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Articles 31 - 40 of 40
Full-Text Articles in Architecture
The Politics Of Traditional Contemporary Buildings, Marwan Ghandour
The Politics Of Traditional Contemporary Buildings, Marwan Ghandour
Marwan Ghandour
This paper surveys contemporary Buildings in Lebanon that incorporate traditional Elements, as a way to deconstruct possible meanings of this dominant practice in contemporary Lebanese Architecture. I will start by discussing what is meant by tradition in relationship to building activity in Lebanon and what issues do these buildings engage. Then I will move to discuss the production of the Traditional in architectural practice. I will conclude by looking at "traditional" Contemporary buildings as thlngs around which social relations are problematized.
Building As Social Practice, Marwan Ghandour
Building As Social Practice, Marwan Ghandour
Marwan Ghandour
The last century saw the establishment of various institutions that organized building construction in Lebanon as well as the formation of academic programs in architecture. The number of architects has grown from the handful who came from abroad in the first quarter of the twentieth century. With a skill known only to few, and forming a sophisticated class of professionals they, together with structural engineers, maintained exclusive legal access to the making of buildings. Architects have been involved in all matters of physical design, developing broad planning regulations as well as micro-scale spatial regulations that covered all Lebanese territory. On …
Building Law: A Critical Reading Of The Lebanese Case, Marwan Ghandour
Building Law: A Critical Reading Of The Lebanese Case, Marwan Ghandour
Marwan Ghandour
No abstract provided.
Roadways And The Land: The Landscape Architect's Role, Elizabeth E. Fischer, Heidi M. Hohmann, P. Daniel Marriott
Roadways And The Land: The Landscape Architect's Role, Elizabeth E. Fischer, Heidi M. Hohmann, P. Daniel Marriott
Heidi Hohmann
This country has a rich history of roadway development. From early overland routes, such as the Boston Post Road in New England and the El Camino Reals in the Southwest, to the first federally funded interstate in 1806 (the National Road) and the innovative parkways of the early 20th century, we have been striving in creative ways to link our people, resources, and communities.
Un Corps À Habiter: The Image Of The Body In The Œuvre Of Le Corbusier, Daniel J. Naegele
Un Corps À Habiter: The Image Of The Body In The Œuvre Of Le Corbusier, Daniel J. Naegele
Daniel J. Naegele
Of Le Corbusier's architecture-metaphors, the best known is surely that which likened a house to a machine, but he made many others. His early houses at La Chaux-de-Fonds alluded directly to the fir trees that grew beside them. His Armee du Salut building, particularly its upper storey as it meets the sky, assumes the profile of an ocean liner. In studies for Rio, Monte Video, Sao Paulo, and Algiers, his buildings are like bridges to be driven over; and in both visual and verbal writings, Le Corbusier variously likened his elephantine Unite d'Habitation at Marseilles to an ocean liner, a …
Object, Image, Aura: Le Corbusier And The Architecture Of Photography, Daniel J. Naegele
Object, Image, Aura: Le Corbusier And The Architecture Of Photography, Daniel J. Naegele
Daniel J. Naegele
Returning to his studio one evening at dusk, Wassily Kandinsky was enchanted by "an unexpected spectacle." He suddenly saw "an indescribably beautiful picture, pervaded by an inner glow," he wrote in his "Reminiscences" of 1913 . "At first, I stopped short and then quickly approached this mysterious picture, on which I could discern only forms and colors and whose content was incomprehensible. At once, I discovered the key to the puzzle: it was a picture I had painted, standing on its side against the wall." Kandinsky was deeply affected, and the next day attempted a re-creation of his impression of …
An Interview With Ezra Stoller, Daniel J. Naegele
An Interview With Ezra Stoller, Daniel J. Naegele
Daniel J. Naegele
Ezra Stoller's ‘first photograph that ever amounted to anything’ was of Alvar Aalto's Finnish Pavilion at the 1939 New York World's Fair. Aalto was just forty-one years old at the time and soon he — like Gropius, Breuer, Mies, Mendelsohn and so many other German architects and artists — would escape the war in Europe by moving to America. Most of them stayed on, preaching their message in major universities, and finding in this ‘land of hyperreality’ fertile ground for the manifestation of their architectural beliefs. They and their followers —together with the immigrants Saarinen and Kahn and, most importandy, …
The Landscape Reader, Heidi M. Hohmann
The Landscape Reader, Heidi M. Hohmann
Heidi Hohmann
Hungry for knowledge, readers of Landscape architecture publications can choose from a smorgasbord of books and articles on topics as diverse as greenway design, historic plants, and the uses of plastic lumber. But once readers consume these publications, they're likely to feel as if they've ingested the literary equivalent of a bag of potato chips: sated, but not well nourished. To put it bluntly: much current landscape architectural literature lacks depth and substance. Like junk food, our professional communications keep simple metabolism going, but fail to fuel growth, change, and maturity in the profession. Moreover, lacking a spirit of open …
An Interview With Lucien Hervé, Daniel J. Naegele
An Interview With Lucien Hervé, Daniel J. Naegele
Daniel J. Naegele
The architect of the century, Le Corbusier built less than sixty buildings yet published more than fifty books. These books are both verbal and visual, relying heavily on an illustrative text composed largely of photographs. In the 1922 publicity brochure for his forthcoming Vers une architecture Le Corbusier boasted, "This book derives its eloquence from the new means; its magnificent illustrations hold next to the next a parallel discourse, and one of great power".
The Ready-Made: Duchamp's Thing, Daniel J. Naegele
The Ready-Made: Duchamp's Thing, Daniel J. Naegele
Daniel J. Naegele
Marcel Duchamp fully appreciated the twentieth century's proclivity for certainty and classification and this attitude became an essential component of his art. In this he was not unlike Freud or Einstein or, in his immediate artistic milieu of belle ipoque Paris, Stravinsky or Raymond Roussel. Of the playwright Roussel, Duchamp once noted with admiration that "starting with a sentence ... he made a word game with kinds of parentheses ... His word play had a hidden meaning ... It was an obscurity of another order. Roussel had economically undermined the totalizing tendency of word order, throwing all of its accepted …