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Dumas, Marlene:
Models.
Stuttgart, Oktagon Verlag, 1995. 4°. 78 S., 2 Bl. Mit teils farbigen Abbildungen. Originalpappband.
Reference : 56915AB
Erschien zur Ausstellung im Salzburger Kunstverein, Portikus in Frankfurt am Main und in der Neuen Gesellschaft für bildende Kunst in Berlin.
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Daniel Thierstein, Livres anciens
Daniel Thierstein
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3011 Bern
Switzerland
thierstein.antiquariat@bluewin.ch
+41 313 123 711
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Conformes aux usages de la librairie ancienne et moderne, tous les ouvrages sont complets et en bon état, sauf mention contraire. Les prix indiqués sont nets, les frais d’expédition sont à la charge du destinataire et seront précisés au moment de la commande. Les commandes peuvent être transmises par téléphone, par correspondance et par courriel.
5 book(s) with the same title
Creation of Space and the Connection between Models and Drawings as Design Tools
, Brepols, 2023 Paperback, 168 pages, Size:216 x 280 mm, Illustrations:31 b/w, 52 col., Language: English. ISBN 9782503606200.
Summary The essays in this volume address the problem of three dimensions in architecture and the ways architects in the 16th century (and before and after) solved this problem during the design process. Two-dimensional drawings were used as the most helpful element in the design process, as well as for the presentation of designs. Those involved, not only patrons but also construction workers, should be able to understand what a two-dimensional design would turn out to result in three dimensions. Both drawings in two dimensions and three-dimensional models are well-known tools to architects, but the way in which they employed them together is not always clear. Sometimes architects limited themselves to the making of models only when they believed that these would suffice to communicate the design to others. In other instances, drawings and models were used jointly. Topics of study in this volume include examples of these practices in the work of the Sangallo, Raphael, Vasari, and others. TABLE OF CONTENTS Introduction Lex Bosman Drawings for Models Lex Bosman Baldassare Peruzzi's Projections Ann Huppert Combining the intrinsic and the extrinsic: Francesco di Giorgio's model drawings Elizabeth Merril ?Not as beautiful as those made by painters??: graphic innovations in carpenters' drawings in the early sixteenth century in the Low Countries Merlijn Hurx ?Accommodate the Stories to the Spaces and Not the Spaces to the Stories?. Plans, Models and Drawings for Giorgio Vasari's Decorations in the Palazzo Vecchio in Florence Laura Overpelt The Mellon Codex and the creation of space with drawings and models Lex Bosman ?Come praticarono molti?. The use of Paper Architectural Models in Early Modern Italy Giovanni Santucci
An Introduction to Linear Statistical Models - Volume 1
McGraw-Hill Book Company , McGraw-Hill Series in Probability and Statistics Malicorne sur Sarthe, 72, Pays de la Loire, France 1961 Book condition, Etat : Bon hardcover, editor's full grey dark clothes, no dust-jacket grand In-8 1 vol. - 476 pages
1st edition Contents, Chapitres : Preface, Contents, xiii, Text, 463 pages - Mathematical concepts - Statistical concepts - The multivariate normal distribution - Distribution of quadratic forms - Linear models - Model 1. The general linear hypothesis of full rank - Computing techniques - Polynomial or curvilinear models - Model 2. Functional relationships - Model 3. Regression models - Model 4. Experimental design models - The cross-classification of factorial models - Two-way classification with unequal numbers in subclasses - Incomplete block models - Some additional topics about model 4 - Model 5. Variance components, point estimation, Interval estimation and tests of hypotheses - Mixed models - Tables and index no dust-jacket, else near fine copy, no markings except a retailer small sticker on the inside part of the binding (Belgian bookshop), volume 1 only
Computer Algebra Recipes - A Gourmet's Guide to the Mathematical Models of Science (with the CD-Rom enclosed) , Undergraduate Texts in Contempary Physics
Springer and Waterloo Maple Advancing Mathematics , Undergraduate Texts in Contempary Physics Malicorne sur Sarthe, 72, Pays de la Loire, France 2001 Book condition, Etat : Bon hardcover, editor's white printed binding, illustrated by a red sphere with colour rings around Small In-4 1 vol. - 792 pages
241 illustrations 1st edition, 2001 Contents, Chapitres : Preface, Acknowledgments, Contents, xiv, Text, 778 pages - Introduction - 1. The appetizers : The pictures of science - Deriving model equations - Algebraic models - Monte Carlo methods - 2. The entrees : Phase-plane portraits - Linear ODE models - Nonlinear ODE models - Difference equation models - Some analytic approaches - Fractal patterns - 3. The desserts : Diagnostic tools for nonlinear dynamics - Linear PDE models - Nonlinear PDE models : Soliton solutions - Simulating PDE models - Bibliography and index near fine copy, no markings, the top left corner of the 5 last pages is lightly folded, else clean, WITH the CD-Rom
Cities and Complexity : Understanding Cities with Cellular Automata, Agent-Based Models, and Fractals
Cambridge, Mass., United States, MIT Press Ltd 2007, 2007 Paperback, 565 pages, ENG, 230 x 205 mm, in very good condition, with over 180 images/ illustrations in b/w. ISBN 9780262524797.
