ARO

Sample

[Augustin Ioan

Acest volum explorează noile dimensiuni ale arhitecturii memoriei, de la arhitectura memorială, adică a arhitecturii destinate să aducă aminte, să co-memoreze în spaţiul public evenimente, de regulă violente şi tragice, la arhitectura în relaţie cu timpul în general, în sensul statutului său de condensator temporal. În acest sens, memoria intervine ca trăsătură proprie obiectului arhitectural şi sunt discutate câteva instanţe ale acestei capacităţi memorializante a obiectului de arhitectură, mai cu seamă a celui religios. În câteva texte succesive se discută problema originii arhitecturii, a caracterului său arhival şi a modului cum dispare arhitectura--Publisher Igloo This volume explores the new dimensions of the architecture of memory, from memorial architecture, ie architecture designed to remember, to co-memorize in public space events, usually violent and tragic, to architecture in relation to time in general, in the sense of its status of temporary capacitor. In this sense, memory intervenes as a characteristic of the architectural object and several instances of this memorializing capacity of the architectural object, especially of the religious one, are discussed. Several successive texts discuss the problem of the origin of architecture, its archival character and how architecture disappears - Publisher Igloo

Sample

Brad Collins

"Featuring the international residential, corporate, educational, and institutional work that has positioned the firm among the world's architectural elite, this look at Gwathmey Siegel's thirty-five-year career is unprecedented in its scope and detail. The twenty-six projects documented here with full-color photography, drawings, and insightful project descriptions - including the seminal Gwathmey Residence and Studio (1965), the controversial renovation and addition to Frank Lloyd Wright's Guggenheim Museum (1992), and the David Geffen Company Building in Beverly Hills (2000) - document the evolution of the firm's work from the highly disciplined modernism of their earliest houses to the investigative collage assemblages of their most recent work. This volume reveals the complete Gwathmey Siegel design philosophy and certifies why their work, along with that of Richard Meier, Robert A. M. Stern, Frank Gehry, and Michael Graves, is among American architecture's most important."--BOOK JACKET.

Sample

guest-edited by Neil Spiller

We are entering a new era of architecture that is technologically enhanced, virtual and synthetic. Contemporary architects operate in a creative environment that is both real and digital; mixed, augmented and hybridised. This world consists of ecstasies, fears, fetishisms and phantoms, processes and spatiality that can best be described as Surrealist. Though too long dormant, Surrealism has been a significant cultural force in modern architecture. Founded by poet Andre Breton in Paris in 1924 as an artistic, intellectual and literary movement, architects such as Le Corbusier, Diller + Scofidio, Bernard Tschumi and John Hejduk realized its evocative powers to propel them to 'starchitect' status. Rem Koolhaas most famously illustrated Delirious New York (1978) with Madelon Vriesendorp's compelling Surrealist images. Architects are now reviving the power of Surrealism to inspire and explore the ramifications of advanced technology. Architects' studios in practices and schools are becoming places where nothing is forbidden. Architectural languages and theories are 'mashed' together, approaches are permissively appropriated, and styles are not mutually exclusive. Projects are polemic, postmodern and surreally media savvy. Today's architects must compose space that operates across the spatial spectrum. Surrealism, with its multiple readings of the city, its collage semiotics, its extruded forms and artificial landscapes, is an ideal source for contemporary architectural inspiration.

Sample

Cleo Cantone

This book constitutes a seminal contribution to the fields of Islamic architectural history and gender studies. It is the first major empirical study of the history and current state of mosque building in Senegal and the first study of mosque space from a gender perspective. The author positions Senegalese mosques within the field of Islamic architectural history, unraveling their history through pre-colonial travelers' accounts to conversations with present-day planners, imams and women who continually shape and reshape the mosques they worship inches Using contemporary Dakar as a case study, the book's second aim is to explore the role of women in the "making and remaking" of mosques. In particular, the rise of non-tariqa grass-roots movements (i.e.: the "Sunni/Ibadou" movement) has empowered women (particularly young women) and has greatly strengthened their capacity to use mosques as places of spirituality, education and socialization. The text is aimed at several specialized readerships: readers interested in Islam in West Africa, in the role of women in Islam, as well as those interested in the sociology and art-history of mosques. -- Back cover.