Ce livre historique abondamment illustré raconte comment quelques riches américaines, en tant que clientes et porteuses d'influence, ont favorisé l'émergence de la haute couture française à la fin du XIXe siècle.
A rich exploration of the extraordinary life and work of celebrated architect Yasmeen Lari.
After more than three decades as a renowned global architect, Yasmeen Lari, the first woman to open her own architecture firm in Pakistan in 1964, developed Zero Carbon Architecture, which unites ecological and social justice. This volume, edited by Angelika Fitz, Elke Krasny, and Marvi Mazhar,;presents Laris trajectory from exemplary modernist to zero carbon revolutionary, with a focus on her remarkable contributions to the global architectural movement to decarbonize and decolonize. The book includes extensive;photographs, drawings, and plans from Laris archive, most of which have;not previously been shown or published.
Laris architectural thinking and activism have always gone beyond the quest for a singular built solution. Rather, she strategically plans systemic approaches and solutions, be it for housing, a heritage foundation, or zero-carbon shelters with communities at risk. Original essays from diverse international contributors contextualize Laris work; investigate architecture and the postimperial, postcolonial, and postpartition condition; and examine the intersections of architecture and human rights, climate change, decolonization, gender, care, activism, and vernacular innovation. More than a tribute to Yasmeen Laris extraordinary career, this volume brings her legacy forward and shows how to create change today.
Une célébration de la baignade - piscines, saunas, plages, bains rituels, huttes de sudation, etc. - à travers le prisme de l'architecture et du paysage.
Essays on a range of photographic topics by the recently appointed chief curator of photography at MoMA.
This volume offers a selection of essays by the renowned photography historian Clément Chéroux. Chéroux, appointed chief curator of photography at the Museum of Modern Art (MoMA) in New York in 2020, takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. The texts, published together in one volume for the first time and newly translated into English, reflect the breadth of Chéroux's thinking, the rigor of his approach, and his endless curiosity about photographs.
In this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. Widely ranging, erudite, and engaging, these essays present Chéroux's innovative investigations of the histories of photography.
A meticulously created facsimile edition of a classic work on design by the progenitor of today's information design.
Long before the internet and its vast stores of information in digital form, information in analog form needed to be organized so that it was legible and accessible. One designer who revolutionized the presentation of printed information was modernist pioneer Ladislav Sutnar (1897-1976). In 1950, Sutnar and architect K. Lonberg-Holm published Catalog Design Progress, a guide to modernizing the design of printed materials through typographic simplicity, compositional ingenuity, and navigational devices that signal the logical flow of information. This meticulously created facsimile of the original book illustrates and enacts Sutnar's ideas, making clear their continuing influence on graphic design.
In the book, Sutnar contrasts his design style with the conglomeration of text and pictures that characterized earlier printed material. He identifies and illustrates visual features, including typography, pictures and charts, and covers, and shows how the arrangement and organization of visual units allows information to flow smoothly. For this edition, the Ladislav Sutnar Faculty of Art and Design at the University of West Bohemia in Pilsen, Czech Republic, has carefully recreated the original, with redrawn figures, retouched photos, re-typeset texts, five-color printing, and spiral binding. A separate reader's guide by celebrated design historian Steven Heller accompanies the book. Both book and guide are packaged in a slipcase.
A systematic investigation of growth in nature and society, from tiny organisms to the trajectories of empires and civilizations. Growth has been both an unspoken and an explicit aim of our individual and collective striving. It governs the lives of microorganisms and galaxies; it shapes the capabilities of our extraordinarily large brains and the fortunes of our economies. Growth is manifested in annual increments of continental crust, a rising gross domestic product, a child''s growth chart, the spread of cancerous cells. In this magisterial book, Vaclav Smil offers systematic investigation of growth in nature and society, from tiny organisms to the trajectories of empires and civilizations. Smil takes readers from bacterial invasions through animal metabolisms to megacities and the global economy. He begins with organisms whose mature sizes range from microscopic to enormous, looking at disease-causing microbes, the cultivation of staple crops, and human growth from infancy to adulthood. He examines the growth of energy conversions and man-made objects that enable economic activities--developments that have been essential to civilization. Finally, he looks at growth in complex systems, beginning with the growth of human populations and proceeding to the growth of cities. He considers the challenges of tracing the growth of empires and civilizations, explaining that we can chart the growth of organisms across individual and evolutionary time, but that the progress of societies and economies, not so linear, encompasses both decline and renewal. The trajectory of modern civilization, driven by competing imperatives of material growth and biospheric limits, Smil tells us, remains uncertain.
