624 Résultats
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Scolari's illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance(...)
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Scolari's illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance(...)
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Oblique drawing : a history of anti-perspective
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Scolari's illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others.
Oblique drawing : a history of anti-perspective
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Scolari's illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others.
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livres
livres
Publication:
septembre 2012
septembre 2012
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
Maisons de vieux
Maisons de vieux
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On a tous un ou deux vieux de trop quelque part. Les raisons sont toutes excellentes pour s’en défaire : on n’a pas de place chez soi ni le temps de s’en occuper, on n’aime pas l’odeur des boules à mites ou on a déjà trop de couches à changer. Sur l’invitation de Raymond Bock et d’Alexie Morin, treize auteurs ont accepté de placer les leurs dans les chambres qui(...)
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On a tous un ou deux vieux de trop quelque part. Les raisons sont toutes excellentes pour s’en défaire : on n’a pas de place chez soi ni le temps de s’en occuper, on n’aime pas l’odeur des boules à mites ou on a déjà trop de couches à changer. Sur l’invitation de Raymond Bock et d’Alexie Morin, treize auteurs ont accepté de placer les leurs dans les chambres qui(...)
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Maisons de vieux
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On a tous un ou deux vieux de trop quelque part. Les raisons sont toutes excellentes pour s’en défaire : on n’a pas de place chez soi ni le temps de s’en occuper, on n’aime pas l’odeur des boules à mites ou on a déjà trop de couches à changer. Sur l’invitation de Raymond Bock et d’Alexie Morin, treize auteurs ont accepté de placer les leurs dans les chambres qui composent ce recueil de nouvelles. Ils se livrent ainsi à un périlleux exercice de projection en se mettant dans la peau d’une personne âgée à l’approche de la fin. Évitant les clichés ou se jouant d’eux, ils nous offrent des histoires tendres, cruelles, parfois décousues, souvent sages et toujours nécessaires.
Maisons de vieux
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On a tous un ou deux vieux de trop quelque part. Les raisons sont toutes excellentes pour s’en défaire : on n’a pas de place chez soi ni le temps de s’en occuper, on n’aime pas l’odeur des boules à mites ou on a déjà trop de couches à changer. Sur l’invitation de Raymond Bock et d’Alexie Morin, treize auteurs ont accepté de placer les leurs dans les chambres qui composent ce recueil de nouvelles. Ils se livrent ainsi à un périlleux exercice de projection en se mettant dans la peau d’une personne âgée à l’approche de la fin. Évitant les clichés ou se jouant d’eux, ils nous offrent des histoires tendres, cruelles, parfois décousues, souvent sages et toujours nécessaires.
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livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Architecture de Montréal
Architecture de Montréal
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livres
livres
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Depuis les premiers artifices de la représentation du bâti, que nous pouvons notamment connaître grâce au traité de Vitruve, jusqu’aux nouvelles possibilités offertes à la figuration et à la fabrication de formes par les outils numériques, la question du dessin et de la perspective est au cœur du projet architectural et urbain. Les processus de conception et les figures(...)
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Depuis les premiers artifices de la représentation du bâti, que nous pouvons notamment connaître grâce au traité de Vitruve, jusqu’aux nouvelles possibilités offertes à la figuration et à la fabrication de formes par les outils numériques, la question du dessin et de la perspective est au cœur du projet architectural et urbain. Les processus de conception et les figures(...)
Publication:
novembre 2005, Paris
novembre 2005, Paris
Titre:
Les cahiers de la recherche architecturale et urbaine 17 : perspective, projections, projet - technologies de la représentation architecturale
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Depuis les premiers artifices de la représentation du bâti, que nous pouvons notamment connaître grâce au traité de Vitruve, jusqu’aux nouvelles possibilités offertes à la figuration et à la fabrication de formes par les outils numériques, la question du dessin et de la perspective est au cœur du projet architectural et urbain. Les processus de conception et les figures du projet sont en effet inséparables, en Occident, de ses techniques de représentation.
Les cahiers de la recherche architecturale et urbaine 17 : perspective, projections, projet - technologies de la représentation architecturale
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Depuis les premiers artifices de la représentation du bâti, que nous pouvons notamment connaître grâce au traité de Vitruve, jusqu’aux nouvelles possibilités offertes à la figuration et à la fabrication de formes par les outils numériques, la question du dessin et de la perspective est au cœur du projet architectural et urbain. Les processus de conception et les figures du projet sont en effet inséparables, en Occident, de ses techniques de représentation.
