ediciones poligrafa es (78 results)

Hardback. Condition: New. This is a superb collection of essays focusing on contemporary architecture, from one of its leading British figures. Throughout his career, Adam Caruso - a leading figure in contemporary British architecture, and one half of celebrated London-based architectural firm Caruso St John - has continued to develop his writing and research, focusing his thoughts on the architectural practice and prominent figures of the Modern Movement. "The Feeling of Things" brings together a number of Caruso's writings (1997-2008) through which he reveals a new way to see and experience the radical approach to contemporary architecture of the Modern Movement.

Paperback. Condition: New. Published in Poligrafa's new series on museum architecture, this volume is devoted to the Museu d'Art Contemporani de Barcelona--widely known by its acronym "MACBA"--designed by American architect Richard Meier (born 1934). Located in the Raval neighborhood of Barcelona, MACBA forges a dialogue with the historic urban quarter. The neighborhood's labyrinthine streets are reflected in the building's organization, most notably in the main entry, as well as a parallel pedestrian walkway that connects the museum's rear garden to a recently created plaza in front of the museum. As befits an institution devoted to modern and contemporary art, the museum synthesizes the striking innovation of its rationalist architecture and the accrued history of its context. Offering detailed information on every aspect of the project, this publication features a full-page photographic essay by renowned Spanish photographer Aleix Bague, as well as an in-depth interview with Meier.

Paperback. Condition: New. The Joan Miró Foundation was the first public institution set up in Barcelona to focus entirely on contemporary art. Joan Miró and Josep Lluís Sert - its designer, a founder member of GATCPAC (a leading group in the introduction of the Modern architecture in Catalonia) - had first met in 1932. They became close friends while working for the Spanish (Republican) Pavilion at the Paris World Fair in 1937. After the first big retrospective of the work of Joan Miró in Barcelona (1968), the artist decided to set up a building to make his work accessible to the public on a permanent basis. Sert was commissioned,and created an open-plan structure where the interior space communicated with the exterior, producing a perfect balance between architecture and landscape. From these dates, the Foundation was expanded twice, and the architect commissioned to carry out this task was Jaume Freixa, a pupil of Sert's who had worked with him for eleven years at Harvard and had played an active part in the creation of the Foundation.

Hardback. Condition: New. The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. "The ICA's decision to hire Diller + Scofidio reflected our belief in the firm's vision that architecture can shape as well as reflect contemporary experience," stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community. ''Their brilliant and beautiful design of the ICA was a harbinger of change: edgy, bold and breathtaking, transforming the landscape for contemporary art and culture in Boston and for the artists, art and ideas of our time," Medvedow has said. ILLUSTRATIONS Colour.

Hardback. Condition: New. This is a superb collection of essays focusing on contemporary architecture, from one of its leading British figures. Throughout his career, Adam Caruso - a leading figure in contemporary British architecture, and one half of celebrated London-based architectural firm Caruso St John - has continued to develop his writing and research, focusing his thoughts on the architectural practice and prominent figures of the Modern Movement. "The Feeling of Things" brings together a number of Caruso's writings (1997-2008) through which he reveals a new way to see and experience the radical approach to contemporary architecture of the Modern Movement.

Hardback. Condition: New. Best known for their contributions to architecture, furniture design, industrial design, and photography, Charles and Ray Eames remain among the most renowned American designers of the 20th century. In 1946, Evans Products began producing the Eames molded plywood furniture. Their iconic molded plywood chair was called the chair of the century by the architectural critic Esther McCoy. In 1949, Charles and Ray designed and built their own home in Pacific palisades, their design and imaginative use of materials making this house a mecca for architects and designers internationally. After the war, the Eameses continued to create new furniture designs, such as the Fiberglass Chairs 1959, the famous Lounge Chair and Ottoman 1956, the Time Life stool 1960, the 3473 sofa 1964 and the seating for Dulles and O'Hare airports.

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Hardback. Condition: New. Neglected for most of her career, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early 20th century and the most influential woman in those fields. Her work inspired both modernism and Art Deco. Eileen Gray was to "stand alone" throughout her career, first as a lacquer artist, then a furniture designer, and finally as an architect. At a time when other leading designers were almost all male and mostly members of one movement or another - whether a loose grouping like De Stijl in the Netherlands - she remained staunchly independent. Her design style was as distinctive as her way of working, and Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by the International Style designers, such as Le Corbusier, Charlotte Perriand and Mies van der Rohe.

