Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

More documents

Recommendations

Info

Politics of fragility in Catalonia charged with ethical and critical intention. They are aware that the grand discourse of the avant-garde is not effective and that the problems should be tackled from so-called micro-politics: from local, real and pragmatic but incisive actions that are corrected by ironic intelligence. The provisional, the light, the recycled, the austere and the pragmatic provide the answer to new forms of precariousness. So when they are adapted to the new determinants of a new context, they connect with inventiveness, the ability to adapt, the militant and activist modesty of their historical precedents and enable us to identify a genealogy whose meaning, in the light of the current crisis, has taken on new relevance. References Armesto A. & Diez, R. 2008. José Antonio Coderch. Barcelona: Santa & Cole. Pibernat, O. “Miguel Milà, elogi del dissenyador com a bricoleur”. In: AZARA, P. & PIBERNAT, O. 2003. Miguel Milà: 20:29. Barcelona: Generalitat de Catalunya, et al. Pizza, A. (Ed.) 2001. J. LL. Sert and mediterranean culture. Barcelona: Ministero de Fomento, Col·legi d’Arquitectes de Catalunya. Sweeney, J. 1959. Atmósfera Miró. Barcelona: RM. Vélez, P. 1999. La Cantonada. 1960-1975. Art civil i art sacre. Barcelona: Enciclopèdia Catalana. About the author Alex Mitrani teaches Art & Design History in the Centre Universitari de Disseny i Art EINA, Barcelona. Specialist on catalan modernism in XXth century and in contemporary art. Curator (e.g. “Alphonse Mucha: seducció, modernitat i utopia”, Fundació La Caixa, 2008). Design Frontiers: Territiories, Concepts, Technologies 166
Designing ‘The House of Man’: Franco Albini and the place of Neorealism in Italian Design, 1930-1960 MEKINDA, Jonathan / PhD / University of Illinois at Chicago / United States Italian Design / Neorealism / Modernism Generally characterized as Neorealist, a term derived from the work of such filmmakers and writers as Roberto Rossellini and Italo Calvino, postwar Italian culture is typically believed to have diverged significantly from Fascist culture in both its subjects and its techniques. Contrary to this story, this paper will argue that Italian design, and Neorealism more broadly, is more accurately understood as the product of existing lines of research and debate. 1. ‘The House of Man’ In late 1945, the architect Ernesto Rogers began what would prove to be a relatively short term as the editor of Domus, the famed journal of architecture and design that Gio Ponti had founded in 1928. Under Ponti’s direction, Domus had become one of the premier design magazines in Italy, aimed at the growing urban middle-class and functioning very much as a guide to modern good taste. Rogers, however, imagined an entirely different role for the magazine. In his first editorial in January 1946, in the first issue of Domus published since 1941 when Ponti had stepped down, Rogers announced a new set of concerns: On every side the house of man is cracked (if it were a boat we would say it leaks). On every side the voices of the wind enter and the laments of women and children go out. A house is no house if it is not warm in winter, cool in summer, and serene in every season to receive the family in harmonious spaces. A house is no house if it does not contain a corner for reading poetry, an alcove, a bathtub, a kitchen. This is the house of man. And a man is no man if he does not possess such a house. 1 [Rogers 1993] These lines hint at the broad cultural concerns that Rogers aimed to engage with the magazine, concerns that he made explicit in his concluding sentences: The house is a problem of limits (like, for that matter, almost every other problem of existence). But the definition of these limits is a problem of culture, and this is precisely what the house is in the end (like, indeed, the other problems of existence)…. It is a matter of forming a style, a technique, a morality as terms of a single function. It is a matter of building a society. 