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The spiralbound notebook facsimile is accompanied by a paperback volume featuring previously unpublished photographs taken by Le Corbusier's cousin Pierre Jeanneret during this early expedition.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.
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.
The Delos Symposia, which ran from 1963 to 1975, were a groundbreaking series of events dedicated to rethinking and reshaping the built environment to solve the planet's environmental and demographic problems.
Choreographed around the charismatic Greek architect-planner Constantinos Doxiadis, and generating an entirely new "science of human settlements" called "Ekistics," this ambitious endeavour was run according to ancient Greek practices of the sympósion, with banquets, dancing and fancy dress parti
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.
The first publication on the Kenyan collective exploring colonial erasure and the future of architecture in the age of the Anthropocene.
This fifth volume in Lars Müller's Architect's Studio series is dedicated to the Nairobi-based architects Cave_bureau. This acclaimed collective of architects and researchers?the first Kenyan firm to appear at the Venice Architecture Biennale, in 2021?explores the synergy between architecture, urbanism and nature, and curates performative events of resistance within caves along the Great Rift Valley in East Africa. The cave, as physical space and as metaphor, is seen by the collective as a provocation to test the limits of contemporary architecture.
Here, Cave_bureau's Stella Mutegi and Kabage Karanja describe eight of their projects. Stunning photography is accompanied by essays posing questions about the future of architecture in the age of the Anthropocene, the effects of colonial extraction and erasure on African architecture, as well as the specificity of each continent and each geographic space.
As humanity grapples with the escalating challenges of climate change, the discipline of architecture finds itself at a critical juncture. The urgency of the situation demands that schools of architecture not only contribute to envisioning more serene futures but also equip the next generation of architects with the audacity to question, project, criticize, explore and imagine alternative solutions.
Architectural research is in re/action to this climate crisis.
Adolf Meyer était le bras droit de Walter Gropius, son planificateur et proche confident. Dès 1910, ils créent conjointement l'usine Fagus, l'un des bâtiments modernistes les plus importants. La maison individuelle expérimentale "Haus am Horn" a été construite pour la première exposition du Bauhaus, à l'été 1923 à Weimar. La maison a été conçue par Georg Muche (design) et le département d'architecture du Bauhaus. Adolf Meyer et Walter March étaient responsables de la gestion de la construction.
Le livre sur le projet a été compilé à l'été 1924 et est devenu le troisième volume du Bauhausbucher. Suite à un essai de Walter Gropius qui fournit des informations sur «l'industrie du logement», Georg Muche présente la conception du bâtiment modèle. Adolf Meyer décrit ensuite son exécution technique, donnant des détails sur les entreprises impliquées.
Ce recueil d'essais, provenant des archives de l'architecte à l'université de Syracuse, donnent la parole à des spécialistes du travail de Marcel Breuer qui étudient son approche de l'architecture, son modus operandi, ses stratégies et ses réalisations-phares. Considéré comme un pionnier du modernisme brutaliste, Marcel Breuer est aussi indissociable des structures institutionnelles en pleine évolution pour lesquelles et dans lesquelles il a travaillé.
Dans cet essai photographique, Christian Lutz dresse un constat amer et sombre sur l'exploitation des ressources au Nigeria. Les clichés des protagonistes du monde des affaires liées au pétrole et au gaz se mêlent à ceux des populations civiles.
Mae Luiza is a borough at the edge of the city of Natal in the northeast of Brazil with approximately 15,000 inhabitants - a favela with all the typical grievances. In the 1980s Padre Sabino Gentili came to Natal from Italy, and settled in Mae Luiza. He built the fi rst Catholic church in the poor community and in 1984 founded the Centro Socio with German, Swiss and Brazilian support. In a participatory process in which the community was able to voice its needs and priorities, the Centro initiated communal social infrastructure for education and medical care, and later for sports, culture and community life. After Padre Sabino's death in 2006 the Ameropa Foundation strengthened its commitment with further investments in the infrastructure, expanding social and educative services and community-building measures. The efforts culminated in the construction of an arena for sporting and communal activities and also a music school, two outstanding buildings and focal points in the neighborhood, designed by Swiss architects: facilities usually absent in the Brazilian peripheries.
This richly illustrated volume documents the transformation of Mae Luiza as an example of how to build community, create citizenship and identity, and promote initiative and participation with timely and punctual investments. Alongside a novel written by the esteemed Brazilian author Paulo Lins, short articles and essays trace the history of Mae Luiza from the point of view of local activists as well as invited authors from various fi elds.
Formé aux Etats-Unis, notamment dans les agences de Peter Heisenman et Zaha Hadid, l'architecte chinois Ma Yansong fonde sa propre agence à Pékin en 2004. Cette monographie très soignée présente ses projets ainsi que son approche de l'architecture qui réintroduit la nature comme élément central de cette discipline. Les formes organiques de ses constructions suscitent un véritable engouement tant chez les maîtres d'ouvrage que chez les commissaires d'expositions d'architecture.
