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"The Palace of Typographic Masonry is dedicated to the splendour and diversity of the graphic languages. Founded by Dutch graphic designer Richard Niessen, this imaginary building serves as a speculative platform for the variety, poetry and digressions of graphic design. The Palace presents the craft in an interdisciplinary cultural historical context and posits a new theory for the profession. Join us on a tour that takes you past more than 360 Palace 'exhibits'. A progress through nine stages: the departments of Sign, Symbol and Ornament; Construction, Poetics and Play; Order, Craft and Practice. Philosopher and writer Dirk van Weelden will serve you as your guide, offering his reflections on the items on display and introducing you to the people we meet when we enter a room"--Publisher's website.
In the early 1960s Italian design legend Bruno Munari published his visual case studies on shapes: Circle, Square, and, a decade later, Triangle. Using examples from ancient Greece and Egypt, as well as works by Buckminster Fuller, Le Corbusier, and Alvar Aalto, Munari invests the three shapes with specific qualities: the circle relates to the divine, the square signifies safety and enclosure, and the triangle provides a key connective form for designers. One of the great designers of the twentieth century, Munari contributed to the fields of painting, sculpture, design, and photography while teaching throughout his seventy-year career. After World War II he began to focus on book design, creating children's books known for their simplicity and playfulness.
Discusses the elements of a sign, and looks at pictograms, alphabets, calligraphy, monograms, text type, numerical signs, symbols, and trademarks.
Over the past 30 years the writings of Georges Bataille have had a profound influence on French intellectual thought, informing the work of Foucault, Derrida, and Barthes, among others. Against Architecture offers the first serious interpretation of this challenging thinker, spelling out the profoundly original and radical nature of Bataille's work.
As a beginning design student, you need to learn to think like a designer, to visualize ideas and concepts, as well as objects. In the second edition of Diagramming the Big Idea, Jeffrey Balmer and Michael T. Swisher illustrate how you can create and use diagrams to clarify your understanding of both particular projects and organizing principles and ideas. With accessible, step-by-step exercises that interweave full color diagrams, drawings and virtual models, the authors clearly show you how to compose meaningful and useful diagrams. As you follow the development of the four project groups drawn from the authors’ teaching, you will become familiar with architectural composition concepts such as proportion, site, form, hierarchy and spatial construction. In addition, description and demonstration essays extend concepts to show you more examples of the methods used in the projects. Whether preparing for a desk critique, or any time when a fundamental insight can help to resolve a design problem, this new and expanded edition is your essential studio resource.
This book showcases the archeology, history and works of art of FAO’s headquarters in Rome, through spectacular photographs and informative texts, and reveals the places where world leaders and worldwide experts meet to fight world hunger.
Books orient, intrigue, provoke and direct the reader while editing, interpreting, encapsulating, constructing and revealing architectural representation. Binding Space: The Book as Spatial Practice explores the role of the book form within the realm of architectural representation. It proposes the book itself as another three-dimensional, complementary architectural representation with a generational and propositional role within the design process. Artists’ books in particular – that is, a book made as an original work of art, with an artist, designer or architect as author – have certain qualities and characteristics, quite different from the conventional presentation and documentation of architecture. Paginal sequentiality, the structure and objecthood of the book, and the act of reading create possibilities for the book as a site for architectural imagining and discourse. In this way, the form of the book affects how the architectural work is conceived, constructed and read. In five main sections, Binding Space examines the relationships between the drawing, the building and the book. It proposes thinking through the book as a form of spatial practice, one in which the book is cast as object, outcome, process and tool. Through the book, we read spatial practice anew.
With Building in France, Building in Iron, Building in Ferroconcretre (1928)—published now for the first time in English—Sigfried Giedion positioned himself as an eloquent advocate of modern architecture. This was the first book to exalt Le Corbusier as the artistic champion of the new movement. It also spelled out many of the tenets of Modernism that are now regarded as myths, among them the impoverishment of nineteenth-century architectural thinking and practice, the contrasting vigor of engineering innovations, and the notion of Modernism as technologically preordained.
This anthology turns a critical eye on advertising, newspapers, commercial photography.
"Beauty -- the book, born out of Cooper Hewitt, Smithsonian Design Museum's 2015 Triennial of the same name, curated by Andrea Lipps and Ellen Lupton -- showcases some of the most exciting and provocative design created around the globe during the past three years. These pages aim not to emphasize the hidden beauty in the everyday -- a beloved teapot or favorite shoe -- but to locate transformational beauty in contemporary design that is exuberant, ethereal, atmospheric, experiential, exceptional or sublime. Sixty-two designers represent a vast range of disciplines from architecture, fashion, digital, graphic, and product design, to interiors, hair, nail and lighting design. The objects featured cause us to take pause, catch our breath and get lost in our pursuit to understand or explain them. Designed by the innovative Kimberly Varella, the book is itself a tactile, fluid and provocative interpretation of beauty. Varella's design provides unexpected points of entry, playing with the concepts of beauty by using reflective surfaces, hot pink thread weaving pages together and a "heart" of the book, from which all else flows. Ethereal, Intricate, Extravagant, Transformative, Transgressive, Elemental and Emergent Beauty are the seven themes. Each section includes the individual designers in conversation with the curators about her or his process and beauty's differing forms, punctuated by rich galleries of their work, generating the ultimate feast for the senses"--Publisher's description.