2 [Rogers 1993] 1 The original Italian reads: ‘Da ogni parte la casa dell’uomo è incrinata (fosse un vascello diremmo che fa acqua). Da ogni parte entrano le voci del vento e n’escono pianti di donne e di bimbi. Una casa non è casa se non è calda d’inverno, fresca d’estate, serena in ogni stagioni per accogliere in armoniosi spazi la famiglia. Una casa non è casa se non racchiude un angolo per leggere poesie, un’alcova, una vasca da bagno, una cucina. Questa è la casa dell’uomo. E un uomo non è veramenta uomo finché non possiede una simile casa.’ 2 The original Italian reads: ‘La casa è un problema di limiti (come del resto quasi ogni altro dell’esistenza). Ma la definizione dei limiti è un problema di cultura e proprio ad esso si riconduce la casa (come, infatti, gli altri dell’esistenza)…. Si tratta di formare un gusto, una tecnica e una morale, come termini di una stessa funzione. Si tratta di costruire una società.’ With this brief editorial, barely 2 pages long, Rogers defined the damage caused by both Fascism and the war in simple poetic terms that resonated widely across Italian culture. At the same time, he articulated the central role that the home would play in the work of Italian architects and designers in the decade or so that followed the war. This engagement with the domestic sphere was necessitated by the need to address the extensive damage caused by the war and to confront the severe housing shortage that had plagued the country since long before the war. But, this concern for the home was more than purely utilitarian and after the war the ‘casa’ became the subject of intense scrutiny as a space essential to the formation of a democratic culture. As Roger’s himself recognized, the home, what he called “The House of Man,” was not just a matter of shelter, but a matter of building a society. 2. Defining Neorealism Italian architects’ focus on the home, and the life that occurred therein, coincided with the rise of a broader language of cultural expression after the war known as Neorealism. Exemplified by films such as Rossellini’s Rome, Open City and De Sica’s The Bicycle Thieves, as well as novels such as The Path to the Spiders’ Nests by Italo Calvino, Neorealism was defined by the rejection of grand historical narratives, elaborate settings, and sophisticated editing techniques, in favor of the direct and continuous narration of stories taken from the everyday life of ordinary Italians. 3 Through these new subjects and new techniques, Rossellini, Calvino, and their peers aimed to engage the difficult reality of postwar Italy directly as both an escape from the myths of Fascism and a contribution to the construction of a new society. Like most such terms, Neorealism was the invention of critics, who already by 1947 were using it to describe the films and novels made in the aftermath of the war. The term quickly gained popularity, however, and was soon adopted widely to describe the culture of postwar, post-fascist Italy. By the mid-1950s Neorealism was even being used to describe the architecture and design work that followed in the wake of Rogers’s 1946 editorial. Writing in 1956, for instance, the young Aldo Rossi and Guido Canella described the postwar work of their mentor Mario Ridolfi as ‘immersed in that atmosphere of modern Rome that Neorealist cinema and literature had so well penetrated,’ 4 [Canella and Rossi 1956: 55] and in 1958 the architect Paolo Portoghesi 3 The films are Roberto Rossellini, Roma, città aperta of 1945 and Vittoria De Sica, I ladri di biciclette of 1947. The novel is Italo Calvino Il sentiero dei nidi di ragno, first published in 1947. 4 The original Italian reads: ‘Questi edifici [The blocks at viale Etiopia] portana nel colore gli accenti drammatici della tavolozza di un Guttuso e sono immersi in quella atmosfera della Roma moderna che cinema e letteratura neo-realista hanno così ben penetrato.’ Design Frontiers: Territiories, Concepts, Technologies / Proceedings of the 8th Conference of the International Committee for Design History & Design Studies - ICDHS 2012 / São Paulo, Brazil / © 2012 Blucher / ISBN 978-85-212-0692-7
Page 1 and 2:
Priscila Lena Farias / Anna Calvera
Page 3 and 4:
Design Frontiers: Territories, Conc
Page 5 and 6:
The following chapter contains 28 p
Page 7 and 8:
68 The Information Department at th
Page 9 and 10:
179 Political Toys: Perón’s gift
Page 11 and 12:
285 Design promotion in Belgium in
Page 13 and 14:
396 Graphic innovations implemented
Page 15 and 16:
502 The graphic translation by the
Page 17 and 18:
612 About the editors / 613 About I
Page 19 and 20:
Art, symbolism and power in Moche S
Page 21 and 22:
JORDÁN, Régulo Franco Figure 5. H
Page 23 and 24:
JORDÁN, Régulo Franco Figure 14.
