Search results for ""Author Iwan Baan""

In 1960, Brasilia was celebrated as the realization of an urban planning vision based on designs by Lúcio Costa and Oscar Niemeyer. At the same time, the sectoral city of Chandigarh was rising according to plans by Le Corbusier. The “test tube city” arose as an export of modernity from a Western planning euphoria that displayed utopian traits. In both cities, foreign architecture entered into a harmonious relationship with indigenous culture, forming new and independent identities. This publication addresses the question of how modernism has been appropriated in both cities, and how the people who live in them deal with it. Commonalities and differences are identified and images of everyday urban life showcased. On the initiative of the publisher, the young photographer Iwan Baan has taken stock of contemporary life in both cities.

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The cities of Rome and Las Vegas commonly sit at opposite ends of what architecture represents: whereas the former capital of the Roman Empire is perceived as ancient, proper and eternal, Sin City is described as flashy, vulgar and fake. Yet, both find themselves historically and contemporarilyat the intersection of power and play.Released fifty years after Denise Scott Brown and Robert Venturi's now canonical Learning FromLas Vegas (1972), the images in this book capture the atmosphere of both cities from the sky to the ground, revealing unexpected similarities and rediscovering Las Vegas' extravaganza on the streets of Rome. Iwan Baan's photographs contrast and subvert common perceptions of authenticity and artificiality and ultimately question such bipolar distinctions. In their dialogue, the photographs follow Scott Brown and Venturi's plea to first look, understand and only then judge.

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Across the African continent, but especially in the sub-Saharan regions the light provided by the sun has a particularly stark quality, which becomes most apparent in relation to age-old buildings and in the way in which it shapes daily routines. Without relying on artificial light, architecture had to both make use of the sun light to create a light source within a building, yet also protect those living in the houses from the intensity of it. This has resulted in vernacular architecture that works with very few or small openings that render the inside of a building near pitch black while the outside is illuminated by direct sunshine that bears down mercilessly. On the initiative of the lighting company Zumtobel Group, photographer Iwan Baan and architect Francis Kéré set out to capture how the sun’s natural light cycle shapes vernacular architecture with little to no artificial light sources in Burkina Faso. They travelled to three exemplary locations: Communal compounds in Gando, the main mosque of Bobo Dioulasso and the terraced houses in Dano utilising pots to create skylights. Baan’s pictures are accompanied by architectural sketches by Francis Kéré, who himself grew up in this light environment and whose architecture is inspired by it. The stunning photographs are printed in a special technique to give a sense of being immersed in the very light conditions that are being documented.

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La Ruta del Peregrino (the pilgrimage route) stretches a distance of 117 kilometers through the vast and imposing mountain range of Jalisco, Mexico. Approximately two million people participate each year in this religious phenomenon to meet the Virgin of Talpa as an act of devotion, faith, and gratitude. This book conveys the feeling of travelling on the pilgrim's route and encountering architectural monuments and their infrastructure, like shelters and viewpoints, embedded in the harsh landscape. Each introduced landmark, designed by renowned architects, sparks a dialogue about sustainability and austerity, landscape and architecture. Landscape of Faith is a documentation of the way architecture can increase the identity of a pilgrimage route and add layers of meaning that reach far beyond the religious.

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Immerse yourself with architects Florian Idenburg and LeeAnn Suen as they journey through a wide-ranging collection of the objects, systems, and buildings that have occupied the American office space since the advent of the internet. Through stories and speculations, Idenburg and Suen expose the relationships between space, work, and people, and explore the intentions that have driven the development of office design for working humans. In twelve essays, this book examines the spatial typologies and global phenomena that have defined the office in the last half century. Topics include the return of the work club, the rise of the corporate festival, the way of the charismatic guru, the shattering of the time clock, and the design of playgrounds for work. We cycle through Frank O. Gehry’s radical, playful spaces for digital nomads in the advertising world, stagger under the weight of stacks of punch cards, feel the fit of our bodies in the Aeron Chair, answer the phone in Hugh Hefner’s bed, and scroll through Lil Miquela's feed. Photographic essays by Iwan Baan provide a visual post-occupancy report on a range of canonical office projects, such as Marcel Breuer’s IBM campus in Florida and the Ford Foundation’s urban garden in Manhattan. Four intervening catalogs offer collections of experimental workplace products, augural advertisements for office building components, digital office components, and renderings of speculative workplaces; each catalog bridges the reality of the office and how we imagine its alternatives. This book is a theoretical backdrop for architects as much as it is for businesspeople and employees. With curiosity and skepticism, it looks at the spaces and solutions that have been designed for human work, tracing the transformation from work to occupation, from punch cards to “playbor,” from today’s lived experience to tomorrow’s unpredictable, imagined futures.

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Accompanying an exhibition of the same name at the Louisiana Museum of Modern Art, this publication examines the recent work of the Chinese architect Wang Shu, Pritzker Prize winner in 2012. At a time when China's explosive urbanization is making inroads into rural areas and leaving the marks of cheap concrete construction everywhere, Wang Shu and Amateur Architecture Studio are keen to work against this tendency by reusing materials from the buildings that Chinese authorities are systematically tearing down and rebuilding after western models. Wang Shu's architecture reveals a thoughtful attitude toward both design and implementation, as well as the ability to react flexibly to the surroundings and history of a particular site.

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This volume is published on the occasion of the opening of the National Museum of Qatar in the state’s capital, Doha. It explores and celebrates architect Jean Nouvel’s innovative design which, inspired by the desert rose with its interlocking disks, responds to the country’s desert location by the sea. The museum, built around Sheikh Abdullah bin Jassim Al-Thani’s original 19th-century palace, honours Qatar’s heritage while looking to its future as a thriving cultural hub. This special edition is in a larger format with additional images, and is produced to the highest standard of quality with multiple paper stocks, sprayed edges, gatefolds and a beautiful slipcase.

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Under the direction of Mexican architect Tatiana Bilbao, thirteen architecture studios and students across the United States and Mexico undertook the monumental task of attempting to capture the complex and dynamic region of the US/Mexican border. 'Two Sides of the Border' envisions the borderland through five themes: migration, housing and cities, creative industries, local production, tourism, and territorial economies. Building on a long shared history in the region, the projects covered in this volume use design and architecture to address social, political, and ecological concerns along the shared border. Featuring essays, student projects, interviews, special research, and a large photo project by Iwan Baan, 'Two Sides of the Border' highlights the distinct qualities of this place. Altogether the book uses the tools of architecture, research, and photography to articulate an alternate reality within a contested region.

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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

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