the architect is at stake. How can architecture keep up with society? Can it adapt quickly enough to frame it? And is so, what should that frame look like? These are some of the questions embedded in the premise of the three advanced studios presented in this book conducted by the three of Yale School of Architecture's Louis I. Kahn Visiting Assistant Professors in 2016 and 2017. Michael Young investigates the past from the future in "Aesthetics of Accelerationism: The Icelandic Infrastructure 2036-2056." Kersten Geers analyzes visions for agricultural ensembles for communal living in "Architecture Without Consent 19: Almost Classicism." And David Erdman looks to the potential of building on top of housing estates in Hong Kong in "Objects and Qualities." The book features interviews with the professors and essays on their specific studio topics.

Title:
The difficult whole: a reference book on the work of Robert Venturi, John Rauch, and Denise Scott Brown

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In 1966, architect Robert Venturi published ''Complexity and Contradiction in Architecture'', a manifesto that became one of the twentieth century’s most important statements about architecture. Drawing on both vernacular and high-style sources, Venturi introduced new lessons from the buildings of architects who were well known, like Michelangelo and Alvar Aalto, and those whose work had then been forgotten, like Frank Furness and Edwin Lutyens. Arguing against the diagrammatic forms that dominated the field at that time, Venturi made a case instead for “the difficult whole.”

Title:
Aldo & Hannie van Eyck. Excess of architecture: Everything without content 221

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Summary:
Dutch architects Aldo and Hannie van Eyck met as students of architecture and married in 1942, and worked together closely on most projetcs, interrupted only for a few years in the late 1970s. This book, part of the Everything series by Kersten Geers, presents 24 of their buildings in drawings (site, plans, sections and elevations) by students of the Academy of Architecture USI, Mendriso, as well as numerous photographs by Bas Princen.

Title:
2G 80: Studio Fala Atelier

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Architectural works by Fala—a Porto-based architectural studio founded in 2013—are documented here in issue 80 of 2G. Fala’s architectural style developed in the aftermath of the economic crisis in 2008, when downtown Porto and Lisbon underwent a boom in tourism and massive redevelopment.

Title:
Aldo Rossi: The urban fact

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The great Italian architect, designer, theorist and printmaker Aldo Rossi (1931–97) galvanized the postmodernist architectural movement in the middle of the 20th century with his unique synthesis of influences such as Adolf Loos, Giorgio de Chirico and Soviet architecture. From his publication Architecture of the City (1966) to his 1976 exhibition Analogous City, Rossi spent a decade developing a theory of urban design that focused on the “collective memory” of a city as an essential element of its urban planning and gave consideration to how buildings and urban areas age over time. Here, Rossi’s theory is applied to his own works from that period, both built and unbuilt, in a careful selection of 23 projects that express this memory-based paradigm of civic existence and construction. Aldo Rossi: The Urban Fact thus unifies Rossi’s theory and practice, demonstrating the visionary dimension driving his singular brand of postmodernism.

Title:
2G essays, Kersten Geers: Without content

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Summary:
In this compilation of essays, Dutch Belgian architect Kersten Geers writes on diverse architects in history, from Bramante, Scamozzi and Mies van der Rohe to Aldo Rossi, James Stirling, Álvaro Siza and Robert Venturi, in a theory of contemporary architecture.

Title:
Giancarlo De Carlo: Experiments in thickness

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Giancarlo de Carlo first visited Urbino in 1951 to carry out a minor refurbishment of the offices of the rector of the University. This was the beginning of his lifetime engagement with the small town where he continued working over the next five decades. This book is part of the "Everything without content" series by Kersten Geers, Jelena Pancevac and Joris Kritis, and it presents the work Giancarlo de Carlo built in Urbino in the 1960s and 70s, in the shadow of his involvement in Team 10 debates that challenged modernist doctrines on architecture and urbanism. The eight buildings in this book are presented in drawings by students of the Academy of Architecture USI, Mendriso, and photographs by Stefano Graziani.