Mario Carpo provides a subtle and insightful discussion of the intellectual structures that guide architectural composition and the ways that these structures were transformed by the historic shifts from script to print and from hand-made drawings to mechanically reproduced images. He goes on to suggest that the current shift from print to digital representations will have similarly profound consequences. This is a crucial text for anyone interested in the interrelationships of media and design processes. As urban planning moves from a centralized, top-down approach to a decentralized, bottom-up perspective, our conception of urban systems is changing. In Cities and Complexity, Michael Batty offers a comprehensive view of urban dynamics in the context of complexity theory, presenting models that demonstrate how complexity theory can embrace a myriad of processes and elements that combine into organic wholes. He argues that bottom-up processes--in which the outcomes are always uncertain--can combine with new forms of geometry associated with fractal patterns and chaotic dynamics to provide theories that are applicable to highly complex systems such as cities. Batty begins with models based on cellular automata (CA), simulating urban dynamics through the local actions of automata. He then introduces agent-based models (ABM), in which agents are mobile and move between locations. These models relate to many scales, from the scale of the street to patterns and structure at the scale of the urban region. Finally, Batty develops applications of all these models to specific urban situations, discussing concepts of criticality, threshold, surprise, novelty, and phase transition in the context of spatial developments. Every theory and model presented in the book is developed through examples that range from the simplified and hypothetical to the actual. Deploying extensive visual, mathematical, and textual material, Cities and Complexity will be read both by urban researchers and by complexity theorists with an interest in new kinds of computational models.
[ARCHIVES DE DESSINS ORIGINAUX, MAQUETTES, IMPRESSIONS DUNE ECRIVAINE ET DESSINATRICE DE CONTES ET HISTOIRES POUR ENFANTS/ARCHIVES OF ORIGINAL DRAWINGS, MODELS, IMPRESSIONS OF A WRITER AND DRAWER OF TALES AND STORIES FOR CHILDREN] magazine jeunesse « Pomme dApi » : Catimini, Minicat, Farces et attrapes, Je suis malade, Anniversaire ; Saperli & Popette, maquettes ; Catimini : Petite fille, Petit garçon, La mer est mouillée, Bon appétit ; Planches inédites
Années 1980 à 2000. 1980 4 chemises cartonnées à rabats ( 460 x 330 mm, 400 x 300 mm, 320 x 240 mm, 330 x 260 mm) contenant: I. Pomme dApi : Dossier de 4 pochettes desquisses et dessins au crayon, au pastel, au feutre, à laquarelle et de textes manuscrits, calques, maquettes montées, planches inédites en couleur... II. Catimini : 10 dessins originaux en couleur montés sous passe-partout ; III. Catimini : dossier de 5 chemises de dessins et maquettes titrées « Petite fille, Petit garçon, La mer est mouillée, inédits, divers » de dessins préparatoires en noir et en couleur, maquettes, manuscrits à lencre et au crayon ; IV. Maquette originale du livre « Saperli et Popette », 29 compositions au crayon de couleur, au feutre, au pastel, à la gouache, encartés dans un bristol noir. Sont joints: « La mer est très mouillée », 1988 et « Saperli et Popette », 1994. Emboitatage de rangement, dos de toile noire avec étiquette de titrage en couleur, plats recouverts de papier marbré noir et vert, rabats recouversts de toile écrue, élastics de fermeture.
