OASE #84: Models Maquettes
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of(...)
OASE #84: Models Maquettes
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of the Très Grande Bibliothèque in Paris afforded new insights into a space that can be read both as mass and as counter-mass, while the model of the cruise terminal in Zeebrugge exemplified the power of the iconic form. OASE 84 devotes considerable attention to (architectural) models that play an important part in the work of various artists as well, like in the work of Mike Kelley and Thomas Demand. These models are hardly ever meant to be realised on a different scale elsewhere; they work with the dualistic connotations of the model directly. Although the two disciplines have markedly different motives for using models, we are confident that the cross-pollination brought about here will generate novel insights about the model’s significance and possibilities. With contributions by Jacob Bil, Adam Caruso, Thomas Demand, Job Floris, Kersten Geers, Christophe Van Gerrewey, Anne Holtrop, Christian Hubert, Junya Ishigami, Krijn de Koning, Véronique Patteeuw, Bas Princen, Hans Teerds, Milica Topalovic and Stefaan Vervoort OASE is an independent, international journal published in Dutch and English that features architecture, urban design and landscape design. Each issue is devoted to a topical theme and thus makes a significant contribution to international discourse within these fields. OASE is published three times a year
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Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work - at once conceptual art, typological study, and topological documentation - has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff,(...)
Photography monographs
November 2006, Cambridge (MA), London
Bernd and Hiller Becher : life and work
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Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work - at once conceptual art, typological study, and topological documentation - has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. This compelling, exhaustively documented biography describes the Bechers' life and work and offers a critical assessment of their place in the history of photography. Becher scholar Susanne Lange, granted access to the photographers' archives and quoting extensively from interviews with them, writes the first sustained analysis and biography of the Bechers' extraordinary partnership. She discusses, among other topics, both the functionalist and aesthetic dimensions of the Bechers' subject matter, their typologizing (which she finds reminiscent of nineteenth-century naturalists' classificatory schemes), and the anonymous industrial building style favored by German architects. She argues that industrial building types impose themselves on our consciousness as the cathedral did on that of the Middle Ages, and that the Bechers' photographs -which seem at first glance only to record a vanishing landscape - serve to examine this shaping of our perceptions. Their work provides us with a rare opportunity to see how we see.
Photography monographs
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La photographie connaît depuis quelques années un engouement sans précédent auprès du public, des institutions, de la critique mais aussi des artistes, qui l'intègrent de plus en plus à leur pratique. Elle est ainsi devenue aujourd'hui l'un des principaux médiums de l'art contemporain. Ce livre analyse l'infinie variété de sujets abordés et de techniques employées par les(...)
La photographie dans l'art contemporain
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La photographie connaît depuis quelques années un engouement sans précédent auprès du public, des institutions, de la critique mais aussi des artistes, qui l'intègrent de plus en plus à leur pratique. Elle est ainsi devenue aujourd'hui l'un des principaux médiums de l'art contemporain. Ce livre analyse l'infinie variété de sujets abordés et de techniques employées par les artistes, mais il s'attache surtout, et c'est là son originalité, à dresser une typologie de leurs différentes approches. Pour certains artistes, comme Sophie Calle ou Erwin Wurm, la photographie est un moyen d'enregistrer une performance ou une action quotidienne, tandis que pour d'autres, comme Yinka Shonibare ou Gregory Crewdson, elle permet la mise en scène de récits imaginaires. Andreas Gursky, Thomas Demand et Rineke Dijkstra présentent de leur côté une vision froide et en apparence objective du monde extérieur, tandis que Richard Billingham, Nan Goldin ou encore Wolfgang Tillmans donnent à voir des détails intimes de leur vie privée. Entre les mains de Luc Delahaye et d'Allan Sekula, la photographie est un moyen de créer un travail documentaire, alors que pour d'autres encore, comme Cindy Sherman ou Gillian Wearing, l'image photographique devient un réceptacle de valeurs personnelles, sociales et culturelles dans un monde saturé d'images. Au fil de sept chapitres richement illustrés, Charlotte Cotton mène une analyse originale du travail des artistes les plus importants dans ce domaine et de leurs œuvres clés, et livre ainsi une introduction subtile et exigeante à une forme qui domine la scène artistique en ce début de XXIe siècle.
Theory of Photography
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Since the early twentieth century, contemporary art and art theory have creatively challenged the status of representation. During that time, the court of law has come to rely on a variety of new representational modes and technologies. The law is increasingly staged on a screen and the photographs, video documents, audio recordings used as evidence are not entirely(...)