Page 25 and 26:
Pioneers of Brazilian Design CUNHA
Page 27 and 28:
CUNHA LIMA, Guilherme Janeiro. In t
Page 29 and 30:
Traditions, archaeologies and genea
Page 31 and 32:
Traditions, archaeologies and genea
Page 33 and 34:
History of design education Haruhik
Page 35 and 36:
Academies of Art and schools of Des
Page 37 and 38:
Academies of Art and schools of Des
Page 39 and 40:
A fruitless misunderstanding: the h
Page 41 and 42:
Japanese industrial design concepts
Page 43 and 44:
AMAGAI, Yoshinori design new Japane
Page 45 and 46:
Best Maugard, Elena Izcue and Theod
Page 47 and 48:
BARBOSA, Ana Mae Figure 2. Surface
Page 49 and 50:
BARBOSA, Ana Mae lic education. Mas
Page 51 and 52:
Design history: from service subjec
Page 53 and 54:
Design history: from service subjec
Page 55 and 56:
Pevsner on Design education: meetin
Page 57 and 58:
Pevsner on Design education: meetin
Page 59 and 60:
Antipodean Design Science: applied
Page 61 and 62:
WAITE, Noel nificant sea-change in
Page 63 and 64:
Bauhaus pedagogy and digital design
Page 65 and 66:
ANAY, Hakan / ÖZTEN, Ülkü concep
Page 67 and 68:
ANAY, Hakan / ÖZTEN, Ülkü Ülkü
Page 69 and 70:
The Information Department at the U
Page 71 and 72:
The Information Department at the U
Page 73 and 74:
Search for meaning: a study on the
Page 75 and 76:
CAMARGO, Iara Pierro de / VELLOSO,
Page 77 and 78:
CAMARGO, Iara Pierro de / VELLOSO,
Page 79 and 80:
(not)Solving (non)problems: Design
Page 81 and 82:
(not)Solving (non)problems: Design
Page 83 and 84:
The role of typeface categorization
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
A sparkle in people’s eyes PACHEC
Page 91 and 92:
PACHECO, Heliana Soneghet / TOLEDO,
Page 93 and 94:
Past, present and future of designe
Page 95 and 96:
LIMA, Ana Gabriela Godinho / STEFAN
Page 97 and 98:
John Ross’ pioneering role and co
Page 99 and 100:
RYU, Hyun-guk The author(s) of this
Page 101 and 102:
RYU, Hyun-guk The author(s) of this
Page 103 and 104:
Teaching arts and crafts or the tec
Page 105 and 106:
Teaching arts and crafts or the tec
Page 107 and 108:
Design in Brazil: which revolution?