A photographic survey of the robotic face of Tokyo buildings and an argument that robot aesthetics plays a central role in architectural history.
In Tokyoids, architect François Blanciak surveys the robotic faces omnipresent in Tokyo buildings, offering an architectural taxonomy based not on the usual variables--size, material, historical style--but on the observable expressions of buildings. Are the eyes (windows) twinkling, the mouth (door) laughing? Is that balcony a howl of distress? Investigating robot aesthetics through his photographs of fifty buildings, Blanciak argues that the robot face originated in architecture--before the birth of robotics--and has played a central role in architectural history.
Blanciak first puts the robot face into historical perspective, examining the importance of the face in architectural theory and demonstrating that the construction of architecture's emblematic portraits triggered the emergence of a robot aesthetics. He then explores the emotions conveyed by the photographed buildings' robot faces, in chapters titled "Awe," "Wrath," "Mirth," "Pain," "Angst," and "Hunger." As he does so he considers, among other things, the architectural relevance of Tokyo's ordinary buildings; the repression of the figural in contemporary architecture; an aesthetic of dismemberment, linked to the structure of the Japanese language and local building design; and the influence of automation technology upon human interaction.
Part photographic survey, part theoretical inquiry, Tokyoids upends the usual approach to robotics in architecture by considering not the automation of architectural output but the aesthetic properties of the robot.
A concise introduction to the history and methods of espionage, illustrated by spy stories from antiquity to todays high-tech world.
Espionage is one of the most secret of human activities. It is also, as the popularity of spy stories suggests, one of the most intriguing. This book pulls the veil back on the real world of espionage, revealing how spying actually works. In a refreshingly clear, concise manner, Kristie Macrakis guides readers through the shadowy world of espionage, from the language and practice of spycraft to its role in international politics, its bureaucratic underpinnings, and its transformation in light of modern technology. Espionage is a mirror of society and human foibles with the added cloak of secrecy and deception. Accordingly,
A field-defining work that demonstrates how architects are breaking with professional conventions to advance spatial justice and design more equitable buildings and cities.
As state violence, the pandemic, and environmental collapse have exposed systemic inequities, architects and urbanists have been pushed to confront how their actions contribute to racism and climate crisis--and how they can effect change. Establishing an ethics of spatial justice to lead architecture forward, Dana Cuff shows why the discipline requires critical examination--in relation to not only buildings and the capital required to realize them but privilege, power, aesthetics, and sociality. That is, it requires a reevaluation of architecture's fundamental tenets.
Organized around projects and topics, Architectures of Spatial Justice is a compelling blend of theory, history, and applied practice that focuses on two foundational conditions of architecture: its relation to the public and its dependence on capital. The book draws on studies of architectural projects from around the world, with instructive case studies from Chile, Mexico, Japan, and the United States that focus in particular on urban centers, where architecture is most directly engaged with social justice issues.
Emerging from more than two decades of the author's own project-based research, Architectures of Spatial Justice examines ethically driven practices that break with professional conventions to correct long-standing inequities in the built environment, uncovering architecture's limits--and its potential.
An intimate look at American artist Sol LeWitt's masterpiece of conceptual art, drawn on the walls of a medieval tower in Italy.
In 1976, Sol LeWitt made a large group of pencil drawings on the internal walls of the Vecchia Torre, a medieval tower in the Umbrian town of Spoleto, Italy. These fragile drawings, made on walls that are susceptible to degradation, have rarely been seen and never been documented, yet they represent one of LeWitt's major works and a milestone in American conceptual art. This groundbreaking volume brings together an extended essay on LeWitt's work by art historian Rye Dag Holmboe and a series of 60 photographic plates of the drawings by artist Joschi Herczeg, giving readers an intimate experience of this singular, site-specific work.
