Catalogue Spring 2019
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El Croquis 189: Alfredo Paya, Toni Girones, Jose Maria Sanchez Garcia the Secret Life of Date Palms
I D E A B O O K S Architecture & Landscape I D E A B O O K S Architecture & Landscape El Croquis 189: Alfredo Paya, Toni Girones, Jose Maria Sanchez Garcia The Secret Life Of Date Palms El Croquis El Escorial 2017 Archizoom Lausanne 2017 ISBN 9788488386953 ISBN 9782970113201 $ 67.55* -- Idea Code 17231 $ 35.75* -- Idea Code 17188 author: Cyril Veillon Ed José María Sánchez García, Alfredo Payá, and Toni Gironès are the subjects of this triple focus on young Spanish architects. Although based in different cities and regions, they all launched their Six date palm characteristics provide the structure of this book: Form, Fruit, Hydration, careers in the 21st century, and each has since built notable projects throughout Spain and its Metamorphosis, Shade and Shadow, and Gender. Each investigation draws on Emirati traditions territories. Each architect’s profile includes a biography, a conversation with the architect, an essay and tacit knowledge to share a narrative that is infused with sensitivity, genuine curiosity, and by the architect, and several examples of built works. Gain insight on these three architects and human inventiveness. This is the story of a species that continues to provide great value to the recent highlights from the Spanish architecture scene, including the Rowing Pavilion in Alange, the Middle East. The hope is that the spirit of engagement and ingenuity employed throughout history Ibiza and Formentera Music and Dance Conservatory, and the Climate Museum in Lleida. inspires others to find value in their own regional -
LA PART DES CHOSES / DAVID BEATTIE/ Thomas Bernardet
LA PART DES CHOSES / DAVID BEATTIE/ THOMas BERNardet/ HERVÉ BRÉHIER/ MATT CALDERWOOD/ Marc GENEIX/ INGO GERKEN/ SÉbasTIEN MaloberTI/ Navid NUUR/ DELPHINE Reist/ ARIEL SchlesiNGER/ U PROPOSAL BY IN EXTENSO EXHIBTION FROM MAY 21 TO JULY 4,2010 OPENING FRIDAY 21 MAY FROM 6 TO 9 PM 2 SUMMARY - LA PART DES CHOSES - THE EXHIBITION - THE ARTISTS - MAINS D'OEUVRES - IN EXTENSO - PAULINE BASTARD 'S SOLO SHOW - PRACTICAL INFORMATION - PARTNERS 3 AT THE invitation OF MAINS D’ŒUVRES, IN EXTENSO PRESENTS THE THIRD EXHIBITION OF LA PART DES CHOSES, A PROJECT COMPRISED OF FIVE EXHIBITIONS, THE FIRST TWO OF WHICH WERE HELD IN NANTES AND CLERMONT-FERRAND. LA PART DES CHOSES/STILL LIFE BRINGS TOGETHER, IN MAINS D'ŒU- VRES' EXHIBITION SPACE, SEVERAL "SILENT" WORKS. Deliberately avoiding QUESTIONING THESE representations, THIS EXHIBITION ASSEMBLES SCULPTURES AND installations (PROTOTYPES?) that ALL SHARE A VISIBLE REJECTION OF explanation, leaving THEM- selves OPEN TO multiple interpretations. THEY ARE at ONCE CONSTRUCTED FROM THE WORLD AROUND US (THROUGH THE USE OF materials recuperated FROM OUR QUOTIDIAN ENVIRONMENT: AN ashtray, A radiator...) AND YET SHIFTED, FROM ONE CONTEXT TO ANOTHER, THEIR poetry LINGERING AS THEY LOSE THEIR SENSE, THE TRANSCENDENCE OF THE TOOL. Although certain ARTISTS PRESENTED HERE MIGHT SOMETIMES integrate AN EXTENSIVE STUDIO transformation INTO THEIR METHODS, THE implementa- TION OF PIECES SHOWN HERE IS BASED ON SIMPLE, rudimentary METHODS, BRINGING US TO THE FRONTIER OF THE READY-MADE, WITH SOMETHING subtly ADDED OR CHANGED. IN THE END, THESE SYSTEMS, SEEM ALMOST autonomously TO SEEK THEIR OWN DE- GREE OF REALITY, AND IN DOING SO, QUESTION OURS. -
