9 products were found matching your search for Deconstructivism in 2 shops:

This season, the COS womenswear team interpreted tailoring through a fresh lens. This contemporary pencil skirt is crafted from a wool-blend twill cloth and nods to deconstructivism with its deep front folds and raw-edge hem. Achieve a bespoke fit by adjusting the buttoned tab inside the waistband - a COS signature. Regular fit, welt pockets Hook-and-bar, button and zip closure A better alternative to conventional polyester, recycled polyester is made from pre‐ and post‐consumer waste 51% Recycl

Deconstructivism serves as the inspiration for this contemporary color-block shirt. Crafted from camel-hued RWS wool, it's bordered with contrasting dark-navy panels and has a concealed placket, cuffed sleeves and dropped shoulders that enhance the oversized shape. Style it as a set with the coordinating pants. Oversized fit, button closure Pointed collar, stepped hem Certified according to the Responsible Wool Standard, to protect the welfare of the sheep and their environment 100% RWS Wool / M

Deconstructivism serves as the inspiration for this contemporary color-block shirt. Crafted from camel-hued RWS wool, it's bordered with contrasting dark-navy panels and has a concealed placket, cuffed sleeves and dropped shoulders that enhance the oversized shape. Style it as a set with the coordinating pants. Oversized fit, button closure Pointed collar, stepped hem Certified according to the Responsible Wool Standard, to protect the welfare of the sheep and their environment 100% RWS Wool / M

This season, the COS womenswear team interpreted tailoring through a fresh lens. This contemporary pencil skirt is crafted from a wool-blend twill cloth and nods to deconstructivism with its deep front folds and raw-edge hem. Achieve a bespoke fit by adjusting the buttoned tab inside the waistband - a COS signature. Regular fit, welt pockets Hook-and-bar, button and zip closure A better alternative to conventional polyester, recycled polyester is made from pre‐ and post‐consumer waste 51% Recycl

This revised edition of "20th Century Architecture" extends its coverage up until 2000, and includes more colour photographs, more architect biographies, and new chapters on deconstructivism and the new living architecture. From Frank Lloyd Wright to Gaudi to Frank O. Gehry to Shigeru Ban and everything in between, the book attempts to cover it all. The chronologically organized chapters put it all into perspective, illustrated by hundreds of large format photographs as well as drawings and floor plans. The biographical appendix covers all of the century's greatest architects, including the newest talents.

Since 1968, Coop Himmelblau has been practicing a form of architecture which provocatively breaks away from traditional structures to expose inherent tensions. The principles of deconstructivism can be seen in many of their most famous buildings and projects: the seminal Falkestrasse roof extension in Vienna, the east wing of the museum in Groningen, the JVC New Urban Entertainment Centre in Mexico, the spectacular UFA cinema centre in Dresden and the SEG residential tower in Vienna. Their work has been the subject of international exhibitions in New York, Los Angeles and Chicago, and in 1996 they represented Austria in the Venice Biennale.

The orthodox concept of modernism, as it was passed on with little alteration from the 1920s to the post-war era, has been in a state of crisis for some time. This is especially clear to see in the fields of architecture and urban design. Meanwhile, neither postmodernism nor deconstructivism has proven to be a convincing alternative. In this book, architectural theorist, practitioner, and historian Vittorio Magnago Lampugnani sets out to define a new form of modernism – a modernism that continues to uphold its social and humane objectives while reassessing, from the ground up, its social, technical, functional, and aesthetic parameters. Our economic and ecological conditions have undergone radical changes. As such, we must also adapt our needs and desires. We must consume as little as possible and produce only what is truly necessary. At the same time, we need to preserve our autonomy and values – even as we live through the major upheavals brought on by these new requirements. Starting from these premises, the author puts forward a new design approach that pursues – and is defined by – durability. It is an approach that rejects the frivolous waste of resources and superficial proliferation of images that have become commonplace today. He thus offers an alternative to the contemporary fixation on spectacles, both hollow and dangerous, and instead calls for measured restraint and substantial simplicity.

"The Emperor Has No Clothes" is an old adage, but, in the sad case of Deconstructivism, it is absolutely appropriate, as Deconstructivism is really nothing more than Modernism in a new guise. Modernists, notably the Bauhäusler, aimed for the clean slate, jettisoning everything that went before. Yet, at times, they claimed links with antecedents to give a spurious historical ancestry to their aims and creations. These questionable links and precedents are now being claimed for the works of Deconstructivists by sympathetic architects and their supporters. The second edition of this book is the beginning of a long-overdue counterattack. 

The orthodox concept of modernism, as it was passed on with little alteration from the 1920s to the post-war era, has been in a state of crisis for some time. This is especially clear to see in the fields of architecture and urban design. Meanwhile, neither postmodernism nor deconstructivism has proven to be a convincing alternative. In this book, architectural theorist, practitioner, and historian Vittorio Magnago Lampugnani sets out to define a new form of modernism – a modernism that continues to uphold its social and humane objectives while reassessing, from the ground up, its social, technical, functional, and aesthetic parameters. Our economic and ecological conditions have undergone radical changes. As such, we must also adapt our needs and desires. We must consume as little as possible and produce only what is truly necessary. At the same time, we need to preserve our autonomy and values – even as we live through the major upheavals brought on by these new requirements. Starting from these premises, the author puts forward a new design approach that pursues – and is defined by – durability. It is an approach that rejects the frivolous waste of resources and superficial proliferation of images that have become commonplace today. He thus offers an alternative to the contemporary fixation on spectacles, both hollow and dangerous, and instead calls for measured restraint and substantial simplicity.