Source_ Book 4

"In "Siteless: 1001 Building Forms," French architect Francois Blanciak surrenders the usual anchors of function and site for an exercise in pure form. His astoundingly imaginative 1,001 designs could challenge architects and engineers for decades." -- ""Santa Fe New Mexican""

This book offers an attempt to free architecture from site and program constraints and to counter the profusion of ever bigger architecture books with ever smaller content.Some may call it the first manifesto of the 21st century, for it lays down a new way to think about architecture. Others may think of it as the last architectural treatise, for it provides a discursive container for ideas that would otherwise be lost. Whatever genre it belongs to, "Siteless" is a new kind of architecture book that seems to have come out of nowhere. Its author, a young French architect practicing in Tokyo, admits he "didn't do this out of reverence toward architecture, but rather out of a profound boredom with the discipline, as a sort of compulsive reaction." What would happen if architects liberated their minds from the constraints of site, program, and budget? he asks. The result is a book that is saturated with forms, and as free of words as any architecture book the MIT Press has ever published.The 1001 building forms in "Siteless" include structural parasites, chain link towers, ball bearing floors, corrugated corners, exponential balconies, radial facades, crawling frames, forensic housing - and other architectural ideas that may require construction techniques not yet developed and a relation to gravity not yet achieved. "Siteless" presents an open-ended compendium of visual ideas for the architectural imagination to draw from.The forms, drawn freehand (to avoid software-specific shapes) but from a constant viewing angle, are presented twelve to a page, with no scale, order, or end to the series. After setting down 1001 forms in siteless conditions and embryonic stages, Blanciak takes one of the forms and performs a "scale test," showing what happens when one of these fantastic ideas is subjected to the actual constraints of a site in central Tokyo. The book ends by illustrating the potential of these shapes to morph into actual building proportions.

Source_ Book3

In this long-awaited follow-up to the best seller Folding Architecture, Sofia Vyzoviti continues to expand her unique design method which uses folding as a playful means to open up the design process to spontaneity and surprise. This is a funny and inspiring pocket-sized book for design students and professionals who are keen to experiment. It is applicable not only to architecture but many aspects of design.

Source_Book 2

The term "process art" describes a moment of radical, aformal experimentation in postwar American sculpture. Through the medium of drawing, Afterimage revisits process art in terms of the artists who defined the movement and suggests a transitional moment when many of its practitioners anticipated the feminist and postminimalist art of the 1970s. Nancy Grossman's use of language, for example, suggests a kind of material abstraction, and Nancy Holt's earth works and related drawings introduced content into a minimalist vocabulary. The book also explores the drawing as a residual object in works in which the process of making dictates the form of the drawing. Examples include Gordon Matta-Clark's stacked cuttings, Robert Morris' "blind time" drawings, and Sol Lewitt's folded construction drawings. Other works, such as those by Bruce Nauman and Robert Smithson, record a particular approach to body-based and process-oriented sculpture. The book, which accompanies an exhibition, contains an essay by Cornelia H. Butler on the historical ambiguity surrounding process art and one by Pamela M. Lee on temporality in work of the late 1960s. The artists included in the book are William Anastasi, Richard Artschwager, Mel Bochner, Agnes Denes, Nancy Grossman, Robert Grosvenor, Marcia Hafif, Eva Hesse, Nancy Holt, Barry LeVa, Sol Lewitt, Lee Lozano, Sylvia Plimack Mangold, Gordon Matta-Clark, Robert Morris, Bruce Nauman, Yvonne Rainer, Dorothea Rockburne, Alan Saret, Joel Shapiro, Robert Smithson, Michelle Stuart, Richard Tuttle, and Jack Whitten. Copublished with The Museum of Contemporary Art. Los Angeles. EXHIBITION SCHEDULE: The Museum of Contemporary Art, Los Angeles Los Angeles, California April 11-August 22, 1999 Contemporary Arts Museum Houston, Texas May-July 2000 Henry Art Gallery Seattle, Washington July-September 2000

Source_ Book 1

Bruno Munari was among the most inspirational designers of all time, described by Picasso as ‘the new Leonardo’. Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children’s books, advertising, cars and chairs – these are just some of the subjects to which he turns his illuminating gaze.

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