Bøger udgivet af Actar D

This book presents Miro's work between 1956 and 1983, when he started working in the studio the architect Josep Lluis Sert designed for him in Palma (Mallorca). From that time, his art underwent considerable changes. At first, he stopped painting altogether. He worked hard to finish the ceramic murals for the Unesco building in Paris, which were unveiled in 1958. He also had to organize things in his studio. He spent a lot of time reviewing his earlier work, mainly the preparatory drawings accumulated over the years. He tore up quite a number of them, and others he used as the starting point for new projects. With more space at his disposal, he was able to return to the large formats that he had found so satisfying when working on his murals (both ceramic and painted) and his plan now was to embark on large-format canvases.

Exploring architectural itineraries that lead to a series of possible futures for architecture and urbanism, "Multi-National City" follows three architectural itineraries through three cities and their histories.

Layered Urbanisms presents critical discussions and illustrations of urban research and design analysis as carried out in advanced studios with young architects investigating ways to design new urban spaces for New York.

From the onset, Mansilla +Tun architects faced the challenge of creating an immense space that could house exhibitions and events and that would simultaneously become a frame of reference for the leisure and cultural activity of the city of Len. The book is structured in three parts: building concept and theory; the plans of the building and images of its evolution during the two years the building work took; and lastly an extended look at the space as seen through the eyes of four contemporary artists.

This book of roughly forty portraits that share a common denominator: the presentation of individuality in the context of the subject's naked existence. Their 'being there', thus constitutes, in a number of ways, a document on the 'other', the proof of existence and a mirror of the spectator's own existential uncertainties. 'Subject' takes us on a journey into the interior of our 'I' through our reflection in the 'other'. The works of twenty-four artists display a prevalence for photography, but also include works of sculpture, installation and painting, and together posit a very clear question: are we still capable of looking at the 'other' in her or his full human dignity in order to see our own nakedness?

This monograph explores the whole host of influences from Mies van der Rohe, to Richard Neutra, to Rafeal Moneo. Strong, and explicit, these outside references are both conscious and deliberate while simultaneously contradictory and perhaps even random. In his work Rahola revisits the places of architecture, among them, his own personal professional history, with a very personal gaze: that of the quiet man. Rahola's simplicity and sensitivity enable him to harmoniously incorporate an extensive repertoire of modern references with the indigenous vernacular of the traditional architecture of his native island of Ibiza. Rahola's empathy extends to place and material: from the details of a particular hillside and unique texture of a masonry wall, to the specifics of a certain bioclimatic condition and sculptural effect of a brise-soleil, Rahola captures the emotional aspects that emanate from the creative combination of these many factors.

More than the document of a remarkable project: Buy Me A Mercedes-Benz shows how various forms of expert knowledge have been combined and interwoven to finally generate an unconventional, breakthrough museum design. Providing insight into the various ideas, experiences and ambitions behind the project, this book allows visitors to take the museum home. Through photographs, diagrams, text, and drawings, this book explains the unique Mercedes museum design model, developed by UN Studio: the digitally programmed, three-dimensional, cross-connected trefoil. Implementing this model has resulted in a building that radically breaks with many of today's architectural conventions, a building that is highly complex, but still maintains a strongly directional structure, which provides many surprising perceptual experiences.

This publication aims to demonstrate the great diversity and versatility of the familiar material of ceramic. In a selection of works by architects such as Eduardo Souto de Moura, Caruso St. John, Lacaton Vassal, FOA and EMBT. Whether mass-produced or made-to-measure, contemporary architecture puts ceramics to use in unexpected and innovative ways, as a traditional cladding, as a ventilated faade, as a skin or as building material.

Essays by Christian Ernst, Andr Rasler, Lars Harmsen and Ulrich Weiss. Text by Laszlo Csiba, Radek Knapp, Sudabeh Mohafez, Josef A. Oliver, Selim zdogan and Ilija Marinow Trojanow.

When tourists become lost, overwhelmed, tired, inspired, bored, enlightened, confronted, hungry, upset or tipsy, when they get cheated or fall in love, perceptions change and surprising associations and experiences come to light. In trying to figure out a city, they are mostly investigating themselves. In this madcap tour through five important international cities, Martin Lorenz and one guest artist per city gave themselves 48 hours to experience their destination, to document it and create a visual diary without the use of computers. The resulting evidence reveals places and situations that could never get mentioned in the guidebooks, offering exhibitionistic glimpses into the personal lives of the reporters and the real energy of each city. This volume covers Frankfurt, Copenhagen, Berlin and New York.

