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Designing UNESCO: Art, Architecture and International Politics at Mid-Century represents the first full-length monograph on the genesis, construction and reception of the Paris headquarters of the United Nations' Educational, Scientific and Cultural Organization (UNESCO). The book traces the long and complex birth of UNESCO's permanent seat from its conception in 1950 to its inauguration in 1958, showing how its history constitutes a unique nexus of modernist practices in twentieth-century international politics, art, architecture and criticism. Drawing on a wide range of unpublished archival material and examining critical reception of the building in the local and international press, Christopher Pearson's analysis operates on formal, structural and theoretical levels, revealing many of the largely unspoken assumptions of modern architecture at mid-century and elucidating the conflicted relation between art and science in the post-war period. The volume also throws new light on many of the major architects and artists of the period, among them Breuer, Gropius, Le Corbusier and Eero Saarinen, as well as Picasso, Moore, Mir?rp, Calder and Noguchi. Designing UNESCO is a compelling and original account of one of the most important, yet under-appreciated, buildings of twentieth-century modernism.
This book presents a structured yet flexible methodology for developing intercultural competence in a variety of contexts, both formal and informal. Piloted around the world by UNESCO, this methodology has proven to be effective in a range of different contexts and focused on a variety of different issues. It, therefore can be considered an important resource for anyone concerned with effectively managing the growing cultural diversity within our societies to ensure inclusive and sustainable development. Intercultural competence refers to the skills, attitudes, and behaviours needed to improve interactions across difference, whether within a society (differences due to age, gender, religion, socio-economic status, political affiliation, ethnicity, and so on) or across borders. The book serves as a tool to develop those competences, presenting an innovative adaptation of what could be considered an ancient tradition of storytelling found in many cultures. Through engaging in the methodology, participants develop key elements of intercultural competence, including greater self-awareness, openness, respect, reflexivity, empathy, increased awareness of others, and in the end, greater cultural humility. This book will be of great interest to intercultural trainers, policy makers, development practitioners, educators, community organizers, civil society leaders, university lecturers and students – all who are interested in developing intercultural competence as a means to understand and appreciate difference, develop relationships with those across difference, engage in intercultural dialogue, and bridge societal divides.
How the United Nations headquarters became the architectural instrument and broadcast medium of global diplomacy For almost seven years after World War II, a small group of architects took on an exciting task: to imagine the spaces of global governance for a new political organization called the United Nations (UN). To create the iconic headquarters of the UN in New York City, these architects experimented with room layouts, media technologies, and design in tribunal courtrooms, assembly halls, and council chambers. The result was the creation of a new type of public space, the global interior. Assembly by Design shows how this space leveraged media to help the UN communicate with the world. With its media infrastructure, symbols, acoustic design, and architecture, the global interior defined political assembly both inside and outside the UN headquarters, serving as the architectural medium to organize multilateral encounters of international publics around the globe. Demonstrating how aesthetics have long held sway over political work, Olga Touloumi posits that the building framed diplomacy on the ground amid a changing political landscape that brought the United States to the forefront of international politics, destabilizing old and establishing new geopolitical alliances. Uncovering previously closed institutional and family archives, Assembly by Design offers new information about the political and aesthetic decisions that turned the UN headquarters into a communications organism. It looks back at a moment of hope, when politicians, architects, and diplomats—believing that assembly was a matter of design—worked together to deliver platforms for global democracy and governance.