Page 109 and 110:
NOBRE, Ana Luiza Nations Economic C
Page 111 and 112:
The historical trajectory of the pi
Page 113 and 114:
The historical trajectory of the pi
Page 115 and 116: Educational practice discourse on t
Page 117 and 118: OLIVEIRA, Izabel Maria de / COUTO,
Page 119 and 120: Identities and territories Oscar Sa
Page 121 and 122: The island of Italian Design? Some
Page 123 and 124: The island of Italian Design? Some
Page 125 and 126: Design without borders: the nomadic
Page 127 and 128: BARBOSA, Lara Leite be made with in
Page 129 and 130: BARBOSA, Lara Leite goods. A better
Page 131 and 132: Redesigning Turkish cult objects: f
Page 133 and 134: Redesigning turkish cult objects: f
Page 135 and 136: Incubation in isolation: how distan
Page 137 and 138: SMYTHE, Michael Figure 3. from left
Page 139 and 140: SMYTHE, Michael Figure 7. from left
Page 141 and 142: SMYTHE, Michael Figure 11. from lef
Page 143 and 144: Design Promises: the case study of
Page 145 and 146: BOONLAOR, Nanthana / CHUENRUDEEMOL,
Page 147 and 148: BOONLAOR, Nanthana / CHUENRUDEEMOL,
Page 149 and 150: Who’s who in brazilian design? No
Page 151 and 152: SOUZA LEITE, João de vironments. 4
Page 153 and 154: Territories of practice: convergenc
Page 155 and 156: TEASLEY, Sarah The author(s) of thi
Page 157 and 158: TEASLEY, Sarah The author(s) of thi
Page 159 and 160: Paradise identity, between projecti
Page 161 and 162: Paradise identity, between projecti
Page 163 and 164: Politics of fragility in Catalonia:
Page 165: MITRANI, Alex whether on a table to
Page 169 and 170: MEKINDA, Jonathan solini’s regime
Page 171 and 172: ‘Swedish Modern’ meets internat
Page 173 and 174: HAGSTRÖMER, Denise specially commi
Page 175 and 176: Imported design ideas and its sprea
Page 177 and 178: CORTÉS, Dannae / CRUZ, Aura / GALL
Page 179 and 180: Political Toys: Perón’s gifts fo
Page 181 and 182: BENDESKY, Mora Figure 2. Mundo Pero
Page 183 and 184: The identity and design of the mode
Page 185 and 186: YOSHIMURA, Noriko cles were adopted
Page 187 and 188: Lira Popular, chilean broadsheets f
Page 189 and 190: MALACCHINI, Simoné pages had been
Page 191 and 192: MALACCHINI, Simoné Acknowledgment
Page 193 and 194: The signature of Portuguese posters
Page 195 and 196: The signature of Portuguese posters
Page 197 and 198: From the improvisation to the solut
Page 199 and 200: SILVA, Camila Assis Peres / LIMA, G
Page 201 and 202: Design of dissent: the multimodal d
Page 203 and 204: Figure 6/7/8/9. Glaser: 1997, Olive
Page 205 and 206: Design and the street GEIGER, Noni
Page 207 and 208: GEIGER, Noni Figure 2. Some spreads
Page 209 and 210: GEIGER, Noni Latour, B. 2008. “A
Page 211 and 212: Designing new tattoos technology. T
Page 213 and 214: Designing new tattoos 5. Conclusion
Page 215 and 216: Outside looking in: foreign percept
Page 217 and 218:
Outside looking in: foreign percept
Page 219 and 220:
Corporate identity in a global mark
Page 221 and 222:
SKJERVEN, Astrid of the UK protecto
Page 223 and 224:
Mapping and analysis possibilities
Page 225 and 226:
PEREIRA, Fabiano Encourage recognit
Page 227 and 228:
PEREIRA, Fabiano Figure 8. Filezim
Page 229 and 230:
Graphic narratives of the domestic
Page 231 and 232:
SOLóRZANO, Augusto / CORREA-ORTIZ,
Page 233 and 234:
SOLóRZANO, Augusto / CORREA-ORTIZ,
Page 235 and 236:
Place branding: graphic design’s
Page 237 and 238:
CARDOSO, Helder / PERASSI, Richard
Page 239 and 240:
CARDOSO, Helder / PERASSI, Richard
Page 241 and 242:
Public information: Design, visibil
Page 243 and 244:
Here we don’t speak, here we whis
Page 245 and 246:
MATOS, Sónia interactive phenomena
Page 247 and 248:
MATOS, Sónia Noë, A. 2004. Experi
Page 249 and 250:
Modernity boundaries in the process
Page 251 and 252:
Modernity boundaries in the process
Page 253 and 254:
Packaging design in Portugal during
Page 255 and 256:
Packaging design in Portugal during
Page 257 and 258:
Ocuppy Design: São Paulo and New Y
Page 259 and 260:
Ocuppy Design: São Paulo and New Y
Page 261 and 262:
A practical experience on acting lo
Page 263 and 264:
A practical experience on acting lo
Page 265 and 266:
The doctrines of Good Taste BÁRTOL
Page 267 and 268:
BÁRTOLO, Carlos the designed purpo
Page 269 and 270:
BÁRTOLO, Carlos Rivero, Á. 2010.