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Hardback. Condition: New. Charlotte Perriand was born in Paris in 1903. In 1927, when she was only 24 years old, she showed a "Bar under the roof" made out of steel and aluminum at the Salon d'Automne, prompting Le Corbusier to hire her as a furniture designer. Some of the prototypes she produced for the Salon d'Au- tomne held two years later - Equipement intérieur de l'habitation - a project signed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, provoked a chain reaction that has not yet come to an end. In 1940, Perriand was invited to Japan to be the official advisor on industrial design for the Ministry of Trade and Industry. She recommended that the Japanese turn their efforts to creating products for export to the West. Unfortunately, her stay was cut short by the outbreak of World War II. Unable to travel back home due to the naval blockades, she stayed in Vietnam for four years until the war ended. There she learned about weaving, woodwork, rattan, and other natural products. After this experience, she turned to the radical idea of using more rustic materials such as bamboo and cane to create more affordable, mass-produced furniture.

Hardback. Condition: New. Best known for their contributions to architecture, furniture design, industrial design, and photography, Charles and Ray Eames remain among the most renowned American designers of the 20th century. In 1946, Evans Products began producing the Eames molded plywood furniture. Their iconic molded plywood chair was called the chair of the century by the architectural critic Esther McCoy. In 1949, Charles and Ray designed and built their own home in Pacific palisades, their design and imaginative use of materials making this house a mecca for architects and designers internationally. After the war, the Eameses continued to create new furniture designs, such as the Fiberglass Chairs 1959, the famous Lounge Chair and Ottoman 1956, the Time Life stool 1960, the 3473 sofa 1964 and the seating for Dulles and O'Hare airports.

Hardback. Condition: New. 1st.

Hardback. Condition: New. Neglected for most of her career, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early 20th century and the most influential woman in those fields. Her work inspired both modernism and Art Deco. Eileen Gray was to "stand alone" throughout her career, first as a lacquer artist, then a furniture designer, and finally as an architect. At a time when other leading designers were almost all male and mostly members of one movement or another - whether a loose grouping like De Stijl in the Netherlands - she remained staunchly independent. Her design style was as distinctive as her way of working, and Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by the International Style designers, such as Le Corbusier, Charlotte Perriand and Mies van der Rohe.

Hardback. Condition: New. Charlotte Perriand was born in Paris in 1903. In 1927, when she was only 24 years old, she showed a "Bar under the roof" made out of steel and aluminum at the Salon d'Automne, prompting Le Corbusier to hire her as a furniture designer. Some of the prototypes she produced for the Salon d'Au- tomne held two years later - Equipement intérieur de l'habitation - a project signed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, provoked a chain reaction that has not yet come to an end. In 1940, Perriand was invited to Japan to be the official advisor on industrial design for the Ministry of Trade and Industry. She recommended that the Japanese turn their efforts to creating products for export to the West. Unfortunately, her stay was cut short by the outbreak of World War II. Unable to travel back home due to the naval blockades, she stayed in Vietnam for four years until the war ended. There she learned about weaving, woodwork, rattan, and other natural products. After this experience, she turned to the radical idea of using more rustic materials such as bamboo and cane to create more affordable, mass-produced furniture.

Hardback. Condition: New. Carlos Bunga's sculptural and painterly structures propose architecture as body and mindscape. Using only cardboard and paint, Bunga creates fantastical buildings, furniture-like sculptures and paintings as immersive environments.This book surveys his actions and performances, and documents over a decade of installations. Enacting cycles of construction and destruction, Bunga explores states of dispossession and nomadism; the nature of spatial experience; and the creative and symbolic potential of ruin.With essays by Iwona Blazwick, Carlos Bunga, Nuno Faria, Inês Grosso and Antony Hudek.

Hardback. Condition: New. Louise Bourgeois was an immensely influential sculptor and one of the iconic figures of twentieth and early twenty-first century art. She died in May 2010, aged ninety-eight. In the last year of her life, she invited the artist Alex van Gelder to stay at her New York town house and take photographs of her. More than purely a portrait project, she considered the collaboration to be an extension of her work, allowing her person to be viewed as a segment of her art. Of the hundreds of pictures that Van Gelder took, it is those which depict her hands against the black of her clothes that astonish most: gnarled, sinewy and wrinkled with age, they were the tools with which she produced her extraordinary work, right up to a few days before her death.This beautiful clothbound book presents twenty of Van Gelder's portraits of Bourgeois's hands, each on a double-page spread and accompanied by comments by the artist. Cupped or cradling and always mobile, her hands recall many of her works: from the interlocking finger-like forms of her Lairs of the 1960s, to the skein of lines of her Insomnia Drawings and the poised spiders of her Maman series. Despite their stark simplicity, Van Gelder's images are suffused with warmth. They reflect his closeness to Bourgeois and the trust she placed in him when working together on this final project, brought to fruition here in this intimate and precious book.

