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What does the Western city at the end of the twentieth century look like? How did the modern metropolis of congestion and density turn into a posturban or even postsuburban cityscape? What are edge cities and technoburbs? How has the social composition of cities changed in the postwar era? What do gated communities tell us about social fragmentation? Is public space in(...)
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What does the Western city at the end of the twentieth century look like? How did the modern metropolis of congestion and density turn into a posturban or even postsuburban cityscape? What are edge cities and technoburbs? How has the social composition of cities changed in the postwar era? What do gated communities tell us about social fragmentation? Is public space in(...)
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January 1900, Rotterdam
January 1900, Rotterdam
Title:
The urban condition : space, community, and self in the contemporary metropolis
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What does the Western city at the end of the twentieth century look like? How did the modern metropolis of congestion and density turn into a posturban or even postsuburban cityscape? What are edge cities and technoburbs? How has the social composition of cities changed in the postwar era? What do gated communities tell us about social fragmentation? Is public space in the contemporary city being privatized and militarized? How can the urban self still be defined? What role does consumer aestheticism have to play in this? These and many more questions are addressed by this uniquely conceived multidisciplinary study. "The Urban Condition" seeks to interfere in current debates over the future and interpretation of our urban landscapes by reuniting studies of the city as a physical and material phenomenon and as a cultural and mental (arte)fact. The Ghent Urban Studies Team responsible for the writing and editing of this volume is directed by Kristiaan Versluys and Dirk De Meyer at the University of Ghent, Belgium. It is an interdisciplinary research team of young academics that further consists of Kristiaan Borret, Bart Eeckhout, Steven Jacobs, and Bart Keunen. The collective expertise of GUST ranges from architectural theory, urban planning, and art history to philosophy, literary criticism and cultural theory.
The urban condition : space, community, and self in the contemporary metropolis
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What does the Western city at the end of the twentieth century look like? How did the modern metropolis of congestion and density turn into a posturban or even postsuburban cityscape? What are edge cities and technoburbs? How has the social composition of cities changed in the postwar era? What do gated communities tell us about social fragmentation? Is public space in the contemporary city being privatized and militarized? How can the urban self still be defined? What role does consumer aestheticism have to play in this? These and many more questions are addressed by this uniquely conceived multidisciplinary study. "The Urban Condition" seeks to interfere in current debates over the future and interpretation of our urban landscapes by reuniting studies of the city as a physical and material phenomenon and as a cultural and mental (arte)fact. The Ghent Urban Studies Team responsible for the writing and editing of this volume is directed by Kristiaan Versluys and Dirk De Meyer at the University of Ghent, Belgium. It is an interdisciplinary research team of young academics that further consists of Kristiaan Borret, Bart Eeckhout, Steven Jacobs, and Bart Keunen. The collective expertise of GUST ranges from architectural theory, urban planning, and art history to philosophy, literary criticism and cultural theory.
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books
books
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January 1900, Rotterdam
January 1900, Rotterdam
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books
books
Title:
Gabriel Orozco
Gabriel Orozco
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The work of Gabriel Orozco is an exemplary adventure of ideas and objects. Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the(...)
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The work of Gabriel Orozco is an exemplary adventure of ideas and objects. Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
April 2007, Mexico
April 2007, Mexico
Title:
Gabriel Orozco
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The work of Gabriel Orozco is an exemplary adventure of ideas and objects. Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the artist, and testifies to the range of his investigations, from tiny adjustments in everyday locations (such as breath on a piano or reflections in a puddle) to more recent preoccupations with spherical forms in collage and paint. In an extensive interview with Briony Fer, the artist explains some of the conceptual premises of his art. Benjamin H.D. Buchloh situates Orozco s various sculptural practices within twentieth-century precedents and the climate of postwar consumerism and assesses them as manifestations of a shift in object-subject relations. And Yves-Alain Bois explores Orozco's recent "return" to painting, considering the structural logic of his canvases, in which Orozco deploys self-imposed rules to plot compositions (or "diagrams," as he describes them). With insightful texts and hundreds of illustrations, this big, bold, 360-page book is the definitive work to date on one of the most influential contemporary artists.
