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Craftsmanship
Tuesday, Nov. 8, 2011 · 6:34 p.m. · 45m 47s
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most why don't you just was like are you want then you can't actually take these actually used it just
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slides rich and i six don't actually take you you should also new multi push it much lot apply to many
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atlanta i'll just actors out that you guys up doesn't you don't actually take
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it actually just only let's look at what she's would pick it up that's real
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i also clergy only wasting these results she's only
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also lonesome like usual soap opera below at your age
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the clear to me you know saying idaho sure refutation each not that's you
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also not pushed like match each yeah well let them do you
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just want imagine digit data all talk or not yeah you're the construction
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and you guys supposed to get gonna not is all you should get
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clutch each on although now address all all the all the channels you
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yeah i'm i yeah i learned a lot of them
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i don't actually know i said if i had just clinics don't you yes it's huge
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that i cannot you isn't it you know that what was it like you stole surest
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yeah it's pretty sick dot t. v.
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could you stick to the beach what did you do some portion but i mean i label but not that much and i did you teach
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yeah it was it not ago it oh well they need to do
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yeah yeah i know i mean it was a premium pete was use the best
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inc at it's like doesn't want x. up yeah yeah yeah well actually actually shot now
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well yeah sure that's not not at daniel comes to maps
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and unfortunately i can't speak in french as good as you
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do that understood what you said but i have to speak in english and i hope that will be fine for you
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um well i'm here to show you how i
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see things and how we work at our studio
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and especially what really understand on the craftsman she
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starting which obvious craftsman just uh uh starting the
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tropic interest craftsmanship review our work as a croft
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we define practical rules by ordering
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classifying comparing and differentiating
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in today's presentation i will show you
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our crossed by presenting examples of our work
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to help what i mean i will also show you references mainly from artistry
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these are also meant to show how it important to this to broaden one's horizon
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to look over the garden fence so to speak
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yeah
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which are not our collection of tools we cannot work
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if if two dismissing the collection is
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incomplete and we have difficulty completing their work
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we have acquired our tools over the course of time we care
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for and look after our tools
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and rearrange and we organise then regular
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i personally low not my tools only
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in a very very exceptional case
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our attention in everyday life is directed to a
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kind of cabinet of curiosity that's the word offers
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and the user does he would go to a good tool shop
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a craft is something you must feel like
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doing something you must have a desire to do
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experience is not important
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because it's memory that allows the croft become more formally established
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it takes time
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patience and perseverance
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the croft sets rules these are predominantly practical rules
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as the system ordering and assigning strengths in the intention
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the art of the croft is revealed in the details
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so let's craftsmanship is artistic
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crossed using knowledge experience and passion
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uh_huh
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sorry uh so clean
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we gain understand
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oh sorry again an understanding of the truth in croft only to change the perspective
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from near to foreign far too near capturing
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that was fair and perceiving the on the others
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i use my camera every day
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i asked my diary
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i follow our interest in art and
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history which are important sources of inspiration
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box enlarge our knowledge each shot and travel broadens the horizon
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libraries are treasure houses there are places of quietness
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and relaxation and they provide access collections of knowledge
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for us foreigners are persons that half prepared
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the way in our occupation and whose experience is
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knowledge and knowledge at company s. in our daily work
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their work radiates strongly in the work process process it makes it even possible
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that's patti smith's in that or not only my her for
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her music but also for her writing and there's a photograph
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observing nature and making comparisons lease archaeological per station
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is of great importance and for solid piece of work
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logical once wrote that are in life go together
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that all things are work and i believe that get croft unites all of life
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here you see a product because uh a side
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by side comparison of botanical forms by ernest hackles
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but probably my uh uh caught my attention was the first innes of hummingbirds
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with the characteristic harm of their rapid
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almost invisible invisible beating of the wings
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once you have seen then these invisible or these creatures which seem to
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be some in between birds and insects you know how fascinating day or
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when light hits the hummingbirds fatter the observer
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sees a at a rate of change colours
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the images sometimes fussy and then dishes in our perceptions changed softly
