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Vinciarelli's paintings of light, space, water, and landscape express a soulful mixture of imagination and memory and reflect her devotion to architecture.
"Although much of my work is architectural in character, I do not represent real spaces. Rather, my work has its origins in the spaces I have abandoned - the mood of Rome and the landscape of Texas - and the paintings are of spaces I know that look nothing like what I paint ...They are essentially meditations on essences of architecture like enclosure, surface and light. "Born in Italy in 1943, Lauretta Vinciarelli passed away in New York in 2011. Trained as an architect in Rome but a watercolorist by vocation, her works reside in numerous private collections and among the holdings of prominent institutions, including the Museum of Modern Art in New York, the National Gallery in Washington DC, and the San Francisco Museum of Modern Art. Noted for their luminous qualities of color and light, her depictions of imagined spaces open up a world of enclosed rooms, sweeping landscapes, watery materiality, and atmospheric ephemerality. Describing her work, a noted theorist and critic once said, "They are not architecture exactly, but evidence that it exists." This book brings together paintings from 1981 onwards in the most complete collection of Vinciarelli's work to date. It also includes texts from knowledgeable commentators and for the first time presents sketch materials that provide insight into Vinciarelli's working methodology. Vinciarelli's technique often operated at the very limits of her medium; sometimes even to the point of failure. In these paintings, color is used as a device for shaping space, with watercolor the chosen medium for its rich portrayal of light and the conceptual simplicity of the act of mixing paste with water.
A Feminist Reader in Early Cinema marks a new era of feminist film scholarship. The twenty essays collected here demonstrate how feminist historiographies at once alter and enrich ongoing debates over visuality and identification, authorship, stardom, and nationalist ideologies in cinema and media studies. Drawing extensively on archival research, the collection yields startling accounts of women's multiple roles as early producers, directors, writers, stars, and viewers. It also engages urgent questions about cinema's capacity for presenting a stable visual field, often at the expense of racially, sexually, or class-marked bodies. While fostering new ways of thinking about film history, A Feminist Reader in Early Cinema illuminates the many questions that the concept of "early cinema" itself raises about the relation of gender to modernism, representation, and technologies of the body. The contributors bring a number of disciplinary frameworks to bear, including not only film studies but also postcolonial studies, dance scholarship, literary analysis, philosophies of the body, and theories regarding modernism and postmodernism. Reflecting the stimulating diversity of early cinematic styles, technologies, and narrative forms, essays address a range of topics—from the dangerous sexuality of the urban flâneuse to the childlike femininity exemplified by Mary Pickford, from the Shanghai film industry to Italian diva films—looking along the way at birth-control sensation films, French crime serials, "war actualities," and the stylistic influence of art deco. Recurring throughout the volume is the protean figure of the New Woman, alternately garbed as childish tomboy, athletic star, enigmatic vamp, languid diva, working girl, kinetic flapper, and primitive exotic. Contributors. Constance Balides, Jennifer M. Bean, Kristine Butler, Mary Ann Doane, Lucy Fischer, Jane Gaines, Amelie Hastie, Sumiko Higashi, Lori Landay, Anne Morey, Diane Negra, Catherine Russell, Siobhan B. Somerville, Shelley Stamp, Gaylyn Studlar, Angela Dalle Vacche, Radha Vatsal, Kristen Whissel, Patricia White, Zhang Zhen
rootedness Discover the insights and lessons of architect Juhani Pallasmaa In Rootedness: Reflections for Young Architects, Juhani Pallasmaa delivers an insightful and expansive collection of his most compelling ideas into architecture’s position among arts and culture. Pallasmaa speaks to architecture students and young professionals, discussing each topic with sincerity and openness, suggesting what can be learned from areas of culture beyond the boundaries of familiar professional disciplines. He outlines the growing need for an architecture based in self-awareness, reconnection to the environment, and a sense of ethical responsibility. Each essay in Rootedness was initially conceived and presented as an educational lecture and has been carefully edited with clarifications, refinements, and valuable expansions. Accompanying sketches by the author emphasize the personal and intimate nature of the essays. The book also includes: Explorations of perception, creative practice, and the need for an ethical stance Thoughts, meditations, and challenges emerging from the author’s search for identity and purpose in his architectural work A wealth of references within the essays, as well as recommendations for books and films from which readers may draw further inspiration Designed for students of architecture at any age, Rootedness: Reflections for Young Architects will also inspire professional architects, designers, and those in other creative professions.
Theorizes an architectural ethos of extreme self-reflection and finality from a Lacanian perspective. While it is widely recognized that the advanced architecture of the 1970s left a legacy of experimentation and theoretical speculation as intense as any in architecture's history, there has been no general theory of that ethos. Now, in Architecture's Desire, K. Michael Hays writes an account of the “late avant-garde” as an architecture systematically twisting back on itself, pondering its own historical status, and deliberately exploring architecture's representational possibilities right up to their absolute limits. In close readings of the brooding, melancholy silence of Aldo Rossi, the radically reductive “decompositions” and archaeologies of Peter Eisenman, the carnivalesque excesses of John Hejduk, and the “cinegrammatic” delirium of Bernard Tschumi, Hays narrates the story of architecture confronting its own boundaries with objects of ever more reflexivity, difficulty, and intransigence. The late avant-garde is the last architecture with philosophical aspirations, an architecture that could think philosophical problems through architecture rather than merely illustrate them. It takes architecture as the object of its own reflection, which in turn produces an unrelenting desire. Using the tools of critical theory together with the structure of Lacan's triad imaginary-symbolic-real, Hays constructs a theory of architectural desire that is historically specific and yet sets the terms and the challenges of all subsequent architectural practice, including today's.
Theme parks, suburban sprawl, anonymous functional places such as airports and parking lots are real human spaces, contends Kolb (emeritus philosophy, Bates College). He argues that they must be measured in terms of their own new forms of connection rather than against classic hierarchical unities. The final section narrows the focus to suburban sprawl, which he defends against many (but not all) criticisms, and proposes policy changes to make suburbia more complex, just, and humane. Annotation ©2008 Book News, Inc., Portland, OR (booknews.com).
The senses play a vital role in our health, our social interactions, and in enjoying food, music and the arts. The book provides a unique interdisciplinary overview of the senses, ranging from the neuroscience of sensory processing in the body, to cultural influences on how the senses are used in society, to the role of the senses in the arts.
The National Park Service's official advice on preserving and restoring historic buildings.