Gabriel Orozco
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The work of Gabriel Orozco is an exemplary adventure of ideas and objects. Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the artist, and testifies to the range of his investigations, from tiny adjustments in everyday locations (such as breath on a piano or reflections in a puddle) to more recent preoccupations with spherical forms in collage and paint. In an extensive interview with Briony Fer, the artist explains some of the conceptual premises of his art. Benjamin H.D. Buchloh situates Orozco s various sculptural practices within twentieth-century precedents and the climate of postwar consumerism and assesses them as manifestations of a shift in object-subject relations. And Yves-Alain Bois explores Orozco's recent "return" to painting, considering the structural logic of his canvases, in which Orozco deploys self-imposed rules to plot compositions (or "diagrams," as he describes them). With insightful texts and hundreds of illustrations, this big, bold, 360-page book is the definitive work to date on one of the most influential contemporary artists.
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books
books
Publication:
April 2007, Mexico
April 2007, Mexico
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Notes from an apocalypse
Notes from an apocalypse
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We’re alive in a time of worst-case scenarios: The weather has gone uncanny. Old postwar alliances are crumbling. A pandemic draws our global community to a halt. Everywhere you look there’s an omen, a joke whose punchline is the end of the world. How is a person supposed to live in the shadow of such a grim future? What does it mean to have children—nothing if not an(...)
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We’re alive in a time of worst-case scenarios: The weather has gone uncanny. Old postwar alliances are crumbling. A pandemic draws our global community to a halt. Everywhere you look there’s an omen, a joke whose punchline is the end of the world. How is a person supposed to live in the shadow of such a grim future? What does it mean to have children—nothing if not an(...)
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Notes from an apocalypse
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We’re alive in a time of worst-case scenarios: The weather has gone uncanny. Old postwar alliances are crumbling. A pandemic draws our global community to a halt. Everywhere you look there’s an omen, a joke whose punchline is the end of the world. How is a person supposed to live in the shadow of such a grim future? What does it mean to have children—nothing if not an act of hope—in such unsettled times? What might it be like to live through the worst? And what on Earth is anybody doing about it? Dublin-based writer Mark O’Connell is consumed by these questions—and, as the father of two young children himself, he finds them increasingly urgent. In 'Notes from an Apocalypse', he crosses the globe in pursuit of answers. He tours survival bunkers in South Dakota. He ventures to New Zealand, a favored retreat of billionaires banking on civilization’s collapse. He engages with would-be Mars colonists, preppers, right-wing conspiracists. And he bears witness to those places, like Chernobyl, that the future has already visited—real-life portraits of the end of the world as we know it. In doing so, he comes to a resolution, while offering readers a unique window into our contemporary imagination.
Notes from an apocalypse
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We’re alive in a time of worst-case scenarios: The weather has gone uncanny. Old postwar alliances are crumbling. A pandemic draws our global community to a halt. Everywhere you look there’s an omen, a joke whose punchline is the end of the world. How is a person supposed to live in the shadow of such a grim future? What does it mean to have children—nothing if not an act of hope—in such unsettled times? What might it be like to live through the worst? And what on Earth is anybody doing about it? Dublin-based writer Mark O’Connell is consumed by these questions—and, as the father of two young children himself, he finds them increasingly urgent. In 'Notes from an Apocalypse', he crosses the globe in pursuit of answers. He tours survival bunkers in South Dakota. He ventures to New Zealand, a favored retreat of billionaires banking on civilization’s collapse. He engages with would-be Mars colonists, preppers, right-wing conspiracists. And he bears witness to those places, like Chernobyl, that the future has already visited—real-life portraits of the end of the world as we know it. In doing so, he comes to a resolution, while offering readers a unique window into our contemporary imagination.
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books
books
Publication:
April 2020
April 2020
Subject:
Environment and environmental theory
Environment and environmental theory
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books
books
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his book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward(...)
$34.95
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Summary:
his book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward(...)
