rahm philippe (114 resultados)

Paperback. Condición: 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.

Paperback. Condición: 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'.

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

Paperback. Condición: 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'.

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

Condición: NEW.

Condición: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

Condición: New. 2023. Paperback. . . . . .

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

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

Condición: New.

Condición: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Paperback. Condición: New.

paperback. Condición: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New.

Paperback. Condición: new. Paperback. Scientific studies show that temperatures in France will rise by +4C 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 le-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, Germn Valenzuela, Gabriel Kogan, Beatrice Grenier Bilingual in French & English Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: New.

Condición: Neuf.

Condición: New. In.

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.).

Condición: 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.

Condición: Neuf. Ramier, Jay Ilustrador.

Paperback. Condición: New. Bilingual.

Paperback. Condición: New. Bilingual - Illustrated.

Cartoné (tapa dura cartón). Condición: New. Estado de la sobrecubierta: Nuevo. 01. LIBRO.

Rustica. Condición: Nuevo.

Rustica. Condición: Nuevo.