Après le succès des 3 volumes de Poemotion, le spécialiste de l'ombro-cinéma Takahiro Kurashima revient avec un quatrième opus. Plus conséquent que les précédents en termes de pagination, il revient à l'essentiel avec des animations en noir & blanc et un rhodoïde.
The bestselling volume on the multifaceted career of one of the leading figures in Italian Modernism, now in English.
Gio Ponti (1891-1979) was a giant of Italian Modernism, contributing to a multitude of fields: architecture, industrial design, furniture design, education, art criticism and publishing. From 1923 to 1930, Ponti served as the artistic director of the now cult Italian tableware manufacturer Richard Ginori.
Dans ce cours donnée par Piet Mondrian au Bauhaus, il présente l'art comme une expression fondamentale de l'âme humaine, et remet en question la hiérarchie entre art et architecture. Cet ouvrage, facsimilé de l'édition originale, reprend ce cours dans la maquette originale de Moholy-Nagy conçue en 1925, et utilise la traduction anglaise réalisée par Harry Holtzman. Les textes critiques contemporains sont rassemblés à la fin de l'ouvrage.
This reprint of the notebook Album Punjab Simla. Chandigarh, Mars 1951 kept by Le Corbusier from his two-week visit in the area that would become Chandigarh, the new capital city of the Indian state of Punjab, presents his written or sketched memos and personal reflections as well as notes and schematic solutions elaborated during meetings. The Album Punjab constitutes a primary source for reconstructing the topics addressed by the small team of architects and governmental officials who in only a few days developed the outlines of the Chandigarh plan.
The spiralbound notebook facsimile is accompanied by a paperback volume featuring previously unpublished photographs taken by Le Corbusier's cousin Pierre Jeanneret during this early expedition. Jeanneret documented the landscape and people that the architects encountered upon their arrival - a scenario destined to totally change with the birth of the great city. A detailed commentary by architectural historian Maristella Casciato is also included. It reflects on the variety of topics assem- bled in the notebook and traces the story of these days in which the new capital city was planned.
Dans ce volume du Bauhausbücher, Theo Van Doesburg tente de rendre les concepts élémentaires des arts visuels généralement compréhensibles. Il s'adresse à «l'artiste moderne» de son époque, qui devait faire face à la fois à des changements de paradigmes sociaux et à une compréhension changeante de l'art et de la théorie de l'art.
Peace appeals, reminders of human rights, calls to protect nature - posters have proven an effective medium in accompanying social and political struggles worldwide since the 1920s. Through the poster, these universal and timeless topics are able to reach a broad public and encourage critical debate.
While some posters are meant to shed light and are aimed at reflection, others appeal more strongly to the emotions of their audience. Some dismantle past and present autocrats cynically, ironically or humorously - while others construct idols that exemplify a different world. Dystopian images function as a provocation and warning, while utopian messages keep the belief in change alive. Symbols such as the raised fist or the dove of peace demonstrate their global and lasting power in ever new interpretations. Proven visual formulas and argumentation strategies are taken up in posters of the latest civil protest movements and are supplemented by new rhetoric.
The designers, acting individually or collectively, are united by commitment and an emancipatory attitude as well as the conviction that resistance requires its own aesthetic in order to function. The publication brings together works from around one hundred years that demonstrate the tradition of the poster as a medium of protest and assert its validity and necessity in the present day.
Cet ouvrage reprend le cours donné par Paul Klee aux étudiants du Bauhaus au début des années 1920. Dans une maquette de Moholy-Nagy, il y explique comment utiliser les formes géométriques et les lignes pour débuter le dessin. Ce facsimilé reprend la maquette originale de 1925 combinée avec la première traduction anglaise réalisée par Sibil Moholy-Nagy en 1953. Les textes critiques sont ajoutés à la fin du livre.
Dans le projet de recherche intitulé «Blind Maps and Blue Dots», Joost Grootens a étudié ce que les pratiques de cartographie contemporaines peuvent révéler sur le domaine en constante évolution de la conception graphique. Le passage aux modes de production numériques a fondamentalement changé le domaine du graphisme et conduit à une relation différente entre les producteurs et les utilisateurs d'informations visuelles. Dans sa thèse, Grootens soutient que l'évaluation des développements récents du graphisme est trop fortement centrée sur ce qui est arrivé à la personnalité du graphiste. Il propose un modèle alternatif qui se concentre sur les technologies qui ont façonné le domaine.
Cet ouvrage s'attache, grâce à l'étude de nombreux dessins, aux projets non construits du grand architecte italien Andrea Palladio, en particulier à Venise où il projetait d'élever d'autres églises ainsi qu'un monastère, de réaménager le quartier du Rialto et de reconstruire le Palais des Doges.
Cet ouvrage propose un réexamen de l'oeuvre complète de Felice Varini en s'appuyant sur ses installations les plus récentes. Son travail s'insère dans l'architecture sur laquelle il fait apparaître des anamorphoses qui se recompose à un point de vue préétabli. Un large public a pu cette année découvrir ces jeux de perception, à Paris dans l'expo Dynamo, mais aussi à Nantes, Saint Nazaire et Salon de Provence.
Depuis quatre années, Patrick Faigenbaum s'imprègne de la ville de Calcutta à travers ses habitants, ses rites et ses paysages intimes. Organisées en séquences, la centaine de clichés rassemblés dans ce livre est accompagnée de légendes détaillées et suivie d'un entretien avec une spécialiste de la culture bengalie, France Bhattacharya. Lauréat du Prix Henri Cartier-Bresson en 2013, ce projet est actuellement exposé à Paris à la Fondation HCB (13/05 - 26/07/15).