Page 271 and 272:
Between art and Industry The Factor
Page 273 and 274:
Between art and Industry file of th
Page 275 and 276:
Transforming territories and forgin
Page 277 and 278:
Transforming territories and forgin
Page 279 and 280:
The Belgian participation in the Mi
Page 281 and 282:
Furnishing the street HERRING, Elli
Page 283 and 284:
HERRING, Ellie 1963 onwards. There
Page 285 and 286:
Design promotion in Belgium in the
Page 287 and 288:
SERULUS, Katarina More concretely,
Page 289 and 290:
SERULUS, Katarina 1954-1958. Brusse
Page 291 and 292:
Carmen Miranda, Marca Brasil (Brazi
Page 293 and 294:
Carmen Miranda, Marca Brasil (Brazi
Page 295 and 296:
Sweden designed by Ikea ally clear,
Page 297 and 298:
Sweden designed by Ikea ducers of h
Page 299 and 300:
Opportunities and challenges for th
Page 301 and 302:
Opportunities and challenges for th
Page 303 and 304:
Design as strategy to improve woode
Page 305 and 306:
NUNES, Viviane / ZURLO, Francesco P
Page 307 and 308:
The Italian public system supportin
Page 309 and 310:
MORTATI, Marzia / SIMONELLI, Giulia
Page 311 and 312:
MORTATI, Marzia / SIMONELLI, Giulia
Page 313 and 314:
Contributions of design: a tool to
Page 315 and 316:
Page 317 and 318:
Page 319 and 320:
Page 321 and 322:
Techniques and technologies Paul At
Page 323 and 324:
A survey on low-income housing rese
Page 325 and 326:
A survey on low-income housing rese
Page 327 and 328:
Design of elastic form with paramet
Page 329 and 330:
LARA, Arthur H. / MAGRI, Paulo H. G
Page 331 and 332:
LARA, Arthur H. / MAGRI, Paulo H. G
Page 333 and 334:
Digital personal fabrication: socia
Page 335 and 336:
Living system design Studio: from d
Page 337 and 338:
PAIO, Alexandra / OLIVEIRA, Maria J
Page 339 and 340:
PAIO, Alexandra / OLIVEIRA, Maria J
Page 341 and 342:
The evolving terrain of the book: A
Page 343 and 344:
The evolving terrain of the book: A
Page 345 and 346:
Joining Up: evaluating technologica
Page 347 and 348:
Joining Up: evaluating technologica
Page 349 and 350:
Making Space: the future places, to
Page 351 and 352:
Making Space: the future places, to
Page 353 and 354:
Designing through the loop: program
Page 355 and 356:
SILVA-JETTER, Jorge The following e
Page 357 and 358:
SILVA-JETTER, Jorge importance to n
Page 359 and 360:
Sewn or Simulated: transformational
Page 361 and 362:
Sewn or Simulated: transformational
Page 363 and 364:
The use of ceramics within the sign
Page 365 and 366:
FERRAZ, Nicoli / ALVAREZ, Cristina
Page 367 and 368:
FERRAZ, Nicoli / ALVAREZ, Cristina
Page 369 and 370:
History, Design and technology in t
Page 371 and 372:
History, Design and technology in t
Page 373 and 374:
Design for glass: a study of the hi
Page 375 and 376:
Design for glass: a study of the hi
Page 377 and 378:
How to supply designers effectively
Page 379 and 380:
ZITKUS, Emilene / LANGDON, Patrick
Page 381 and 382:
ZITKUS, Emilene / LANGDON, Patrick
Page 383 and 384:
Online platforms for the co-Design
Page 385 and 386:
Online platforms for the co-Design
Page 387 and 388:
Relationships between Neuroscience
Page 389 and 390:
Relationships between Neuroscience
Page 391 and 392:
The voices of the users: how techno
Page 393 and 394:
ESSI, Kuure / LINDSTRÖM, Antti tec
Page 395 and 396:
ESSI, Kuure / LINDSTRÖM, Antti Enc