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i saw ross platters paintings circle of us at the cons hasn't
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so eric's some years ago an exhibition cold burst of the cool
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district pattern in painting crates effect of transparent correct
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and protecting the birds racing about in the background
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but your high the cease you as you look longer
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at painting certainly that works in the background become static
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in contrast with the vibrating pattern of the stripes in the foreground
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the surface of the painting change your perception one
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reason these paintings has stayed with me i think
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it's because it made me think of the hummingbirds of the west indies where i once used to live
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in our work we like to be guided by
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images these uh personal experiences that's they in our memory
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the atmosphere called by the in which leads to start off of work
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in this case they make sure next to an i. d. for
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pro check for terminal docking at the at zurich airport some years ago
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taking the example of a conch off the couch uh
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of the court yards that we suggested for the airport terminal
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i would like to describe to you how we use the box of tools how badly became
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a concept to shape and finally became realised
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the crafting and activities an important component of creative work
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models illustrate intention and especially the effect of light and
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shadow these are saying this to check in at any time
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uh at any time using a model models uh lois
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to try she sings out an experiment that's why we
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have a lot about project in our studio mainly on models
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there are six in a court yard's enclosed in a
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gloss that penetrate through the interior space of doc easy
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a variety of climate clone scroll up to
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twenty meters tall on the heart of wire cables
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each port you art houses a climbing
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plants that stands symbolically for its own work
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the plants provide a reference to the button is in other explorers
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with scientific curiosity that discovered pronounce brought and plough material back to europe
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from grass real china union mexican even the west indies
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like a valuable secret the plant materials kept behind etched pants of classes
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across the street and alternately with assets basis for as long as it
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took to create the side effect of flight and it wasn't an easy process
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it is the new all seem to work surface of the
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gloss that the project to decide a prototype projects to decide picture
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many trials and regular trips to the manufacturing facility is very important
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personal contact with the gloss croft men's dialogue
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and affinity with tossed resulted in the satisfactory result
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the throw of the shadow by the different beliefs and
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blossoms in the projection of nature isn't living in each
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does she have crossed the canes screen convened in each of the cloth material
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the viewer's perception is meant to evoke memories from the effects of time
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it is only to to act attentive traveller but the plot aunts reveals
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bands self through narrow vertical strip
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of clear across providing a look inside
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the viewers told a chapter from the history of gotten culture
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namely from the time of the many travellers of
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the well on theirs in the eighteenth and nineteenth centuries
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for centuries unfamiliar problem like you
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has been collected cared for and preserved
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here we see the porter for professional compound there
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and explore from nineteen thirty three
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actually profession i always also want to
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to but i ended up as a landscape architect as as you see
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so the taunt hunters often risk that personal fortune their house and
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their lives they are motivated by botanical interests and a thirst for adventure
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their adventure brought to plant material to europe
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the prawns were representatives of strange new worlds
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a high point to the presentation of excel to plough material
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was the crystal palace in london
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created by joseph paxton eighteen fifty one
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the clowns from foreign lands were still on known
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and they were very dedicate and difficult to transport
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clark material could launch material collected on the
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very difficult conditions was frequently lost in transport
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the board in case was developed in the early nineteen century
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by fixation name not handle for who have a passion for botany
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the cases are designed to keep blondes from for foreign
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shores from dying on the long see why yours to europe
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protected inside the board in case the farm plant
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material could be transported safely over long distances to europe
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the collective pounds button start it by sorting and describing
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in the victorian area working cases became even a very popular
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household decoration they were often clown to these different kind of phones
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you know you see an example from the beginning of the nineteenth century eighteen twenty nine
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and uh more simpler one later uh from nineteen hundred
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throughout my fascination with the clown explores by making use
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of images in making references to trish to to preach
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to the tradition in our project such as to foreign loan but you and
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can't colour charts for the air corps colonel we transform his three into the present
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the green history into the press it they can continue telling the story
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i believe that it is important to answer the questions regarding the side the material
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and assignment for the buildings that ice that to define the content of the i. d.