How historical preservation efforts to protect architectural monuments arose in the twentieth century. The twentieth century was highly destructive, but from its landscapes of ruins was born a new architectural type: the cultural monument. In the wake of World War I, an international movement arose which aimed to protect architectural monuments in large numbers, and regardless of style, hoping not only to keep them safe from future conflicts but also to make them worthy of protection from more quotidian forms of destruction. An evolving group—including architects, intellectuals, art historians, archaeologists, curators, and lawyers—grew out of the new diplomacy of the League of Nations. During and after World War II, it became affiliated with the Allied Military Government and was eventually absorbed by the UN as UNESCO. By the 1970s, this organization had begun granting World Heritage status to a global register of significant sites—from buildings to bridges, shrines to city centers, ruins to colossi. Examining key episodes in the history of this preservation effort—including projects for the Parthenon, the Cathedral of St-Lô, the temples of Abu Simbel, and the Bamyian Buddahs —Lucia Allais demonstrates how the group deployed the notion of culture to shape architectural sites, and how architecture in turn shaped the very idea of global culture. Designs of Destruction emphasizes how the technical project of ensuring various buildings’ longevity jolted preservation into establishing a transnational set of codes, values, and practices. At the same time, this paradoxically helped integrate technologies of destruction—from bombs to bulldozers—into cultural governance. Designs of Destruction not only offers a fascinating narrative of cultural diplomacy, based on extensive archival findings; it also contributes an important new chapter in the intellectual history of modernity by showing the manifold ways architectural form is charged with concretizing abstract ideas and ideals, even in its destruction.
Much of modernist architecture was inspired by the emergence of internationalism: the ethics and politics of world peace, justice and unity through global collaboration. Mark Crinson here shows how the ideals represented by the Tower of Babel - built, so the story goes, by people united by one language - were effectively adapted by internationalist architecture, its styles and practices, in the modern period. Focusing particularly on the points of convergence between modernist and internationalist trends in the 1920s, and again in the immediate post-war years, he underlines how such architecture utilised the themes of a cooperative community of builders and a common language of forms.The 'International Style' was one manifestation of this new way of thinking, but Crinson shows how the aims of modernist architecture frequently engaged with the substance of an internationalist mindset in addition to sharing surface similarities. Bringing together the visionaries of internationalist projects - including Le Corbusier, Bruno Taut, Berthold Lubetkin, Walter Gropius and Mies van der Rohe - Crinson interweaves ideas of evolution, ecology, utopia, regionalism, socialism, free trade, and anti-colonialism to reveal the possibilities heralded by modernist architecture. Furthermore, he re-connects pivotal figures in architecture with a cast of polymath internationalists such as Patrick Geddes, Lewis Mumford, Julian Huxley, Rabindranath Tagore and H. G. Wells, to provide a richly detailed socio-cultural framework. This is a book crafted for students and scholars of architecture and art theory, as well as for those interested in the history of twentieth-century optimism about the world and its architecture.
Artificial Intelligence (AI) has the potential to address some of the biggest challenges in education today, innovate teaching and learning practices, and ultimately accelerate the progress towards SDG 4. However, these rapid technological developments inevitably bring multiple risks and challenges, which have so far outpaced policy debates and regulatory frameworks. This publication offers guidance for policy-makers on how best to leverage the opportunities and address the risks, presented by the growing connection between AI and education. It starts with the essentials of AI: definitions, techniques and technologies. It continues with a detailed analysis of the emerging trends and implications of AI for teaching and learning, including how we can ensure the ethical, inclusive and equitable use of AI in education, how education can prepare humans to live and work with AI, and how AI can be applied to enhance education. It finally introduces the challenges of harnessing AI to achieve SDG 4 and offers concrete actionable recommendations for policy-makers to plan policies and programmes for local contexts. [Publisher summary, ed]
This book tracks the development of Marcel Breuer’s aesthetic clash between uniformity and singularity through the detailed examination of his seminal buildings. Each chapter examines a specific building and puts into context Breuer’s other work and the contemporary movements/architects of the post-war era such as Surrealism, Brutalism and structural expressionism. The buildings examined include the UNESCO Headquarters in Paris, France, of 1958; the IBM Research Center in Le Gaude, France, of 1962; the Annunciation Priory in Bismark, North Dakota, of 1963; and the Atlanta Central Library of 1980. Marcel Breuer’s approach to design was inspired by the Spanish phrase, sol y sombra (sun and shadow). Sun and shadow meant for Breuer that a juxtaposition of contrasts was necessary; light glass walls and heavy concrete, masses lifted over voids, and serial precast construction resting on sculptural columns became hallmarks of Breuer’s buildings. By creating an architecture of juxtaposition, Breuer’s work can be interpreted as a surrealist recontre, as fueling a new architectural condition. A critical evaluation of Marcel Breuer’s work, this book is written for graduate students, researchers, and academics interested in his work and how it shaped the architecture of the post-war era.