Page 397 and 398:
Graphic innovations implemented in
Page 399 and 400:
Graphic innovations implemented in
Page 401 and 402:
Firebird: Alex Steinweiss’ 78rpm
Page 403 and 404:
Firebird: Alex Steinweiss’ 78rpm
Page 405 and 406:
The presence of the autotype techni
Page 407 and 408:
Page 409 and 410:
Page 411 and 412:
Dutch maps of Pernambuco from the s
Page 413 and 414:
Dutch maps of Pernambuco from the s
Page 415 and 416:
Co-ordinated design policy and the
Page 417 and 418:
PRESTON, David Henrion and Parkin
Page 419 and 420:
From ‘Do it yourself’ to ‘Ope
Page 421 and 422:
MALDINI, Irene the stages of creati
Page 423 and 424:
Contributions of improvisation tech
Page 425 and 426:
MASSARA, Bruno Based on a deleuzian
Page 427 and 428:
Human development design centered:
Page 429 and 430:
FLORES MAGóN Y JIMÉNEZ, Héctor /
Page 431 and 432:
FLORES MAGóN Y JIMÉNEZ, Héctor /
Page 433 and 434:
Identity across boundaries. A study
Page 435 and 436:
Identity across boundaries. A study
Page 437 and 438:
Digital clothing manufacture: digit
Page 439 and 440:
Digital clothing manufacture: digit
Page 441 and 442:
How to go from the file to the fact
Page 443 and 444:
BARBOSA, Wilson / CELANI, Gabriela
Page 445 and 446:
Space, information and cosmology in
Page 447 and 448:
BOECHAT, Marina Pantoja tween ‘ph
Page 449 and 450:
The new imperialism: the internatio
Page 451 and 452:
Frontiers of looking past: a Nietzs
Page 453 and 454:
Frontiers of looking past: a Nietzs
Page 455 and 456:
Design, histories, empires and peri
Page 457 and 458:
Design, histories, empires and peri
Page 459 and 460:
Mythification of national discourse
Page 461 and 462:
Mythification of National Discourse
Page 463 and 464:
Mythification of National Discourse
Page 465 and 466:
Towards a digital batavia: resonanc
Page 467 and 468:
Towards a Digital Batavia: Resonanc
Page 469 and 470:
Questionable translatability: theco
Page 471 and 472:
Questionable translatability: theco
Page 473 and 474:
Eastern craft in Orientalism and Mo
Page 475 and 476:
Eastern craft in Orientalism and Mo
Page 477 and 478:
Mapping Cup & Saucer Design in the
Page 479 and 480:
Mapping Cup & Saucer Design in the
Page 481 and 482:
Mappin tells the history of graphic
Page 483 and 484:
Page 485 and 486:
Page 487 and 488:
“Go you too to Amazonia”: analy
Page 489 and 490:
“Go you too to Amazonia”: analy
Page 491 and 492:
Organic Design, MoMA 1940: the brea
Page 493 and 494:
Organic Design, MoMA 1940: the brea
Page 495 and 496:
Modern design meets Latin America:
Page 497 and 498:
Modern design meets Latin America:
Page 499 and 500:
Lina Bo Bardi and Aloisio Magalhãe
Page 501 and 502:
Lina Bo Bardi and Aloisio Magalhãe
Page 503 and 504:
The graphic translation by the desi
Page 505 and 506:
The Graphic Translation by the Desi
Page 507 and 508:
The design of Manoel Bandeira: a hi
Page 509 and 510:
The design of Manoel Bandeira: a hi
Page 511 and 512:
Open strand Victor Margolin / Chair
Page 513 and 514:
Brazilian Graphic Design in the ‘
Page 515 and 516:
Brazilian Graphic Design in the ‘
Page 517 and 518:
The Design of book bovers in Brazil
Page 519 and 520:
The Design of book bovers in Brazil
Page 521 and 522:
The design of Fred Jordan With his
Page 523 and 524:
The design of Fred Jordan Figure 2.
