Philippe rahm (113 résultats)

Paperback. Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Paperback. Etat : New. At the crossroads of architecture, aesthetics and engineering sciences, this book aims to shed light on the unthought-of return of utilitarian decorative arts in the fight against global warming, and to constitute an encyclopaedic catalogue of decorative elements with ancient typologies (carpets, tapestries, curtains, mirrors, etc. ) updated according to today's scientific knowledge: thermal effusivity, emissivity, conduction, reflectance, etc. Until the beginning of the 20th century, interior decoration in the West had a practical role: to fight the cold, to amplify the light or to block cold draughts. A carpet was used to prevent cold feet, a tapestry to thermally insulate the walls; the crystals in chandeliers, like mirrors or gilding, were there to amplify the weak, solitary light of candles andsmall windows; a folding screen served to block the wind, curtains to block draughts. The arrival of central heating, air conditioning and electric lighting at the turn of the 20th century made this primary utilitarian and climatic raison d'être of interior design obsolete - thanks to the massive use of fossil fuels. Old decorative devices were therefore discarded in favour of the clean, minimalist, empty white interiors characteristic of 20th century modernity - an aesthetic underpinned by the CO2 emissions of oil-fired boilers and coal-fired power stations. Today, with the need to reduce buildings' carbon footprints and fight against heat waves, new thermal and energy reduction requirements are appearing, including the call for 20cm of thermal insulation in walls. One may wonder if this thermal insulation is not in fact a new form of tapestry in all but name - one that would unconsciously mark a return to interior decoration. If the modern style of the 20th century stemmed from carbon energies, wasting without limit resources and energy to heat and light, the decarbonisation of the building is inducing, withoutus realising it, a new decorative style specific to the 21st century, where thermal performance, carbon footprint and ecology redefine the interior's formal and material choices, and finally their aesthetic, cultural,and social value. The challenge for interior architecture is to reactivate interior design's practical sense as it existed before the 20th century, going beyond its apparently futile character to invent new modes of laying out - new spatial, formal and material configurations, available to interior designers and architects: a decorative aesthetic specific to the 21st century, which we propose to call 'anthropocene style'.…

Etat : Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Etat : New. At the crossroads of architecture, aesthetics and engineering sciences, this book aims to shed light on the unthought-of return of utilitarian decorative arts in the fight against global warming, and to constitute an encyclopaedic catalogue of decorative elements with ancient typologies (carpets, tapestries, curtains, mirrors, etc. ) updated according to today's scientific knowledge: thermal effusivity, emissivity, conduction, reflectance, etc. Until the beginning of the 20th century, interior decoration in the West had a practical role: to fight the cold, to amplify the light or to block cold draughts. A carpet was used to prevent cold feet, a tapestry to thermally insulate the walls; the crystals in chandeliers, like mirrors or gilding, were there to amplify the weak, solitary light of candles andsmall windows; a folding screen served to block the wind, curtains to block draughts. The arrival of central heating, air conditioning and electric lighting at the turn of the 20th century made this primary utilitarian and climatic raison d'être of interior design obsolete - thanks to the massive use of fossil fuels. Old decorative devices were therefore discarded in favour of the clean, minimalist, empty white interiors characteristic of 20th century modernity - an aesthetic underpinned by the CO2 emissions of oil-fired boilers and coal-fired power stations. Today, with the need to reduce buildings' carbon footprints and fight against heat waves, new thermal and energy reduction requirements are appearing, including the call for 20cm of thermal insulation in walls. One may wonder if this thermal insulation is not in fact a new form of tapestry in all but name - one that would unconsciously mark a return to interior decoration. If the modern style of the 20th century stemmed from carbon energies, wasting without limit resources and energy to heat and light, the decarbonisation of the building is inducing, withoutus realising it, a new decorative style specific to the 21st century, where thermal performance, carbon footprint and ecology redefine the interior's formal and material choices, and finally their aesthetic, cultural,and social value. The challenge for interior architecture is to reactivate interior design's practical sense as it existed before the 20th century, going beyond its apparently futile character to invent new modes of laying out - new spatial, formal and material configurations, available to interior designers and architects: a decorative aesthetic specific to the 21st century, which we propose to call 'anthropocene style'.…

