Released in conjunction with Issue 18 of Fillip magazine, the booklet Slide Shows documents the specially commissioned Web video project on the landscape of international art publishing and design, curated by Charlotte Cheetham and produced by Fillip. Originally taking the form of a series of video presentations by publishers, designers, and artists, Slide Shows offers one possible cross section of a newly emergent field of book production. This publication documents the project, serving as a pocket reference to each of the profiles included in the series. After the pocket guide, the project will culminate in a printed volume that will document each slideshow, available in 2014.
Slide Shows booklet includes contributions by 4478zine, And publishing, Xavier Antin, Booklet, Cambridge Books, Cannon Magazine, Charlotte Cheetham, An Endless Supply, David Horvitz, Int. Typo. Union, James Langdon, mono.kultur, Samuel Nyholm, Occasional Papers, Oslo Editions, Precinct, Michalis Pichler, Elias Redstone, David Senior, split/fountain, Eva Weinmayr, Wendy Yao; and two new slideshows by Erik Kessels and Grotto are now available on the Slide Shows tumblr.
Public School started in September 2007 as a non-profit project aiming to make public recordings of live events in the Israeli scene, and became a blog, Pax Israeliana, that documented forgotten books about design, art and architecture.
The Pax Israeliana Index of Israeli Modernism is a reference index of modernist works and terms from the golden age of Israel, found online, quoted and scanned from a variety of books, catalogs and magazines. The collection aims to define a time period when the young state of Israel was shaping its identity, trying to free itself from the Levant, and artists, architects, musicians, filmmakers and designers helped establish Israel’s perception in the eyes of the western world as a peace-seeking modern country by studying and showcasing their work abroad and embracing European Modernism.
© Arnaud Desjardin, The Every Day Press
LE BAL Books week-end, September 6-8, 2013, Paris
The London Art Book Fair, September 13-15, 2013, London
MISS READ, September 19-22, 2013, Berlin
NY ART BOOK FAIR, September 20-22, 2013, New York
The Tokyo Art Book Fair, September 21-23, 2013, Tokyo
Unseen Book Market, September 26-29, 2013, Amsterdam
Vancouver Art/Book Fair, October 5-6, 2013, Vancouver
Salon Light #10, October 5-6, 2013, Paris
Third Issue, October 11-12, 2013, Frankfurt
OffPrint Paris, November 14-17, 2013, Paris
KIOOSK vol.2, November 16-17, 2013, Kraków
Sprint, November 29-December 1, 2013, Milano
Rookie Book Fair, December 7-8, 2013, Poznan
LA ART BOOK FAIR, January 31 – February 2, 2014, Los Angeles
Fahrenheit 39, March 7-9, 2014, Ravenna
PIN–UP Interviews is a compilation of over 50 of the interviews from PIN–UP magazine, the New York-based biannual architecture and design magazine, since its first issue was published in 2006.
Included in PIN–UP Interviews are the architects David Adjaye, Shigeru Ban, Ricardo Bofill, David Chipperfield, Zaha Hadid, Junya Ishigami, Rem Koolhaas, Peter Marino, Richard Meier, and Ettore Sottsass; artists Daniel Arsham, Cyprien Gaillard, Simon Fujiwara, Boris Rebetez, Oscar Tuazon, Andro Wekua, and Robert Wilson; and designers Rafael de Cárdenas, Martino Gamper, Rick Owens, Clémence Seilles, Hedi Slimane, and Bethan Laura Wood…
Books of Copies, a project by San Rocco, is an online database comprised of images that can be copied in order to produce architecture. As such, Books of Copies are receptacles of a collective form of knowledge that can provisionally be called “architecture”. Books of Copies are organized according to a precise set of rules and are produced by a multitude of producers. Books of Copies are based on an inherently derivative and collective effort, starting with the zero-degree act of accumulation of formal knowledge, namely “collecting”. Exhibition, September 10 – October 2, 2013, AA School of Architecture, London.
In 1962, Gene Bernofsky, Jo Ann Bernofsky and Clark Richert were students at the University of Kansas in Lawrence. Gene and Clark developed a concept they called “Drop Art”. “Dropping” artworks from the rooftop of a loft space in Lawrence, they were making art a spontaneous part of everyday life in the face of a society they saw as increasingly materialistic and war-mongering. In 1965, they bought a small piece of land near Trinidad, Colorado and ?called their settlement Drop City. They were soon joined by other artists, writers and inventors, and they started building a community that celebrated creative work.
