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MCHAP: The Americas brings together leading architects and academics in a dialogue exploring the current state of architecture throughout the Americas and analyzes themes raised by the seven finalist projects (designed by Herzog & de Meuron, Álvaro Siza, Steven Holl Architects, OMA/ LMN – Rem Koolhaas and Joshua Prince-Ramus, Smiljan Radić, Cristián Undurraga, Rafael Iglesia) from the inaugural Mies Crown Hall Americas Prize recognizing the best built works in the Americas from 2000 through 2013. The book includes contributions from the inaugural MCHAP jury (IITAC Dean Wiel Arets, Kenneth Frampton, Jorge Francisco Liernur, Dominique Perrault, Sarah Whiting) as well as essays by Fabrizio Gallanti, Pedro Alonso, Luis Castañeda, Felipe Correa, Pier Paolo Tamburelli, Horacio Torrent, Molly Wright Steenson, Mimi Zeiger. Co-published with IITAC Press.
MCHAP: The Americas' brings together leading architects and academics in a dialogue exploring the current state of architecture throughout the Americas and explores themes raised by the seven finalist projects (designed by Herzog & de Meuron, Álvaro Siza, Steven Holl Architects, OMA/ LMN? Rem Koolhaas and Joshua Prince-Ramus, Smiljan Radic, Cristián Undurraga, Rafael Iglesia) from the inaugural Mies Crown Hall Americas Prize cycle recognizing the best built work in the Amercas from 2000 through 2013. 0As part of the Mies Crown Hall Americas Prize (MHCAP) program, established by Dean Wiel Arets at IIT Architecture Chicago, recognizing the best built work in the Americas from 2000 through 2013, MCHAP is publishing 'MCHAP BOOK ONE', as well as publications by the authors of MCHAP 2000-2008 winner, Álvaro Siza, the MCHAP 2009-2013 winner, Herzog & de Meuron, and the MCHAP.emerge 2000-2013 winner, Pezo von Ellrichshausen.
In this comprehensive and highly interdisciplinary companion, contributors reflect on remix across the broad spectrum of media and culture, with each chapter offering in-depth reflections on the relationship between remix studies and the digital humanities. The anthology is organized into sections that explore remix studies and digital humanities in relation to topics such as archives, artificial intelligence, cinema, epistemology, gaming, generative art, hacking, pedagogy, sound, and VR, among other subjects of study. Selected chapters focus on practice-based projects produced by artists, designers, remix studies scholars, and digital humanists. With this mix of practical and theoretical chapters, editors Navas, Gallagher, and burrough offer a tapestry of critical reflection on the contemporary cultural and political implications of remix studies and the digital humanities, functioning as an ideal reference manual to these evolving areas of study across the arts, humanities, and social sciences. This book will be of particular interest to students and scholars of digital humanities, remix studies, media arts, information studies, interactive arts and technology, and digital media studies.
Introduced by an essay about the vague contradiction between intentionality and chance, necessity and accident, reason and futility, authorship and anonymity, the book presents a selection of images that inform Pezo von Ellrichshausen’s cross production between art, architecture and academia. Each page contains a single picture and a brief caption describing it. Beyond a comprehensive depiction of the individual works, the monograph underlines transversal notions of inventory, format, scale, regulation and value within the pictorial representation. In the fashion of a personal album, each drawing, painting, photograph, model or building, evokes the mental world behind the couple's production. This volume could be read both as a collection of ideas, one after another, or as the same one that persists over time.
The result of research PRODUCTORA initiated as winners of the Mies Crown Hall Americas Prize for Emerging Practice at Illinois Institute of Technology, Being the Mountain examines the relationship between architecture and the ground it occupies, an interaction so obvious-a building must touch the ground-that it often remains underexplored. Richly illustrated contributions by Carlos Bedoya, Frank Escher, Wonne Ickx, Véronique Patteeuw, and Jesús Vassallo revisit significant moments in architectural history that cast new light on the techniques and legacies of modernism, especially in settings like Mexico and California, where architects such as Ricardo Legorreta and John Lautner incorporated dramatic natural topography in their agendas. Additional essays investigate the role of the ground in the thought of Kenneth Frampton in the 1980s and Luis Moreno Mansilla in the 1990s, as well as point to important parallels between premodern land practices, twentieth-century art, and today's architecture.