A visual archive, this book situates LeWitt's provisional, material, bodily, and highly personal drawings in their historical, biographical, and theoretical contexts. The result is nothing less than a reconsideration of LeWitt's lifework. At once a work of conservation and a reflection on the relationship between drawing and architecture, Sol LeWitt's Studio Drawings in the Vecchia Torre sheds new and welcome light on an unseen masterpiece.
Au cours des trente dernières années, près de 100 petits livres qui s'appropriaient ou rendaient hommage à Ed Ruscha et ses petits formats comme Twenty-Six Gazoline Stations ont paru à travers le monde. Ce livre rassemble quatre-vingt-onze de ces projets d'artistes variés, présentant la couverture et des exemples de mises en page de chacun ainsi qu'une description de l'oeuvre. Il comprend également des sélections des livres de Ruscha et une annexe répertoriant tous les hommages connus des livres de Ruscha.
Here is the world's most famous master plan for seizing and holding power. Astonishing in its candor The Prince even today remains a disturbingly realistic and prophetic work on what it takes to be a prince . . . a king . . . a president. When, in 1512, Machiavelli was removed from his post in his beloved Florence, he resolved to set down a treatise on leadership that was practical, not idealistic. In The Prince he envisioned would be unencumbered by ordinary ethical and moral values; his prince would be man and beast, fox and lion. Today, this small sixteenth-century masterpiece has become essential reading for every student of government, and is the ultimate book on power politics.
An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS.
From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O'Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects--many of which she was able to experience firsthand--and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomenon.
Two distinguished linguists on language, the history of science, misplaced euphoria, surprising facts, and potentially permanent mysteries.
In The Secrets of Words, influential linguist Noam Chomsky and his longtime colleague.
Andrea Moro have a wide-ranging conversation, touching on such topics as language and linguistics, the history of science, and the relation between language and the brain. Moro draws Chomsky out on todays misplaced euphoria about artificial intelligence (Chomsky sees lots of hype and propaganda coming from Silicon Valley), the study of the brain (Chomsky points out that findings from brain studies in the 1950s never made it into that eras psychology), and language acquisition by children. Chomsky in turn invites Moro to describe his own experiments on language and the brain, and Moro does so, drawing a distinction between u>where/u> questions (where in the brain language happens) and what questions (what actual information is passed from one neuron to another).br>;br>Chomsky once said, It is important to learn to be surprised by simple facts--an expression of yours that has represented a fundamental turning point in my own personal life, says Moro--and this is something of a theme in their conversation. Another theme is that not everything can be known; there may be permanent mysteries, about language and other matters. Not all words will give up their secrets.
B>An argument against the ideology of domesticity that separates work from home; lavishly illustrated, with architectural proposals for alternate approaches to working and living.br>;/b>br>br>Despite the increasing numbers of people who now work from home, in the popular imagination the home is still understood as the sanctuary of privacy and intimacy. Living is conceptually and definitively separated from work. This book argues against such a separation, countering the prevailing ideology of domesticity with a series of architectural projects that illustrate alternative approaches. Less a monograph than a treatise, richly illustrated, the book combines historical research and design proposals to reenvision home as a cooperative structure in which it is possible to live and work and in which labor is socialized beyond the family--freeing inhabitants from the sense of property and the burden of domestic labor.;br>;br>The projects aim to move the house beyond the dichotomous logic of male/female, husband/wife, breadwinner/housewife, and private/public. They include the reinvention of single-room occupancy as a new model for affordable housing; the reimagining of the simple tower-and-plinth prototype as host to a multiplicity of work activities and enlivening street life; and a plan for a modular, adaptable structure meant to house a temporary dweller. All of these design projects conceive of the house not as a commodity, the form of which is determined by its exchange value, but as an infrastructure defined by its use value.br>;br>br>br>;
Experiments in architectural education in the post-World War II era that challenged and transformed architectural discourse and practice.
