El meu nom és Univers (CAT ED.)

Who would have thought that a work of art based on a scientific idea could explode like a veritable intellectual Big Bang and take us on a thrilling journey from atoms to galaxies through music, philosophy, art, cinema, chemistry, poetry, theater, dance, astrophysics, education, architecture, painting, quantum physics, religion or mathematics? My name is the universe is a book in which science, the arts and the humanities are intertwined, appealing to the transversality and unity of knowledge. A text that cultivates an attitude of wonder at the world around us, the engine of artistic and scientific creation, and that stimulates the reader's curiosity and creativity. Interviews to: Jordi Balló, Capturing the real Priyamvada Natarajan, Exploring Darkness Amandine Beyer, Flying with Our Feet on the Ground Eugènia Balcells, Re-enchanting the World Federico Mayor Zaragoza, A Factory for Freedom Simon McBurney, Another Narrative Is Possible Eulàlia Bosch, A Welcoming Space Sally Potter, On the Surface of Things Roberto Ontañón, Cave Performances María Muñoz, Move Before Thinking Marc Balcells, The Art of Looking at the Sky Joaquim Sales, A table Full of Stories Rodolfo Hässler, The Most Profound Expression Jaume Bertranpetit, Revealing Genes Cesc Gelabert, Dancing Life Sunetra Gupta, The Importance of Refusing to Choose Stephen Noonan, The Art of Teaching Marta Llorente, An Immaterial Material David Jou, Cosmic Thinking With the collaboration of: Roald Hoffmann, Xavier Bosch, Amarjit Chandan, Carlota Subirós, Jean-Louis Froment, Salimata Wade, Jorge Ventocilla, Maria Nadotti, Jaume Casals, Holly Fairbank, Irene Martín, Noni Benegas, Santiago Álvarez, Thane Lund, Rosa Olivares Buy English edition Buy Spanish edition

My Name Is Universe (ENG ED.)

Who would have thought that a work of art based on a scientific idea could explode like a veritable intellectual Big Bang and take us on a thrilling journey from atoms to galaxies through music, philosophy, art, cinema, chemistry, poetry, theater, dance, astrophysics, education, architecture, painting, quantum physics, religion or mathematics? My name is the universe is a book in which science, the arts and the humanities are intertwined, appealing to the transversality and unity of knowledge. A text that cultivates an attitude of wonder at the world around us, the engine of artistic and scientific creation, and that stimulates the reader's curiosity and creativity. Interviews to: Jordi Balló, Capturing the real Priyamvada Natarajan, Exploring Darkness Amandine Beyer, Flying with Our Feet on the Ground Eugènia Balcells, Re-enchanting the World Federico Mayor Zaragoza, A Factory for Freedom Simon McBurney, Another Narrative Is Possible Eulàlia Bosch, A Welcoming Space Sally Potter, On the Surface of Things Roberto Ontañón, Cave Performances María Muñoz, Move Before Thinking Marc Balcells, The Art of Looking at the Sky Joaquim Sales, A table Full of Stories Rodolfo Hässler, The Most Profound Expression Jaume Bertranpetit, Revealing Genes Cesc Gelabert, Dancing Life Sunetra Gupta, The Importance of Refusing to Choose Stephen Noonan, The Art of Teaching Marta Llorente, An Immaterial Material David Jou, Cosmic Thinking With the collaboration of: Roald Hoffmann, Xavier Bosch, Amarjit Chandan, Carlota Subirós, Jean-Louis Froment, Salimata Wade, Jorge Ventocilla, Maria Nadotti, Jaume Casals, Holly Fairbank, Irene Martín, Noni Benegas, Santiago Álvarez, Thane Lund, Rosa Olivares Buy Spanish edition Buy Catalan edition

Live Centre of Information (IT ED.)