Treacherous Transparencies analyzes transparency as expressed in architecture and art in an attempt to understand the intentions and objectives that underlie its use by pertinent architects and artists. The publication looks at a few important works by selected artists and architects who work with transparency as an artistic strategy, which they implement primarily by using glass and mirrors but other media as well. e architects and artists listed together in this context form an unlikely alliance: Bruno Taut, Ivan Leonidov, Marcel Duchamp, Mies van der Rohe, Dan Graham, and Gerhard Richter. But they do have something in common: their work marks salient way stations in the story of modernism up to the present day. Concept & text by Jacques Herzog and photographs of Farnsworth House by Pierre de Meuron.
"This book documents a unique experience of a journey by Alvaro Siza Vieira, Vincent Mentzel and Kenneth Frampton to the early work of Siza in Porto. The book includes a conversation between Kenneth Frampton and Alvaro Siza and photos by Vincent Mentzel."--Site web de l'éditeur.
No one demands that people move to cities; people tend to do so, on their own. People choose to move to cities for opportunity. Such choices are often made unconsciously, as they are based on rules, traditions, and local communities–or a combination of all three. Un-Conscious-City explores and unravels Dutch architect Wiel Arets’ kaleidoscopic viewpoints on the ways the collective, unconscious decisions taken by the world’s citizens throughout time–a process that remains invisible to the naked eye–are now working to transform and shift the physical, sensory, and emotional experiences of human beings, as they navigate and live in today’s metropolises as well as the countryside. People tend to only belong to one religion, one society, or one club–which completely defines their existence. One day most human beings will live in a global­nomadic-urban-condition; this will soon be amplified to unknown heights. Un-Conscious-City raises questions, predicaments, and ideals regarding the future of our cities, while recognizing their limitations. Wiel Arets–renowned architect, writer, and thinker–identifies this condition as the Un-Conscious-City.
This first monograph by New York-based Young Projects demonstrates a new approach to spatial design that embraces ambiguity at the intersections of form, type, and material. This monograph introduces the cutting-edge research and work of Young Projects, founded by Bryan Young, where materiality, structure, and form intersect to generate new architectural typologies. The book presents a selection of the practice’s most relevant projects: five innovative houses completed between 2015 and 2020 as well as less in-depth looks at other projects that define the practice. Each house serves as a chapter through which Young Projects’ broader body of work is explored across scales, illustrated through a rich landscape of drawings, diagrams, renderings, mock-ups, prototypes, and photography. The through-line connecting all chapters is the studio’s interest in using ambiguity and anomaly to create novel and accessible spaces, whether for high profile clients or a new resort in St. Kitts. Young Projects seeks to draw users into immersive spatial experiences that unfold over time, in a manner that is familiar but subtly foreign. This quality of “allure” is a result of a unique and experimental approach to materiality and spatial legibility. These are the threads that tie the work together and have set Young Projects apart as an emerging practice, as well as inform the larger-scale projects the studio undertakes as it enters its second decade. Young Projects’ process often begins with simple exercises in making: form-finding experiments they undertake within their Brooklyn studio. Material research has included hand-pulling plaster with an irregular knife, using furniture foam as a casting bed, and forming concrete with palm stems. These experiments, among many others, mine characteristics that are not typically associated with conventional architectural materials and break traditional methodology, allowing for qualities of randomness and spontaneity to enter the process of making. The studio finds that letting go of control (at the right moments) produces results that are often surprising, entirely bespoke, and resist replication.
Dirk Denison reflects on the diverse influences that have shaped his practice over 30 years in a volume featuring 10 remarkable houses designed in a broad range of modernist vocabularies ? each finely tuned to its site and occupants. Taking the form of an in-depth conversation between architect and educator Dirk Denison and journalist Fred A. Bernstein, this volume chronicles Denison?s childhood in Detroit, travels and early encounters with the arts and architecture, and his education at the Cranbrook Academy of Art, the Illinois Institute of Technology, and the Harvard Graduate School of Design. For design professionals and students of architecture, 'Dirk Denison 10 Houses' draws attention to the manifold ways in which life experiences at all scales nurture and shape a career in the field, but the book is an engaging read for anyone interested in the gratifying process of building one?s own home.