prensa | Biarritz inaugura el recinto ferial Hall d'Iraty

  • Biarritz inaugura un recinto ferial que entra en competencia directa con Ficoba y el Kursaal
  • El Hall Iraty ofrece 5.300 m2 cubiertos y dará cabida a congresos de 1.500 participantes
  • El gerente de la instalación irundarra resalta la "incapacidad para la cooperación transfronteriza", que está "bajo mínimos"
  • Aitor Anuncibay | Donostia | Noticias de Gipuzkoa, 2010-01-28

prensa | El Museo del Teatro Romano de Cartagena, Premio de Arquitectura de la Región de Murcia

El Museo del Teatro Romano y el Centro de Agroecología y Medio Ambiente reciben los Premios de Arquitectura de la Región
El arquitecto Vicente Martínez Gadea recibe el Premio Especial a la Labor Profesional
Europa Press, 2010-01-28 | Murcia

book | Frank Gehry : on line

Frank Gehry : on line / Esther da Costa Meyer.
New Haven [etc.] : Princeton University Art Museum [etc.], 2009.
108 p. : il.
Publicado en ocasión de la exposición celebrada en Princeton University Art Museum, Oct. 4, 2008-Jan. 4, 2009

ISBN 9780300122145*
Gehry, Frank O., 1929.
Arquitectura - Siglo XX.
Arquitectura - Siglo XXI.
Biblioteca 72 GEHRY FRA

World-renowned architect Frank Gehry considers drawing a conceptual tool: his fluid, unpredictable sketches demonstrate how he searches for ideas with his pen. This handsome book, slipcased in a cardboard box that itself recalls Gehry's furniture, offers an in-depth analysis of his drawings during the two decades since computer generated design began to dominate architectural practice. Esther da Costa Meyer analyzes his idiosyncratic style, his inspiration in the art of the past and of the present, and his contributions to the art of architectural draftsmanship. As often as possible, she allows Gehry to speak for himself. Da Costa Meyer argues that Gehry's sketches are only the first link in a long chain that passes through numerous models and computer renderings until the building is finally completed. She notes, however, that these whimsical works powerfully express Gehry's critique of the dogmatic strains of modernism prevalent when he began his career and his own attempts to bring humour, emotion, and drama back to architecture.
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