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livres
livres
Publication:
novembre 2005, Paris
novembre 2005, Paris
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livres
livres
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$60.00
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This book brings together eight of the most interesting and significant essays by the unequalled historian Robin Evans, author of The Projective Cast. Written over a period of 20 years from 1970, shortly after his graduation from the Architectural Association (AA), to 1990, the essays cover a wide range of architectural concerns: domestic space, society’s involvement with(...)
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This book brings together eight of the most interesting and significant essays by the unequalled historian Robin Evans, author of The Projective Cast. Written over a period of 20 years from 1970, shortly after his graduation from the Architectural Association (AA), to 1990, the essays cover a wide range of architectural concerns: domestic space, society’s involvement with(...)
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Translations from drawing to building and other essays, re-edition
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This book brings together eight of the most interesting and significant essays by the unequalled historian Robin Evans, author of The Projective Cast. Written over a period of 20 years from 1970, shortly after his graduation from the Architectural Association (AA), to 1990, the essays cover a wide range of architectural concerns: domestic space, society’s involvement with building types, aspects of geometry, modes of projection and drawing as a process for generating ideas. The book includes ‘Mies van der Rohe’s Paradoxical Symmetries’ and other essays first published in AA Files. Evans’s writings are supported by a new introduction and an annotated bibliography by Richard Difford. This AA Documents publication is a re-edition of the 1997 essay collection originally published by AA Publications.
Translations from drawing to building and other essays, re-edition
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This book brings together eight of the most interesting and significant essays by the unequalled historian Robin Evans, author of The Projective Cast. Written over a period of 20 years from 1970, shortly after his graduation from the Architectural Association (AA), to 1990, the essays cover a wide range of architectural concerns: domestic space, society’s involvement with building types, aspects of geometry, modes of projection and drawing as a process for generating ideas. The book includes ‘Mies van der Rohe’s Paradoxical Symmetries’ and other essays first published in AA Files. Evans’s writings are supported by a new introduction and an annotated bibliography by Richard Difford. This AA Documents publication is a re-edition of the 1997 essay collection originally published by AA Publications.
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livres
livres
Publication:
août 2023
août 2023
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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périodiques
périodiques
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Valerio Olgiati (b 1958) studied architecture at ETH in Zürich and lived and worked first in Zürich and later in Los Angeles for some years. In 1996 he opened his own practice in Zürich and in 2008 with his wife Tamara Olgiati in Flims. Projects include a school in Paspels, the Lake Cauma Project in Flims, the Bardill Studio in Scharans, the Visiting Center of the Swiss(...)
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Valerio Olgiati (b 1958) studied architecture at ETH in Zürich and lived and worked first in Zürich and later in Los Angeles for some years. In 1996 he opened his own practice in Zürich and in 2008 with his wife Tamara Olgiati in Flims. Projects include a school in Paspels, the Lake Cauma Project in Flims, the Bardill Studio in Scharans, the Visiting Center of the Swiss(...)
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El croquis 156: Valerio Olgiati 1996-2011
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Valerio Olgiati (b 1958) studied architecture at ETH in Zürich and lived and worked first in Zürich and later in Los Angeles for some years. In 1996 he opened his own practice in Zürich and in 2008 with his wife Tamara Olgiati in Flims. Projects include a school in Paspels, the Lake Cauma Project in Flims, the Bardill Studio in Scharans, the Visiting Center of the Swiss National Park in Zernez, the white concrete Projection Room Gornergrat located 3100 meter above sea level in Zermatt, Olgiati’s own office in Flims, the Learning Center EPFL in Lausanne, and the new entrance of the Grisons Parliament Building in Chur. Also includes an iconographic autobiography of important images stored in Olgiati’s head. Interview with Olgiati by Markus Breitschmid.
El croquis 156: Valerio Olgiati 1996-2011
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Valerio Olgiati (b 1958) studied architecture at ETH in Zürich and lived and worked first in Zürich and later in Los Angeles for some years. In 1996 he opened his own practice in Zürich and in 2008 with his wife Tamara Olgiati in Flims. Projects include a school in Paspels, the Lake Cauma Project in Flims, the Bardill Studio in Scharans, the Visiting Center of the Swiss National Park in Zernez, the white concrete Projection Room Gornergrat located 3100 meter above sea level in Zermatt, Olgiati’s own office in Flims, the Learning Center EPFL in Lausanne, and the new entrance of the Grisons Parliament Building in Chur. Also includes an iconographic autobiography of important images stored in Olgiati’s head. Interview with Olgiati by Markus Breitschmid.