Title:
Tough enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil
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his book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward suffering. What Mary McCarthy called a “cold eye” was not merely a personal aversion to displays of emotion: it was an unsentimental mode of attention that dictated both ethical positions and aesthetic approaches. Tough Enough traces the careers of these women and their challenges to the pre-eminence of empathy as the ethical posture from which to examine pain. Their writing and art reveal an adamant belief that the hurts of the world must be treated concretely, directly, and realistically, without recourse to either melodrama or callousness. As Deborah Nelson shows, this stance offers an important counter-tradition to the familiar postwar poles of emotional expressivity on the one hand and cool irony on the other. Ultimately, in its insistence on facing reality without consolation or compensation, this austere “school of the unsentimental” offers new ways to approach suffering in both its spectacular forms and all of its ordinariness.
Tough enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil
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$34.95
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Summary:
his book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward suffering. What Mary McCarthy called a “cold eye” was not merely a personal aversion to displays of emotion: it was an unsentimental mode of attention that dictated both ethical positions and aesthetic approaches. Tough Enough traces the careers of these women and their challenges to the pre-eminence of empathy as the ethical posture from which to examine pain. Their writing and art reveal an adamant belief that the hurts of the world must be treated concretely, directly, and realistically, without recourse to either melodrama or callousness. As Deborah Nelson shows, this stance offers an important counter-tradition to the familiar postwar poles of emotional expressivity on the one hand and cool irony on the other. Ultimately, in its insistence on facing reality without consolation or compensation, this austere “school of the unsentimental” offers new ways to approach suffering in both its spectacular forms and all of its ordinariness.
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books
books
Publication:
April 2017
April 2017
Subject:
Critical Theory
Critical Theory
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books
books
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$33.00
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Summary:
Architecture, we like to believe, is an elevated art form that shapes the world as it pleases. Four Walls and a Roof challenges this notion, presenting a candid account of what it is really like to work as an architect. Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from suburban(...)
$33.00
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Summary:
Architecture, we like to believe, is an elevated art form that shapes the world as it pleases. Four Walls and a Roof challenges this notion, presenting a candid account of what it is really like to work as an architect. Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from suburban(...)
Title:
Four walls and a roof: the complex nature of a simple profession
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Architecture, we like to believe, is an elevated art form that shapes the world as it pleases. Four Walls and a Roof challenges this notion, presenting a candid account of what it is really like to work as an architect. Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from suburban New York to the rubble of northern Iraq, from the corridors of wealth in London, Moscow, and Dubai to garbage-strewn wastelands that represent the demolished hopes of postwar social housing. We meet oligarchs determined to translate ambitions into concrete and steel, developers for whom architecture is mere investment, and the layers of politicians, bureaucrats, consultants, and mysterious hangers-on who lie between any architectural idea and the chance of its execution. Four Walls and a Roof tells the story of a profession buffeted by external forces that determine—at least as much as individual inspiration—what architects design. Perhaps the most important myth debunked is success itself. To achieve anything, architects must serve the powers they strive to critique, finding themselves in a perpetual conflict of interest. Together, architects, developers, politicians, and consultants form an improvised world of contest and compromise that none alone can control.
Four walls and a roof: the complex nature of a simple profession
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Summary:
Architecture, we like to believe, is an elevated art form that shapes the world as it pleases. Four Walls and a Roof challenges this notion, presenting a candid account of what it is really like to work as an architect. Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from suburban New York to the rubble of northern Iraq, from the corridors of wealth in London, Moscow, and Dubai to garbage-strewn wastelands that represent the demolished hopes of postwar social housing. We meet oligarchs determined to translate ambitions into concrete and steel, developers for whom architecture is mere investment, and the layers of politicians, bureaucrats, consultants, and mysterious hangers-on who lie between any architectural idea and the chance of its execution. Four Walls and a Roof tells the story of a profession buffeted by external forces that determine—at least as much as individual inspiration—what architects design. Perhaps the most important myth debunked is success itself. To achieve anything, architects must serve the powers they strive to critique, finding themselves in a perpetual conflict of interest. Together, architects, developers, politicians, and consultants form an improvised world of contest and compromise that none alone can control.
