000			05038nam a22003017a 4500
003			pucpr
005			20260422114532.0
008			240212s2024 enka 001 0 eng d
020			_a050002796X
020			_a9780500027967 _qhardcover
040			_apucpr _beng _cpucpr _dpucpr _erda
049			_aCARIBET
050	0	0	_aNA1559.K77 _bK86 2024
082	0	4	_223 _a720.92
100	1		_aKuma, Kengo, _d1954- _eauthor.
245	1	0	_aPoint line plane / _cKengo Kuma. _htxt
264		1	_aLondon : _bThames & Hudson Ltd., _c2024.
300			_a210 p. : _bill. ; _c23 cm. _fbook
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
501			_aIncludes index.
505			_a08 Foreword -- A DISCOURSE ON METHOD -- 12 The 20th Century: An Age of Volume -- 15 Lines in Japanese Architecture and the Work of Mies vas der Rohe -- 18 From Kandinsky’s Compositions to Gibson’s Particles -- 21 Gibson and Particles -- 23 Intellectualism vs Dada -- 26 From Time as Motion to Time as Material -- 29 From Additive Design to Computational Design -- 33 Bruno Latour and the Chronophotographic Gun -- 36 Architecture and Time -- 38 Liberating Time from Motion -- 40 Kandinsky’s Transcendence and Embedding of Dimensions -- 43 New World Views and Effective Theories -- 44 An Expanded, Multi- Layered World -- 46 The Extra-Large Architecture of Finance Capitalism -- 49 The Expansion of Architecture and the New Physics -- 53 From an Evolutionary Model to a Multi- Layered Model -- 55 Superstring Theory and Musical Architecture -- 58 Deleuze and the Relativity of Matter -- POINT: 64 Big World, Little Pebbles -- 66 From Greece to Rome -- 67 The Seagram Building as an Aggregation of Points -- 70 The Challenge of Points in the Design of Stone Plaza -- 72 The Jump from Point to Volume -- 76 The Blue Stone of Brunelleschi -- 79 Brunelleschi’s Innovations with Points -- 82 Brunelleschi’s Inductive Architecture -- 85 Deductive and Inductive Architecture -- 87 Plastic Tanks and Caddisflies -- 91 Connecting Points with Liquid -- 93 Metabolism and Points -- 96 Stone Sliced Thinner than Wood -- 98 Japanese and Chinese Roof Tiles -- 101 Point Distribution and ageing -- 104 Triangles as Versatile Point -- 106 TSUMIKI: An Expandable System Modelled on Pine Branches -- 109 Checkerboard Patterns as Points -- 112 Railways Gravel as Free Points -- 114 Checkerboard Patterns and Frugality -- 115 Dispersal and the Sahara Desert -- LINE: 120 The Volumes of Le Corbusier and Mies -- 124 Kenzo Tange’s Unaligned Lines -- 127 From Line to Volume: The Degradation of Japanese Architecture -- 130 Starting Out in a Wooden Hut -- 132 The Lines of Gaudi -- 134 Pointillism -- 136 The Lines of the Tropical Rainforest -- 138 The Lines of Modernism and the Lines of Japanese Architecture -- 140 Disputes over Tradition and the Robust Lines of the Jomon Period -- 142 The Movable Lines of Japanese Wood- Frame Construction -- 144 Core Pressing and Surface Pressing -- 147 The Fine Lines of Hiroshige -- 151 An Architectural Sudden Shower -- 155 The Line- Drawing Method and the V&A Dundee -- 159 Living Lines and Dead Lines-- 161 Lines and the Theory of Touch-- 162 Lines Wandering Between Life and Death -- 165 The Lines of Ultrafine Carbon Fibres -- 167 Silk- Like Lines of the Tomioka Warehouse -- PLANE: 174 Rietveld vs De Klerk -- 177 Rietveld vs Mies -- 179 Discovering Bedouin Fabrics in the Sahara -- 182 Semper vs Laugier -- 185 A Fabric Tea Room in Frankfurt -- 189 Frank Lloyd Wright’s Desert Encampment-- 191 Fabric House in Taiki -- 194 Casa Umbrella: Sheltering People in Emergencies -- 197 Fuller’s Domes and the Democratization of Architecture -- 200 Saving the World with Tensegrity -- 203 Cells and Tensegrity -- 206 Hojo an, Eight Centuries On -- 212 Index -- 215 Picture Credits--
520			_a"Ostensibly a collection of writing that sets out Kengo Kuma's theories of architecture, but also an antivolume, antimegastructure, and in some sense anticapitalist, left-field critique of where the architecture world finds itself today. Point Line Plane is architectural theory, but written as narrative, full of intriguing vignettes, such as the fact that in Ancient Rome windows were fitted with slices of marble because glass was so expensive. It's written in a very Japanese form: a series of mini essays that circle around a theme and is aimed at a highly literate audience. Seventy-two related essays across four sections set out Kuma's rejection of the architecture of volume and mass that categorized the twentieth century in favor of a more ad hoc architecture that can be easily disassembled and, by drawing on tried and tested practices of the past, touch the earth more lightly. 72 black-and-white illustrations." -- Amazon
650		0	_aArchitecture _xHistory _y21st century. _zJapan
650		7	_aARCHITECTURE / General.
942			_2lcc _c27 _hNA1559.K77 _kGeneral _mK86 2024
999			_c306185 _d306185