Never before have so many buildings been constructed as today, and never has architecture had so many technological and design possibilities at its disposal. And yet there is a sense of unease about contemporary architecture. In their book, ­Sergei Tchoban and Vladimir Sedov show how in modern times we have lost the balance between outstanding works of architecture and the background structures that surround them, with every building striving to assert itself in relation to all the others – to drown them out if it can. Yet the ­modern age is certainly capable of developing a harmony of contrasts – it has everything it needs at its disposal. After taking the reader on a foray through 2,500 years of architectural history, the authors arrive at the anomaly of modernism. They show what contemporary architecture must take into account if it is to achieve a satisfactory overall architectural impression that is harmonious in an entirely new way.

Builders have never been so prolific as they are today. And never have there been so many technical and design-related options available to architects. Yet contemporary architecture often creates a sense of unease. In their book, Sergei Tchoban and Wladimir Sedow show how the balance between prominent buildings and the buildings around them in the background has been lost in the modern era. Every building strives to assert itself over others - to drown out its peers. At the same time, contemporary architects are capable of developing 'a sense of harmony full of contrasts'. They have a wealth of options at their disposal to this end. After prowling through 2,500 years of architectural history, the authors arrive at what makes modern buildings so particular. They show what contemporary architects must consider in order to create buildings with a satisfactory, harmonious appearance in a new way. 'Sergei Tchoban and Wladimir Sedow do not write about beauty in this essay - certainly not in the sense of defining the term or putting forth a conceptual history. Rather, they write about the relationship between prominent buildings and the nameless buildings around them - the buildings in the background. Or to put it another way, they write about the relationship between architectural monuments and ordinary buildings'.

This book is a catalog of the exhibition by the architect and draughtsman Sergei Tchoban, which is scheduled for October 2020-January 2021 at The Istituto Centrale per la Grafica in Rome. However, the book goes far beyond the format of describing the artworks presented at the exhibition. It is a research aimed at studying trends in the urban development of a contemporary European city. A native of St Petersburg who has organically absorbed the harmony of this city’s proportionality and similitude, Sergei Tchoban has always striven to understand the laws which govern the development of cities like St Petersburg and the great prototypes in whose image it was created. Is it possible to preserve these cities’ outstanding quality? And is it possible to pursue this quality today, at the current stage of development of architecture? These are the central questions posed in the exhibition and the book, which marks the 300th anniversary of the birth of Giovanni Battista Piranesi (1720–1778). One of the greatest artists of his time, Piranesi succeeded in capturing the development of the European city as a phenomenon which, despite many layers and internal contradictions, is nevertheless harmonious. In analyzing the development of the language of architecture that is characteristic of our time, Sergei Tchoban integrates individual emphatically futuristic volumes into the panoramas of streets in the European city. Subsequently, he transcribes these elements into 18th-century Roman situations recreated on the basis of motifs taken from Giovanni Battista Piranesi’s Vedute di Roma. Four of these fantasies are original prints of etchings by Piranesi into which elements of an architecture of the future have been inserted using the medium of etching (executed by the architect Ioann Zelenin on the basis of ideas and sketches by Sergei Tchoban). This insertion of futuristic buildings into situations taken from, and then etchings by, Piranesi is a vivid demonstration of how contemporary architecture behaves and is perceived in the body of the European city, a city based on the harmony of similitude. Ruined masterpiece or imprint of the future? This is probably the principal question for this research. Using graphic art and etching to stage the destruction of a monument (the original of a Piranesi etching), Sergei Tchoban initiates a discussion about whether this kind of integration is merely an act of vandalism – or a way of transforming a reproduction print (many European cities created by the mighty force of the harmony of similitude are indeed very similar to one another) into an original that exists as a unique copy. Are we destroying harmony or creating a fundamentally new type of harmony? Sergei Tchoban is sure that this painful transformation of the European city has been happening for at least 100 years and that society must finally work out how to relate to this process. Essentially, it is this that is Piranesi’s true legacy: a call to an honest conversation regarding the condition of the layers and parts that constitute the European city as a highly important piece of our heritage and at the same time a space for future development.