Form:
books
books
Publication:
October 2019
October 2019
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Price:
$90.00
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Summary:
The short-lived Japanese magazine Provoke, founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine's goal was to mirror the complexities of Japanese society and its art world of the(...)
$90.00
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Summary:
The short-lived Japanese magazine Provoke, founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine's goal was to mirror the complexities of Japanese society and its art world of the(...)
Title:
Provoke: between protest and performance. Photography in Japan 1960-1975
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The short-lived Japanese magazine Provoke, founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine's goal was to mirror the complexities of Japanese society and its art world of the 1960s, a decade shaped by the country’s first large-scale student protests. The movement yielded a wave of new books featuring innovative graphic design combined with photography: serialized imagery, gripping text-image combinations, dynamic cropping and the use of provocatively "poor" materials. The writings and images by Provoke's members—critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yakata Takanashi and Daido Moriyama—were suffused with the tactics developed by Japanese protest photographers such as Nobuyoshi Araki, Eikoh Hosoe and Shomei Tomatsu, who pointed at and criticized the mythologies of modern life. Provoke accompanies the first exhibition ever to be held on the magazine and its creators. Illuminating the various uses of photography in Japan at the time, the catalogue focuses on selected projects undertaken between 1960 and 1975 that offer a strongly interpretative account of currents in Japanese art and society at a moment of historical collapse and renewal.
Provoke: between protest and performance. Photography in Japan 1960-1975
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Summary:
The short-lived Japanese magazine Provoke, founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine's goal was to mirror the complexities of Japanese society and its art world of the 1960s, a decade shaped by the country’s first large-scale student protests. The movement yielded a wave of new books featuring innovative graphic design combined with photography: serialized imagery, gripping text-image combinations, dynamic cropping and the use of provocatively "poor" materials. The writings and images by Provoke's members—critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yakata Takanashi and Daido Moriyama—were suffused with the tactics developed by Japanese protest photographers such as Nobuyoshi Araki, Eikoh Hosoe and Shomei Tomatsu, who pointed at and criticized the mythologies of modern life. Provoke accompanies the first exhibition ever to be held on the magazine and its creators. Illuminating the various uses of photography in Japan at the time, the catalogue focuses on selected projects undertaken between 1960 and 1975 that offer a strongly interpretative account of currents in Japanese art and society at a moment of historical collapse and renewal.
Form:
books
books
Publication:
March 2016
March 2016
Subject:
Photography Collections
Photography Collections
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books
books
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$38.95
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical(...)
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical(...)
Title:
Parables for the virtual: movement, affect, sensation
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the postwar French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. Replacing the traditional opposition of literal and figural with distinctions between stasis and motion and between actual and virtual, Massumi tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multifaceted argument. This twentieth anniversary edition includes a new preface in which Massumi situates the book in relation to developments since its publication and outlines the evolution of its main concepts. It also includes two short texts, "Keywords for Affect" and "Missed Conceptions about Affect," in which Massumi explicates his approach to affect in ways that emphasize the book's political and philosophical stakes.
Parables for the virtual: movement, affect, sensation
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the postwar French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. Replacing the traditional opposition of literal and figural with distinctions between stasis and motion and between actual and virtual, Massumi tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multifaceted argument. This twentieth anniversary edition includes a new preface in which Massumi situates the book in relation to developments since its publication and outlines the evolution of its main concepts. It also includes two short texts, "Keywords for Affect" and "Missed Conceptions about Affect," in which Massumi explicates his approach to affect in ways that emphasize the book's political and philosophical stakes.
Form:
books
books
Publication:
September 2021
September 2021
Subject:
Critical Theory
Critical Theory
Form:
books
books
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$28.95
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Summary:
Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural(...)
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Summary:
Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural(...)