Paperback. Etat : new. Paperback. At the crossroads of architecture, aesthetics and engineering sciences, this book aims to shed light on the unthought-of return of utilitarian decorative arts in the fight against global warming, and to constitute an encyclopaedic catalogue of decorative elements with ancient typologies (carpets, tapestries, curtains, mirrors, etc. ) updated according to today's scientific knowledge: thermal effusivity, emissivity, conduction, reflectance, etc.Until the beginning of the 20th century, interior decoration in the West had a practical role: to fight the cold, to amplify the light or to block cold draughts. A carpet was used to prevent cold feet, a tapestry to thermally insulate the walls; the crystals in chandeliers, like mirrors or gilding, were there to amplify the weak, solitary light of candles andsmall windows; a folding screen served to block the wind, curtains to block draughts. The arrival of central heating, air conditioning and electric lighting at the turn of the 20th century made this primary utilitarian and climatic raison d'etre of interior design obsolete thanks to the massive use of fossil fuels. Old decorative devices were therefore discarded in favour of the clean, minimalist, empty white interiors characteristic of 20th century modernity an aesthetic underpinned by the CO2 emissions of oil-fired boilers and coal-fired power stations.Today, with the need to reduce buildings carbon footprints and fight against heat waves, new thermal and energy reduction requirements are appearing, including the call for 20cm of thermal insulation in walls.One may wonder if this thermal insulation is not in fact a new form of tapestry in all but name one that would unconsciously mark a return to interior decoration. If the modern style of the 20th century stemmed from carbon energies, wasting without limit resources and energy to heat and light, the decarbonisation of the building is inducing, withoutus realising it, a new decorative style specific to the 21st century, where thermal performance, carbon footprint and ecology redefine the interiors formal and material choices, and finally their aesthetic, cultural,and social value.The challenge for interior architecture is to reactivate interior designs practical sense as it existed before the 20th century, going beyond its apparently futile character to invent new modes of laying out new spatial, formal and material configurations, available to interior designers and architects: a decorative aesthetic specific to the 21st century, which we propose to call anthropocene style. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Etat : New. 2023. Paperback. . . . . .

Paperback. Etat : Brand New. 80 pages. 6.61x4.17x0.35 inches. In Stock.

Softcover, 102 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Etat : New. 2023. Paperback. . . . . . Books ship from the US and Ireland.

Etat : New.

Etat : very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Etat : New.

Etat : New.

Paperback. Etat : new. Paperback. Scientific studies show that temperatures in France will rise by +40C by 2100. Its current temperate climate will be transformed into a subtropical one. This book, published for the 3rd biennial of architecture and landscape of Ile-de-France, looks southwards, to these already warmer climates, to find models for building architecture in northern latitudes today that can withstand this rising heat.by the built environment.With contributions of: Daniel Barber, Rob Dunn, Carolyn Steel, Eduardo Prieto, Beatriz Colomina, Lisa Heschong, Pedro Gadanho, Pierre Charbonnier, German Valenzuela, Gabriel Kogan, Beatrice GrenierBilingual in French & English Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Etat : As New. Unread book in perfect condition.

Etat : New.

Etat : New. In English.

Paperback. Etat : New. Bilingual.

Etat : New.

Softcover. BW illus. stapled wraps, color illus. flyleaves, 48 pp., many BW & color illus. Text is in French and English. Considers the varied work of Swiss artist Didier Rittener (b. 1969). With essays by Chantal Prod'Horn and Philippe Rahm, and many examples of Rittener's work. The line drawings are quite nice! VG (Only slight aging to cover edges.).…

Softcover. Etat : Comme neuf. Couverture différente. Edition 2005. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, As new. Different cover. Edition 2005. Ammareal gives back up to 15% of this item's net price to charity organizations.…

Etat : New. Idioma/Language: Español. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.

PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Etat : New. Bilingual.

Etat : New. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.

Rustica. Etat : Nuevo.

Rustica. Etat : Nuevo.

Taschenbuch. Etat : Neu. Neuware - At the crossroads of architecture, aesthetics and engineering sciences, this book aims to shed light on the unthought-of return of utilitarian decorative arts in the fight against global warming, and to constitute an encyclopaedic catalogue of decorative elements with ancient typologies (carpets, tapestries, curtains, mirrors, etc. ) updated according to today''s scientific knowledge: thermal effusivity, emissivity, conduction, reflectance, etc. Until the beginning of the 20th century, interior decoration in the West had a practical role: to fight the cold, to amplify the light or to block cold draughts. A carpet was used to prevent cold feet, a tapestry to thermally insulate the walls; the crystals in chandeliers, like mirrors or gilding, were there to amplify the weak, solitary light of candles andsmall windows; a folding screen served to block the wind, curtains to block draughts. The arrival of central heating, air conditioning and electric lighting at the turn of the 20th century made this primary utilitarian and climatic raison d''être of interior design obsolete - thanks to the massive use of fossil fuels. Old decorative devices were therefore discarded in favour of the clean, minimalist, empty white interiors characteristic of 20th century modernity - an aesthetic underpinned by the CO2 emissions of oil-fired boilers and coal-fired power stations. Today, with the need to reduce buildings' carbon footprints and fight against heat waves, new thermal and energy reduction requirements are appearing, including the call for 20cm of thermal insulation in walls. One may wonder if this thermal insulation is not in fact a new form of tapestry in all but name - one that would unconsciously mark a return to interior decoration. If the modern style of the 20th century stemmed from carbon energies, wasting without limit resources and energy to heat and light, the decarbonisation of the building is inducing, withoutus realising it, a new decorative style specific to the 21st century, where thermal performance, carbon footprint and ecology redefine the interior's formal and material choices, and finally their aesthetic, cultural,and social value. The challenge for interior architecture is to reactivate interior design's practical sense as it existed before the 20th century, going beyond its apparently futile character to invent new modes of laying out - new spatial, formal and material configurations, available to interior designers and architects: a decorative aesthetic specific to the 21st century, which we propose to call 'anthropocene style'.…