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"Les projets exposés dans cet ouvrage constituent un exemple complet de propositions audacieuses et innovatrices de la sphère de l’architecture éphémère. Cette recompilation, qui recueille les projets des designers, des artistes et des architectes les plus reconnus du monde, présente une série d’installations où des matériaux inexplorés et des techniques innovatrices sont utilisés. Le caractère temporaire des projets permet à ses créateurs d’expérimenter avec toute liberté l’architecture conventionnelle. De plus, les designers collaborent fréquemment dans des expositions où la participation et l’interaction avec le public sont fondamentales et garantissent leur succès. Ce fait permet aux architectes de développer une grande gamme de possibilités passionnantes du design. Architecture Éphémère est remplie de surprises architecturales et peut être utilisée comme une source d’inspiration tant pour les architectes comme pour les étudiants." -- Links Books.
While the crisis that took place in photojournalism during the 1960's brought about a significant shift in the practices, discourses and institutional structures of press photography, it also affected the practices of artists, specifically with regard to work devoted to revitalizing the depiction of events. The art world attempted to revitalize the historical genre by undertaking its critical rereading, in the spirit of restoring a tradition diminished by the mass media. The problem may be expressed in these terms: How can history be depicted, bearing in mind that the media (mainly photojournalism and the electronic press) have claimed a monopoly of the genre unto themselves? At issue is the sizeable problem of mass media omnipotence as an obligatory referential universe for historiographical artistic practices. Today, it seems impossible to depict the event in any way other than by accentuating or eschewing the formal attributes, rhetorical artifices, and ideological precepts of the mass media. These approaches to addressing historical moments have been examined in this article both because they epitomize contemporary historical writing and, for the most part, they constitute critical responses to stereotyped depictions of events. Above all, they represent a paradigm shift: the mass media's prerogatives for depicting historical moments has shifted towards the field of art. Contemporary depictions of catastrophe - crimes, sensationalist news items, terrorist attacks, humanitarian disasters, genocides - (common themes in many of the artistic projects represented in the 8th edition of the Mois de la Photo a Montreal} have been especially striking in this respect. For of all contemporary events, catastrophes are the most likely to be spontaneously propelled to the top of the news - roster and the most susceptible to the various inflections of contemporary art photography.
"Ce volume se compose d’une sélection d’architecture éphémère réalisée par des architectes et des concepteurs autour du monde. Les installations sont aujourd’hui considérées comme un nouveau aspect créatif du design et de l’architecture. Dans cet ouvrage, des travaux de grande qualité, où le design, l’architecture, le graphisme, l’illumination et autres séries de stratégies de transformation de l’espace à travers des solutions innovatrices, sont compilés. Tout est illustré avec des photographies en couleur, des plans, des dessins et des textes cédés par les auteurs" -- Links Books.
Whilst France's contemporary architecture is highly regarded throughout the world, her architects have hardly been leading protagonists in the debate on ecological building. The developments featured in this book, however, should serve to correct this impression. Between 1999- 2002 Electricité de France (EDF) initiated an ambitious research programme to bring together first-class architects and innovative technologies involving renewable energy, strategies to reduce energy consumption, newly developed software programs to support ecologically oriented architectural design etc. The goal was to create sustainable and aesthetically pleasing architecture. This book documents the submissions from both established and younger architects. Amongst those included are Jacques Ferrier, Christian Hauvette, Marc Mimram and François Roche.
Based on the discussion of theoretical perspectives and empirically grounded research, this volume unveils insights on tourism and food, architecture and museums, TV series and movies, rock, K-pop and samba, by making sense of aesthetic preferences in a global perspective.
A sumptuous survey of Mexico's foremost photographer Through more than 200 photographs, this luxurious volume presents Mexican photographer Graciela Iturbide's most iconic works alongside an important selection of previously unpublished photographs and a series of color photographs specially commissioned by the Fondation Cartier. Working mainly in black and white, Iturbide has explored the cohabitation between ancestral traditions and Catholic rites in Mexico, humanity's relationship with death and the roles of women in society. In recent years, her photographs have emptied themselves of human presence, revealing the enigmatic life of objects and nature. In addition to her stark images of her homeland, this book also includes images from her series in India, the United States and elsewhere. Heliotropo 37, named for the photographer's address in Mexico City, also contains an interview with the photographer by French essayist Fabienne Bradu, an original short story by Guatemalan writer Eduardo Halfon and a photo-portrait of Iturbide's studio by Mexican photographer Pablo López Luz. One of the most influential photographers active in Latin America today, Mexican photographer Graciela Iturbide (born 1942) began studying photography in the 1970s with legendary photographer Manuel Álvarez Bravo. Seeking "to explore and articulate the ways in which a vocable such as 'Mexico' is meaningful only when understood as an intricate combination of histories and practices," as she puts it, Iturbide has created a nuanced and sensitive documentary record of contemporary Mexico. She lives and works in Mexico City.