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Kay Fisker (1893-1965) is considered one of the most influential Danish architects of the twentieth century, and yet there has existed until now no in-depth English-language study of his works and writing. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, this book examines Fisker's key projects - from his early railways stations and innovative housing projects to the Danish Academy in Rome - and analyses his work as a historian and writer. Fisker's output is closely associated with the functional tradition, a hybridisation of international modernism and regional architectural typologies, and this book shows how his architectural poetics can be understood as an amalgamation of an ideal order with contingent urban conditions. This concept of a 'contingent order' is not only a valuable context for understanding Fisker, the book argues, it can also be applied to an understanding of modernist architecture as a whole, with its various expressions, agendas and tensions both regionally and internationally

Architecture and society --- History --- Fisker, Kay, --- Criticism and interpretation. --- Modern [style or period] --- architects --- Fisker, Kay --- Baksteenarchitectuur --- Architectuur ; stedenbouw ; Modernisme ; Internationalisme ; functionalisme --- Woningbouw ; Denemarken ; densiteit ; laagbouw --- Administratiegebouwen; Denemarken; Kopenhagen --- Architectuur ; Denemarken ; 20ste eeuw --- 72.07 --- Architecten. Stedenbouwkundigen A - Z --- architectuur, Denemarken

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The Artful Plan' explores the potentials of architectural drawing at a turning point where digitization is setting drawing free from its conventional function of conveying technical information. What can architectural drawing be today? What new options does it offer for creativity in design? Which new ways does it open for including knowledge and methods from the arts, academic research and current architectural practice? The Artful Plan lays out the theory and practice of alternative innovation in architectural drawing in three parts: reconfiguring the conventional drawing; drawing responding to the influence of the digital; and the expanded field of drawing today. The contributions comprise many high-quality drawings that are in themselves stunning examples of Artful Plans.

Architecture --- Technical drawing --- architecture [discipline] --- architectural drawing [process] --- 741:72 --- 728.1 --- Architectuur ; plannen ; plattegronden --- Tekenkunst ; architectuurtekeningen --- Woningbouw ; woonhuizen --- 72.02 --- 72.02 Bouwtechniek: methoden en materialen --- Bouwtechniek: methoden en materialen --- Architectural drawing --- Dessin d'architecture --- Architectural drawing.

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When images look like something they do so because they are different from what they resemble. This difference is not sufficiently captured by the traditional theories of representation and mimesis, and yet it is the condition for any such theory. Various contemporary image theorists have pointed out that Plato already understood that images are not what they look like. Images have their own existence, which cannot be identified with a concept, but should be examined in terms of actions. This book comprises fifteen articles that investigate what images do, particularly in relation to the disciplines of architecture, design and visual arts. It claims that it is the differentiating power of images - their actions - which constitutes their capacity to look like something they are not, as well as create something that does not yet exist. What Images Do address the crucial role that images might play in producing and investigating what we have not yet seen or understood in and of reality.

Semiotics --- Aesthetics --- Art --- Architecture --- Representation (Philosophy) --- Représentation (Philosophie) --- Reality. --- Representation (Philosophy).

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Architecture can be a process of searching for answers, whether in the form of manifestoes, poetics, essays, or physical models or drawings. This book investigates how architects undertake such a search, and perhaps—if the arbitrariness of the process and the directed, reflective effort should coincide happily—discover new paths in the field’s topography. Artistic research has been discussed for decades within architecture and other artistic disciplines. Yet clarification still remains necessary with respect to the relation between art and science, and to such concepts as research and knowledge, to the extent that these stand in relation to artistic research. How can certain practices and methods result in particular types of systematic work? What links can be traced, or can be established, between creative work and interpretive work—that is, among ethics, poetics, and hermeneutics? Refractions—Artistic Research in Architecture consists of a series of essays that investigate the practice that we call artistic research. It also contains interviews with a number of researchers, all of whom have worked within the frame of this concept—and presents visual material that attests to the wide compass of such reflective artistic production.

Architecture --- Art and architecture --- Architecture --- Art et architecture --- Research. --- Recherche

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Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This third volume in the series, What Do Artists Know?, is about the education of artists. The MFA degree is notoriously poorly conceptualized, and now it is giving way to the PhD in art practice. Meanwhile, conversations on freshman courses in studio art continue to be bogged down by conflicting agendas. This book is about the theories that underwrite art education at all levels, the pertinent history of art education, and the most promising current conceptualizations. The contributors are Areti Adamopoulou, Glenn Adamson, Rina Arya, Louisa Avgita, Jan Baetens, Su Baker, Ciarín Benson, Andrew Blackley, Jeroen Boomgaard, Brad Buckley, William Conger, John Conomos, Christopher Csikszentmihályi, Anders Dahlgren, Jonathan Dronsfield, Marta Edling, Laurie Fendrich, Michael Fotiadis, Christopher Frayling, Miguel González Virgen, R.E.H. Gordon, Charles Green, Vanalyne Green, Barbara Jaffee, Tom McGuirk, William Marotti, Robert Nelson, Håkan Nilsson, Saul Ostrow, Daniel Palmer, Peter Plagens, Stephan Schmidt-Wulffen, Howard Singerman, Henk Slager, George Smith, Martin Søberg, Ann Sobiech Munson, Roy Sorensen, Bert Taken, Hilde Van Gelder, Frank Vigneron, Janneke Wesseling, Frances Whitehead, Gary Willis, and Yeung Yang.

Art --- Study and teaching --- Anders Dahlgren. --- Bert Taken. --- Brad Buckley. --- Charles Green. --- Gary Willis. --- George Smith. --- Glenn Adamson. --- Henk Slager. --- Howard Singerman. --- Hákan Nilsson. --- Jan Baetens. --- Janneke Wesseling. --- Jeroen Boomgaard. --- John Conomos. --- Laurie Fendrich. --- Louisa Avgita. --- Martin Søberg. --- Michael Fotiadis. --- Peter Plagens. --- Rina Arya. --- Robert Nelson. --- Su Baker. --- Tom McGuirk. --- Vanalyne Green. --- William Conger. --- Yeung Yang.