Importantes archives dElzbieta, artiste et écrivaine française dorigine polonaise autrice de contes et dhistoires, ensemble de travaux originaux constitué de dessins, manuscrits et maquettes de ses publications pour la jeunesse des années 1980 aux années 2000 consacrés à plusieurs de ses personnages. Elzbieta Violet, de son nom de plume Elzbieta (1936-2018) nait en Pologne dune française et dun père polonais disparu au cours des années de guerre. Durant son enfance, elle apprend 5 langues en vivant successivement en Pologne, en Alsace occupée, en Angleterre, avant d'habiter à Paris chez un oncle polonais blanchisseur qui l'exploitait, comme elle le raconte dans « La Nostalgie aborigène » (2008). Elle est lautrice de plusieurs ouvrages mettant en perspective son activité d'auteure et d'illustratrice jeunesse, et le rôle que les contes ont joué dans sa propre enfance et son parcours d'artiste. « Je dois à l'histoire de Blanche-Neige des frères Grimm, sans fin revisitée en secret, d'avoir été pourvue d'un talisman protecteur qui m'a permis, au milieu de circonstances difficiles, de ne jamais perdre entièrement confiance. » Dans un de ses carnets de notes, elle a écrit : « Que disent les contes ? Désir denfants et stérilité, haine des parents envers leur progéniture, honte de navoir que des filles, mauvais fils-Parents sen débarrassent ; Enfant chassé par sa mère recueilli par papy ogre, il finit par faire battre sa mère par son bâton magique » Son ogre à elle fut cet oncle Polonais qui la traitée comme une domestique. Découverte en 1972 par la magie sans paroles de « Petit Mops », une taupe déroulant sa sensibilité au bout d'un fil de crayon noir, elle a depuis multiplié les personnages (rarement humains, toujours humbles et obstinés) et les techniques (aquarelles sur papier japonais, croquis aux traits dédoublés). Les albums d'Elzbieta sont des autobiographies déguisées, d'une grande splendeur visuelle, porteuses d'un insondable secret. Elzbieta écrit les textes qu'elle illustre et elle est aussi peintre et photographe. Elle reçoit le Prix Sorcières en 1994 pour Flon-Flon et Musette. Elle est sélectionnée pour le prix commémoratif Astrid Lindgren (« Astrid Lindgren memorial award » ALMA) en 2006 et en 2008. En 2012, elle obtient le Prix Spécial du Prix Sorcières. Dans une interview réalisée par Telerama en 2014 dans son petit atelier parisien, elle disait « Expliquer ce qu'il faut penser, comprendre, ressentir devant une uvre d'art n'est pas toujours utile. Les enfants le savent. J'admire leur capacité à voyager en silence dans leur propre pensée intime. Mon principal mode de communication, en tant qu'artiste, c'est le non-dit. Elle explique ensuite son choix dêtre artiste. « On peut parler de vocation. J'avais toujours décidé d'être artiste, mais je ne savais pas en quoi cela consistait. Je pensais que j'allais le découvrir au fur et à mesure, et ça s'est passé comme ça. Je savais que ça serait fabuleux, je n'imaginais pas que ce serait aussi difficile. Je m'aperçois aujourd'hui que j'ai eu une vraie vie d'artiste ». [et plus loin:] « Peut-être que les enfants nous sauveront tous un jour si on apprend à les regarder. Les présentes archives réunissent des dossiers annotés de sa main contenant des centaines de dessins et de pages manuscrites qui permettent de comprendre la genèse de son travail décrivaine et dartiste, la création de ses personnages, les découpages, la mise en couleur, le montage des maquettes, lécriture des textes. Ils sont consacrés à quelques-uns de personnages favoris : Catimini, Petite fille, Petit garçon, La mer est mouillée, Saperli et Popette parus dans Pomme dApi ou en album, ainsi que des inédits. Les parcourir est un véritable voyage au pays des contes. 