Da Pompidou a Beaubourg (1968–1971) Boris Hamzeian When, on July 19, 1971, Jean Prouvé and Robert Bordaz unveiled the competition-winning design for the Centre Beaubourg in Paris, now known as the Centre national d’art et de culture Georges Pompidou, press and public reaction was harsh. The project architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered “unknowns”; its promoters, the engineers of the firm Ove Arup & Partners, were simply forgotten; the original idea of a “Live Centre of Information,” with its sequences of flexible platforms suspended over an open-air piazza for the crowd, was misrepresented and reduced to the image of a “metallic dam” dropped in the heart of Paris; the jury, which featured figures of the caliber of Prouvé, Oscar Niemeyer, and Willem Sandberg, was believed to have been dominated by the charismatic Philip Johnson; the man who initiated the competition, President Georges Pompidou of France, was believed to be unaware of the jury’s methods and forced unwillingly to accept a winner he didn’t support. Fifty years after those events, through the tool of the chronicle and recourse to all available documentary sources and dozens of testimonies, it is time to analyze these false certainties and trace the genealogy of this famous and still controversial work: from President Pompidou’s original idea of a monument to reinvigorate French architecture in the international debate to the complex origins of a project in which the aspirations and avant-garde impulses of architects and engineers delicately coexisted, to the reconstruction of the complex political plots and ideological visions that lurked behind the jury’s deliberations. The book features a preface by Laurent Le Bon, president of the Centre national d’art et de culture Georges Pompidou, an introduction by Roberto Gargiani, Professor Emeritus at the École polytechnique fédérale de Lausanne-EPFL, and a previously unpublished interview by Boris Hamzeian with Renzo Piano Buy English Edition Buy French Edition

Live Centre of Information (FR ED.)

De Pompidou à Beaubourg (1968–1971) Boris Hamzeian When, on July 19, 1971, Jean Prouvé and Robert Bordaz unveiled the competition-winning design for the Centre Beaubourg in Paris, now known as the Centre national d’art et de culture Georges Pompidou, press and public reaction was harsh. The project architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered “unknowns”; its promoters, the engineers of the firm Ove Arup & Partners, were simply forgotten; the original idea of a “Live Centre of Information,” with its sequences of flexible platforms suspended over an open-air piazza for the crowd, was misrepresented and reduced to the image of a “metallic dam” dropped in the heart of Paris; the jury, which featured figures of the caliber of Prouvé, Oscar Niemeyer, and Willem Sandberg, was believed to have been dominated by the charismatic Philip Johnson; the man who initiated the competition, President Georges Pompidou of France, was believed to be unaware of the jury’s methods and forced unwillingly to accept a winner he didn’t support. Fifty years after those events, through the tool of the chronicle and recourse to all available documentary sources and dozens of testimonies, it is time to analyze these false certainties and trace the genealogy of this famous and still controversial work: from President Pompidou’s original idea of a monument to reinvigorate French architecture in the international debate to the complex origins of a project in which the aspirations and avant-garde impulses of architects and engineers delicately coexisted, to the reconstruction of the complex political plots and ideological visions that lurked behind the jury’s deliberations. The book features a preface by Laurent Le Bon, president of the Centre national d’art et de culture Georges Pompidou, an introduction by Roberto Gargiani, Professor Emeritus at the École polytechnique fédérale de Lausanne-EPFL, and a previously unpublished interview by Boris Hamzeian with Renzo Piano Buy English Edition Buy Italian Edition

The Live Centre of Information (ENG ED.)

