Jezik: Francuski

architecture mouvement continuite # 24
1972, Paris
21 x 29,5cm , str 36 , arhitektura
naslovna strana - jean-michel folon (dizajn,design)

Moniteur Architecture AMC (Architecture Mouvement Continuiti) je časopis specijalizovan za francuske vesti o arhitekturi i, u manjoj meri internacionalni, koji je u Francuskoj izdavala grupa Moniteur.

Od biltena SADG do monitora AMC Architecture

U novembru 1967. godine objavljen je Arhitektonski pokret kontinuiteta 1, novi mesečni oblik Biltena Društva arhitekata sa sertifikatom vlade; sa uredničkim timom koji su činili Philippe Boudon, Andre Menard i Alain Sarfati i uredničkim projektom koji sponzoriše Christopher Alekander i posvećen „pokušaju povezivanja zabrinutosti koje su zajedničke urbanističkom planeru, arhitekti, vajaru. „Broj 11 (1969) biće poslednji proizveden od ovog tima.

Uređivačkim projektom tematskih i monografskih izdanja, novi tim (Roger Michaud, Andre Menard, Genevieve Mesuret) proizvešće izdanja od 13 do 28.

Patrice Noviant je 1973. godine postao glavni urednik kontinuiteta arhitektonskog pokreta. Od broja 32 (decembar 73.) časopis uzima naziv AMC kontinuitet arhitektonskog pokreta, sa projektom „za uvođenje diskusije za koju se nadamo da će se otvoriti“ „između društva u celini i njegove arhitekture“. Olivier Girard pridružio se uredništvu (1974), Jackues Lucan je postao glavni urednik sa Patriceom Noviantom (1976), sve do broja 54-55 (1981), što je bilo prvo od afirmacija časopisa na prednjoj strani avangardna proizvodnja arhitekture koja se smatra globalizovanom i poslednja od kontinuiteta pokreta AMC arhitekture, SFA (novo ime SADG), uz napomenu da ne može da finansira razvoj ovog projekta.

Le Moniteur (Groupe Moniteur) naslov je kupio davne 19832. Jackues Lucan postao je glavni urednik časopisa koji je novim brojem preuzeo naslov Le Moniteur Architecture AMC; časopis koji je napustio 1986. godine, a čije bi objavljivanje postajalo mesečno od 1989. godine.

----------------------------------------

U novembru 1967. izašao je prvi broj AMC-a, zamišljen kao časopis ideja i rasprava, namenjen uklanjanju prašine sa starog „biltena“, časopisa Društva vladinih diplomiranih arhitekata (SADG). To je početak intelektualne i konstruktivne avanture duge više od pedeset godina, u koju se uronio sociolog Jean-Louis Violeau, povodom objavljivanja jubilarnog broja isprekidanog dobrim listovima koji su obeležili AMC-ova priča.

AMC br. 1. novembra 1967: Arhitektura, pokret, kontinuitet, koju su zamislila trojica mladih arhitekata, Philippe Boudon, Alain Sarfati i Bernard Hamburger, u prvom je redu ovog širokog intelektualnog pokreta strukturalističkog nadahnuća koji potresa šezdesete i pozajmljuje toliko matematičkoj logici nego lingvistici. Od strukturalizma do trodimenzionalnih struktura, Philippe Boudon postavlja temelje za ovu novu eru od prvog broja časopisa, člankom „Strukture, prostor i arhitektura“, u kojem podseća da je „strukturalizam ove godine bio u centru pažnje. moda `! Temelji njegove „arhitektologije“ već su uočljivi u ovom dosijeu koji evocira stalaktitne kupole osmanskih džamija, Grahama Bella i njegove tetraedarske konstrukcije, ili samonosive strukture Buckminstera Fullera i David-Georges Emmericha.

-------------------------------

En novembre 1967 sortait le premier numéro d’AMC, conçu comme une revue d’idées et de débats, destinée à dépoussiérer un vieux «bulletin», celui de la Société des architectes diplômés par le gouvernement (SADG). C`est le début d`une aventure intellectuelle et constructive de plus de cinquante années, dans laquelle s`est plongé le sociologue Jean-Louis Violeau, à l`occasion de la publication d`un numéro anniversaire ponctué des bonnes feuilles qui ont marqué l`histoire d`AMC.

AMC n°1-novembre 1967: Architecture, Mouvement, Continuité, imaginée par trois jeunes architectes, Philippe Boudon, Alain Sarfati et Bernard Hamburger, est aux premières loges de cet ample mouvement intellectuel d`inspiration structuraliste qui agite les années 1960 et emprunte autant à la logique mathématique qu`à la linguistique. Du structuralisme aux structures tridimensionnelles, Philippe Boudon pose les jalons de cette nouvelle ère dès le premier numéro de la revue, avec l`article `Structures, espace et architecture`, dans lequel il rappelle que `le structuralisme, cette année, fut à la mode`! Déjà, les fondements de son `architecturologie` sont perceptibles dans ce dossier qui évoque les coupoles à stalactites des mosquées ottomanes, Graham Bell et ses constructions tétraédriques, ou les structures autotendantes de Buckminster Fuller et David-Georges Emmerich.

--------------------------------------

Jean-Michel Folon (1 March 1934 – 20 October 2005) was a Belgian artist, illustrator, painter, and sculptor.

Folon was born on 1 March 1934 in Uccle, Brussels, Belgium in 1934. He studied architecture at the Institut Saint-Luc.