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Hardback. Condition: New. Until the installation of his 1973 solid-light piece, Line Describing a Cone, in Chrissie Iles Whitney's exhibition Into The Light in 2001, Anthony McCall (England, 1946) remained one of those artists whose work circulated almost entirely in the form of two or three very well-known documentary photographs: his art was immediately recognisable, canonical even, but rarely experienced firsthand. This carefully designed and produced monograph on the Angloamerican artist seeks to lay bare the imagery that underlies his work, from Landscape for Fire (1972) to the presentation of his latest piece Coming About (2016). Through its intermingling of images and the artist's words, this book vindicates McCall's independence of spirit and aims to make the richness and complexity of his work apparent. In addition, the book collects for first time all the public projects the artist developed over the last decade. As it takes in the range of expressive media that the artist uses, the sequence of works maintains throughout the idea that space and time pertain to the same moment, the moment of the person contemplating them at that particular instant.

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Hardback. Condition: New. Josep Lluis Mateo (born 1949) is one of Spain's--and Europe's--most prolific and visible architects, as energetic as a teacher and lecturer as he is an architect. Mateo has designed corporate headquarters, housing units, office blocks and hotels throughout Western Europe, and has also renovated urban centers in Gerona (Spain) and Castelo Branco (portugal). this volume looks back at nearly 30 years of Mateo's built structures, as portrayed by the architectural photographer Adria Goula. As well as buildings from the 80s and 90s, it also looks at his most important projects of the past few years, from the Banc Sabadell Headquarters renovation (2004) and the Factory office building in Boulogne-Billancourt, France (2010) to the PGGM Headquarters in Zeist, Holland (2011) and the Catalonian Film Theater in Barcelona (2011). Interspersed among Goula's photographs are Mateo's observations and musings on architecture.

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Hardback. Condition: New. Considerado uno de los artistas contemporáneos más importantes de Brasil, Caio Reisewitz (Sao Paulo, 1967) ha producido un notable cuerpo de obra durante los últimos quince años, centrándose, casi exclusivamente, en la actualidad de su pais. Sus fotografías en color de gran formato exploran la relación cambiante entre la ciudad y el campo en un período de desarrollo económico febril. Muchas de sus fotografías dan testimonio de su fascinación por el patrimonio arquitectónico de la época colonial de Brasil, así como de la innovadora arquitectura moderna del pasado siglo. Otras, igual de imponentes, retratan los paisajes vírgenes y los bosques densos que rodean São Paulo áreas que ahora se ven amenazadas por la expansión urbana. Además, el trabajo de Caio Reisewitz tiende a establecer conexiones entre la construcción de lo real y el registro de lo que es artificial a través de la fotografía. En sus fotomontajes en los que el comisario Fernando Cocchiarale detecta rastros del legado dadaísta de Hannah Höch y Joaquim Reis los seres humanos pueden estar presentes, pero bajo un estatuto que le muestra absolutamente transfigurado.

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Paperback. Condition: New. The Italian artist Medardo Rosso (1858-1928) is, without a doubt, the great pioneer of modern sculpture. His achievement has been recognised - in spite of an historiographical blindness that persisted for decades - by the artists of his time and by leading figures in the art of the 20th century. Degas, Boccioni (who made him a lodestar of Futurist sculpture), Brancusi, Giacometti, Fontana, Anselmo, Thomas Schütte and Juan Muñoz have all acknowledged the lasting significance of his legacy.By means of an important selection of his sculptures, almost all of his photographs and drawings, his writings and a number of his letters, this complete monograph highlights the complexity of Rosso's creative process, and especially his exploration of the limits of form and materiality, which resulted in his making different versions of his own works.Rosso was not a sculptor in the traditional sense. Eschewing wood and stone, he worked with soft materials such as plaster and wax, which lent themselves to the representation of ephemeral effects and subtle forms. He produced multiple versions of his works, continually varying the forms and materials. For Rosso, sculpture and the visualisation of sculpture were inextricably linked, and photography, which came to constitute the definitive movement from the point of view of the spectator, enabled him to arrive at his ultimate goal: the attaining of insubstantial form.As Luciano Fabro observed, in an inspiring interview he gave in April 1996, "[till then] sculpture had been about taking away from or adding matter to a nucleus; Rosso goes further by proposing that when the gaze passes over something, remove or add matter, remove and add subject".