In the decades after World War II, new forms of learning transformed architectural education. These radical experiments sought to upend disciplinary foundations and conventional assumptions about the nature of architecture as much as they challenged modernist and colonial norms, decentered building, imagined new roles for the architect, and envisioned participatory forms of practice. Although many of the experimental programs were subsequently abandoned, terminated, or assimilated, they nevertheless helped shape and in some sense define architectural discourse and practice. This book explores and documents these radical pedagogies and efforts to defy architecture's status quo.
The experiments include the adaptation of Bauhaus pedagogy as a means of "unlearning" under the conditions of decolonization in Africa; a movement to design for "every body," including the disabled, by architecture students and faculty at the University of California, Berkeley; the founding of a support network for women interested in the built environment, regardless of their academic backgrounds; and a design studio in the USSR that offered an alternative to the widespread functionalist approach in Soviet design. Viewed through their dissolution and afterlife as well as through their founding stories, these projects from the last century raise provocative questions about architecture's role in the new century.
The first comprehensive history in English of film at the Bauhaus, exploring practices that experimented with film as an adaptable, elastic "polymedium." With Design in Motion, Laura Frahm proposes an alternate history of the Bauhaus--one in which visual media, and film in particular, are crucial to the Bauhaus's visionary pursuit of integrating art and technology. In the first comprehensive examination in English of film at the Bauhaus, Frahm shows that experimentation with film spanned a range of Bauhaus practices, from textiles and typography to stage and exhibition design. Indeed, Bauhausler deployed film as an adaptable, elastic "polymedium," malleable in shape and form, unfolding and refracting into multiple material, aesthetic, and philosophical directions.
Frahm shows how the encounter with film imbued the Bauhaus of the 1920s and early 1930s with a flexible notion of design, infusing painting with temporal concepts, sculptures with moving forms, photographs with sequential aesthetics, architectural designs with a choreography of movement. Frahm considers, among other things, student works that explored light and the transparent features of celluloid and cellophane; weaving practices that incorporate cellophane; experimental films, social documentaries, and critical reportage by Bauhaus women; and the proliferation of film strips in posters, book covers, and other typographic work.
Viewing the Bauhaus's engagement with film through a media-theoretic lens, Frahm shows how film became a medium for "design in motion." Movement and process, rather than stability and fixity, become the defining characteristics of Bauhaus educational, aesthetic, and philosophical ethos.
B>A philosophical guide to passengerhood, with reflections on time, space, existence, boredom, our sense of self, and our sense of senses./b>br>br>While there are entire bookstore sections--and even entire bookstores--devoted to travel, there have been few books on the universal experience of being a passenger. With this book, philosopher Michael Marder fills the gap, offering a philosophical guide to passengerhood. He takes readers from ticketing and preboarding (preface and introduction) through a series of stops and detours (reflections on topics including time, space, existence, boredom, our sense of self, and our sense of senses) to destination and disembarking (conclusion).;br>;br>Marder finds that the experience of passengers in the twenty-first century is experience itself, stretching well beyond railroad tracks and airplane flight patterns. On his journey through passengerhood, he considers, among many other things, passenger togetherness, which goes hand in hand with passenger loneliness; flyover country and the idea of placeness; and Descartes in an airplane seat. He tells us that the word metaphor means transport in Greek and discusses the gray area between literalness and metaphoricity; explains the connection between reading and riding; and ponders the difference between destination and destiny. Finally, a Beckettian disembarking: you might not be able to disembark, yet you must disembark. After the voyage in the world ends, the journey of understanding begins.
The complex appropriation of Piranesi by modern literature, photography, art, film, and architecture.
The etchings of the Italian printmaker, architect, and antiquarian Giovanni Battista Piranesi (1720-78) have long mesmerized viewers. But, as Victor Plahte Tschudi shows, artists and writers of the modern era found in these works--Piranesi's visions of contradictory space, endless vistas, and self-perpetuating architecture--a formulation of the modern. In Piranesi and the Modern Age, Tschudi explores the complex appropriation and continual rediscoveries of Piranesi by modern literature, photography, art, film, and architecture. Tracing the ways that the modern age constructed itself and its origin through Piranesi across genres, he shows, for example, how Piranesi's work formulates the ideas of "contrast" in photography, "abstraction" in painting and "montage" in cinema.