Classification:
périodiques
périodiques
Publication:
septembre 2011
septembre 2011
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary(...)
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Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary(...)
Titre:
Retracing the expanded field: encounters between art and architecture
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Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art’s transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss’s hugely influential text and maps the ensuing interactions between art and architecture.
Retracing the expanded field: encounters between art and architecture
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Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art’s transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss’s hugely influential text and maps the ensuing interactions between art and architecture.
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livres
livres
Publication:
septembre 2014
septembre 2014
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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Description:
xiii, 459 pages : illustrations (some color), maps (some color) ; 29 cm
Description:
xiii, 459 pages : illustrations (some color), maps (some color) ; 29 cm
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Boston : Pearson, ©2012.
Boston : Pearson, ©2012.
Titre:
Urbanization : an introduction to urban geography / Paul L. Knox, Linda McCarthy.
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xiii, 459 pages : illustrations (some color), maps (some color) ; 29 cm
Urbanization : an introduction to urban geography / Paul L. Knox, Linda McCarthy.
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xiii, 459 pages : illustrations (some color), maps (some color) ; 29 cm
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livres
livres
Publication:
Boston : Pearson, ©2012.
Boston : Pearson, ©2012.
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livres
Titre:
Gunite over?
Gunite over?
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GUNITE OVER? Plasticité du béton, titre du premier numéro, reprend la conférence de l’architecture suisse Christian Dupraz présentée à Genève le 8 septembre 2012, lors des journées européennes du patrimoine consacrées à la pierre et au béton. Associée à la réalisation de surfaces concaves et convexes, la gunite est le mélange de béton et de sable permettant la projection(...)
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GUNITE OVER? Plasticité du béton, titre du premier numéro, reprend la conférence de l’architecture suisse Christian Dupraz présentée à Genève le 8 septembre 2012, lors des journées européennes du patrimoine consacrées à la pierre et au béton. Associée à la réalisation de surfaces concaves et convexes, la gunite est le mélange de béton et de sable permettant la projection(...)
Publication:
novembre 2014
novembre 2014
Titre:
Gunite over?
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GUNITE OVER? Plasticité du béton, titre du premier numéro, reprend la conférence de l’architecture suisse Christian Dupraz présentée à Genève le 8 septembre 2012, lors des journées européennes du patrimoine consacrées à la pierre et au béton. Associée à la réalisation de surfaces concaves et convexes, la gunite est le mélange de béton et de sable permettant la projection de la matière et sa solidification dans des formes complexes. L’application de cette technique est historiquement liée au développement des coques et à la recherche exigeante d’ingénieurs (Eduardo Torroja, Heinz Isler, Ulrich Müther,…) mais également au formidable questionnement des architectes pour une valorisation de la forme libre (Pascal Haüsermann, Vittorio Giorgini, Jacques Couëlle…). Ce parallélisme entre la démarche maîtrisée des uns et la quête aléatoire des autres nous renseigne sur la grande vitalité de notre histoire.
Gunite over?
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GUNITE OVER? Plasticité du béton, titre du premier numéro, reprend la conférence de l’architecture suisse Christian Dupraz présentée à Genève le 8 septembre 2012, lors des journées européennes du patrimoine consacrées à la pierre et au béton. Associée à la réalisation de surfaces concaves et convexes, la gunite est le mélange de béton et de sable permettant la projection de la matière et sa solidification dans des formes complexes. L’application de cette technique est historiquement liée au développement des coques et à la recherche exigeante d’ingénieurs (Eduardo Torroja, Heinz Isler, Ulrich Müther,…) mais également au formidable questionnement des architectes pour une valorisation de la forme libre (Pascal Haüsermann, Vittorio Giorgini, Jacques Couëlle…). Ce parallélisme entre la démarche maîtrisée des uns et la quête aléatoire des autres nous renseigne sur la grande vitalité de notre histoire.
Classification:
livres
livres
Publication:
novembre 2014
novembre 2014
Classification:
livres
livres
Titre:
Halka / Haiti: 18°48'05
Halka / Haiti: 18°48'05
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The Polish Pavilion at the 56th Venice Biennale will have the pleasure of presenting a panoramic film projection of the opera Halka by Stanislaw Moniuszko, as it was staged in February for the inhabitants of Cazale, a village situated in the mountains of Haiti. The winners of this year's contest for the official Polish representation in Venice, artists C.T. Jasper and(...)
