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Boss Ma Vie Eau de Parfum 50mL

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Boss Ma Vie Eau de Parfum 75mL

L'inspiration n'attend jamais Le Keystage est la pointe de l'innovation en mati re de claviers, tant le premier exploiter v ritablement le pot...

Boss Ma Vie Eau de Parfum 30mL

L'inspiration n'attend jamais Le Keystage est la pointe de l'innovation en mati re de claviers, tant le premier exploiter v ritablement le pot...

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.

The Portuguese architect Eduardo Souto de Moura was born in 1952 in Porto. During his architectural studies he had the good fortune to work for Alvaro Siza, and in 1980 he opened his own office in Porto. Today Souto de Moura, with his purist yet atmospheric structures is one of the most well-known architects on the Iberian peninsula. "I began practically at the very beginning and concentrated on the essence of architecture. The most fundamental element is naturally the wall." Souto de Moura succeeded in combining Portugal's strong tradition of stone masonry with abstract modern forms, creating an architecture of compelling beauty. Werner Blaser conveys through wonderfully expressive photography the elemental and timeless nature of Souto de Moura's buildings focussing in particular on his use of stone as a building material.

Photographs, newspaper cuttings, postcards, drawings, and slides: on entering the studio of Eduardo Souto de Moura, winner of the Pritzker Prize 2011, one is confronted with a variety of images on the walls that engage in a dialogue. How do these photos, drawings, and illustrations impact his design practice? What is the relationship between the image and the completed building? Floating Images: Eduardo Souto de Moura’s Wall Atlas uses this question as an opportunity to examine the architect’s visual universe. He has added images from his extensive collection of drawings and project sketches and reorganized them in this atlas. Complex relationships are formed between the individual illustrations and projects. Essays by Pedro Bandeira, Eduardo Souto de Moura, Diogo Seixas Lopes, and Philip Ursprung round off the publication and provide a contextualization in terms of the history of art and images.

Good condition. This is the average used book, that has all pages or leaves present, but may include writing. Book may be ex-library with stamps and stickers. 0.41

The Portuguese architect Eduardo Souto de Moura was born in 1952 in Porto. During his architectural studies he had the good fortune to work for Alvaro Siza, and in 1980 he opened his own office in Porto. Today Souto de Moura, with his purist yet atmospheric structures is one of the most well-known architects on the Iberian peninsula. "I began practically at the very beginning and concentrated on the essence of architecture. The most fundamental element is naturally the wall." Souto de Moura succeeded in combining Portugal's strong tradition of stone masonry with abstract modern forms, creating an architecture of compelling beauty. Werner Blaser conveys through wonderfully expressive photography the elemental and timeless nature of Souto de Moura's buildings focussing in particular on his use of stone as a building material.

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.

Architect Eduardo Souto celebrated for works in his native Portugal, his buildings display classic and early modernism with landscapes that have an intimate connection to nature.

Eduardo Souto de Moura (b 1952) has long been one of Portugal's leading architects but gained wider international recognition when he won the Pritzker Architecture Prize in 2011. Born in Porto, he collaborated with the much-respected Alvaro Siza from 1974 to 1979 before establishing his own architectural studio in 1980. Since then, he has completed more than 100 projects ranging from private houses such as his Casa do Cinema for film director Manoel de Oliveira in Porto (2002) to larger projects such as the stadium in Braga (2004), the venue for the 2004 European Championships. All are illustrated in this comprehensive book, which also features essays by Souto de Moura and a discussion between Souto de Moura, Siza and fellow Portuguese architect Fernando Tavora. Souto de Moura's work, often compared to that of Mies van der Rohe, was praised by the Pritzker Prize jury for its 'unique ability to convey seemingly conflicting characteristics - power and modesty, bravado and subtlety, bold public authority and a sense of intimacy - at the same time.' His work often reflects his aesthetic interest in architectural ruins and interstitial spaces, and a desire to create a rapport between nature and architecture. This is demonstrated at Braga, where the substantial stadium is carefully inserted into the side of a granite quarry. His most high-profile recent projects show a powerful use of form - at the Paula Rego Museum near Lisbon (2008), for example, two pyramid-shaped towers of red-coloured concrete loom memorably over the entrance. This monograph is a detailed record of Souto de Moura's architecture over 35 years with 600 illustrations that do full justice to this impressive body of work.

“I look beyond solution; I look for an expression.”—Eduardo Souto de Moura The architect Eduardo Souto de Moura (b. 1952) has won many accolades, including the 2011 Pritzker Architecture Prize. Based in Porto, Souto de Moura studied under Fernando Távora and worked under fellow Portuguese architect Álvaro Siza, with whom he continues to collaborate. Souto de Moura established his own practice in 1980, and his wide-ranging influences, including Mies van der Rohe and Donald Judd, can be seen in the stunning variety of his work, from his acclaimed private houses, to the striking Paula Rego Museum in Cascais and the Braga Municipal Stadium, to his work in historical contexts such as the Convento das Bernardas in Tavira.   This beautifully illustrated retrospective provides the most comprehensive account of Souto de Moura’s career to date. Drawings, notes and sketches from his archive, and newly commissioned photographs complement essays by scholars and prominent architects that trace Souto de Moura’s career, contextualize his work within the larger trends of contemporary international architectural culture, and highlight the originality of his design strategy.

EL CROQUIS 218 presenta el trabajo del arquitecto portugués EDUARDO SOUTO DE MOURA (2015-2023). Además de mostrar los proyectos y obras más relevantes realizados por este arquitecto desde 2015, la monografía incluye una entrevista con Eduardo Souto de Moura llevada a cabo por Inmaculada Maluenda y Enrique Encabo.

Eduardo Souto de Moura (b 1952) has long been one of Portugal's leading architects but gained wider international recognition when he won the Pritzker Architecture Prize in 2011. Born in Porto, he collaborated with the much-respected Alvaro Siza from 1974 to 1979 before establishing his own architectural studio in 1980. Since then, he has completed more than 100 projects ranging from private houses such as his Casa do Cinema for film director Manoel de Oliveira in Porto (2002) to larger projects such as the stadium in Braga (2004), the venue for the 2004 European Championships. All are illustrated in this comprehensive book, which also features essays by Souto de Moura and a discussion between Souto de Moura, Siza and fellow Portuguese architect Fernando Tavora. Souto de Moura's work, often compared to that of Mies van der Rohe, was praised by the Pritzker Prize jury for its 'unique ability to convey seemingly conflicting characteristics - power and modesty, bravado and subtlety, bold public authority and a sense of intimacy - at the same time.' His work often reflects his aesthetic interest in architectural ruins and interstitial spaces, and a desire to create a rapport between nature and architecture. This is demonstrated at Braga, where the substantial stadium is carefully inserted into the side of a granite quarry. His most high-profile recent projects show a powerful use of form - at the Paula Rego Museum near Lisbon (2008), for example, two pyramid-shaped towers of red-coloured concrete loom memorably over the entrance. This monograph is a detailed record of Souto de Moura's architecture over 35 years with 600 illustrations that do full justice to this impressive body of work.

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.