| 1. |
- Conden, Helen-Rose, et al.
(författare)
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NAMALab : Maping Nama
- 2011. - 1
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Ingår i: NAMALab. - Ireland : Dublin School of Architecture Press. - 9780956850225 ; , s. 130-132
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Mapping NAMA describes the visualisation of Irelands National Assets Managment Agencies property portfolio which was established between 2009 and 2011. The NAMA portfolio included Property, Sites and Land Banks aquired by developers and held as securties within a number of Irish Banks which were effeced by the financial crisis. Although operating as a public body NAMA has never released details of the portfolio due to its claim that the information would further damage the collapsed propoerty market and as a result would effect the value of the portflio resulting in reduced compensation for a state led Bank bailout. By colating court room appearences of property developers, newspaper reports and other soft data followed by extensive archive research of Dublin City Councils planning departemnt NAMALab produced a cartographic analysis of the NAMA portfolio. This map was then used by NAMAlab as the basis for a series of projective urban projects imagining the poetntial of Dublin City post financial crisis.
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| 2. |
- David, Dernie
(författare)
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New Stone Architecure by David Dernie
- 2003. - 1
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Bok (populärvet., debatt m.m.)abstract
- In recent years contemporary architects have become obsessed with a variety of new materials, and above all stone. The limits and predictability of the modernist palette have long been recognized, and contemporary architects are now looking to the ancient values of stone to give new expression to their ideas. Above all it is the permanence of stone that is increasingly used to express a sense of civic stability, or ground the otherwise fluid forms of contemporary architecture. New Stone Architecture explores the special role of this material in a timely reassessment of the ideas which underpin today's renaissance of stone architecture. The introduction uncovers the expressive possibilities of stone, describes the new technologies which make the new forms possible and offers an interpretation based on the author's technical and theoretical understanding of material themes. This is followed by thirty-three case studies from around the world. Architects featured include Michael Hopkins, Kengo Kuma, and Renzo Piano.
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| 3. |
- Dernie, David
(författare)
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Architectural Drawing by David Dernie : (Portfolio Skills)
- 2010. - 1
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Ingår i: Architectural Drawing by David Dernie. - : Laurence King. - 9781856696791
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Bokkapitel (populärvet., debatt m.m.)abstract
- Architectural Drawing focuses on the exciting possibilities for representing the built environment using allthe techniquesboth traditional and digitalthat are now available. Packed with practical information thebook illustrates all the key types and media of drawingfrom sketches to working detailsand includes some of the best examples by practicing architects. This book will be an indispensable practical resource in architectural schools.
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| 4. |
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Motor-Home
- 2017
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Konstnärligt arbeteabstract
- The suburban garage, arguably one of modernity’s most prolific reflexive inventions, has received little attention in terms of critical discourse in architecture. Contemporary Marxist feminism has been utilised in architectural theory to illustrate a series of binary conditions related to the home, including hidden forms of labour, paid and unpaid work, productive and reproductive spheres, public and private, sex and gender. Through this discourse, the subject of maintenance (which includes physical repairs and renovation, housework and homemaking) is broadly accepted as a means of producing and inhabiting architectural space. This innovation has been key in determining alternative forms of architectural practice that contest and intervene in dominant patriarchal images and descriptions of the home. The garage is uniquely situated between public and private realms, house and infrastructure, store and facilitator, place of work and labour, and has often been utilised as a free and reprogrammable space in close proximity to the home. This image of liminality is expressed in a variety of media including advertising and film, where the garage situates ambiguous forms of masculinity by connecting gendered forms of maintenance to images of technology and consumption. The suburban garage as reflexive invention initially responded to the need to house an automobile, but later it becomes a site of continual reimagining, responding not only to the collective subjectivity of the household but also to practices that cannot be contained within the program of the house. By questioning the binary applications of gender and maintenance theory, it may be possible to understand how capitalism operates to produce new forms of masculine domesticities and domestic masculinities.
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| 5. |
- Ozmin, Janek, 1975-, et al.