The Book House
PETER BLUM GALLERY ERIK LINDMAN Born 1985 in New York, NY Lives and works in New York, NY EDUCATION 2007 Columbia University, B.A. 2006 Yale Norfolk Painting Fellowship SOLO EXHIBITIONS 2021 Balke (Prélude), Almine Rech, Paris, France 2020 Fal/Parsi, Peter Blum Gallery, New York, NY 2019 Parsifal, Almine Rech, London, UK Whelping Box: New Sculptures and Paintings, Ribordy Thetaz, Geneva, Switzerland Sculptures: a Project by Erik Lindman with Photographs by David Schoerner, Emmanuel Barbault, New York, NY 2017 Erik Lindman, Almine Rech, New York 2016 Metal Paintings, Almine Rech, London, UK Torso, ribordy contemporary, Geneva, Switzerland 2015 Blanks, Almine Rech, Paris, France 2014 Open Hands, Almine Rech, Brussels, Belgium. 2013 Do not touch doubtful things, ribordy contemporary, Geneva, Switzerland 2012 Human Personality, Almine Rech, Paris, France Studio, ribordy contemporary, Geneva, Switzerland 2011 Hannah Barry Gallery, London, U.K. ribordy contemporary, Geneva, Switzerland One Year Edit, Golden Age, Chicago, IL 2010 Erik Lindman, Photographs / Zak Kitnick, Stamps, West Street Gallery, New York, NY 2009 House Wine, House Music V&A, New York, NY SELECTED GROUP EXHIBITIONS 2021 100 Sculptures, Curated by Todd Von Ammon, anonymous gallery, New York, NY 2020 Accrochage, Ribordy Thetaz, Geneva, Switzerland 100 Sculptures, Curated by Todd Von Ammon, No Gallery, Los Angeles, CA 2019 Lineup, Almine Rech, New York, NY 2018 100 Sculptures, Curated by Todd Von Ammon, anonymous gallery, Mexico City, Mexico Excavation, Peter Blum Gallery, New York, NY Gorchov, Lindman, Provosty, ribordy contemporary, Geneva, Switzerland 2017 The Surface of the East Coast: From Nice to New York, Curated by Marie Maertens, le 109, Nice, France Painting or Not, KaviarFactory, Lofoten, Norway 2016 MUTATION (S), ribordy contemporary, Geneva, Switzerland Blumarts Inc. -
Jewish Federation the STRE
THE STRENGTH OF A PEOPLE. Jewish Federation THE POWERTHE OF S CTRENGTHOMMUNITY. OF A PEOPLE. Jewish FedOF GRANDerat RAPIDionS THE POWER OF COMMUNITY. OF GRAND RAPIDS JUNE 2021 New Holocaust Memorial at the Frederik Meijer Gardens & Sculpture Park Generously Given by The Pestka Family The Jewish Federation of Grand Rapids has received a generous gift from the Pestka Family in memory of their father Henry, a Holocaust survivor, and the millions of other Jews who perished in the Holocaust. Henry Pestka was born in Poland, and deported to the Auschwitz death camp as a young man. Henry managed to escape during a death march, and joined the Free French in the fight against the Nazis. After the war ended, Henry immigrated to the United States and settled in Grand Rapids. The gift will be used to establish the first Holocaust memorial in Grand Rapids, to be located at the Frederik Meijer Gardens & Sculpture Park. The selected sculpture, by Israeli artist Ariel Schlesinger, is titled Ways to Say Goodbye. It is an exceptional work of contemporary sculpture dealing with themes of profound loss and grief, and will serve to memorialize the millions who perished in the Holocaust and the Holocaust survivors of Western Michigan. About the Artist Ariel Schlesinger (b. 1980, Jerusalem) reveals the poetry, poignancy and potential of everyday things. Through precise interventions, creative engineering and trompe l’oeil, Ariel Schlesinger’s work challenges our perceptions and encourages us to look at the familiar in new ways. Ariel Schlesinger has lived and worked in many parts of the world, including the United WWW.JEWISHGRANDRAPIDS.ORG States, Great Britain, Mexico and Germany. -