Piranesi's modern-day comeback, Tschudi argues, relied on new dimensions found within his work that inspired attempts to inscribe within them a world that was very modern. For more than a century, these interpretations have helped legitimize new forms, theories, technologies, and movements. Tschudi examines, among other things, how Piranesi's disturbing prison interiors--the Carceri--became modern metaphors for the mind; how Alfred H. Barr and the Museum of Modern Art made the case for Piranesi's alleged abstraction in the 1930s; and how Sergei Eisenstein reinvented Piranesi as a progenitor of his own innovative filmmaking techniques. Tschudi's exploration of Piranesi's influence on modern architectural discourse includes interviews with such distinguished architects as Peter Eisenman, Bernard Tschumi, Steven Holl, and Rem Koolhaas. Generously illustrated, Piranesi and the Modern Age offers an entirely new reading of Piranesi's work.
A lively, informative, and engaging guide to gender by an author-illustrator who helps readers understand the multiplicity of answers to "What even is gender?" Queer, cisgender, transgender, nonbinary, androgynous, maverique, intergender, genderfluid. Louie and their cat (a.k.a. "Cat") take you on a journey through the world of gender--without claiming to have it all figured out or knowing the perfect definition for this widely complex subject. Gender is tricky to understand because it's a social construct intersecting with many other parts of our identity, including class, race, age, religion. For a long time, people thought of gender as binary: male/female, pirate/princess, sports/shopping. Now, we're starting to understand it's not that simple. That's what this book is about: figuring out what gender means, one human being at a time, and giving us new ways to let the world know who we are.
Boy, girl, either/or, neither/nor, everything in between: gender is a spectrum, and it's hard to know where you fit, especially when your position isn't necessarily fixed--and the spectrum keeps expanding. That's where Rethinking Gender can help: it gives you a toolbox for empathy, understanding, and self-exploration. Louie's journey includes a deep dive into the historical context of LGBTQIA+ rights activism and the evolution of gender discourse, politics, and laws--but it also explores these ideas through the diversity of expressions and experiences of people today.
In Rethinking Gender Louie offers a real-world take on what it means to be yourself, see yourself, and see someone else for who they are, too.
Questions explored in Rethinking Gender include:
What is cisgender? Dysphoria? Non-binary? Intersex? Intersectionality?Are sex and gender biological? Cultural? Social? Personal?What do race, religion, age, and education have to do with it?How do we recognize stereotypes, and what can we do about them?Do physical characteristics determine sex, and, if not, what does?How common is it not to fit in the box checked M or F?When is surgery or medical intervention called for, and who gets to decide?How have ideas about gender changed over time?What is gender identity, how do we know ours, and how do we talk to someone whose gender is different from our own?
B>Why, surrounded by screens and smart devices, we feel a deep connection to the analog--vinyl records, fountain pens, Kodak film, and other nondigital tools./b>br>br>Were surrounded by screens; our music comes in the form of digital files; we tap words into a notes app. Why do we still crave the realness of analog, seeking out vinyl records, fountain pens, cameras with film? In this volume in the MIT Press Essential Knowledge series, Robert Hassan explores our deep connection to analog technology. Our analog urge, he explains, is about what weve lost from our technological past, something thats not there in our digital present. Were nostalgic for what we remember indistinctly as somehow more real, more human. Surveying some of the major developments of analog technology, Hassan shows us whats been lost with the digital.br>;br>Along the way, he discusses the appeal of the 2011 silent, black-and-white Oscar-winning film The Artisu>t/u>; the revival of the non-e-book book; the early mechanical clocks that enforced prayer and worship times; and the programmable loom. He describes the effect of the typewriter on Nietzsches productivity, the pivotal invention of the telegraph, and the popularity of the first televisions despite their iffy picture quality.br>The transition to digital is marked by the downgrading of human participation in the human-technology relationship. We have unwittingly unmoored ourselves, Hassan warns, from the anchors of analog technology and the natural world. Our analog nostalgia is for those ancient aspects of who and what we are.