Search results for ""Author Martino Stierli""

If participation has been an ideal in politics since ancient democracy, in art it became central only with the avant-gardes emerging from WWI and the Russian Revolution. Politics and aesthetics are still catching up with each other. In the 21st century, since the revolutionary unrest of the 1960s, participation in art and architecture has lost its utopian glow and become the focus of a fierce debate: does 'participatory' art and architecture shape social reality, or is it shaped by it? Contemporary critics see in participation only technocratic control, while others embrace it as a viable politics in an era of global capitalism. This innovative book breaks the impasse by looking at how participants themselves exert power, rather than being victimized or liberated from it. From artists hijacking Google Earth to protesters setting up a museum of the revolution in Cairo, art, architecture and daily life are explored in their participatory dimension.

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Since it was first published in 1972, Learning from Las Vegas has become a classic in the theory of architecture and one of the most influential architecture texts of the 20th century. The treatise by Robert Venturi, Denise Scott Brown and Steven Izenour enjoys a reputation as a signal work of postmodernism in architecture and urban planning. None of the book's editions have ever featured high-quality colour images the authors produced to illustrate their argument. Las Vegas Studio, originally published in hardback in 2008, was the first publication ever to present these significant photographs in large colour reproductions. Now available again in a new paperback edition, this unique book features 102 of these iconic images and film stills, alongside essays by Swiss scholars Stanislaus von Moos and Hans Ulrich Obrist exploring how the pictures contemplate the phenomenon of the modern city. Also included is a discussion with Dutch architect Rem Koolhaas and Swiss artist Peter Fischli that speaks to the strong and lasting influence these images still have on contemporary art and movies. Hilar Stadler, born 1963, read art history and is director of Museum im Bellpark in Kriens, near Lucerne, Switzerland. Martino Stierli, born 1974, has been appointed the MoMA s Philip Johnson Chief Curator of Architecture and Design as of March 2015. He has been a senior research assistant at ETH Zurich's Institute for the History and Theory of Architecture (gta) 2011 to 2012, a Fellow of the Getty Institute in Los Angeles in 2012, and an SNSF Professor for the History of Architecture and Art at University of Zurich since 2012.

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At the peak of the 1968/69 students' riots at American Universities, Robert Venturi and Denise Scott Brown, together with Steven Izenour, pursued their Design and Research Studio on the topic of Las Vegas at Yale School of Architecture. The results of this were condensed into the book Learning from Las Vegas that became a classic almost instantly upon its first publication in 1972. The treatise excited the 1970s architecture world and has remained influential to architects, teachers and theoreticians to the present day. Some forty years later, Eyes that Saw: Architecture after Las Vegas offers a richly illustrated collection of essays by renowned scholars of art and architectural history, eminent architects, and artists, investigating Learning from Las Vegas and its heritage from various perspectives. Each chapter builds on the knowledge of the radical influence it had on architecture and urban design, visual art, and even on history more generally. Published alongside are documents from the Venturi, Scott Brown & Associates Archive at the University of Pennsylvania, as well as an illustrated chronology of the resonance in international media following the publication of Learning from Las Vegas in 1972.

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Montage has been hailed as one of the key structural principles of modernity, yet its importance to the history of modern thought about cities and their architecture has never been adequately explored. In this groundbreaking new work, Martino Stierli charts the history of montage in late 19th‑century urban and architectural contexts, its application by the early 20th‑century avant‑gardes, and its eventual appropriation in the postmodern period. With chapters focusing on photomontage, the film theories of Sergei Eisenstein, Mies van der Rohe’s spatial experiments, and Rem Koolhaas’s use of literary montage in his seminal manifesto Delirious New York (1978), Stierli demonstrates the centrality of montage in modern explorations of space, and in conceiving and representing the contemporary city. Beautifully illustrated, this interdisciplinary book looks at architecture, photography, film, literature, and visual culture, featuring works by artists and architects including Mies, Koolhaas, Paul Citroen, George Grosz, Hannah Höch, El Lissitzky, and Le Corbusier.

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At the moment of going to press, a publication irreversibly reaches its final form. Simultaneously, it also reaches an audience. Naturally, this audience very often is oblivious to the many, and sometimes complex, steps towards the construction and montage of (visual) meaning that precedes the actual publication of a book. The contributors to Before Publication consider such construction of meaning as montage and look at materials and processes involved before publication. Their focus is on concrete artistic and visual artifacts such as scrapbooks, book mock-ups, and press layouts by artists, authors, and graphic designers. In particular, they shed light on the relationship between the spheres of privacy and publicity. The new book features a programmatic introduction by the editors Nanni Baltzer and Martino Stierli and eight concisely illustrated topical essays.

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Since it was first published in 1972, "Learning from Las Vegas" has become a classic in the theory of architecture and one of the most influential architecture texts of the twentieth century. The treatise by Robert Venturi (*1925), Denise Scott Brown (*1931), and Steven Izenour (1940 2001) enjoys a reputation as a signal work of postmodernism in architecture and urban planning. Yet none of the book s editions have ever featured high-quality color images of the field research the authors conducted to illustrate their argument. "Las Vegas Studio "is the first book ever to present these significant photographs in large color reproductions. Now available again in a new paperback edition, this unique book features 102 of these iconic images and film stills, alongside essays by Swiss scholars Stanislaus von Moos Martino Stierli that explore how the pictures contemplate the phenomenon of the modern city. Also included is a discussion by curator and critic Hans Ulrich Obrist with Dutch architect Rem Koolhaas and Swiss artist Peter Fischli that speaks to the strong and lasting influence these images still have on contemporary art and movies.A unique opportunity to experience the full intent and import of the Learning from Las Vegas project, "Las Vegas Studio" continues to appeal to architects, architectural historians, and scholars alike. "

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For two decades, Swiss photographer Serge Fruehauf has documented fascinating architectural details cast in concrete. But his focus lies not only in the beauty of the built environment, but also in the surprising and sometimes absurd puzzles created by later interventions: stairways that lead to dead ends, disfigured garden walls that have long outlived their purpose. With Serge Fruehauf - Extra Normal, Joerg Bader has selected the best and most interesting of more than one thousand images in Fruehauf's most recent series. Taken throughout Paris, Geneva, Grenoble, and Lyon, Fruehauf's photographs form a critical reflection on architectural modernity mitigated by the photographer's love of the spaces he has photographed, and his deep sympathy for the architects and planners who were drawn to concrete as a versatile and multifaceted building material in the latter part of the twentieth century. Despite its promise, the buildings or clusters of buildings that have come out of the modern methods of construction with concrete appear today as bland monstrosities or grotesque hybrids of traditional and modern architecture. Fruehauf's photographs are joined by a preface by scholar and curator Martino Stierli, which offers an insightful discussion of how Fruehauf's work highlights these structures as allegories of the current cultural situation.

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