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clown scroll toads the light clients need to correct
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room temperature and humidity walked in new directions for prosperity
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here temperature here at the airport sorry here uh
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here at the airport or act courtyards temperature and
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humidity are regulated by the waste heat of the
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buildings and i movable gloss lures that covered the courtyards
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the plot aunts receive a constant level of
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water to which for two license or added regularly
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leaving material the mounts affection but also management and control
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the care plan and provide information on the work needed in the future this is what guides development
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that periodic care brings experience and the more
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sperm establishment of the on the line i. d.
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the care plan is one of the gardeners tools
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with knowledge of the different clones and all of their specific characteristics
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and with understanding of the origins
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of the material that deep relationship arises
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the craft the moans knowledge of the material response the truce
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comes to light right away because it's so dedicate
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not just our chains attractions lighting walked resulting the practical common sense
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by knowing understanding the material we understand what we are doing
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initial experience is requires through seeking out
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and we cut recalculated the plot hero
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devising and implementing something start
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to conclusion we cut requires
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a certain obsession you become part of an i. d.
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my personal interest yes and for the plant hunters and then why yourself discovery and they're
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collecting of the green gold also stands at the centre of one of our current projects
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in the plan for the design of a library lounge in the whole chemistry building of the e. t.
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h. zero eric we have reinterpret take that one more
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time the word in case we suggest six last cases
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ian hamilton fame they always said a small
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tossed is ashore subway she and i can agree
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the victorians had a craze for for instance they
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collected for items with passion for answer much sought after
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as a reference to this fun fever up terror come on yeah as it was cold at the time
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the glossed cases at the e. t. h.
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zurich will contain and number of remarkable for species
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we will start the actual work with the special plot material for this project is all term
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the selection of the phone will get an depend on the side criteria
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the gloss cases stem cells outfitted lisa automatic misty
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system will provide an ideal micro climates for difference
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let us make use of the cat inactive curiosities
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filled with objects like collections in the sixteenth and seventeenth century
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torn between basin that easier to learn and to spend thirsty for knowledge
00:20:24
the capacity to admire be astonished rodents our foundation of our croft
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same bowls images and i was fares helpless in that hand
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to get the night the of the word in its entirety
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our ideas and perceptions of that entire g. shape our work
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in our gardens we portray next external lies our collected in the connections
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here you see floating island to travel
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around manhattan island by robert smith and
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for the product terrorists at the th zurich we suggested the collection