The first exhibition of his watercolors was in New York in 1969 in the Lefebre Gallery. One year later he exhibited in Tokyo and in the Il Milione gallery in Milan. He also participated in the XXVth Venice Biennale. In 1973 he joined the selection of Belgian artists in the XXVth São Paulo Biennale, where he was granted the Grand Prize in Painting. Over the years his work concentrated on different techniques, including watercolor, etching, silkscreen, illustrations, mosaics, and stained glass, which showed the diversity of his art. His work Ein Baum stirbt - Un albero muore, 1974, is by Museo Cantonale d’Arte [de] of Lugano. He also designed numerous posters, often for humanitarian causes. Around 1988 he created his first sculptures made out of wood. He then moved on to creating sculptures in clay, plaster, bronze and marble, while continuing to paint.

Several museums dedicated exhibitions to him, among them the Musée des Arts Décoratifs in Paris in 1971, the Museum Boijmans Van Beuningen in Rotterdam in 1976, the Institute of Contemporary Arts in London in 1977, the Musée Picasso in Antibes in 1984, the Museo Correr in Venice in 1986, the Museo de Bellas Artes in Buenos Aires in 1987, the Metropolitan Museum of Art in New York in 1990, La Pedrera in Barcelona in 1993, the Bunkamura in Tokyo in 1995, the Olympic Museum in Lausanne in 1996 and the Museo Morandi [it] in Bologna in 1996–97. In 1999 an exhibition of large sculptures was presented in the Galerie Guy Pieters, in Saint-Paul de Vence. In 2000 he opened the Fondation Folon, which presents the essentials of his work in the region he grew up in. In 2001 the city of Lisbon held a large retrospective of his sculptures in the Castelo de São Jorge, which dominates the city. In 2003 he created the designs for Puccini`s La Bohème for the Puccini Festival in Italy. The president of the French Republic, Jacques Chirac, awarded him the Legion of Honour in the Palais d`Elysée. In 2004 he became a UNICEF ambassador. In 2005 the city of Florence held a grand retrospective of his work at the Palazzo Vecchio and the Forte di Belvedere.

Folon published his drawings in newspapers, mostly in the US, where he was recognized earlier than in Europe and illustrated books by Franz Kafka, Ray Bradbury, Jorge Luis Borges, Guillaume Apollinaire, Jacques Prévert, Boris Vian, Guy de Maupassant, Albert Camus, Herbert George Wells and Jean de La Fontaine. He never really changed his style, whose most famous emblem is the `bird-man` but used all kinds of supports; Folon made murals (Magic City for the Brussels subway, 1974; Waterloo Station for the London tube, 1975), posters for theater and opera (Spoleto Festival, 1978; Teatro Olimpicio, 1987) and cinema (The Purple Rose of Cairo, by Woody Allen, 1985), theater and opera scenery (Geneva and Brussels, 1981; Venice and Roma, 1989), short films for TV (opening and closing sections for the French channel Antenne 2, 1975–1984), wooden sculptures, logotypes (Bicentenary of the French Revolution, 1989; Philexfrance, 1989), tapestries (Congress Hall of Monaco, 1989), ships (1990), church windows (1992), sculptures (La mer, ce grand sculpteur, Knokke, 1997), and even a Palio flag (Siena, 1999). His artistic value was recognized by several exhibitions organized in the most famous galleries and museums in the world (Musée des Arts Décoratifs, Paris, 1971; Arts Club of Chicago, 1972; Museum Boijmans Van Beuningen, Rotterdam, 1976; Transworld Art, Washington, D.C., 1977; Musée d`Art Moderne de Liège, 1978; Musée Picasso, Antibes, 1984; Correr Museum, Venice, 1985; Metropolitan Museum of Art, New York, 1990; La Pedrera, Barcelona, 1993; Bunkamura Museum, Tokyo, 1995; Olympic Museum, Lausanne, 1996).

He credits Giorgio Soavi for publishing his first posters, which were designed for Olivetti in Milan: `As he has done for many artists, Soavi suggested to me, too, that I invent things that were out of the ordinary for me. This attitude has created such a fertile spirit of invention around him that one wonders if he is not the true author of the works that he has thus encouraged.`

Soavi also was largely responsible for the 1975 book Lettres a Giorgio, which reproduces 40 envelopes, each an original watercolor addressed to Soavi—most to his Milan home—and delivered by the mail from various international addresses. Folon writes in a brief Afterword: `We build in our dreams a monument to the unknown postmen to thank them all for having allowed these images to reach their destination.`

He created a famous piece of television that was screened in France for almost 30 years. It was first made for the Italiques TV show, by Marc Gilbert (in French), which aired from 1971 to 1974. The music, originally the soundtrack of Gott mit uns, was composed by Ennio Morricone.

In the 1990s, Folon decided to create a foundation in the Solvay Castle, La Hulpe. In 2005, under the direction of Marilena Pasquali, Fabio Mochi organised the exhibition of Jean-Michel Folon in Florence which six years later gave rise to the creation of the permanent Folon exhibition in the Giardino delle Rose (Rose Garden) in Florence. Another piece of television quite famous and remembered is a commercial about methane for SNAM. The soundtrack is Dolorosa by Michel Colombier.

Folon settled in the outskirts of Paris in 1955. In 1985, he moved to Monaco.

Milton Glasser describes an incident with Folon in the 1970s: `Last year a group of us were driving at dusk from Paris to Folon`s house at Burcy. As we passed the forest of Fountainbleau, Jean-Michel mentioned that we were going to have rabbit for dinner. My wife, Shireley, recoiled and said, `I can`t eat rabbit, I have a rabbit at home` (referring to Mr. Hoffman, our dwarf albino). Jean-Michel paused thoughtfully for a moment and said, `O.K., then we can have some nice cheese . . . unless you have a cheese at home.`