Catalogue de l'exposition L'Art de vivre à la Cité de l'Architecture en octobre 2021, cette monographie explore le travail avant-gardiste de l'architecte Hans-Walter Müller autour de l'architecture gonflable. Un ensemble d'entretiens, de photographies et de documents d'archives retracent le développement d'une vision de l'architecture créative qui résonne avec les problématiques écologiques d'aujourd'hui.
Le proto-habitat est un projet utopique développé par les architectes Flavien Menu et Frédérique Barchelard, un habitat nomade, écologique et modulable qui rencontre, avec les crises sanitaire, immobilière et environnementale, une singulière actualité. Il s'agit d'un logement montable et démontable en cinq jours, construit tout entier dans un bois issu de forêts situées à moins de 500 km de son site de montage. Juxtaposables, superposables, les modules qui le constituent peuvent s'emboîter pour construire un habitat individuel ou collectif, en ville ou à la campagne, pour six mois ou toute une vie. Au-delà de ce projet, cet ouvrage élargit le propos en posant la question de notre rapport au logement, à la vie collective ou individuelle, à un certain militantisme et à ses sources.
On a little-known 1970s experiment in pneumatic architecture by the Belgian architect and Atelier Alpha cofounder.
A.J. Lode Janssens (born 1947) is one of Belgium's most idiosyncratic architects and a radical educator. He was cofounder of the experimental studio Atelier Alpha and the Sint-Lucas Werkgemeenschap, a workshop linking architectural education, practice and research, and operated in close collaboration with ILAUD, the International Laboratory of Architecture and Urban Design. A.J. Lode Janssens: 1,47 mbar presents The Balloon, an all-but-unknown temporary pneumatic home experiment, built in 1973 in Humbeek, where he lived with his family until 1986. Lode Janssens considered it an uncompromising ephemeral attempt at de-architecturalization and living in harmony with nature: a cave-dwelling, a work-in-progress, an empirical residence. This publication accompanies the exhibition A.J. Lode Janssens: Balloon Home at CIVA in Brussels.
Paradigms and themes of the architectural in Gego's drawings and sculptures.
From 1932 to 1938, before emigrating to Venezuela, Gego (1912-94) studied architecture and engineering at the Stuttgart Polytechnic University. In 1955--as she began to become active as an artist--she wrote to her former professor, Paul Bonatz: "Even if I have strayed from architecture and found myself unable to master life through it, it has nonetheless shaped me, to some degree at least." Conceptual approaches and practical ideas about architecture and processes of space creation remained a constant theme in her art.
This book is published for the exhibition Gego: The Architecture of an Artist at the Kunstmuseum Stuttgart. The Fundación Gego's permanent loan to the museum of 100 works has made it possible to illuminate this architectural theme, with special attention to the artist's graphic work.
On a daring late-'80s experiment in form by Rem Koolhaas' Office for Metropolitan Architecture.
In 1989, the Office for Metropolitan Architecture developed a new architectural typology helmed by the Dutch architecture firm's founder Rem Koolhaas (born 1944). The goal of this endeavor was to enact a "project without form" as part of an international competition to build a new national library in France. In the OMA laboratory in Rotterdam, experts from multiple different disciplines were able to work on this challenge at the same time. Within this experimental, multidisciplinary approach to design, the mechanisms of project development and knowledge acquisition merge into increasingly abstract systems of representation. The focus of the final design was the idea of the void, an absence of form: the solid square building would have gaps carved out of its exterior to represent the occasional rifts in memory inherent in human experience.
This volume presents the planning, progress and legacy of the project, drawing from interviews with various participants conducted by Holger Schurk. The publication illuminates the hybrid processes of production and representation as part of the development of OMA's design for the Très Grande Bibliothèque in Paris. These are documented in numerous previously unpublished sketches, drawings and photographs, as well as sequences of video stills.
Après avoir été détruites dans le bombardement de Dessau en 1945, les maisons de Moholy-Nagy et du Directeur du Bauhaus font l'objet d'une reconstruction à l'identique en 1990. En 2010, après consultation de David Chipperfield pour leur restauration, la décision est prise de privilégier cette fois des matériaux contemporains plutôt que de chercher la reproduction exacte, en faisant appel à l'architecte Bruno-Fioretti-Marquez qui va réinterpréter les deux maisons. Ce livre retrace l'histoire de ces maisons en présentant les plans successifs, des documents d'archives, les évolutions architecturales choisies et les nouveaux bâtiments désormais achevés.