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of clients on the roof of the men's at e. t. h. cafeteria
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planting on the move has its own rules to be considered and that can be sometimes quite difficult
00:21:25
this is a central location in front of the dominant main buildings front our planting
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and the building as you know build by got fried centre
00:21:43
the selection of plough on snake references to the multi cultural place
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of the learning and we gazed cloned collections pleasing names like mountain dream
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white wedding
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or indian summer and treat probably
00:22:03
in addition to the attractive presentation it was also important to us
00:22:08
to prepare just uses for the new planting early on in the project
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for the purpose we had paper napkins printed for the cafeteria
00:22:20
so that everybody at e. t. h. was exposed to the plant material
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intentionally or not
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okay
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let us invite nature and all the the the issues twelve festivals
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the word is full of symbols and information and it is difficult to this evil
00:22:46
capturing nature makes as receptive to recognise
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relations and do come closer to the truth
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only comparing in these distinguishing
00:23:02
leads to recognition and understanding
00:23:10
there for ordering classified comparing in
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differentiating assess that becomes so important
00:23:21
let you read
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an article i read in the newspaper sometime ago
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that beautiful article written by german writer called marcel buyer
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and you told the story about meeting a
00:23:37
solid chase who worked in the museum in germany
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buyer story goes like this
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um it greater over or mythological museum doctor stick for back
00:23:52
who showed us some dried products gains from his collection
00:23:57
he had already told us how important the surface feel of the individual
00:24:03
that's going was sort of work of the research for this you know demonstrated
00:24:10
the two got a crown in his hand and touched it carefully
00:24:15
you have to drive works good with feathers in his
00:24:19
failures and moved his other arm light up and down
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you are asked if estimating the weight of their dark skin
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doctor act set that is sometimes six four weeks looking at the group of
00:24:36
parts cadence that yes spread out on his desk in order to store them
00:24:45
firstly supposes or even just guesses starting might be looking at
00:24:50
two species at the minimum but at very closely related species
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there are no sewn profiles of genetic analysis available to eight identification
00:25:03
he groups and regroup the birds teens replaces them before him
00:25:08
in order in based on his most in conch is just characteristics
00:25:14
he has a date is lights that one buckskin back and for work from one row to another and
00:25:20
then it this is hesitation to present to the realisation
00:25:25
that the ordering cannot be correct so we start again
00:25:31
start again from the beginning and they're real and
00:25:34
re arranges the perks gains according to different criteria is
00:25:39
through his focus this focused concentration he comes
00:25:43
to learn the precise futures of each parts kings
00:25:48
he commits to the memory the peak it got much of each individual but
00:25:53
inhaling from morning to even in this specific features
00:25:57
of each parts keen he commits to the memory
00:26:01
oh sorry uh but at some point it certainly happens off the wall that
00:26:08
weeks of doubting and waiting and it's down and starting it happens really false
00:26:16
we can start and to demonstrate on the basis of outer appearance of certain but skins
00:26:22
that you had before he not one species as
00:26:25
happy previous dish as you but three different sub species
00:26:31
doctor act set that he imagined that the work of an artist might
00:26:36
might proceed in a similar way south and recognition
00:26:42
and i think this how it's described here has a lot to do how we work
00:26:52
oh that i mentioned one set the most beautiful saying we can experience is the mysterious
00:26:59
it is the source of all true art and all signs
00:27:03
he to whom this in no she's a stranger can not longer post wonder
00:27:09
and stand wrapped in or is it good is
00:27:12
as good as that same rate is eyes are closed
00:27:25
a lot of work went into that is what we often say when we
00:27:30
see beautiful object incensed care and attention
00:27:34
ability of the person who created object
00:27:38
in a craft you find people's knowledge about production of
00:27:42
things we encountered is often and learn a lot from it
00:27:48
often it is only partial to sequences of a toss
00:27:52
that brings us in contact with other croft means people specialists
00:28:00
we find support to be fine supporting then they're
00:28:04