Archive, library and the digital
January 2012
A thousand eyes: media technology, law and esthetics
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Since the early twentieth century, contemporary art and art theory have creatively challenged the status of representation. During that time, the court of law has come to rely on a variety of new representational modes and technologies. The law is increasingly staged on a screen and the photographs, video documents, audio recordings used as evidence are not entirely distinct from their correlates in contemporary art, cinema and mass media. What questions of representation, judgment and justice cross borders between art and the law? Through the contribution of internationally renowned artists and scholars, this anthology explores how the aesthetics of new media technology and its spatial implementations affect the judicial system in relation to fundamental concepts such as truth and representation. Artistic contributions by John Baldessari, Dan Graham, Harun Farocki, Stan Douglas, Aernout Mik, Agency, Judy Radul, Renzo Martens, Ana Torfs, The Atlas Group, René Magritte, Model Court, Rana Hamadeh, Thomas Demand, Les Levine Essays by Julie A. Cassiday, Costas Douzinas, Piyel Haldar, Martin Jay, Peter Goodrich, Richard Mohr, Judy Radul, Avital Ronell, Eyal Sivan, Cornelia Vismann
Archive, library and the digital
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In this publication, Thomas Fisher presents fifty case studies representing a broad range of ethical dilemmas facing today's architects, from questions regarding which clients to work for, to the moral imperatives of reclaiming building materials for construction instead of sending them to landfills. This book features newly interpretations adapted to the pervasive(...)
Ethics for architects : 50 dilemmas of professional practice
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In this publication, Thomas Fisher presents fifty case studies representing a broad range of ethical dilemmas facing today's architects, from questions regarding which clients to work for, to the moral imperatives of reclaiming building materials for construction instead of sending them to landfills. This book features newly interpretations adapted to the pervasive demands of globalization, sustainability, and developments in information technology.
Architectural Theory
Thomas Flechtner : news
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner(...)
Thomas Flechtner : news
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner collected newspaper front pages over a period of one year, scattered plant seeds from very different countries over them, watered them, and, finally, exposed them to the sun. He recorded the way the "news" was gradually bleached and overgrown with plants in more than one hundred color photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, while also questioning the fleetingness of memory and the demands made on it in shaping today's world. Thomas Flechtne r, born in Winterthur in 1961, studied at the Ecole de photographie, Vevey. He has received numerous prizes for his photographic works, which he regularly exhibits. He lives and works in Valliere, France and in Zürich.
Contemporary Art Monographs
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Offices, as a category of building, have probably faced more challenges and undergone more dramatic changes in the last few years than most other kinds of buildings. Increasing economic globalization, new information and communication technologies, and ecological considerations are all making demands on a branch of architecture which for nearly a century had been marked(...)
Commercial interiors, Building types
September 2002, Basel
Office buildings : a design manual
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Offices, as a category of building, have probably faced more challenges and undergone more dramatic changes in the last few years than most other kinds of buildings. Increasing economic globalization, new information and communication technologies, and ecological considerations are all making demands on a branch of architecture which for nearly a century had been marked by the construction norms and standards, and the requirements of office organisation. These old solutions are, however, no longer viable for many modern companies, where flexibility and mobility determine the working day of a new generation of office nomads, and architecture is having to adapt. With some 70 significant international examples taken from the last five years (including examples from Norman Foster, Frank O. Gehry, Thomas Herzog, Morphosis MVRDV, Renzo Piano, SOM), the authors and editors show how the new issues facing architects can be resolved. In addition to introductory texts there are also thematic contributions by experts in various disciplines on related topics including the new models of work organisation, façade technology, climatic regulation, lighting etc. Similar to our enormously successful Floor Plan Atlas, this volume will be a crucial standard work in the design of offices.
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September 2002, Basel
Commercial interiors, Building types
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For as long as humans have gathered in cities, those cities have had their shining—or shadowy—counterparts. Imaginary cities, potential cities, future cities, perfect cities. It is as if the city itself, its inescapable gritty reality and elbow-to-elbow nature, demands we call into being some alternative, yearned-for better place. This book is about those cities. It’s(...)
Imaginary cities: a tour of dream cities, nightmare cities and everywhere in between
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For as long as humans have gathered in cities, those cities have had their shining—or shadowy—counterparts. Imaginary cities, potential cities, future cities, perfect cities. It is as if the city itself, its inescapable gritty reality and elbow-to-elbow nature, demands we call into being some alternative, yearned-for better place. This book is about those cities. It’s neither a history of grand plans nor a literary exploration of the utopian impulse, but rather something different, hybrid, idiosyncratic. It’s a magpie’s book, full of characters and incidents and ideas drawn from cities real and imagined around the globe and throughout history. Thomas More’s allegorical island shares space with Soviet mega-planning; Marco Polo links up with James Joyce’s meticulously imagined Dublin; the medieval land of Cockaigne meets the hopeful future of Star Trek. With Darran Anderson as our guide, we find common themes and recurring dreams, tied to the seemingly ineluctable problems of our actual cities, of poverty and exclusion and waste and destruction. And that’s where Imaginary Cities becomes more than a mere—if ecstatically entertaining—intellectual exercise: for, as Anderson says, “If a city can be imagined into being, it can be re-imagined.” Every architect, philosopher, artist, writer, planner, or citizen who dreams up an imaginary city offers lessons for our real ones; harnessing those flights of hopeful fancy can help us improve the streets where we live.
Urban Theory