Page 525 and 526:
Domestic technologies and moderniza
Page 527 and 528:
Domestic technologies and moderniza
Page 529 and 530:
la escuela de Artes y Oficios de sa
Page 531 and 532:
CAsTillO, eduardo The author(s) of
Page 533 and 534:
Itineraries for a Design Culture in
Page 535 and 536:
FARKAS, Mónica / STERLA, Mauricio
Page 537 and 538:
Sertanejo Art Deco: an inspiration
Page 539 and 540:
SOUZA, José Marconi B. de / ROSSI,
Page 541 and 542:
SOUZA, José Marconi B. de / ROSSI,
Page 543 and 544:
Souza, José Marconi B. de / Rossi,
Page 545 and 546:
Architectural lettering: from infor
Page 547 and 548:
Architectural lettering: from infor
Page 549 and 550:
A dialogue between art and city thr
Page 551 and 552:
HANNS, Daniela Kutschat / DE MARCHI
Page 553 and 554:
Vernacular design: a discussion on
Page 555 and 556:
Vernacular design: A discussion on
Page 557 and 558:
Italian Radicals and Dutch conceptu
Page 559 and 560:
Italian Radicals and Dutch Conceptu
Page 561 and 562:
Italian Radicals and Dutch Conceptu
Page 563 and 564:
Art criticism and the semantic cons
Page 565 and 566:
Art criticism and the semantic cons
Page 567 and 568:
Interieur Kortrijk, an edu-commerci
Page 569 and 570:
Interieur Kortrijk, an edu-commerci
Page 571 and 572:
The story of convertible Sofa-Bed:
Page 573 and 574:
MERZALI CELIKOGLU, Ozge / ER, Alpay
Page 575 and 576:
MERZALI CELIKOGLU, Ozge / ER, Alpay
Page 577 and 578:
Vapourware and the agency of ideas
Page 579 and 580:
Vapourware and the Agency of Ideas
Page 581 and 582:
Pre-Columbian Asceticism: the Tuza-
Page 583 and 584:
Pre-Columbian Asceticism. The Tuza-
Page 585 and 586:
The collection of textbooks “Tape
Page 587 and 588:
RAMIL, Chris standards for the layo
Page 589 and 590:
“Their pen draws everything, as i
Page 591 and 592:
Diniz, Kollontai The author(s) of t
Page 593 and 594:
Diniz, Kollontai The author(s) of t
Page 595 and 596:
Cruzeiro Novo Project: Design and t
Page 597 and 598:
Cruzeiro Novo Project: Design and t
Page 599 and 600:
Design for a sustainable culture Fi
Page 601 and 602:
Design for a sustainable culture th
Page 603 and 604:
Design for a sustainable culture al
Page 605 and 606:
Design and biodiversity: the produc
Page 607 and 608:
Design and biodiversity: the produc
Page 609 and 610:
Lightness and beauty in furniture d
Page 611 and 612:
Lightness and beauty in furniture d
Page 613 and 614:
About ICDHS / The International Com
Page 615 and 616:
Emmanuel Ruffo / Institute for Arch
show all

Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

Create successful ePaper yourself

Delete template?

Save as template?