drive enter tries us it helps to go for work
00:28:10
an example of this is our collaboration with the artist euro
00:28:17
mostly our studio work this master you're the project for private has
00:28:23
must leaves work mainly out of a set of sandstone granite create strong
00:28:29
rough three words stones that previews of field of
00:28:32
tension in the dialogue between art architecture and nature
00:28:41
here a granite boulder with charisma thick reddish
00:28:44
crossed leads to the entry area to the house
00:28:49
the massive folder was for it out by the artist himself led by his
00:28:54
passion to is work mass for the work to the point of physical injury
00:28:59
to rest the stones from the cliff factoring rate during the colouring
00:29:06
the stone was cut so precisely that it skillfully covered
00:29:11
up to the difference in how green street and engines
00:29:17
and it now stands is a strong connection to the new building and the surroundings
00:29:23
the granite block which weights more than twenty towns was selected for
00:29:27
days side based on its strong
00:29:30
expressions form and positioned very precisely
00:29:40
for sensitive costs in the preservation of monument cartons
00:29:46
good croft can be important for survival of cultural heritage
00:29:52
it is especially when working on preservation projects
00:29:58
that the landscape architect works in alignment with tradition
00:30:05
to save work
00:30:07
if it is a toss clues historical
00:30:11
value makes us carry out our croft
00:30:14
with respect and reverence it is all from here that last scales or recover
00:30:23
finding the right experts and specialists isn't he
00:30:28
tossed for success in for pleasing final result
00:30:33
for pleasing final result we succeeded in finding the
00:30:36
right specialist for our restoration of t. v. brown and
00:30:40
parking lot on the lake of zurich apart from the fifties
00:30:46
and make some ballistic nice surfacing wheeze polygonal paving stones in
00:30:52
the park which team on the to the work of a specialist
00:30:57
hand chasing of the edges and then laying of
00:31:00
the stones successfully met with him on being requirements
00:31:14
the politically inclined cotton lover of
00:31:17
the nineteenth century walked his property hoops
00:31:21
and caring of walking stick to to to
00:31:24
our main correct placement of rules possible ways
00:31:31
the craftsman starts his work with the sewing of seats
00:31:37
the garden is an enclosed piece of land it is here
00:31:41
that the possibility of place can uh can be planned out
00:31:46
the garden you know it's nature and culture here truths can be seen
00:31:54
no now i would like to show you
00:31:56
some selected projects to illustrate our closeness the craftsmanship
00:32:02
this sending paper from around nineteen hundred just bail is the is the
00:32:07
building stone and the possible of a great gotten a forgotten in zurich
00:32:12
this was to be new laid along with the new garden project
00:32:16
after the house was repaired acquiring knowledge is always the first step
00:32:24
uh_huh
00:32:29
looking closely of things is craftsmanship
00:32:33
it is search for traces
00:32:37
the make up of the size of the colour of individual
00:32:39
grain of the cement paper for the beginning of the work
00:32:45
this requires careful attention as you can see
00:32:54
cartons us monuments contain the memory
00:32:59
and uh places of remembrance traces of history of found and displayed
00:33:06
today's needs forgotten not taken into account here you see the laying
00:33:11
out of this of the patio at this cotton and the new plantings
00:33:22
as side mentioned a reviewer guided now work by images
00:33:27
here you see piece of work by david nash showing some twang ups
00:33:34
some years ago i encountered in wales these prompts a
00:33:39
twang derived from the whale welsh work from that means mount
00:33:46
and now with the cloud like shape like the one on the right side how it's costing
00:33:52
as you can see here if you try edge
00:33:56
on the right hand side also at house cost
00:34:03
behind an apple grove the development of a young
00:34:07
from in one of our projects in zurich is growing
00:34:13
precision crawford shape can extend to perfection the time factor plays at this
00:34:20
size if rule not only mean falling back on old art and scales
00:34:26
columns are very strong subject to the dynamic of the element of time
00:34:31
the changing times data changes season that changing the cost to kate's
00:34:39
okay for me to uh to to get form to some doing
00:34:44
you have to be able to understand make sure and start in nature
00:34:52
we found our examples and models in
00:34:55
nature part of walking through landscaping documenting them
00:35:00
mountains forests and not those but also city landscapes
00:35:06
here on of walking the highlands
00:35:20
making observations is what makes landscape
00:35:23
understandable and helps us to see connections
00:35:28
only based makes that transformation crows
00:35:30
as possible from croft to landscape architecture
00:35:36
here have all stonewall in one of our projects
00:35:48
in our search for new forms of expression and use of
00:35:51
materials we pick up in the century alteration of charcoal production
00:35:58
charcoal burners traditional paled semi circle charcoal clean
00:36:03
clones out of speech vote stacked in layers
00:36:07
stuff one meter long are stacked in a circle covered with a
00:36:12
layer of straw and then packed air type with a first and ashes
00:36:18
depending on the size of the charcoal kill on the production of charcoal off to starting the
00:36:23
fire and the temperature from four to five
00:36:26
hundred degree could take from eight to fourteen days
00:36:31
we couldn't wait as long chart calling for our use