JONATHAN MONK EDUCATION Awards SOLO EXHIBITIONS
JONATHAN MONK Born: 1969 in Leicester, United Kingdom Lives and works in Berlin, Germany EDUCATION 1991 Glasgow School of Art, Glasgow, Scotland 1988 Leicester Polytechnic, Leicester, United Kingdom Awards 2012 Les Prix du Quartier Des Bains SOLO EXHIBITIONS (*publication/catalogue) 2015 Many Hands make Light Work, Until Then, Paris, France Anything by the Smiths, CAN Neuchâtel, Switzerland Dvir, Tel Aviv, Israel 2014 I ♥ 1984, Lisson Gallery, London monk><nannucci, with Maurizio Nanucci, Quartz Studio, Turin, Italy Jonathan Monk; The Project Spaces, Irish Museum of Modern Art, Dublin I went to school with someone called Jonathon Monk, Casey Kaplan, NY The Reader, Taro Nasu, Tokyo More Than Four Hundred Million Ways, Meyer Riegger, Karlsruhe Left Foot, Galleri Nicolai Wallner, Copenhagen 2013 COLOURS, SHAPES, WORDS (pink, blue, square, circle, etc.), CAC, Málaga, Spain *Less Is More Than One Hundred Indian Bicycles (with words by Rikrit Tiravanija and a Silver Shadow), Kunstraum Dornbirn, Austria In Between Exhibitions I, II, III, IV, Yvon Lambert, Paris, France Senza Titolo, Lisson Gallery, Milan, Italy Egg, Centre d'édition contemporaine, Geneva, Switzerland 2012 “They came out of nowhere,” he said, pointing to nowhere (with Ryan Gander), Taro Nasu, Tokyo Who Ate All The Pies? Meyer Riegger, Berlin Jonathan Monk & David Shrigley, Yvon Lambert, Paris, France 2011 Life and Death, Dvir Gallery, Tel Aviv, Isreal Pre-Birth Communication, Dvir Gallery, Isreal World Time Clock and Used Cars, Galleri Nicolai Wallner, Copenhagen, Denmark Dear -
\ My Personal Experiences About Zaha Hadid
ArchiCreationArchiCreation36 λ৵喑⮱͗ϧ㏼侹ڠ \ MY PERSONAL EXPERIENCES ABOUT ZAHA HADID ⒅ᇖ \ Pan Yan 㔨䃾喟Ვᄜ \ Translator: Yang Jun γܳᲽ喑ᣏ䃕γ৵⮱䌢҉ͧ⣝АͨͶ䌢⮱᱙䉕ᆋᕔ喠ᄦλ৵e৵䔗ᓤᐧܧಸ䶦Ⱋ䔈㵹ϟࢳ㔰ᄌ⮱ധ̷ևڥ͗܍ᦅ㺮喟᱙᪴ᄦλ৵e৵䔗ᓤ㕹͇⩌⋜̻θߎࣾᆂ⮱̺ह䭣⃢⮱ ࡃহ྿Ҁߖᣕ̸䊲፥㻱⮱倅䕌ࣾᆂ喑Ꭳᄦ䔆ᐧま䃫䃎⤰ڕま䌢⮱ᐭ - 䌢⌽䊸⛌ - ䷻ᵩࡃ⮱⬂䔦݊ₒϔ⩌ - ䷻ᵩࡃᐭͧͨᄩ䔆ᵤ⮱ࣾᆂ㏬㉏䔈㵹γᣏ䃕喠ᎣՌₑ䃕䃧γᐧまጵౕ γᕊ㔰ȡౕ䔆ऻ喑䃧䔝ఋᑿݝ৵e৵䔗ᓤ͗ϧᄦλᐧま⮱᱗Გ⮱ᙌჅ⮱⾬䔼߈喑Ꭳᄦλ᱗Გ⮱ᐧまጵ喑ᐧまⵁ⾣㔲ຯ҂॥ᩣ喑ⵁ⾣৵e৵䔗ܧጯ౧ᐼᄦλᐧま䃫䃎ⅡᎠ⮱ᒞ৺և ᓤ⮱ᐧま䖄ϔևܧγᆂ᱈ȡ ABSTRACT: Based on the author’s personal visiting experiences, the essay analyses several typical projects in different stages of Zaha Hadid’s architect career, demonstrates the modernism nature of Zaha Hadid’s architectural practice; following the clue of Zaha Hadid’s personal career development and the institutional evolution of Zaha Hadid Architects, the research identifies four stages of Zaha Hadid’s architectural practice: practice beginning, gradually matured practice, Zaha style emerging, Zaha style dominating; accordingly, the essay discusses contemporary architects’ unconventional high-speed development levered by globalisation and mass media, and addresses the issue of new architectural design market’s influences on architectural design. Furthermore, the essay probes into Zaha Hadid’s extraordinary perceptional vision in architecture, raises up the questions of how to absorb and research Zaha Hadid’s architectural legacy for future architects, architecture researchers. 䩛䃺喟৵e৵䔗ᓤ喑㒻႓喑⣝АͨͶ㔲喑৵䷻ᵩ喑ᐧま䌢喑ᕊᘠ㔲喑㜗⩞喑ᙌჅ⾬䔼߈ڠ KEYWORDS: Zaha Hadid, aesthetics, modernist, Zaha style, architectural practice, liberty, perceptional vision ͚ఫܳㆨत喟TU-086 ᪴⡛ᴴ䃳喟A -
237 Luis Barragán and the Invention of Mexican
