Academic literature on the topic 'Hof (Architectural firm)'

In the last quarter century, a new form of iconic architecture has appeared throughout the world's major cities. Typically designed by globe-trotting "starchitects" or by a few large transnational architectural firms, these projects are almost always funded by the private sector in the service of private interests. Whereas in the past monumental architecture often had a strong public component, the urban ziggurats of today are emblems and conduits of capitalist globalization. In The Icon Project, Leslie Sklair focuses on ways in which capitalist globalization is produced and represented all over the world, especially in globalizing cities. Sklair traces how the iconic buildings of our era-elaborate shopping malls, spectacular museums, and vast urban megaprojects--constitute the triumphal "Icon Project" of contemporary global capitalism, promoting increasing inequality and hyperconsumerism. Two of the most significant strains of iconic architecture--unique icons recognized as works of art, designed by the likes of Gehry, Foster, Koolhaas, and Hadid, as well as successful, derivative icons that copy elements of the starchitects' work--speak to the centrality of hyperconsumerism within contemporary capitalism. Along with explaining how the architecture industry organizes the social production and marketing of iconic structures, he also shows how corporations increasingly dominate the built environment and promote the trend towards globalizing, consumerist cities. The Icon Project, Sklair argues, is a weapon in the struggle to solidify capitalist hegemony as well as reinforce transnational capitalist control of where we live, what we consume, and how we think.

This book addresses the treatment and perception of historic buildings in imperial Rome, examining the ways in which public monuments were restored in order to develop an understanding of the Roman concept of built heritage. The study considers examples from the first century BC to second century AD, focusing primarily on the six decades between the Great Fire of AD 64 and the AD 120s, a period of dramatic urban transformation and architectural innovation in Rome. Through analysing how the design, materiality, and appearance of buildings, including the temple of Jupiter Capitolinus and hut of Romulus, developed with successive restorations, the case is made for the existence of a consistent approach to the treatment of historic buildings in this period. With the purpose of uncovering attitudes to built heritage in Roman society more widely, the book also explores how changes to particular monuments and the urban fabric as a whole was received by the people who experienced it first-hand. By examining descriptions of destruction and restoration in literature of the first and second centuries AD, including the works of Seneca the Younger, Pliny the Elder, Martial, Tacitus, and Plutarch, a picture is formed of the conflicting ways in which Rome’s inhabitants responded to the redevelopment of their city. The results provide an alternative way of explaining key interventions in Rome’s built environment and challenge ideas that heritage is a purely modern phenomenon.

Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive urban movie palace to the intimate streamlined theater, movie theaters became “neutralized” spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. This book examines the impact of Schlanger’s work in the context of changing patterns of spectatorship; his theaters and writing propose that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. As such, this study insists that changing models of cinephilia are determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how twentieth-century viewing has similarly transformed. And by looking backward into cinema’s architectural history, 1970s screen theory becomes clearer as a historical in addition to a theoretical model; the emergence of the apparatus can be found in the immersive powers of the neutralized movie theater. In this book, exhibition practice takes its place as a force that propels spectatorship through time. Ultimately, space and viewing are revealed to be intertwined and mutually constitutive phenomena through which spectatorship’s discourses are all the more clearly seen.

This chapter presents interviews with David Lynch. Specifically, an interview by Kathrin Spohr published in form 158, no. 2 (1997): 44–45, and another by Mike Figgis published in Sight and Sound 17, no. 3 (2007). Topics discussed include Lynch's interest in furniture design; the role of architecture in his movies; how the notion of time as out of control was expressed in the set design of the Lost Highway; his use of his private spaces in his films; Inland Empre as his longest film; whether he had the complete film in mind when he began filming; and the reasons why he decided to concentrate on film rather than painting or writing.

Once the province of film and media scholars, today the moving image concerns historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations that no longer presuppose a fixed viewer, urban space becomes envisioned and planned through “fly-throughs,” and technologies such as GPS add data to the experience of travel, images in motion have captured the attention of geographers and scholars across the humanities and social sciences. Mobility studies is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952–2009) was among the first practitioners of visual studies to theorize the experience of mobile vision. Her books Window Shopping and The Virtual Window have become key points of reference in the discussion of the windows that frame images and the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg’s work has never been the subject of an extended study. The Moving Eye gathers together essays by a renowned international group of thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. These nine essays advance the lines of inquiry begun by Friedberg.

Hand drawing remains a powerful tool in conceptual design. Hand Drawing for Designers: Communicating Ideas through Architectural Graphics will show you how to use hand drawing to explore multiple design responses quickly and intuitively and to develop a successfully responsive design solution. The text approaches the act of drawing as a communication tool, valued within design firms for conceptual design, design development, and client presentations. The concepts and methods in the text build, progressing from an introduction to drawing rationale to two- and three-dimensional drawing techniques and presentation drawings. Designed to strengthen the user's understanding of visual representation and technical drawing by visual teaching, Hand Drawing for Designers provides the skills for translating three-dimensional ideas into two-dimensional drawings that effectively communicate design concepts.