00:36:36
forgotten step consists in charting that board using the flame
00:36:41
this is done by hand for the flame is applied to craig chart layer
00:36:47
the char coding process is controlled using steam
00:36:52
but without lowering the boards to go out of shape
00:36:59
the best material for this process so peachy folk
00:37:04
pines busy with a lot of resin wouldn't be hard to suitable as they are
00:37:09
so flame mobile to prevent the charred wood from later staining devote can be avoided
00:37:22
craftsmanship is it into plenty of the mind the heart and the hands
00:37:30
this summer some member of our studio participated in a workshop where is
00:37:36
speech oh chase in hell that the city of air in the garland
00:37:41
probably most of you know him since yes being here at e. p. f. l. earlier this year
00:37:49
at least you get moment by beach or a chain works in close dialogue this croft and
00:37:56
concept work is one part of the working design is
00:38:00
the other how whether it is only with when working
00:38:03
to croft in the reflecting up and activities of one
00:38:08
hands or using tools that the true leaps of inspirational cure
00:38:17
craftsmen thinking n. x. t. v. c. r. based on curiosity
00:38:24
the croft takes you beyond the superficial level the croft takes you deeper
00:38:31
and it is good to know that motivation
00:38:34
to learn craftsmanship is more important than haven't
00:38:39
beach only like just say start and see what happens in
00:38:43
men at the beginning of the process is the more most important
00:38:49
and i do agree with him
00:38:52
practical work is the exercise in patience to acquire impressions
00:39:00
we become a craftsman by working on a project to get of this other craftsmen
00:39:07
set backs and on second please
00:39:10
spare us on strengths strengthen our ambition
00:39:16
rebuilt landscapes and gardens together with you architects
00:39:22
risk gardeners this engine years these historians construction workers
00:39:28
photograph or smack metal workers carpenters artists and other specialists
00:39:39
our interaction with nature and study of nature
00:39:43
teaches us the right question to all lost
00:39:47
the work comes into being in dialogue with people and nature
00:39:53
i get craftsman versus collective knowledge experience and a lot of passion
00:40:03
i want to finish you selection is this quote from a letter on
00:40:10
the elements of pop in the address to lady written by show jacques cousteau
00:40:17
saying nature is full of these wonders you cousin
00:40:23
we are and make it to the view of a very small portion of it only
00:40:29
there is little hope then that we should be able to
00:40:32
understand its relations forty or two and are able always mystery
00:40:41
thank you
00:40:50
yeah
00:40:53
let's see what group of that but control also and to to get a question like that yeah
00:41:04
uh_huh
00:41:07
we just
00:41:21
ah
00:41:26
mm i'm period for my is uh i would like to ask you one question i mean
00:41:34
um i'm first of all very happy that you're here at that
00:41:39
the our school of architecture is looking out into the card sometimes
00:41:47
on me out to the city but to the guy who which is part of our cities
00:41:54
um the ah i'm very happy for that i think uh i would recommend
00:41:59
my students if i had some uh to go and follow your studio and uh
00:42:06
one thing of course which should the the it
00:42:10
you're like shoe does seem to really comes through
00:42:15
but i would like to have a little bit of an idea of your attitude is that
00:42:22
in fact one of our problems today
00:42:25
i'm not only cartons or just this
00:42:30
more um it's romantic connection to god and uh
00:42:40
our one of our very acute problems is landscapes
00:42:47
at the very large scale too i mean how do you go what do you suggest
00:42:54
to our students to deal with landscapes landscapes
00:42:59
which are more divided by a highway uses
00:43:04
a t. g. we will uh uh mm
00:43:08
big installations like the um you know
00:43:14
a power plants and the transport of power
00:43:19
no i think there is a lot to do there i uh i'm sure
00:43:24
you would like to work on that
00:43:29
well basically i understand your question and obviously you're right there
00:43:34
are lots of uh things to do about the the landscape
00:43:38
and it's not always so from now on i guess we sometimes like to see updates
00:43:46
and i tell my students here the first thing i
00:43:49
said that's we go out there we go for will
00:43:54
and on this will go out to the landscape and we have
00:43:58
to last place what the place needs one place really needs for
00:44:05
and as i found out sometimes or specialists or or
00:44:09
or or put that way it's not always so easy
00:44:14
to find out really about that place needs since there is no clear program
00:44:21
last for for the for for for the landscape out that it's not like with the building where you have most of the
00:44:28
time you have a clear program not the building should do
00:44:31
or should should should should should uh should do right needing some
00:44:36
some rooms for g. g. d. g. or or or
00:44:41
or uh it's kind of clearly defined right and in the landscape
00:44:47
you really have to go out there and you have to steal
00:44:51
the place and to analysts the place to find out what's really
00:44:57
the place is asking for that's our approach how we deal
00:45:02
with these landscapes you go out there and off the place
00:45:09
well it's needed well it needs of these what what
00:45:13
what what cases or asking for that's what we know of
00:45:27
look you still but it
00:45:32
also lets you didn't yes you listed of the last it
Conference Program
Vernissage de l'exposition Las Vegas Studio
Sept. 21, 2011 · 6:09 p.m.