Ce livre en facsimilé reprend le cours d'architecture donné par Walter Gropius au Bauhaus au début des années 1920. Dans une maquette conçue par Moholy-Nagy, ce texte conçu pour les étudiants propose une perspective internationale sur l'architecture. Les traductions en anglais et l'appareil critique sont regroupés à la fin du livre.
Le Bauhaus a cherché à unir la vie, l'artisanat et l'art sous un même toit. Dans ce volume, Walter Gropius donne un aperçu complet des ateliers du Bauhaus. Il explique les principes de base guidant l'enseignement, décrit les développements contemporains de l'architecture et éclaire le point de vue du Bauhaus sur les ustensiles ménagers, qui visait à trouver la forme la plus appropriée pour l'objet respectif. Ici, Gropius présente les ateliers du Bauhaus à Weimar consacrés aux meubles, métaux, textiles et céramiques, entre autres sujets.
Ce treizième opus de la série des Bauhausbücher, les manuels d'enseignement pour les étudiants du Bauhaus, reprend le cours proposé par le peintre français Albert Gleizes sur le cubisme. Bien que celui-ci n'ait jamais été membre à part entière de l'école, il a néanmoins rédigé en 1928 un essai pour ses étudiants. En plus de ses propres oeuvres, Albert Gleizes y montre des travaux de Georges Braque, Robert Delaunay, Fernand Léger et Pablo Picasso comme exemples.
Otto Neurath's famous Modern Man in the Making, first published by Alfred A. Knopf in 1939, captures and describes the state of the world in the 1930s by using text and figurative illustrations. From 1925 onwards, Neurath and his team had worked on a new visual language termed "Isotype" (International System of Typographic Picture Education). At a time that saw the rise of new mass media making hitherto unthinkable amounts of information available, Neurath felt the need for a systematic visualization explaining facts, statistic data and comparative numbers in simple ways. The book can be seen as one of the most influential predecessors of today's ever-present infographics. Its mission was to analyze the "fundamental trends in the social, political and economic life of humanity." The topics covered in the book include diverse social issues of the time such as mortality, health, employment, trade, education, mobility, migration and demographics.
Modern Man in the Making shows Neurath's democratic endeavor to make knowledge intelligible and available to all. It is a reminder of graphic art's ability to inform and create context instead of presenting aesthetic qualities only. The book has inspired generations of designers and led to sometimes peculiar imitations and further developments. This pivotal historical picture-text book is made available again as a reprint of the original publication in the series XX The Century of Print - at a time in which new media force designers ever more so to break down complex data into easily comprehensible depictions.
The Sri Lankan architect Geoffrey Bawa (1919-2003) fused sensitivity for local context with the technological discoveries and design principles of modernism in his work. Accordingly, Bawa often incorporated materials (local stone and timber) and layouts (high roofs, cross-ventilation, vast overhangs) specific to Sri Lanka's monsoon climate and storied architectural history - from the cave monasteries of the Anuradhapura period to the feudal Walauwa style of manor houses - into his modernist designs.
Gathering essays by scholars and writers across a multitude of disciplines - including architecture, photography, geography, urban design and art history - this volume spotlights Bawa's exceptionally beautiful architectural drawings, delving into the central, multipronged role of the medium in his practice, from ideation to instruction to post-construction review. The anthology also explores the identity of post-independence Sri Lanka, which Bawa helped to shape - aesthetically and, less overtly, ideologically. Featuring over 200 lush drawings and photographs, many of which have never been published before, the book promises to engage both general and scholarly audiences with interests in architecture, drawing and archives.
An investigative record of the architectural movement emblematic of the Soviet Orient
After World War II, Tashkent, Uzbekistan, was designated as the capital of the Soviet Orient, a vitrine of socialism in the East. Conceived by both local and Moscow architects, the distinctive quality of Tashkent modernism (1964-91) emerges from the tension between the Soviet Union's ambition for the city and the locals' endeavor to retain their city's character.
This volume is an outgrowth of the Tashkent Modernism XX/XXI project, a research and preservation effort organized around a conference and exhibition held in 2023. The conference's title, "Where in the World Is Tashkent," was drawn from the 2000 American Institute of Architects conference "Where in the World Is Chicago," and its organizers shared a similar aim in re-situating the city of Tashkent as a paradigm for modernist architecture.
The book consists of two interwoven layers. The first section contains a series of written and visual essays, while the second includes 15 building monographs, detailing their histories, protection inventories and intervention strategies. Case studies include the Cosmonauts metro station and the Tashkent outpost of the Vladimir Lenin museum. Altogether, the volume explores key themes related to the architectural, social and cultural history of Tashkent and its current condition. More than just another "peripheral case" of multiple modernities or a white spot on the world map of architectural modernism of the 20th century, this architecture--being relevant to the global cultural scene--reflects the colonial, postcolonial and, at the same time, decolonial aspects of the Soviet social and cultural experiment.
Muji's art director shares his own personal creative process.
Kenya Hara inspires the world with his impeccable design, from the subtle atmospheres and environments he creates as the art director of Muji and his ethereal exhibition designs to his simple everyday objects, packaging and books. His design aesthetic can be traced back to a private practice: the diligent drafting of ideas and forms in delicate sketches and drawings that ultimately develop into compelling solutions.