Drop City’s dazzling structures were based on Buckminster Fuller’s geodesic domes and the crystalline designs of Steve Baer, a pioneer in geometric structure and solar energy. The Droppers had little building experience, but they were full of ingenuity and exuberance. Drop City became a lab for experimental building and and inspired a generation of alternative communities…
Drop City, a new documentary, screenings, as part of:
Architecture on Film, July 9, 2013, 7pm, The Architecture Foundation, London
West of Center: Art and the Counterculture Experiment in America, 1965 1977, July 10, 2013, 7pm, Mills College Art Museum, Oakland
L’architecte britannique, Peter Cook – en conférence publique le 27 mai, 2013, 18:00, EPFL, Lausanne – fonde en 1961 le mouvement Archigram, revue avant-gardiste d’architecture, avec Ron Herron, David Green, Warren Chalk, Dennis Crompton et Michael Webb. Ils inventent une architecture en prise directe sur la société de consommation et la communication à la manière du Pop art dont ils reprennent les couleurs acidulées, l’ironie désarmante, l’intérêt pour la culture populaire et banalisée.
Avant tout théoricien de l’architecture, Peter Cook développe ses projets comme une série de tentatives successives qui évitent de se scléroser dans une proposition définitive. Il veut revenir aux fondements de l’architecture moderne et remet la vie au cœur de la cité, développant ainsi l’idée d’une circulation dans laquelle vient se greffer des cellules. Celles-ci se pluguent les unes aux autres. La walking city par exemple est itinérante et suit les flux de l’événement et de la circulation de l’information.
Archigram fut une source d’inspiration pour le mouvement high-tech, notamment le centre Pompidou (1977) de Piano et Rogers, ainsi que le travail de Norman Foster, Gianfranco Franchini, ou aujourd’hui certaines réalisations de Future Systems.
The Playground Project, curated by Gabriela Burkhalter, is a richly illustrated exhibition exploring the history of postwar playground design and highlighting important examples of playgrounds from the 20th century. The survey focuses on the years between 1940 and 1980 as the most fruitful era in playground design and introduces outstanding achievements from Europe, the US, and Japan. More than 130 photographs, prints, plans, models, and books, along with eleven films and slideshows, will illustrate the exciting and inspiring history of playgrounds, from June 10, 2013, Carnegie Museum of Art, Pittsburgh.
Valerio Olgiati asked architects to send him important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture.
In The Images of Architects, available in may, you can find find 44 individual “musées imaginaires”. The most unique architects living today each present up to 10 images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious.
This book has the format of a reader. As little as possible is said. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.
Mock-ups in Close-up, Architectural Models in Film 1919 – 2012, a constantly growing film project by architect Gabu Heindl and film-theorist Drehli Robnik, is a collection of excerpts from an increasing number of narrative films that feature architectural models. In chronological order (from 1927 to 2010), the two-hour long video includes classics as well as recent American comedies and more obscure material.
Some of the models figure quite prominently in the films, others appear more randomly. Without using narration, the compilation attempts to push the inclusion of all mock-ups to the extreme – until traction occurs, or until history (including that of architecture and its applications) again becomes relevant through the archives of randomness: history as an image of the Cold War or the fluidity of labor, as a power play of masculinity and the scale of the models themselves.
The compilation does not primarily deal with “films about architecture”. Rather, it offers a section through an all-inclusive film history which, in the project’s re-writing, appears to be obsessed with showing models in a variety of contexts: be it on the fringes or in the center of a scene, models pop up in love stories, thrillers, psychological dramas, comedies or sci-fi . The list of filmmakers who could not resist to either pan over or to focus on architectural models includes Fritz Lang, Francis Ford Coppola, Stanley Kubrick, Tim Burton, Steven Spielberg, Ben Stiller, the Farrelly Brothers, and Wes Anderson.
Candide is dedicated to exploring the culture of knowledge specific to architecture.
How is architectural knowledge generated, collected, presented, and passed on? Which forms of architectural knowledge can be observed? How can knowledge generated in reference to a specific task be applied to other contexts? Which experts, designers, and users, which institutions and organizations are involved? Which techniques, tools, and methods are instrumental?
Each issue of Candide is made up of five distinct sections. This framework responds to the diversity of architectural knowledge being produced, while challenging authors of all disciplines to test a variety of genres to write about and represent architecture.
Failure is an intrinsic part of experimentation, creativity and inconveniently, life. It’s said if you’re not failing often then you’re not trying hard enough. The beautiful screw ups, the happy accidents, the painful flaws and the Epic Fails are celebrated.
For Pie #04 – Failure the idea of failure was taken in all its variant forms and looked for the beauty, humour and wisdom gained from these unwanted mishaps.
Avec Beauregard, le 5 juillet 2012, George Dupin et Jérôme Saint-Loubert Bié proposent un projet conçu comme un work in progress qui prend en compte la notion de chantier au sens large: d’une part, le Frac Bretagne représenté à travers ses activités, et de l’autre, le temps du chantier comme moment décisif entre un avant et un après, entre bilan et projet.
Sur une période de trois années, les artistes ont créé et réuni ensemble une vaste matière dont le statut oscille entre document, archive et œuvre, et dont la finalité est un livre. Celui-ci, de même que le chantier à ciel ouvert, expose son architecture interne.
