Dixit n° 03: Still Life/Nature Morte

Geers, Kersten

Van Severen, David

Venlet, Richard

CARYATIDE

A loving excavation of Miami’s colorful but neglected architectural style of the 1980s 
This publication celebrates a lost vision of Miami: the architectural golden age it enjoyed in the 1980s, when the subtropical city experienced a profound synergy between art and architecture. In these years, Miami’s architects partook of the discipline’s international discourse, pushing back against the utilitarian International Style with a playful yet innovative sensibility. Firms like Arquitectonica, an experimental studio founded in 1977, introduced thoroughly modern buildings typified by abstract designs in bold colors and graphics. 
Unfortunately, the contributions of these firms are often overlooked, and the era’s ethos of artistic inquiry has lapsed into a crude commercialism. The 2018 case of the Babylon, a building developed by Arquitectonica that was demolished only two years after its designation as a protected landmark, served as the impetus for Miami-based architectural historian and architect Charlotte von Moos’ research. Dismayed at the negligence shown toward such remarkable projects, she assembled this authoritative guide, compiling a group of essays and a photo series that delineate the treasures, built and unbuilt, of Miami’s 1980s architecture.

In Miami in the 1980s: The Vanishing Architecture of a "Paradise Lost"

Arts & Photography

Olsen, Niels

Creasy, Max

Architecture

Walther Konig

The 87th installment of the 2G magazine series from Koenig features the work of legendary Spanish architect Alejandro de la Sota (1913-96), who is widely recognized for a number of public buildings across Spain but remains underknown abroad.

2G: Alejandro de la Sota: Issue #87 (2g, 87)

Pancevac, Jelena

Puente, Moiss

Walther König, Köln

Fulfilling the contemporary demand for versatile, neutral design while still retaining a recognizable identity in their work, the German architecture firm Atelier Kempe Thill has since 2000 created buildings that recall the legacy of European architecture in a powerful, natural and innovative way. This publication gives an overview of their accomplishments of the past 12 years.

Atelier Kempe Thill

Von Beitragen Mit

Hatje Cantz

The Brussels-based OFFICE Kersten Geers David Van Severen was set up in 2002 by Kersten Geers (born 1975) and David Van Severen (born 1978), and is celebrated for its idiosyncratic and highly theoretical approach, as instanced by the widely acclaimed Belgian Pavilion for the 2008 Architectural Biennial in Venice. The team brings architecture back to the essentials: with a limited set of basic rules a framework is created within which life in all its complexity can be played out. This massive three-volume publication, the most comprehensive survey of their work yet published, and the only one in print (previous monographs now being rare and expensive), reproduces models, drawings and perspectives created by the architects along with works of art that are related to the spirit and language of this internationally esteemed firm.

OFFICE Kersten Geers David Van Severen Vol. 1, 2 & 3

Hasegawa, Go

Borasi, Giovanna

Van Gerrewey, Christophe

Woodman, Ellis

What role can history play in contemporary architecture practice? This volume shows how architects Go Hasegawa, Kersten Geers and David Van Severen appropriate from the past and from each other to construct relationships from a constellation of references.

Besides, History: Go Hasegawa, Kersten Geers, David Van Severen

Graziani, Stefano

Princen, Bas

This book brings together several essays written between 2010 and 2020 by the Belgian architect Kersten Geers. In them, he writes about diverse historical architects-from Bramante, Scamozzi and Mies van der Rohe to Aldo Rossi, James Stirling, Álvaro Siza and Robert Venturi-who serve as companions of his wrinting. Geers's intention is to compose a sort of contemporary architecture theory to explain the main issues regarding his architectural practice. Book jacket.

2G Essays: Kersten Geers: Without Content

History & Criticism

Sin contenido

Puente Editores

De unos años a esta parte la arquitectura belga se está consolidando como una de las más interesantes de la producción europea. Después de estudios más consolidados como Robrecht en Daem (2G N.55), Xaveer De Geyter o Stéphane Beel, está apareciendo una nueva generación de arquitectos de extremada calidad, como De Vylder Vick Taillieu o los propios OFFICE Kersten Geers David Van Severen. Con diez años de trayectoria, el estudio integrado por Kersten Geers y David Van Severen ha abordado desde una postura radical todo tipo de proyectos: propuestas de ciudad casi utópicas, puestos fronterizos, casas unifamiliares, edificios administrativos, montaje de exposiciones, pabellones de exposición... Su arquitectura no solo depende de las soluciones de diseño que puedan darse sino que pasa por reformulaciones radicales del programa como vaciar el Pabellón de Bélgica de la Bienal de Arquitectura de Venecia de 2008 para llenarlo de confeti, rígidos esquemas en planta como el cuadrado dividido en nueve de la villa en Buggenhout, la construcción de espacios a base de estancias concatenadas (o enfilades) como la casa de fin de semana en Merchtem o el soterramiento del volumen como en su villa en Bruselas o el proyecto para el Kunstmuseum de St. Gallen. El número cuenta con tres textos introductorios escritos por el crítico británico Ellis Woodman, la historiadora estadounidense Joan Ockman, y los arquitectos y editores de la revista San Rocco Pier Paolo Tamburelli y Andrea Zanerigo. Como complemento, la sección Nexus incluye unos textos de los propios arquitectos y una entrevista con Enrique Walker. Todas las obras han sido fotografiadas por el magnífico fotógrafo holandés Bas Princen.

2G N.63 OFFICE Kersten Geers David Van Severen

Editorial Gustavo Gili, S.L.

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