Inauguré en 1978, Ballenberg est un musée suisse d'architecture en plein air qui rassemble plus de 100 bâtiments résidentiels et agricoles du XIVe au XIXe siècle provenant de presque tous les cantons et transportés au musée depuis leur emplacement d'origine. Ensemble, ces bâtiments montrent comment l'architecture, le mobilier et les outils de travail refletent les besoins de la vie quotidienne dans leur conception et leur realisation. A Way of Life rassemble des photographies, des observations et des documents sur Ballenberg rassemblés par les célèbres designers Jasper Morrison et David Saik et l'architecte Tsuyoshi Tane, qui partagent tous une fascination pour la simplicitié, la praticitié et la beauté.
Publé en 1929, From Material to Architecture contient les les principaux éléments du programme pédagogique conçu par László Moholy-Nagy pour le Bauhaus. Concentré sur le cours préparatoire, ce quatorzième et dernier opus de la série des Bauhausbücher montre comment les étudiants "progressent grâce à la pratique jour après jour", en s'appuyant sur le principe pédagogique "Jedermann ist begabt" (tout le monde est talentueux), un principe fondateur au Bauhaus de 1919 à sa fermeture en 1933.
Pour cette troisième et dernière contribution aux Bauhausbücher, Walter Gropius, le co-fondateur et longtemps directeur du Bauhaus propose un état des lieux complet de son école à Dessau. Après un bref historique de l'institution, il présente le bâtiment même de l'école ainsi que des maisons des maîtres, avec plans et photos.
Across the African continent, but especially in the sub-Saharan regions the light provided by the sun has a particularly stark quality, which becomes most apparent in relation to age-old buildings and in the way in which it shapes daily routines. Without relying on artificial light, architecture had to both make use of the sun light to create a light source within a building, yet also protect those living in the houses from the intensity of it. This has resulted in vernacular architecture that works with very few or small openings that render the inside of a building near pitch black while the outside is illuminated by direct sunshine that bears down mercilessly.
On the initiative of the lighting company Zumtobel Group, photographer Iwan Baan and architect Francis Kere set out to capture how the sun's natural light cycle shapes vernacular architecture with little to no artificial light sources in Burkina Faso. They travelled to three exemplary locations: Communal compounds in Gando, the main mosque of Bobo Dioulasso and the terraced houses in Dano utilising pots to create skylights. Baan's pictures are accompanied by architectural sketches by Francis Kere, who himself grew up in this light environment and whose architecture is inspired by it. The stunning photographs are printed in a special technique to give a sense of being immersed in the very light conditions that are being documented.
Following the pair of monographic "Sauerbruch Hutton Archives" (Archive, 2006; Archive 2, 2016) Lars Mu ller Publishers presents a reader edited by the architects. Matthias Sauerbruch and Louisa Hutton have asked a diverse group of authors to reflect on the various conditions that have shaped the conception, production and dissemination of architecture in Europe over the course of the last three decades, and of the architecture that has resulted. The essays generally include observations on one or more of Sauerbruch Hutton's buildings, but these do not necessarily form the focus of the respective texts.
The authors include critics who have written on the work of the practice in the past, architectural colleagues and writers whose opinions and observations are respected by the editors as well as a handful of people who either live or work in one of their buildings and so have experienced Sauerbruch Hutton's architecture firsthand. Further, a photographic essay by the Finnish artist Ola Kolehmainen will augment the twenty-fi ve essays with works created between 1990 and 2020. Analogous to the written pieces, these are images in their own right and of their own subjects that have been triggered by the presence of one of Sauerbruch Hutton's buildings.
Dans cette étude, Beatriz Colomina explore l'impact des technologies médicales d'imagerie et de diagnostic sur la perception et la représentation de l'architecture contemporaine. Elle part du postulat que l'architecture du début du XXe siècle a été principalement déterminée par la lutte contre la tuberculose et par une invention majeure : la visualisation par rayons X. Le discours architectural assimilant généralement le bâtiment à un corps, l'autrice montre comment les regards portés sur le public et le privé ont ainsi changé dans l'architecture.
Inverting Learning from Las Vegas to build a new dialogue between two of the world's most opulent cities
When architects Denise Scott Brown and Robert Venturi published Learning from Las Vegas in 1972, they revolutionized architecture by claiming that the lessons the American desert town had to offer equaled those of the Eternal City. "Las Vegas is to the Strip what Rome is to the Piazza," they declared. Organized to mark the 50th anniversary of this landmark publication, Rome - Las Vegas creates a dialogue between these two cities through specially commissioned images by renowned Dutch architectural photographer Iwan Baan (born 1975). This project inverts the directive to look "from Rome to Las Vegas" and instead frames Las Vegas as the model for Rome. Beyond the obvious Italianate designs of Caesars Palace, Baan's photographs survey the entirety of the Strip to create an all-encompassing dialogue between these two cities--one young and compact, the other ancient and sprawling, yet both indelibly marked by wealth, opulence and power. These images question whether we can regard architecture without moral judgment--which Scott Brown and Venturi suggested for studying Las Vegas--in the ecological and social contexts of the 21st century.
Plus que quiconque, Louis Kahn a travaillé le dessin comme un véritable outil de construction architecturale. Cet ouvrage présente plus de 200 dessins du maître et de ses associés, inédits pour la plupart. A partir du projet de la Dominican Motherhouse (1966-69), ces dessins forment un récit qui nous raconte non seulement la richesse et les dimensions de ce chef-d'oeuvre jamais construit, mais permet aussi un point de vue unique sur l'art du dessin pratiqué par l'architecte.