This first in a series of books from the Yale School of Architecture studies the collaborative process between architects and developers made possible by the Edward P. Bass Distinguished Visiting Architecture Fellowship.

Frames recoge los ultimos cinco anos del trabajo del arquitecto italiano Massimiliano Fuksas. La idea detras de Frames es la del fragmento, es decir, la idea de comprender la obra del arquitecto como la suma de diferentes fragmentos, los medios digitales como el motor del posible cambio. Asi ya no hablamos de fragmentos sino de frames

In a year when Spanish curators directed the Venice Biennale for the first time, Antoni Muntadas, representing Spain in the Spanish pavilion, told a reporter that the Biennale "takes its ideas from international fairs. It connotes the theme park. There was exoticism, invention, the new... but by now it is an obsolete structure." Muntadas's On Translation: I Giardini, the latest in a series of often site-specific On Translation projects completed over the last 10 years, is here documented from its inception. Translation is a metaphor, as Muntadas states, "I am not talking about translation in a literal sense, but in a cultural sense--how the world we live in is a totally translated world, everything is always filtered by some social, political, cultural and economic factor... by the media, of course, by context and by history." Accordingly, I Giardini looks into the context and history of the Biennale's Giardini del Castello, delving into the transformations and "translations" it has undergone over time, and investigating Venice's status and the space that frames the Biennale. Muntadas notes, for instance, that a new Italian pavilion built on Mussolini's orders was replaced again after the war.

What Kind of City Do We Want? Victor Gruen, Theories and Projects. Amid the mid-century debates surrounding the development and transformation of the American city and suburb, a renowned architect-planner, Victor Gruen (1903-80), became one of the most important figures in this rapidly changing context. Tremendously influential during the 1950's and 60s, Gruen's work was driven by urban planning problems created by the rapid onset of new suburbias, urban highways, and the subsequent deterioration of existing downtowns. Dubbed the "pioneer of the shopping center," Gruen envisioned the suburban mall as a new type of urban public space in the new dispersed residential fabric. In this book, which outlines the theories and projects that mark a thirty year period, Alex Wall presents the largely overlooked story of conflict between the ambition of an architect and the transformation of American society, its cities, and its landscape. Through a roughly chronological structure, "Victor Gruen, From Urban Shop to New City" fills a gap in the architectural character of postwar America, as well as provides insight into the ongoing validity of Gruen's theories and work within current discourse of the contemporary city.

The Ferrari Industrial Complex, an extraordinary campus devoted to designing and testing Ferrari cars, has been testing some major design changes of its own. World-renowned Italian architect Massimiliano Fuksas's new research center, built between the wind tunnel and the mechanics' building, will now host the offices of Ferrari Technical Management. Its rectangular bamboo forest and ground-level reflecting pool are meant to offer a micro-climate for "the realization of a dream." The floor plans, construction photos and renderings collected here suggest that Fuksas has succeeded, as does a shot of a crowd of Ferrari-ans in dark suits filing up one of the building's apparently unsupported staircases in a line, while one of their number bolts joyfully, blurrily, past them to the top. This book, with its yellow endpapers and metallic-red-edged pages, succeeds both in capturing Fuksas's work and tapping into readers' intense interest in one of the world's most recognizable luxury brands.

Edited by Mike Riemel. Essays by Marc Wohlrabe, John Boerger and Anett Frank.

Fernando Romero graduated from architecture school in Mexico City in 1995, and then worked with Enric Miralles, Jean Nouvel and Rem Koolhaas before setting up his own firm in 1999, called Laboratorio de la Ciudad de Mexico. LCM soon became influential, as one of few offices--if not the only one--carrying out experimental projects in Mexico City's economically vulnerable environment. In 2005, Romero founded the Laboratory of Architecture, LAR. Translation divides LCM and LAR's projects into three categories. "Fluid Bodies" are long-lasting private projects, addressing specific situations with high-tech resources. The Modern Wetdream project from 2001, a villa with a view of the Pacific Ocean, is a perfect illustration of this. "Revised Boxes" are public buildings whose technology is based on industrial products. For example, at the Inbursa bank on Paseo de la Reforma, one of the most prestigious avenues in Mexico City, Romero used laminated glass which looks either opaque or transparent depending on where one stands. "Boxes," the third category of projects, create cheap, low-tech architecture and rapidly applicable designs from commercial wholesale products, the better to attain LAR's goal of addressing contemporary society via a process of architectural translation.