LUIS BARRAGÁN AND THE INVENTION OF MEXICAN REGIONALISM Giulia Mela Università IUAV di Venezia / IUAV University of Venice, Venice Italy. Abstract The work of Luis Barragán (1902-1988) embodies Mexican identity, and the architect is considered one of the most important figures of the Critical Regionalism movement in Latin America. Nevertheless, a comprehensive analysis of his own private library–kept at the Barragan Foundation, Switzerland and Fundación de Arquitectura Tapatía Luis Barragán, Mexico–tells a different story. In fact, the contemporary critical reception of his work has a far more complex genesis, which might be summarised as follows: 1. Barragán, nemo propheta in patria. For many years, Barragán’s work was better known abroad than in his own country. The national recognition came in 1976, with the Premio Nacional de Ciencias y Artes, after an exhibition at the MoMA in New York. At that time, Barragán was a 74-year old architect that had realized some of his most famous projects, such as the Casa Barragán, Tlalpan Chapel, Cuadra San Cristóbal, and Casa Gilardi. 2. Barragán, forger of an independent path. The urban project for Jardines del Pedregal was the turning point of Barragán’s career, and from the mid-1940s the architect distanced himself from the research path of his colleagues. His detachment from the academic, political, and theoretical infrastructure allowed him to develop an autonomous language. 3. Barragán, a “visual” architect. Barragan defined his work as “autobiographical” and inspired by the colonial villages of his childhood. This is partially true; alongside Mexican architecture, the architect was deeply fond of the timeless aura of vernacular architecture in general. -
Individual Luminaires for Unique Locations Custom Lighting
Custom lighting Modern Olivio Nano Historical Replica luminaires S 352 Karl-Marx-Allee, Berlin, Germany S 368 Lif hourglass Grachten lights, C U S T Saint-Etienne, France Amsterdam, Netherlands S 354 S 370 Gas replacement lanterns Lif with floral sleeves Neues Palais, Potsdam, Germany Rue Félix Faure, Cannes, France S 372 S 356 O M Gas replacement lanterns Multi-functional light column Berlin, Germany Hafenpromenade, Hamburg, Germany S 374 S 358 Lif Jewish Museum, Frankfurt, Germany S 360 L I G H Shoebox-shaped luminaire Puma, Herzogenaurach, Germany S 362 Spherical lights for the Friedrichsbrücke bridge, Berlin, Germany S 364 T I N G Cosy luminaires Graf-de-Chardonnet-Platz, Bad Kelsterbach, Germany S 366 Individual luminaires for unique locations When light, luminaires and surroundings are in harmony, it results in locations with a unique atmosphere. For many years now, collaborat- ing with planners and designers to develop unique lighting solutions and products that are individual in terms of how they work and look has been one of the strengths of Selux. III Luminaires Custom lighting 1 m 1 m Olivio Nano High-performance lighting technology in a miniaturised package: extra compact luminaire heads like the Olivio Nano offer new scope for creativity in the design of individual lighting solutions in the urban landscape. The organic form of the Olivio in the Nano size also conveys a sense of liveliness and naturalness – matching the flexible, glare-free light distributed over many light points of such multifunctional columns and poles. 352 353 III Luminaires Custom lighting Lif hourglass Unique, attractive yet highly practical. -
SCÈNES DE NUIT – Excursus Into Nocturnal Obliteration In
