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"Two masterpieces of architecture in Chile are presented in this first volume of the O'Neil Ford Duograph series: a house facing the Pacific Ocean on the spectacular Chilean coast and the new crypt for the Cathedral of Santiago de Chile - one a house for the living and one for the dead, both marking the cycle of life."--BOOK JACKET.
Two residential buildings by these Brazilian architects are studied in depth in this volume. Invisible from the street, Angelo Bucci's house reveals itself in sequences until reaching the highest point and a 360-degree view. Carla Jua aba's vacation house in a remote, virgin forest is a small building of excetional beauty and elegence.
With orthodox modernism's stricture on the use of pitched roofs and the subsequent loss of knowledge regarding the plastic-sculptural potential of a building, or more generally.
City of Play shows how play is built into the very fabric of the modern city. From playgrounds to theme parks, skittle alleys to swimming pools, to the countless uncontrolled spaces which the urban habitat affords – play is by no means just a childhood affair. A myriad essentially unproductive playful pursuits have, through time, modelled the modern city and landscape. Architect and scholar Rodrigo Pérez de Arce's erudite, original, and often surprising study explores a curiously neglected dimension of architectural design and practice: ludic space. It is an architectural history of the playground – from the hippodrome to the Situationist city – of space released from productive ends in the pursuit of leisure. But this is more than just a book about how architecture has incorporated play into its spaces and structures, it is a history of the modern city itself. The ludic imagination impregnated modernist ideals, and what begins with the playground ends with a re-consideration of the whole sweep of the modern movement through the filter of leisure and play. Because play is such a basic or fundamental human experience, the book re-grounds the architect's concerns with those of non-architects – and not only those of adults but also of children. It seeks to give everyone – architects and other ordinary city-dwellers alike – a better understanding about what is at stake in the making of the public spaces of our cities.
"In this book of thirteen chapters, Howard Davis uses historical, contemporary, and cross-cultural examples to describe the nature and influence of these cultures. He shows how building cultures reflect the general cultures in which they exist, how they have changed over history, how they affect the form of buildings and cities, and how present building cultures, which are responsible for the contemporary everyday environments, may be improved."--Jacket.
This compilation of essays by the Chilean architect Smiljan Radic covers 20 years of written production. The texts were written for various reasons: on the occasion of the publication of a book, as lectures or to accompany an exhibition.
"The School of Architecture at the Catholic University of Valparaiso, Chile, underwent a transformation in 1952 when a group of young architects led by Alberto Cruz began teaching at the school. The Valparaiso School, as it became known, acquired an international reputation for its radical stance and its commitment to dialogue between architects and other disciplines. From 1970 onwards, it began to focus much of its research and design activity on the Open City project, which had been created by a group of architects, artists and poets with a vision of a city with "no master plan, no imposed ordering devices, and no hierarchical networks of infrastructure." Originally set up as a laboratory-type environment, this alternative community has since become a place of residence and work for like-minded people. Valparaiso School: Open City Group provides an insight into this radical experiment in urban development through a series of essays and photographs."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Chilean architecture—along with that of São Paolo and Mexico City—sets a benchmark for the intersection of modernism with vernacular influences in Latin America. Culture, landscape, and the geology of this earthquake-prone region have all served as important filters for the practice of post-1950s design in Chile. This volume introduces the modern architecture of Chile to readers in the United States. Looking primarily at domestic architecture as a lens for studying the larger movement, Fernando Pérez Oyarzun considers the relationship between theory and practice in Chile. As he shows in his chapter, during the early 1950s the School of Valparaíso offered the possibility of developing experimental projects accompanied by theoretical statements. There, visual artists considered poetry the starting point of modern architecture and contributed their radically modern views to the design process of the project. Next, Rodrigo Pérez de Arce examines the material context of architecture in Chile: the availability of materials and technologies, the frequency of violent earthquakes and related seismic activity, and the nation’s craft-based, labor-intensive building practices. He applies these considerations to a series of case studies to demonstrate how they interact with cultural, historical, economic, and even political influences. In the book's final chapter, Horacio Torrent reviews the interplay between the architectonic culture and modern shapes that came into sharp focus in the 1950s in Chile. In another series of case studies, he highlights the formation of a system of concepts, thought processes, instruments, and values that have given Chilean architecture a certain singularity during the last fifty years.