Quand l'architecture et le cinéma transforment les territoires délaissés
Sept. 22, 2011 · 6:36 p.m.
PechaKucha 'Lumière
Sept. 24, 2011 · 8:22 p.m.
Las Vegas, Film, and the Mobilized Gaze
Oct. 19, 2011 · 6:33 p.m.
Metaphors We Live In
Oct. 26, 2011 · 6:33 p.m.
Craftsmanship
Nov. 8, 2011 · 6:34 p.m.
L'épaisseur des lignes
Nov. 9, 2011 · 6:32 p.m.
La controverse Learning from Las Vegas
Nov. 16, 2011 · 6:46 p.m.
Dans le paysage urbain
Nov. 22, 2011 · 6:38 p.m.
An Aggregate Body
Nov. 23, 2011 · 6:46 p.m.
Curating Postmodernism
Nov. 30, 2011 · 6:41 p.m.
Pièces à conviction – Une périphérie prend forme
Feb. 22, 2012 · 6:05 p.m.
Pechakucha 20x20
Feb. 23, 2012 · 7:03 p.m.
Espace, Lumière, Structure. 7 Concepts
Feb. 28, 2012 · 6:32 p.m.
Suburbia does not exist. Strategies for dense city growth
March 14, 2012 · 6:38 p.m.
CONSTRUCTIVE REACTIONS. The Architecture of Kurtogpi
March 27, 2012 · 6:32 p.m.
Les coulisses de Malley
March 28, 2012 · 6:38 p.m.
Débat critique - Projets de première année
April 3, 2012 · 5:15 p.m.
Ensamble studio
April 16, 2012 · 6:36 p.m.
Le travail d'ingénieur et le projet de modernité
April 18, 2012 · 6:35 p.m.
RUR: PROJECTS
April 24, 2012 · 6:20 p.m.
Conférence du cycle 'Pièces à conviction
May 8, 2012 · 6:34 p.m.
255 views
Paysages intérieurs
May 15, 2012 · 6:35 p.m.
Yona Friedman, Genesis of a vision
Sept. 19, 2012 · 6:13 p.m.
Working in Mumbai
Oct. 4, 2012 · 6:40 p.m.
Yona Friedman and the Gost of Utopia
Oct. 10, 2012 · 6:13 p.m.
Global Holcim Awards 2012 Gold
Oct. 12, 2012 · 6:06 p.m.
Just what is it that makes Friedman so appealing ? hier et aujourd'hui
Oct. 17, 2012 · 6:07 p.m.
Pour une histoire culturelle de la construction
Nov. 12, 2012 · 6:35 p.m.
Partage d'expérience
Nov. 21, 2012 · 2:17 p.m.
Hall Of Mirrors
Feb. 20, 2013 · 6:09 p.m.
Happy Street
March 13, 2013 · 6:29 p.m.
Pier Luigi Nervi : l'architecture comme défi
April 17, 2013 · 6:09 p.m.
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images: Part 1
April 24, 2013 · 6:34 p.m.
109 views
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images : Part 2
April 24, 2013 · 7:22 p.m.
Présentation de Riccardo Morandi
May 1, 2013 · 6:30 p.m.
Présentation des conférenciers, MM. Aurelio Muttoni & Mario Alberto Chiorino
May 8, 2013 · 6:31 p.m.
Présentation de Robert Maillart
May 8, 2013 · 6:33 p.m.
128 views