2021-4185-AJA 1 SCÈNES DE NUIT – Excursus into Nocturnal 2 Obliteration in Architectural Media 3 4 SCÈNES DE NUIT is a research project that explores the role of night in the 5 construction of contemporary cities and societies, illustrating how, still today, 6 architectural theory and critique are associated with sunlight and diurnal paradigms. 7 It is structured around the hypothesis that, since the 19th century, night has 8 transformed not only night-time but most importantly daytime activities and 9 architecture forever. The project addresses the technologies, networks and forms of 10 design deployed in nocturnal architectural spaces and their associated communities, 11 engaging with both local and global audiences through a broad network of 12 practitioners and theoreticians in architectural and night design, as well as experts 13 from different fields, such as sociology, economics, philosophy and media studies, that 14 are relevant to understanding the intersections between space, night and society at 15 large. Scènes de Nuit presents nocturnal encounters seeking to examine and reflect 16 upon the spaces, activities and media found in night culture, using evening events and 17 ephemeral scenography as the main presentation platform. Research is conducted in 18 various formats, temporalities and conditions, focusing on nocturnal architectural 19 spaces through, but not limited to, inhabited scenography, performative exhibitions, 20 international conferences, debates and screenings. Scènes de Nuit proposes that there 21 is no difference between format and content, between the production of nocturnal 22 knowledge and the scenography of night. 23 24 25 Exhibition at f’ar Lausanne, May 2019 26 27 For centuries, architectural theory, discourse and agency have been based 28 on daylight and solar paradigms. -
Catalogue Autumn 2010
Representation 64 Index 62 Performing Arts 61 Fashion and Style 58 Industrial Design 56 Graphic Design 51 Photography 37 Art 23 Architecture 2 When ordering, please use Idea Codes. September 2010. Titles marked with an asterisk had been not yet published (*) in Prices are in Euros and may change without notice. Consult our website www.ideabooks.nl for the complete list. This catalogue is aselected list of new titles. www.ideabooks.nl e-mail [email protected] 20fax 6209299 +31 20 6226154tel +31 The Netherlands RK Amsterdam1011 Nieuwe Herengracht 11 Autumn Catalogue 2010 Contents General Information Idea Books <–––––––––––––––––––––––––––––––––––––210 mm–––––––––––––––––––––––––––––––––––––> 00 –– 00 –– 00 –– 00 –– 1 00 –– 00 –– 00 –– 01 –– 02 –– 03 –– 05 –– 06 –– 07 –– 08 –– 09 –– 10 –– 11 –– 12 –– 13 –– 15 –– 16 –– 17 –– 18 –– 19 –– 20 –– 21 –– 22 –– 23 –– 25 –– 26 –– 27 –– 28 –– 29 –– 30 –– 31 –– 32 –– steeds 7 inits per pag te beginnen met bovenste deel op pagina 1 El Croquis 149: Collective Experiments II El Croquis 150: David Chipperfield El Croquis 148/149: Collective Experiments El Croquis, El Escorial 2010 2006 2010 El Croquis, El Escorial 2010 ISBN 978 84 88386 58 8 El Croquis, El Escorial 2010 ISBN 978 84 88386 57 1 € 52.80 — Idea Code 10181 ISBN 978 84 88386 59 5 € 100.15 — Idea Code 10363 One of the main arguments in the narratives of € 58.15 — Idea Code 10292 Valuable hardback compendium of El Croquis modernity, though often disputed, is that which Issue dedicated to the projects and finished build- issues 148 and 149, covering innovative contempo- relates its urgency with the development of new ings of David Chipperfield in the last four years. -