Ce livre présente en détail les 5 unités d?habitation du Corbusier : Marseille, Firminy, Briey, Berlin et Nantes, toutes planifiées entre 1945 et 1967. Celle de Marseille, construite en 1952, servit de prototype aux suivantes. Ces 5 bâtiments font l?objet d?une exposition à Berlin au printemps 2019. Elles sont documentées ici avec des photos récentes témoignant de leurs différents états de conservation aujourd?hui, et décrites par des textes en anglais, allemand et français.
Welche Rolle können Architektur und Architekten im 21. Jahrhundert spielen? Welche Möglichkeiten ergeben sich, wenn wir Architektur nicht als Ansammlung von Gegenständen, sondern als Handlungskompetenz begreifen? Welche Raumdynamiken entstehen, wenn wir uns in unseren Praktiken von den wachstumsbesessenen und abschöpfungsgetriebenen Impulsen des Neoliberalismus abwenden? Seit 2018 versucht Making Futures, diese Fragen mithilfe einer praxisbasierten Forschung zu beantworten, die verschiedene Disziplinen, Institutionen und Territorien umfasst. An Schulen, in Workshops und anderen Bildungsformaten hat Making Futures Modi der Gestaltung von Städten erkundet, die auf verschiedenen Arten des Wissensaustauschs beruhen: Montieren, Bauen, Backen, Recyceln, Tanzen usw. Die Publikation von Making Futures erläutert die Erfahrungen und Forderungen, die sich aus dieser Actionresearch ergeben. Sie bietet ein neues Verständnis von Architektur als kollektivem Prozess und Ressource.
Making Futures ist ein praxisbasiertes Forschungsprojekt, das 2018 in Zusammenarbeit zwischen dem raumlabor und der Universität der Künste (UdK) Berlin entstanden ist.
Making Futures sind: Markus Bader, Juan Chacón, George Kafka, Anna Kokalanova, Christof Mayer, Tatjana Schneider, Rosario Talevi What role might architecture-and the architect-play in the twenty-first century? What possibilities arise when we view architecture as a form of agency rather than as a collection of objects? What spatial dynamics emerge when we turn our practices away from the dictates of the neoliberal era with its obsession with growth and skimming off profit? Since 2018, Making Futures has sought ways to answer these questions through practice-based research across disciplines, institutions, and territories. In schools, workshops, and other educational formats, Making Futures has explored modes of city-making based around diverse forms of knowledge exchange: assembling, constructing, baking, recycling, dancing and more. The Making Futures publication lays outlines the experiences of this action research and the ideas it urges. It proposes a refreshed understanding of architectural practice as a collective process and as a resource.
Making Futures is a practice-based research project initiated in 2018 as a collaboration between raumlabor and the Berlin University of the Arts (UdK).
Making Futures is: Markus Bader, Juan Chacón, George Kafka, Anna Kokalanova, Christof Mayer, Tatjana Schneider, Rosario Talevi
An exhibitor at the Venice Architecture Biennale argues for a shift towards sustainability and restoration in the field.
Exhibiting at the German Pavilion of the 18th Venice Architecture Biennale, this collaboration between the Summacumfemmer Büro Juliane Greb Collective and ARCH+ proposes a sustainable approach to architecture, prioritizing restoration and maintenance of existing buildings over the profligate use of resources in new constructions.
"Urbanity, the tension between the built and the grown, is the central theme in my work. I deal with THE CITY - besides Berlin also Rome, Istanbul and London. Big cities are centrifuges of acceleration in the modern age, symbolising the main issues of our time.
Berlin is the centre of my life and the place where permanent change is visible to me. Since the 1980s I have created several bodies of work about Berlin, beginning with "inter esse" (1985-87) and most recently "NOW, BERLIN" (2013-2016-2022). These are self-contained works that describe the period in question, also referencing my own life and experiences.
NOW, BERLIN pursues my engagement with the phenomenon of THE CITY and aims to reflect the essence of a specific historical moment. In recent years, as well as significant changes in its outward appearance, Berlin's socio-economic microclimate has also undergone major structural changes that have impacted people's lives, and that also affect me. Each photograph stands for a specific urban theme, e.g. cityscape, everyday life, migration, tourism, gentrification. The moment becomes a quotation, snatched from the NOW."
