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"Hans Dieter Schaal is already something of a cultural institution in Germany. Trained as an architect, he always operates outside the mainstream, designing and realizing stage sets, sculptures, cemeteries, parks, squares, spatial installations or book projects, which are often trendsetters in their own field. In the last 10 years Schaal has established a focal point that seems to be the sum of all his themes : exhibition architecture."--Jaquette.
This volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces. Imagination is arguably the architect’s most crucial capacity, underpinning memory, invention, and compassion. No simple power of the mind, architectural imagination is deeply embodied, social, and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr’actes arranged in three sections: Bodies, Settings, and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India, Iran, and Japan. Topics include the central role of the human body in design; the city as a place of political drama, protest, and phenomenal play; and world-making through language, gesture, and myth. Chapters also consider sacred and magical functions of theatre in Balinese and Persian settings; eccentric experiments at the Bauhaus and 1970 Osaka World Expo; and ecological action and collective healing amid contemporary climate chaos. Inspired by architect and educator Marco Frascari, the book performs as a Janus-like memory theatre, recalling and projecting the architect’s perennial task of reimagining a more meaningful world. This collection will delight and provoke thinkers and makers in theatrical arts and built environment disciplines, especially architecture, landscape, and urban design.
In the summer of 1876, Berlin anxiously awaited the arrival of what was billed as “the most gigantic ape known to zoology.” Described by European explorers only a few decades earlier, gorillas had rarely been seen outside of Africa, and emerging theories of evolution only increased the public’s desire to see this “monster with human features.” However, when he arrived, the so-called monster turned out to be a juvenile male less than thirty-two inches tall. Known as M’Pungu (Master Pongo), or simply Pongo, the gorilla was put on display in the Unter den Linden Aquarium in the center of Berlin. Expecting the horrid creature described by the news outlets of the time, the crowds who flocked to see Pongo were at first surprised and then charmed by the little ape. He quickly became one of the largest attractions in the city, and his handlers exploited him for financial gain and allowed doctors and scientists to study him closely. Throughout his time in Europe, Pongo was treated like a person in many respects. He drank beer, ate meat, slept at the home of the head of the aquarium, and “visited” London and Hamburg. But this new lifestyle and foreign environment weren’t healthy for the little gorilla. Pongo fell ill frequently and died of “consumption” in November 1877, less than a year and a half after being brought to Europe. An irresistible read, illustrated with contemporaneous drawings, this critical retelling of the expedition that brought Pongo to Berlin and of his short life in Europe sheds important light on human-animal interactions and science at a time in Western society when the theory of evolution was first gaining ground.
Analytical thinking and holistic concepts Low-tech buildings with strong architectural identities Selected works from 25 years of international architectural practice HOLODECK architects work on a wide variety of projects, from urban development to exhibitions. Their impressive body of work is proof that sophisticated architecture need not ignore ecological and social issues. The latter are consciously reflected from concept to realization. For example, HOLODECK have developed strategic solutions as alternatives to single-family homes, apply a sensitive approach to existing structures, and design buildings that make consistent use of natural conditions such as passive solar energy, airflow, cross-ventilation, and natural lighting. This volume also reinterprets the typical architecture book. It consists of two separate yet connected parts; the first presents sketches, plans, studies and models, while the second features texts and lavish photo series.
Triad: linking culture, media and environment. This Berlin-based design agency has won awards for its planet M project at Expo2000 in Hanover, and its Happy Ending event at Expo02 was one of the great successes of that fair. Within a decade, Triad has made its mark on the national and international design world, thanks to a truly interdisciplinary approach to design that ranges across both cultural and commercial projects and clients.
This publication accompanies the exhibition at the Schirn Kunsthalle Frankfurt 28 September - 1 December 2002 and the Tate Liverpool from December 20th 2002-March 23rd 2003 and documents the fascination with the increasingly sophisticated means of seduction in shop windows. Pictorial material illustrates the interactionbetween art and the consumption of goods.
Der Abbau von Rohstoffen entwickelt sich in den letzten Jahrzehnten immer stärker zu einem ökologischen, ökonomischen, politischen und sozialen Problem mit globalen Auswirkungen. Da die Ressourcen auf der Erde endlich sind, wird nach immer neuen, teils surreal anmutenden Standorten gesucht, so wie beim Deep Sea Mining und Deep Space Mining. Into the deep wirft einen kritischen Blick auf die vielschichtigen Zusammenhänge des Rohstoffabbaus in der Tiefsee und im Weltall, ebenso wie auf Formen von Widerstand und Aktivismus gegen die Ausbeutung von Menschen und Umwelt. In Anlehnung an die Industriegeschichte Friedrichshafens gerät zudem der Rohstoff Aluminium in den Fokus. Der Katalog erscheint zur interdisziplinären Ausstellung Into the deep. Minen der Zukunft, die bis zum 5. November 2023 im Zeppelin Museum Friedrichshafen zu sehen ist. Mit Beiträgen von Ignacio Acosta, Agnes Bidmon, Jürgen Bleibler, Bureau d'études (Léonore Bonaccini & Xavier Fourt), Michael David, El Laboratorio de Artes Gráficas del Desierto de Atacama (LAGDA), Claudia Emmert, Charlotte Ickler, Armin Linke, Ina Neddermeyer, Kristina Õllek, Bethany Rigby, Frauke Stengel und Caroline Wind. *** The extraction of raw materials has increasingly developed into an ecological, economic, political, and social problem of global proportions. Since the resources on Earth are finite, there is a constant search for new mining sites that sometimes seem surreal, such as with deep-sea mining and deep-space mining. Into the deep takes a critical look at the many-layered complexities of mining for raw materials in the deep sea and in space, as well as forms of resistance and activism against the exploitation of people and the environment. Drawing on Friedrichshafen's history of industrialism, the exhibition also focuses on the raw material aluminium. The catalog is being published to accompany the interdisciplinary exhibition Into the deep. Mines of the future, which can be seen until the 5th of November, 2023 at the Zeppelin Museum Friedrichshafen. With contributions by Ignacio Acosta, Agnes Bidmon, Jürgen Bleibler, Bureau d'études (Léonore Bonaccini & Xavier Fourt), Michael David, El Laboratorio de Artes Gráficas del Desierto de Atacama (LAGDA), Claudia Emmert, Charlotte Ickler, Armin Linke, Ina Neddermeyer, Kristina Õllek, Bethany Rigby, Frauke Stengel, and Caroline Wind.
Das Büro für kognitiven Urbanismus wurde 1999 als transdisziplinäres Label in Wien gegründet und hat in den letzten Jahren Fragestellungen zur Imagepolitik und ihren Konsequenzen für Subjekt- und Raumvorstellungen entwickelt, die u.a. in Kooperation mit KünstlerInnen, in Vorträgen, Texten und Projekten zur Diskussion gestellt wurden. Das Buch ist gegliedert in drei Kategorien: 1. "Projekte" (z.B. "Pedxing. A Journey into Space", ein Vortrag mit Bildspur in Tallinn, "Studiocity. Der mobilisierte Blick" im Kunstverein Wolfsburg oder "Dis-Sites" im Künstlerhaus, Wien) 2. "Masterplan" (Grundlagentexte) und 3. "Motive" (Der Urbanist, Die Wartezeit, Das Mobiltelefon, Das Irgendwo etc.). Beiträge von Alice Creischer, Andreas Siekmann, Marie Luise Angerer, Chrstian Kravagna u.v.m.