Title:
Nature
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural systems both increasingly refined and profound. Advances in biological and telecommunication technology continually modify the way we present ourselves. So too are artistic representations of nature (human and otherwise) being transformed. This anthology addresses these issues by considering how the rise of transdisciplinary practices in the postwar era allowed for new kinds of artistic engagement with nature. These include the postminimalist inscriptions associated with Land art; environmentally engaged practices designed to propose novel forms of stewardship; and more recent projects concerned with relationships between the most subtle and minute components of life and the large-scale appearance of the world. These projects unsettle the most basic operations of “natural” personhood and identity. Including a wide range of writings by and about artists, juxtaposed with influential texts from diverse theoretical bases, this collection provides an overview of the eclectic scientific and philosophical sources that inform contemporary art’s investigations of nature.
Nature
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural systems both increasingly refined and profound. Advances in biological and telecommunication technology continually modify the way we present ourselves. So too are artistic representations of nature (human and otherwise) being transformed. This anthology addresses these issues by considering how the rise of transdisciplinary practices in the postwar era allowed for new kinds of artistic engagement with nature. These include the postminimalist inscriptions associated with Land art; environmentally engaged practices designed to propose novel forms of stewardship; and more recent projects concerned with relationships between the most subtle and minute components of life and the large-scale appearance of the world. These projects unsettle the most basic operations of “natural” personhood and identity. Including a wide range of writings by and about artists, juxtaposed with influential texts from diverse theoretical bases, this collection provides an overview of the eclectic scientific and philosophical sources that inform contemporary art’s investigations of nature.
Form:
books
books
Publication:
March 2012
March 2012
Subject:
Art Theory
Art Theory
Form:
books
books
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$38.00
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Summary:
Garden design in the twentieth century ranges from Victorian-era examples to the age of Land Art. This span results in an extraordinarily varied survey - from Europe to South America, from Japan to the United States - including work by garden and landscape designers whose names are familiar to both lovers and scholars of the modern garden: Robinson, Jekyll, Jensen,(...)
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Garden design in the twentieth century ranges from Victorian-era examples to the age of Land Art. This span results in an extraordinarily varied survey - from Europe to South America, from Japan to the United States - including work by garden and landscape designers whose names are familiar to both lovers and scholars of the modern garden: Robinson, Jekyll, Jensen,(...)
Title:
Modern garden design : innovation since 1900
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Garden design in the twentieth century ranges from Victorian-era examples to the age of Land Art. This span results in an extraordinarily varied survey - from Europe to South America, from Japan to the United States - including work by garden and landscape designers whose names are familiar to both lovers and scholars of the modern garden: Robinson, Jekyll, Jensen, Farrand, Sessions, Mawson, Church, Sørensen, and Jellicoe. Janet Waymark traces the revolutionary changes brought about in the postwar period by the Harvard Rebels - Eckbo, Rose, and Kiley - and examines the impact of Noguchi, Burle Marx, Barragán, and others, as well as the powerful international influence of Scandinavian landscape architects and designers. The garden city is also given close attention, from its beginnings in late Victorian Britain, through the Greenbelt Towns in the American Midwest, to the latest regeneration of urban centres worldwide. A long line of artists and architects of international renown have earned a place in the history of the modern garden: Monet, Le Corbusier, Mondrian, Wright, Mies van der Rohe, and Gaudí, among others. Land artists, such as Michael Heizer, Robert Smithson, Patricia Johanson, and Kathryn Gustafson in America and Richard Long, Andy Goldsworthy, and Ian Hamilton Finlay in the UK, have brought new ways of thinking about landscape and the garden into the twenty-first century.