Intended both as an introductory text for students and professionals in the field as well as an accessible read for the general public, Primer on Architecture (working title) addresses the basic principles of architecture and uncovers its ongoing influence in contemporary culture. The volume is organized in a series of chapters based on key architectural themes--space, time, matter, gravity, light, silence, dwelling, ritual, memory, landscape, and place--with an introductory essay for each chapter that includes a wide variety of historical examples from around the world followed by more in depth analyses of key buildings that further exemplify the theme of a particular chapter. By combining a broad historical sweep with a jargon-free architectural study of space and the direct experience of architecture, this volume will be a unique introduction to architecture as a timeless and enduring art.

Intended both as an introductory text for students and professionals in the field as well as an accessible read for the general public, Primer on Architecture (working title) addresses the basic principles of architecture and uncovers its ongoing influence in contemporary culture. The volume is organized in a series of chapters based on key architectural themes--space, time, matter, gravity, light, silence, dwelling, ritual, memory, landscape, and place--with an introductory essay for each chapter that includes a wide variety of historical examples from around the world followed by more in depth analyses of key buildings that further exemplify the theme of a particular chapter. By combining a broad historical sweep with a jargon-free architectural study of space and the direct experience of architecture, this volume will be a unique introduction to architecture as a timeless and enduring art.

DARLING Гель д/умывания с аминокислотами Balancing Act 100мл

Need a handbook to your architect’s business or studies? Struggling with your latest DIY project? Interested in the art of architecture? This classic work, now in its fifth edition, covers every aspect of architecture and landscape architecture. Ranging from ancient times to contemporary trends, it adopts a truly international perspective, focussing on countries and cultures such as Coptic, Tibet and De Stijl. Without doubt, this is the standard work in the field. As reflected by its new title, 'The Penguin Dictionary of Architecture and Landscape Architecture' has now been expanded to include recent developments in the field of landscape architecture. Full account has been taken, too, of the huge range of building traditions around the world. The text has been completely reset and all the illustrations redrawn.

Born Charles-Édouard Jeanneret, Le Corbusier (1887–1965) is widely acclaimed as the most influential architect of the 20th century. From private villas to mass social housing projects, his radical ideas, designs, and writings presented a whole-scale reinvention not only of individual structures, but of entire concepts of modern living.Le Corbusier's work made distinct developments over the years, from early vernacular houses in Switzerland through dazzling white, purist villas to dynamic syntheses of art and architecture such as the chapel at Ronchamp and the civic buildings in Chandigarh, India. A hallmark throughout was his ability to combine functionalist aspirations with a strong sense of expressionism, as well as a broader and empathetic understanding of urban planning, being a founding member of the Congrès international d'architecture moderne (CIAM), which championed “architecture as a social art."This book presents some of Le Corbusier's landmark projects to introduce an architect, thinker, and modern pioneer who, even in his unrealised projects, offered discussion and inspiration for generations to come.

Wood is renewable and sustainable, solid and attractive. Wood can be bent and shaped to the most modern of designs. It is the material of the moment for contemporary architecture and this new volume allows readers to get a glimpse of the most exciting and dynamic new uses of wood in architecture from all over the world. Like earthen architecture, the use of wood is almost as ancient as building itself. The columns of Greek temples are stylized trees. Today's wooden buildings do all kinds of surprising things, and most of all, they are as "green" as they come.

Yes is more is the title of an exhibition and a book presenting B.I.G. in solo format for the first time in Denmark at the Danish architecture centre. Unlike a classic architectural monograph, this book is more of a popular cultural manifesto, which is also literally the first actual documentation of B.I.G.'s trailblazing practice. As the book demonstrates, this is a practice where method, processes, instruments and the approach to the concept of architecture is precisely as wild, unfettered and result-producing as the world it is part of and greets with an unqualified Yes. Bjarke Ingels attracts highly talented co-workers, but also gifted and ambitious clients from all over the world. He does so because his own talent is above all to swiftly create intelligent synergies out of indomitable "movements", wild energies and unforeseen dynamics and transform them into hitherto unseen, surprising, functional, valuable and beautiful solutions to the specific and complex challenges in each task. The results of B.I.G.'s practice has already won awards from the Royal Academy of Fine Arts, the Special Jury Prize at the Venice Architecture Biennale, the prize for "The World's Best Housing Project", "Best Building in the Nordic Countries" as well as many other international kudos. The project and the title Yes is more is a double-edged wordplay on the dogma in modern architecture that "less is more". Less is only more as far as dimensions go - the ability to encompass as many dimensions as possible (more) with as few expenses as possible (less). As a design parameter for an aesthetic retro minimalism this only amounts to idiosyncratic architectural idiocy. Издание на английском языке.