4 cardboard folders with flaps (460 x 330 mm, 400 x 300 mm, 320 x 240 mm, 330 x 260 mm) containing: I. Pomme dApi: Folder of 4 pockets of sketches and drawings in pencil, pastel, felt-tip pen, watercolor and handwritten texts, tracing papers, mounted models, unpublished color plates... II. Catimini: 10 original color drawings mounted under a mat; III. Catimini: Folder of 5 folders of drawings and models titled Petite fille, Petit garçon, La mer est mouillée, unpublished, miscellaneous of preparatory drawings in black and color, models, manuscripts in ink and pencil; IV. Original model of the book Saperli et Popette, 29 compositions in colored pencil, felt-tip pen, pastel, gouache, inserted in a black Bristol board. In total several hundred drawings, sketches, handwritten pages. Included, 2 printed books: La mer est mouillée, 1988 and Saperli et Popette, 1994. Storage box, black canvas spine with colored title label, covers covered in black and green marbled paper, flaps covered in unbleached canvas, elastic closures. Important archives of Elzbieta, a French artist and writer of Polish origin, author of tales and stories, a collection of original works consisting of drawings, manuscripts and models of her publications for young people from the 1980s to the 2000s devoted to several of her characters. Elzbieta Violet, whose pen name is Elzbieta (1936-2018) was born in Poland to a French woman and a Polish father who disappeared during the war years. During her childhood, she learned 5 languages while living successively in Poland, occupied Alsace, and England, before living in Paris with a Polish uncle who was a laundryman who exploited her, as she recounts in "La Nostalgie aborigène" (2008). She is the author of several works that put into perspective her activity as a children's author and illustrator, and the role that tales played in her own childhood and her career as an artist. "I owe to the story of Snow White by the Brothers Grimm, endlessly revisited in secret, having been provided with a protective talisman that allowed me, in the midst of difficult circumstances, to never completely lose confidence." In one of her notebooks, she wrote: "What do the tales say? Desire for children and sterility, hatred of parents towards their offspring, shame of having only girls, bad sons-Parents get rid of them; Child chased away by his mother taken in by grandpa ogre, he ends up having his mother beaten by her magic stick" ... Her ogre was this Polish uncle who treated her like a servant. Discovered in 1972 by the wordless magic of "Petit Mops", a mole unrolling its sensitivity at the end of a black pencil thread, she has since multiplied the characters (rarely human, always humble and stubborn) and the techniques (watercolors on Japanese paper, sketches with double lines). Elzbieta's albums are disguised autobiographies, of great visual splendor, carrying an unfathomable secret. Elzbieta writes the texts that she illustrates and she is also a painter and photographer. She received the Prix Sorcières in 1994 for Flon-Flon and Musette. She was selected for the Astrid Lindgren memorial award (ALMA) in 2006 and 2008. In 2012, she received the Prix Spécial du Prix Sorcières. In an interview conducted by Telerama in 2014 in her small Parisian studio, she said, Explaining what to think, understand, feel in front of a work of art is not always useful. Children know this. I admire their ability to travel silently in their own intimate thoughts. My main mode of communication, as an artist, is the unspoken. She then explains her choice to be an artist. We can talk about a vocation. I had always decided to be an artist, but I didnt know what it was. I thought I would discover it as I went along, and thats how it happened. I knew it would be fabulous, I didnt imagine it would be so difficult. I realize today that I have had a real life as an artist. [and further:] Maybe children will save us all one day if we learn to look at them. These archives bring together files annotated by her hand containing hundreds of drawings and handwritten pages that allow us to understand the genesis of her work as a writer and artist, the creation of her characters, the cutting, the coloring, the assembly of the models, the writing of the texts. They are devoted to some of her favorite characters: Catimini, Petite fille, Petit garçon, La mer est mouillée, Saperli et Popette published in Pomme dApi or in albums, as well as unpublished works. Browsing through them is a real journey to the land of tales.
Phone number : 06 81 35 73 35