Modern garden design : innovation since 1900
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Garden design in the twentieth century ranges from Victorian-era examples to the age of Land Art. This span results in an extraordinarily varied survey - from Europe to South America, from Japan to the United States - including work by garden and landscape designers whose names are familiar to both lovers and scholars of the modern garden: Robinson, Jekyll, Jensen, Farrand, Sessions, Mawson, Church, Sørensen, and Jellicoe. Janet Waymark traces the revolutionary changes brought about in the postwar period by the Harvard Rebels - Eckbo, Rose, and Kiley - and examines the impact of Noguchi, Burle Marx, Barragán, and others, as well as the powerful international influence of Scandinavian landscape architects and designers. The garden city is also given close attention, from its beginnings in late Victorian Britain, through the Greenbelt Towns in the American Midwest, to the latest regeneration of urban centres worldwide. A long line of artists and architects of international renown have earned a place in the history of the modern garden: Monet, Le Corbusier, Mondrian, Wright, Mies van der Rohe, and Gaudí, among others. Land artists, such as Michael Heizer, Robert Smithson, Patricia Johanson, and Kathryn Gustafson in America and Richard Long, Andy Goldsworthy, and Ian Hamilton Finlay in the UK, have brought new ways of thinking about landscape and the garden into the twenty-first century.
Form:
books
books
Publication:
January 1900, New York
January 1900, New York
Subject:
Gardens
Gardens
Form:
books
books
Price:
$60.00
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Summary:
In the 1950s, the figure of the arrow had a strange kind of ubiquity in architectural drawings, publications, and advertisements, symbolizing everything from the circulation of cold and warm air in a kitchen fridge to the flow of traffic in assorted New Towns. Twenty-five years earlier there were barely any arrows within architectural publications, and 15 years later they(...)
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Summary:
In the 1950s, the figure of the arrow had a strange kind of ubiquity in architectural drawings, publications, and advertisements, symbolizing everything from the circulation of cold and warm air in a kitchen fridge to the flow of traffic in assorted New Towns. Twenty-five years earlier there were barely any arrows within architectural publications, and 15 years later they(...)
Title:
On arrows: Essays in British architecture and its environments
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Price:
$60.00
(available to order)
Summary:
In the 1950s, the figure of the arrow had a strange kind of ubiquity in architectural drawings, publications, and advertisements, symbolizing everything from the circulation of cold and warm air in a kitchen fridge to the flow of traffic in assorted New Towns. Twenty-five years earlier there were barely any arrows within architectural publications, and 15 years later they had all but disappeared. In ''On Arrows'', Laurent Stalder looks back at the near past to trace the idea of performance in architecture by following this pervasive yet relatively unnoticed figure within the history of British architecture. During its short, intense period of use, the arrow pointed beyond any one singular author, typology, or scale, to the operative dimension of architecture and its environments, working both as an appropriate representational technique and a concrete tool for design. Stalder uses the arrow to move through the different dimensions of performance, mapping out the changing set of constellations that made up postwar British architecture and its environments: the constructive aspects, structural properties, infrastructural innovations, spatial challenges as well as their aesthetic and practical consequences. It is the arrow, he writes, that brings together debates from within different disciplines—from building physics, to sociology, structural design, and historiography, inscribed as they are in the materials, spaces, and buildings that are all too often considered in isolation from one another.
On arrows: Essays in British architecture and its environments
Actions:
Price:
$60.00
(available to order)
Summary:
In the 1950s, the figure of the arrow had a strange kind of ubiquity in architectural drawings, publications, and advertisements, symbolizing everything from the circulation of cold and warm air in a kitchen fridge to the flow of traffic in assorted New Towns. Twenty-five years earlier there were barely any arrows within architectural publications, and 15 years later they had all but disappeared. In ''On Arrows'', Laurent Stalder looks back at the near past to trace the idea of performance in architecture by following this pervasive yet relatively unnoticed figure within the history of British architecture. During its short, intense period of use, the arrow pointed beyond any one singular author, typology, or scale, to the operative dimension of architecture and its environments, working both as an appropriate representational technique and a concrete tool for design. Stalder uses the arrow to move through the different dimensions of performance, mapping out the changing set of constellations that made up postwar British architecture and its environments: the constructive aspects, structural properties, infrastructural innovations, spatial challenges as well as their aesthetic and practical consequences. It is the arrow, he writes, that brings together debates from within different disciplines—from building physics, to sociology, structural design, and historiography, inscribed as they are in the materials, spaces, and buildings that are all too often considered in isolation from one another.
Form:
books
books
Publication:
January 2025
January 2025
Subject:
Architectural Theory
Architectural Theory