From Pompidou to Beaubourg (1968–1971) Boris Hamzeian When, on July 19, 1971, Jean Prouvé and Robert Bordaz unveiled the competition-winning design for the Centre Beaubourg in Paris, now known as the Centre national d’art et de culture Georges Pompidou, press and public reaction was harsh. The project architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered “unknowns”; its promoters, the engineers of the firm Ove Arup & Partners, were simply forgotten; the original idea of a “Live Centre of Information,” with its sequences of flexible platforms suspended over an open-air piazza for the crowd, was misrepresented and reduced to the image of a “metallic dam” dropped in the heart of Paris; the jury, which featured figures of the caliber of Prouvé, Oscar Niemeyer, and Willem Sandberg, was believed to have been dominated by the charismatic Philip Johnson; the man who initiated the competition, President Georges Pompidou of France, was believed to be unaware of the jury’s methods and forced unwillingly to accept a winner he didn’t support. Fifty years after those events, through the tool of the chronicle and recourse to all available documentary sources and dozens of testimonies, it is time to analyze these false certainties and trace the genealogy of this famous and still controversial work: from President Pompidou’s original idea of a monument to reinvigorate French architecture in the international debate to the complex origins of a project in which the aspirations and avant-garde impulses of architects and engineers delicately coexisted, to the reconstruction of the complex political plots and ideological visions that lurked behind the jury’s deliberations. The book features a preface by Laurent Le Bon, president of the Centre national d’art et de culture Georges Pompidou, an introduction by Roberto Gargiani, Professor Emeritus at the École polytechnique fédérale de Lausanne-EPFL, and a previously unpublished interview by Boris Hamzeian with Renzo Piano Buy French Edition Buy Italian Edition

Sharing Tokyo

Artifice and the Social World Mohsen Mostafavi and Kayoko Ota (eds.) The book questions how “artifice” and the “social world” can be mutually and constructively integrated so that the contemporary urban space can be shared by all. Taking the example of Tokyo, it takes up the two major traits in urban transformation – the large-scale development model on the one hand, and the small-scale model of neighborhood development or preservation on the other – and instead seeks alternative ideas and new strategies. A variety of innovative practices are presented by a diverse group of contributors including renowned scholars, architects, urbanists, and photographers from Japan and the US, and the research team at the Harvard University Graduate School of Design. While the discourses and architectural works presented deal with the specificity of Tokyo, they were carefully selected to formulate together a collection of insights, new perspectives, and speculative experiments in urbanism and architecture that can also be used in other contexts. With Contributions of: Mustafa K. Abadan, Shin Aiba, Homi K. Bhabha, Kenta Hasegawa, Kozo Kadowaki, Hiroto Kobayashi, Masami Kobayashi, Japan Research Initiative Team at Harvard GSD, Jouji Kurumado, Seiji M. Lippit, Mitsuyoshi Miyazaki, Mayumi Mori, Mohsen Mostafavi, Jo Nagasaka, Erika Nakagawa, Don O’keefe, Yoshihiko Oshima, Kayoko Ota, Jordan Sand, Yoshihiko Sone, Tsubame Architects, Riken Yamamoto, Shun Yoshie

AA Book 2022: On Location

Ryan Dillon, Anna Lisa Reynolds (eds.) The AA Book 2022: On Location highlights the agendas and practices that have intersected both physically and metaphorically throughout the Architectural Association (AA) during the 2021–22 academic year. The publication features hundreds of projects by students from every unit and programme within the school, which together document the plurality of agendas explored, interests developed, approaches tested and questions posed and addressed by our community this year. With Contributions of Students and staff of the Architectural Association (AA).

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Plug-ins

Ezio Manzini, Albert Fuster, Roger Paez This book showcases some of the projects developed by Elisava’s Design for City Making Research Lab, a research institute that investigates the role of design in the material and social construction of our habitats, focusing on spatiality, temporality, interactions, meaning, citizen engagement and social impact. Projects by students, professors and researchers, in collaboration with multiple partners including the public administration, NGOs, industry and academy, articulate the concept of design as plug-ins as the core idea of this book. This notion of plug-ins results from a renewed approach to how design can be a key agent in city making. Given that the city is a system of relationships, design for city making means understanding, reinforcing and articulating this network. We posit plug-ins as situated design outcomes that aim to enrich the complex system of the city and expand its potentialities. This book’s central argument is that plug-ins are a solid yet supple conceptual framework for rethinking design’s agency in the city – the main aim of Elisava’s Design for City Making Research Lab. With Contributions of Ruedi Baur, Julia Benini, Josep Bohigas, David Bravo, Adrià Carbonell, Tomás Díez, Danae Esparza, Ramon Faura, Tona Monjo, Salvador Rueda, Oscar Tomico, Lluís Torrens, Manuela Valtchanova EBOOK VERSION

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