Frank Gehry's Self-Twisting Uninterrupted Line: Gesture-Drawings As Indexes
arts Article Frank Gehry’s Self-Twisting Uninterrupted Line: Gesture-Drawings as Indexes Marianna Charitonidou 1,2,3 1 Chair of the History and Theory of Urban Design, Institute for the History and Theory of Architecture (gta), Department of Architecture, ETH Zurich, Stefano-Franscini-Platz 5, CH 8093 Zürich, Switzerland; [email protected] or [email protected] 2 School of Architecture, National Technical University of Athens, 42 Patission Street, 106 82 Athens, Greece 3 Faculty of Art History and Theory, Athens School of Fine Arts, 42 Patission Street, 106 82 Athens, Greece Abstract: The article analyses Frank Gehry’s insistence on the use of self-twisting uninterrupted line in his sketches. Its main objectives are first, to render explicit how this tendency of Gehry is related to how the architect conceives form-making, and second, to explain how Gehry reinvents the tension between graphic composition and the translation of spatial relations into built form. A key reference for the article is Marco Frascari’s ‘Lines as Architectural Thinking’ and, more specifically, his conceptualisation of Leon Battista Alberti’s term lineamenta in order to illuminate in which sense architectural drawings should be understood as essential architectural factures and not merely as visualisations. Frascari, in Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architects’s Imagination, after having drawn a distinction between what he calls ‘trivial’ and ‘non- trivial’ drawings—that is to say between communication drawings and conceptual drawings, or drawings serving to transmit ideas and drawings serving to their own designer to grasp ideas during the process of their genesis—unfolds his thoughts regarding the latter. -
Mi Casa Es Mi Refugio: at the Service of Mexican Modernism in Casa Barragán
The Avery Review Francisco Quiñones – Mi casa es mi refugio: At the Service of Mexican Modernism in Casa Barragán Few people are aware that the house designed by Mexican architect Luis Citation: Francisco Quiñones, “Mi casa es mi refugio: At the Service of Mexican Modernism in Casa Barragán—known today as Casa Barragán—was designed originally for not Barragán,” in the Avery Review 48 (June 2020), just one occupant but two. Similarly, few know that this house, built in 1948, http://averyreview.com/issues/48/mi-casa. was not only Barragán’s residence but also the studio where he tested ideas and designed many of his best-known works. In 1982, reflecting on several of Barragán’s projects, American author and architectural historian Esther McCoy [1] In a letter to Barragán dated November 9, 1982, referred to his architecture as the result of a beautiful contradiction: that of a McCoy wrote, “How true you have always been to your genius, dear Luis. And in doing so I think that you above seeming calm that contained the effervescence of memories beneath.[1] And all others have been truer to Mexico. You celebrate Mexico with a Doric calmness; but infinite memories of indeed, visiting this house on General Francisco Ramírez Street in the historic place seem to seethe beneath the calmness.” McCoy working-class neighborhood of Tacubaya does reveal a contradiction, though to Luis Barragán, November 9, 1982, in Esther McCoy papers, 1876–1990, bulk, 1938–1989, Archives not the one pointed to by McCoy. of American Art (Washington, DC: Smithsonian In a 1987 interview by architecture critic Joseph Giovannini, Institution).