(författare)
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Atlantic City Genocide Memorial
- 2011
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Annan publikation (populärvet., debatt m.m.)abstract
- The proposed memorial site sits on the axis between the suburban fabric of the city, predominately existing to the west of Albany Avenue and the tourist and commercial centre of the city to the east. Building on the formal composition of the city the proposition situates itself on a north south axis with the existing World War I Memorial located in O'Donnell Park. Albany Avenue opens into Route 40 formed from the Oregon Trail navigating from Atlantic City, west to San Francisco.Visitors are presented with both the World War I Memorial and the Holocaust Memorial.The Genocide Memorial appears as a black Chamber in the Atlantic Ocean extending the city's fabric into the sea, connecting all continents through the moving waters of the ocean. Amongst the sand and removed from the sea a room, described as the Orientation Chamber, sits marking access from the boardwalk to the beach. As a result the memorial site expands beyond a bounded territory encompassing the city's formal layout, its boardwalk and its inherent natural and man made landscape.
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| 6. |
- Ozmin, Janek, 1975-, et al.
(författare)
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Domestic still life
- 2015
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Annan publikation (utställning/event) (övrigt vetenskapligt/konstnärligt)abstract
- Professor Swetlana Heger and Janek Ozmin were commissioned to investigate the themes of Migrating Places of Production and Space as Product in relation to the town of Hohenems, Austria. The project investigated the history of material production in the Hohenems region and produced three woven sculptures that represent the globalised condition of manufacturing; it's relation to place and the role interdisciplinary work required to make of a representative image of place. The work was hung within a working aluminium anodising plant set in the town of Hohenems from which the sculptures provided a platform for debate on Migrating Places of Production and Space as Product.Domestic Still Life1. Blue - Yellow 180x 360cm 2. Yellow - Red 180x 370cm 3. Red - Blue 180x 355cm
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| 7. |
- Ozmin, Janek, 1975-
(författare)
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Duchamp, Wall, ISIS, and blocket
- 2015
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Ingår i: LO-RES, Architectural Theory, Politics and Criticism. - Stockholm. - 2002-0260. ; 1:1, s. 98-106
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Tidskriftsartikel (refereegranskat)
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| 8. |
- Oźmin, Janek, 1975-
(författare)
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GO LO GO HI : Tracing the Development of Masculine Domesticities from the Garage to the Penthouse — A Multi-Modal Exploration in Architecture, Urban Environments, Film, and the Arts
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- GO LO GO HI is a multi-modal enquiry into the relationship between masculine domesticities and the architectures of the suburban garage and penthouse apartment. The project adopts the garage and the penthouse as sites of enquiry, which means thinking through architecture as a cultural phenomenon, the agency of which includes but is not limited to spatial design, material compositions, visual representations, and historical contexts. While adhering to specific architectural typologies, both sites are assemblages of technology, consumption, leisure, and labour. The project presents the two sites as dialectical opposites—the suburban garage is embedded in the material world of the ground, the family, and the generic; the penthouse maintains a symbolic relationship to the production of the image, the individual subject, luxury real estate, and the city’s horizon. In this context, architecture operates as a spatial container that responds to and facilitates domestic encounters which are fluid—that change within and between sites, construct and contest social hierarchies, and offer refuge from (and at times entrapment within) social, political, and economic forces. By further assessing their representation in the arts, film, advertising media, and literature, this project also takes on board the cultural representations of these sites, moving beyond the conventional boundaries of architectural typologies. This interdisciplinary, practice-based approach is supported and interlaced with ethnographic writing, photodocumentaries, installations, and project proposals designed to reveal how these sites leak out into collective and private spaces within the city.
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| 9. |
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| 10. |
- Ozmin, Janek, 1975-
(författare)
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Isis Upon the Iron Tree : An analysis of Poster No.2 designed by Sigurd Lewerentz
- 2014
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Isis Upon the Iron Tree: The Stockholm Exhibition of 1930 has been widely recognised as one of the most important expose of modernism in the 20th century. This paper examines Sigurd Lewerentz "Poster no.2" designed under direct commision by the exhibition commitee but was reject for official purposes. The poster which is composed as a complex catalouge of exhibtion elements arranged around the Exhinbtions famous "L" logo, derived from an egyptian winged god, showed nuanced layering of the relationship between an emerging Swedish modernism. Unlike the official Poster No.1 which was reduced to the simple text "1930" a statement on the notion of the moment of change set in Lewerentz futuristic type font Poster no.2 presents mutliple view points from which to consider the arrival of Swedish Modernism. In order to analysise the poster a study of the pictorial content of the modernist manifesto "Acceptera" was undertaken from which themes are cross refferenced and super imposed back into the composition of Poster No.2.
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