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The traditions of paper architecture derive from French and Italian designs of the eighteenth century and avant-garde projects produced in the Soviet Union in the 1920s and 1930s. The latter were denounced at the time for their detachment from reality, practice, and ideology, which made them unsuitable for promoting the building of socialism In the early 1980s, a group of students at Moscow Architectural Institute found a way around the censor and began sending entries to Japanese ideas competitions. They immediately started winning. Yuri Avvakumov was one of the key figures in the paper architecture movement of the time and amassed a large collection of works by his friends and colleagues. As well as an introductory essay by Avvakumov, the book includes a selection of press cuttings, many of which are translated to English for the first time. Paper Architecture. An Anthology was first published in Russian in 2019. It won The Art Newspaper Russia Book of the Year award.
The first book ever to focus on the Novosibirsk branch of the legendary paper architecture movement during the last decade of the Soviet Union. Cosmic cow sheds, insectoids, Egyptian pyramids, steam locomotive hybrids, and deconstructivist housing projects: during the 1980s, "paper architects" in Novosibirsk, all of them graduates of the Siberian Civil Engineering Institute, created fantastical utopian design. Contrary to the commonly held belief that these architectural designs made of paper and created during the late years of a crumbling Soviet Union were never intended to be translated into buildings, the Novosibirsk group actually devoted themselves to a practical application of their ideas. The designs for the kolkhozy in Bolshevik, Guselnikovo, or Nizhny-Ugryum show signs of concrete planning deliberations, integrated into pastoral and often fairy tale-like scenes of country life with tractor stations and witches suspended in the sky. Inspired by Eastern European post-punk, local radical-constructivist projects, and European postmodernism, the Siberian paper architects created a whole range of autochthonous stylistic figures and techniques that have a clear and distinct style. This Novosibirsk style clearly differs from the works by members of the better-known Moscow group of paper architects, such as Alexander Brodsky, Ilya Utkin, and Yuri Avvakumov. For the first time ever, this book offers a deep insight into Novosibirsk's paper architecture movement and its output. Lavishly illustrated, largely with previously unpublished material from formerly inaccessible Siberian archives, the volume provides a comprehensive survey of this fascinating form of late Soviet-era speculative architecture from the Siberian metropolis that is still far too little known in the Western world.
From 1978 to 1993, the renowned Soviet "paper architects" Alexander Brodsky and Ilya Utkin created an incredible collection of elaborate etchings depicting outlandish, often impossible, buildings and cityscapes. Funny, cerebral, and deeply human, their obsessively detailed work layers elements borrowed from Egyptian tombs, Ledoux's visionary architecture, Le Corbusier's urban master plans, and other historical precedents in etchings of breathtaking complexity and beauty. Back by popular demand following the sold-out original 1991 edition and 2003 reprint, Brodsky & Utkin presents the sum of the architects' collaborative prints and adds new material, including an updated preface by the artists' gallery representative, Ron Feldman, a new introductory essay by architect Aleksandr Mergold, visual documentation of the duo's installation work, and rare personal photographs.
This book offers the first comprehensive overview of alternative approaches to architectural practice. At a time when many commentators are noting that alternative and richer approaches to architectural practice are required if the profession is to flourish, this book provides multiple examples from across the globe of how this has been achieved and how it might be achieved in the future. Particularly pertinent in the current economic climate, this book offers the reader new approaches to architectural practice in a changing world. It makes essential reading for any architect, aspiring or practicing.
This groundbreaking volume examines how the Mughal Empire used architecture to refashion its identity and stage authority in the 18th century, as it struggled to maintain political power against both regional challenges and the encroaching British Empire.
Paper and cardboard as sustainable building materials are currently the subject of research and testing. They can be produced inexpensively, are made from renewable raw materials and are completely recyclable. The focus of their application is on temporary uses, such as for transitional schools, emergency shelters or "microhomes". Properly protected from moisture and fire, the material proves to be durable. Design and aesthetic qualities are by no means neglected, as case studies by Pritzker Prize winner Shigeru Ban demonstrate: the Chengdu Elementary School, the Paper Concert Hall in Aquila or the Cardboard Cathedral in Christchurch all provided a sign of hope after devastating earthquakes. This introduction explains the technology of building with cardboard and paper and shows a wide range of examples.
An architectural monthly.