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The Polish Pavilion at the 56th Venice Biennale will have the pleasure of presenting a panoramic film projection of the opera Halka by Stanislaw Moniuszko, as it was staged in February for the inhabitants of Cazale, a village situated in the mountains of Haiti. The winners of this year's contest for the official Polish representation in Venice, artists C.T. Jasper and(...)
Titre:
Halka / Haiti: 18°48'05
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The Polish Pavilion at the 56th Venice Biennale will have the pleasure of presenting a panoramic film projection of the opera Halka by Stanislaw Moniuszko, as it was staged in February for the inhabitants of Cazale, a village situated in the mountains of Haiti. The winners of this year's contest for the official Polish representation in Venice, artists C.T. Jasper and Joanna Malinowska and curator Magdalena Moskalewicz, decided to stage the opera in Haiti inspired by the mad plan of Werner Herzog's Fitzcarraldo, who wanted to build an opera house in the Amazon. Fascinated by Fitzcarraldo's faith in the universal power of opera, but not uncritical of the colonizing aspect of his actions, they decided to reveal and undercut its romanticism by confronting a set of very specific geographic, historical, and sociopolitical realities.
Halka / Haiti: 18°48'05
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The Polish Pavilion at the 56th Venice Biennale will have the pleasure of presenting a panoramic film projection of the opera Halka by Stanislaw Moniuszko, as it was staged in February for the inhabitants of Cazale, a village situated in the mountains of Haiti. The winners of this year's contest for the official Polish representation in Venice, artists C.T. Jasper and Joanna Malinowska and curator Magdalena Moskalewicz, decided to stage the opera in Haiti inspired by the mad plan of Werner Herzog's Fitzcarraldo, who wanted to build an opera house in the Amazon. Fascinated by Fitzcarraldo's faith in the universal power of opera, but not uncritical of the colonizing aspect of his actions, they decided to reveal and undercut its romanticism by confronting a set of very specific geographic, historical, and sociopolitical realities.
Classification:
livres
livres
Publication:
juillet 2015
juillet 2015
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Peter Bialobrezeski : Heimat
Peter Bialobrezeski : Heimat
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Bialobrzeski spent over two years traveling through Germany. "Heimat", which is German for "homeland," is the result of his journey. For Germans "Heimat" is a rather difficult term which embodies conflicting tendencies: destiny or coincidence, sentimental kitsch for pensioners and revisionists, and lost paradise or childhood trauma. In Bialobrzeski's own words, "Having a(...)
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Bialobrzeski spent over two years traveling through Germany. "Heimat", which is German for "homeland," is the result of his journey. For Germans "Heimat" is a rather difficult term which embodies conflicting tendencies: destiny or coincidence, sentimental kitsch for pensioners and revisionists, and lost paradise or childhood trauma. In Bialobrzeski's own words, "Having a(...)
Sujet:
Monographies photo
Monographies photo
Publication:
janvier 1900, Ostfildern
janvier 1900, Ostfildern
Titre:
Peter Bialobrezeski : Heimat
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Bialobrzeski spent over two years traveling through Germany. "Heimat", which is German for "homeland," is the result of his journey. For Germans "Heimat" is a rather difficult term which embodies conflicting tendencies: destiny or coincidence, sentimental kitsch for pensioners and revisionists, and lost paradise or childhood trauma. In Bialobrzeski's own words, "Having a home means having roots, which is not the same as being rooted to the spot." And since he is more interested in images than in places, "Heimat" is "not a book about Germany as homeland per se." Rather, it creates a fixed image of "a personalized bit of visual and cultural history." Bialobrzeski's photographs act as projection surfaces for modern man's yearning for nature-an homage to German Romanticism and at the same time bow to the works of contemporary American color photographers.
Peter Bialobrezeski : Heimat
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Bialobrzeski spent over two years traveling through Germany. "Heimat", which is German for "homeland," is the result of his journey. For Germans "Heimat" is a rather difficult term which embodies conflicting tendencies: destiny or coincidence, sentimental kitsch for pensioners and revisionists, and lost paradise or childhood trauma. In Bialobrzeski's own words, "Having a home means having roots, which is not the same as being rooted to the spot." And since he is more interested in images than in places, "Heimat" is "not a book about Germany as homeland per se." Rather, it creates a fixed image of "a personalized bit of visual and cultural history." Bialobrzeski's photographs act as projection surfaces for modern man's yearning for nature-an homage to German Romanticism and at the same time bow to the works of contemporary American color photographers.
Classification:
livres
livres
Publication:
janvier 1900, Ostfildern
janvier 1900, Ostfildern
Sujet:
Monographies photo
Monographies photo