The latest spectacular celebration from Architizer of the most inspiring contemporary architecture from around the globe. The Architizer A+Awards represent 2021's best architecture and products, celebrated by a diverse group of influencers within and outside the architectural community. Entries are judged by more than 400 luminaries from ?elds as diverse as fashion, publishing, product design, real-estate development, and technology, and voted on by the public, culminating in a collection of the world's finest buildings. Each year, winners are honored in this fully illustrated compendium, and on Architizer.com, the largest online architecture community on the planet. Featuring select A+Award winners, this is the definitive guide to the year's best buildings and spaces.

Now in its fifth installment, the "Architecture Now!" series is an ongoing project documenting the work of the most innovative and influential architects across the globe. Volume 5 features famous names and newcomers alike, and this time around a number of designers are also included, reflecting the new ways in which design and architecture are coming together. Since architecture also extends beyond walls, landscape architecture makes its appearance as well. Easy-to-navigate illustrated A-Z entries include current and recent projects, biographies, contact information, and web sites. Издание на английском, немецком, французском языках.

The years from 1925 to 1965 were marked by an optimistic belief that the new technologies of industrialization, spread by applying rational ideas to architecture and urbanism, would produce a qualitatively better world. This "Project of Modernity" was concerned with social agenda as well as form, an aspect that is now sometimes forgotten. The expressions of modern architecture were characterized by a number of different twentieth-century movements, dominated by the International Style. In the 1920s several strands of modernism - Expressionism, Futurism, Functionalism, to name only three of the "isms" - converged into an approach to architecture that is termed internationalist. It was an approach that was global not only in its aspirations and its concerns but also in the presentation of its architecture.

Tropical Design is not an established architectural style, but a collective description of architecture and interior design in tropical countries, designed by architects from around the equator. Rooted in the traditional style of architecture that is typical in these countries and influenced by the European modern style, a unique architectural lunguage has developed that reflects contemporary tendencies and corresponds to the climatic requirements. As multifaceted as nature in the tropical regions, the architecture in the projects presented here is just as diversified. From " Las Terrazas" by Legoretta+Legoretta glowing under the Mexican sun to the romantic "Anantara" on the Maledives Island to the spacious and modern "LPVM House" by Biselli e Katchborian in Brasil - the book offers a small insight into the contemporary style from tropical countries. An index of contact information of the designer and architects is enclosed.

Tropical Design is not an established architectural style, but a collective description of architecture and interior design in tropical countries, designed by architects from around the equator. Rooted in the traditional style of architecture that is typical in these countries and influenced by the European modern style, a unique architectural lunguage has developed that reflects contemporary tendencies and corresponds to the climatic requirements. As multifaceted as nature in the tropical regions, the architecture in the projects presented here is just as diversified. From " Las Terrazas" by Legoretta+Legoretta glowing under the Mexican sun to the romantic "Anantara" on the Maledives Island to the spacious and modern "LPVM House" by Biselli e Katchborian in Brasil - the book offers a small insight into the contemporary style from tropical countries. An index of contact information of the designer and architects is enclosed.

Architecture and design in the context of WWII Founded in 1928 as a "living diary" by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world's most influential architecture and design journal. With style and rigor, it has reported on the major themes and stylistic movements in industrial, interior, product, and structural design. This fresh reprint of domus' coverage of the 1940s brings together the most important features from a decade of destruction and reconstruction. Even amid the bombing raids inflicted on Milan, domus continued to publish through much of the war, charting the design zeitgeist, while managing a successive turnover of editors and editors-in-chief during Ponti's "interregnum" between 1941 and 1948. The pages from this period record reports and features on modern industrial design and furniture, new prefabricated houses, American academic architecture, the building projects of Carlo Mollino, Gian Luigi Banfi, Franco Albini, and Giuseppe Terragni, as well as the postwar flowering of Organic Design.