L’un des principes de ce projet repose sur la manière dont sont reproduites les photographies : imprimées en négatif sur des feuilles noires avec de l’encre argent, les images se lisent en positif grâce à l’opacité de l’encre et à son pouvoir réfléchissant, amplifié lorsque l’on tourne les pages. Le recto des feuilles montre le chantier du nouveau bâtiment et alterne avec le verso, qui montre les bases de cette histoire : la collection, les réserves, la documentation sur les œuvres et les artistes, les archives des expositions et évènements passés, l’ancien site du Frac à Châteaugiron.
Deux expositions ont permis de montrer le matériau constitutif du livre, à savoir des documents et des feuilles d’imprimerie avec pour chacune de ces occasions un dispositif spécifique. Les photographies de ces expositions alimentent à leur tour le livre et en constituent la partie centrale.
Cet ouvrage – qui incarne donc la troisième occurrence de ce projet, présenté le 18 décembre 2012, 17h, Frac Bretagne, Rennes – tente une exploration subtile de l’histoire d’une institution, des liens entre la mémoire, la collection, les projets et la manière dont ceux-ci s’incarnent dans une architecture spécifique.
MAKERSANDFOUNDERS is an always expanding collection of video interviews with makers and founders from a variety of sources and perspectives.
Architecture has always been intimately intertwined with its social, political, and economic contexts; major events in world history have had correspondingly dramatic effects on the discipline. The Great Depression, the fall of the Berlin Wall, and Hurricane Katrina, for example, were all catalysts for architectural response and resulted in a diversification of the architect’s portfolio. Yet far too often, architects simply react to changes in the world, rather than serving as agents of change themselves.
Perspecta: The Yale Architectural Journal is a student-edited peer-reviewed academic journal published by the MIT Press and Yale School of Architecture, Yale University since 1952.
This issue, Perspecta 45: Agency – edited by Kurt Evans, Iben Falconer & Ian Mills; designed by Zak Jensen & Mylinh Trieu Nguyen – takes a broader view, using the concept of agency to explore the future of architecture. The retreat from liability, the barricade of theory, and the silos of specialization have generated a field that is risk-averse and reactive, rather than bold and active. Instead of assuming that architects can only throw up their hands in despair, the editors of this issue of Perspecta invite them to roll up their sleeves and get to work.
Prominent architects, scholars, and artists investigate how architects can become agents for change within their own discipline and in the world at large.
Contributors include Eeva-Liisa Pelkonen, Nader Tehrani, Ines Weizman, Jaime Lerner, Urban-Think Tank, Stefano Boeri, Peter Eisenman, Michael Osman, Darryl Collins, Vann Molyvann, Enrique Ramirez, Rania Ghosn, Victor van der Chijs, Bjarke Ingels, Jan Kempenaers, Andrew Shanken, Keller Easterling, Timur Galen, Perspecta 45 & Pierluigi Serraino, Thomas Auer, Joshua Vanwyck & Erik Olsen, Preston Scott Cohen, and Ariane Lourie Harrison.
Common Room is an architectural practice, publishing imprint, exhibition space, and collaborative platform based in New York City and Brussels. Common Room is comprised of architects Lars Fischer, Todd Rouhe and Maria Ibañez, and graphic designer Geoff Han.
Offprint Paris is an Art Publishing Fair focused on emerging practices in Art.
“We give special attention to the evolution of publishing/curating from traditional “spaces” (catalogues, artists books, photobooks, newspapers, but also museums and schools) towards new spaces and artists organizations (independent publishing, self publishing strategies, websites, blogs, social networks, activism, non institutional activities…).
We consider that the topic of “Publishing” can offer a stimulating hermeneutic to analyse the structure and development of the contemporary art world in a context of digitalization of cultures.”
15–18 November 2012
École nationale supérieure des beaux-arts, Paris
The future of architecture is a participatory book project which tries to provide an insight into the future role of architecture. It is an attempt to supply an insight into the question, “What is the future of architecture?”.
Every architectural attempt starts by making a representation of an imaginative situation or design, which will happen, or could happen in the future. In many cases an architectural design remains a future plan, and in times of economical and political crisis, the question of what comes next, gains relevance. So, while architects shape the future, this book is concerning about the future of architecture.
Zak Kyes Working With… brings together a range of works by graphic designer Zak Kyes, as well as works by a host of collaborators that includes architects, artists, writers, curators, editors, and graphic designers, presenting contemporary graphic design as a practice that mediates, and is mediated by, its allied disciplines.
The book highlights the designer’s relations with partners, clients, and institutions, and the creative potential of these collaborations to evolve traditional understandings of graphic design, art, and architecture.
With contributions by Can Altay, Charles Arsène-Henry, Shumon Basar, Richard Birkett, Andrew Blauvelt, Edward Bottoms, Wayne Daly, Jesko Fezer, Joseph Grigely, Nikolaus Hirsch, Maria Lind, Markus Miessen, Michel Müller, Radim Peško, Barbara Steiner.