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Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work - at once conceptual art, typological study, and topological documentation - has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff,(...)
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Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work - at once conceptual art, typological study, and topological documentation - has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff,(...)
Subject:
Photography monographs
Photography monographs
Publication:
November 2006, Cambridge (MA), London
November 2006, Cambridge (MA), London
Title:
Bernd and Hiller Becher : life and work
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Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work - at once conceptual art, typological study, and topological documentation - has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. This compelling, exhaustively documented biography describes the Bechers' life and work and offers a critical assessment of their place in the history of photography. Becher scholar Susanne Lange, granted access to the photographers' archives and quoting extensively from interviews with them, writes the first sustained analysis and biography of the Bechers' extraordinary partnership. She discusses, among other topics, both the functionalist and aesthetic dimensions of the Bechers' subject matter, their typologizing (which she finds reminiscent of nineteenth-century naturalists' classificatory schemes), and the anonymous industrial building style favored by German architects. She argues that industrial building types impose themselves on our consciousness as the cathedral did on that of the Middle Ages, and that the Bechers' photographs -which seem at first glance only to record a vanishing landscape - serve to examine this shaping of our perceptions. Their work provides us with a rare opportunity to see how we see.
Bernd and Hiller Becher : life and work
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Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work - at once conceptual art, typological study, and topological documentation - has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. This compelling, exhaustively documented biography describes the Bechers' life and work and offers a critical assessment of their place in the history of photography. Becher scholar Susanne Lange, granted access to the photographers' archives and quoting extensively from interviews with them, writes the first sustained analysis and biography of the Bechers' extraordinary partnership. She discusses, among other topics, both the functionalist and aesthetic dimensions of the Bechers' subject matter, their typologizing (which she finds reminiscent of nineteenth-century naturalists' classificatory schemes), and the anonymous industrial building style favored by German architects. She argues that industrial building types impose themselves on our consciousness as the cathedral did on that of the Middle Ages, and that the Bechers' photographs -which seem at first glance only to record a vanishing landscape - serve to examine this shaping of our perceptions. Their work provides us with a rare opportunity to see how we see.
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books
books
Publication:
November 2006, Cambridge (MA), London
November 2006, Cambridge (MA), London
Subject:
Photography monographs
Photography monographs
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books
books
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$56.95
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Film noir remains one of the most enduring legacies of 1940's and 1950's Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity, particularly the urban(...)
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Film noir remains one of the most enduring legacies of 1940's and 1950's Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity, particularly the urban(...)
Subject:
Commercial interiors, Building types
Commercial interiors, Building types
Publication:
April 2004, Cambridge, Mass.
April 2004, Cambridge, Mass.
Title:
Film noir and the spaces of modernity
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Film noir remains one of the most enduring legacies of 1940's and 1950's Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity, particularly the urban landscape. The originality of Dimendberg's approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. He convincingly shows that Hollywood's dark thrillers of the postwar decades were determined by the same forces that shaped the city itself. Exploring classic examples of film noir such as "The Asphalt Jungle", "Double Indemnity", "Kiss Me Deadly", and "The Naked City" alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture - and will captivate admirers of a vital period in American cinema.
Film noir and the spaces of modernity
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Film noir remains one of the most enduring legacies of 1940's and 1950's Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity, particularly the urban landscape. The originality of Dimendberg's approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. He convincingly shows that Hollywood's dark thrillers of the postwar decades were determined by the same forces that shaped the city itself. Exploring classic examples of film noir such as "The Asphalt Jungle", "Double Indemnity", "Kiss Me Deadly", and "The Naked City" alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture - and will captivate admirers of a vital period in American cinema.
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books
books
Publication:
April 2004, Cambridge, Mass.
April 2004, Cambridge, Mass.
Subject:
Commercial interiors, Building types
Commercial interiors, Building types
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books
books
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$34.95
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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(...)
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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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$54.50
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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(...)
$54.50
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Summary:
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(...)
Publication:
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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$54.50
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Summary:
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
Publication:
January 1900, Rotterdam
January 1900, Rotterdam
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books
books
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$29.95
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There are all kinds of indications that architecture in the nineties has set off in a new direction after the domination of the two last decades by postmodernism as a style or attitude. This trend, which can be seen in the work of architectural firms like OMA, Jean Nouvel, Dominique Perrault, Herzog & De Meuron and Toyo Ito, can be connected with one of the dominant(...)
$29.95
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There are all kinds of indications that architecture in the nineties has set off in a new direction after the domination of the two last decades by postmodernism as a style or attitude. This trend, which can be seen in the work of architectural firms like OMA, Jean Nouvel, Dominique Perrault, Herzog & De Meuron and Toyo Ito, can be connected with one of the dominant(...)
Title:
Supermodernism : architecture in the age of globalization / enlarged edition
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There are all kinds of indications that architecture in the nineties has set off in a new direction after the domination of the two last decades by postmodernism as a style or attitude. This trend, which can be seen in the work of architectural firms like OMA, Jean Nouvel, Dominique Perrault, Herzog & De Meuron and Toyo Ito, can be connected with one of the dominant forces of the present time: the globalization that is taking place in virtually every field. One of the consequences for architecture is the erosion of the postmodern (and deconstructivist) axiom of the uniqueness of the site. The context, let alone contextualism, no longer seems to play an important role in an increasing number of designs and buildings. Semiotic expressiveness - another postmodern theme - is also often lacking in this architecture. The author explores this new trend towards abstract, neutral architecture, which in various respects can be seen as the last word of modern architecture of the postwar International Style. This enlarged edition of "Supermodernism" includes a new final chapter in which Ibelings charts the latest examples of supermodernism, as well as a revised introduction and conclusion in which he responds to the numerous reactions his provocative stance has triggered.
Supermodernism : architecture in the age of globalization / enlarged edition
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There are all kinds of indications that architecture in the nineties has set off in a new direction after the domination of the two last decades by postmodernism as a style or attitude. This trend, which can be seen in the work of architectural firms like OMA, Jean Nouvel, Dominique Perrault, Herzog & De Meuron and Toyo Ito, can be connected with one of the dominant forces of the present time: the globalization that is taking place in virtually every field. One of the consequences for architecture is the erosion of the postmodern (and deconstructivist) axiom of the uniqueness of the site. The context, let alone contextualism, no longer seems to play an important role in an increasing number of designs and buildings. Semiotic expressiveness - another postmodern theme - is also often lacking in this architecture. The author explores this new trend towards abstract, neutral architecture, which in various respects can be seen as the last word of modern architecture of the postwar International Style. This enlarged edition of "Supermodernism" includes a new final chapter in which Ibelings charts the latest examples of supermodernism, as well as a revised introduction and conclusion in which he responds to the numerous reactions his provocative stance has triggered.
Form:
books
books
Publication:
January 1900, Rotterdam
January 1900, Rotterdam
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
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books
books
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$90.00
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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(...)
$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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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
Form:
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(...)
Title:
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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$36.95
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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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$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
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books
books
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$77.00
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Established by Riek Bakker and Ank Bleeker in 1977, the Bakker & Bleeker Bureau has functioned as a laboratory for the landscape design and urban planning community. Operating as Bureau B+B since 1990, the office has always taken an interdisciplinary approach, employing not just landscape architects and urban planners but also land development experts, architects and(...)
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Established by Riek Bakker and Ank Bleeker in 1977, the Bakker & Bleeker Bureau has functioned as a laboratory for the landscape design and urban planning community. Operating as Bureau B+B since 1990, the office has always taken an interdisciplinary approach, employing not just landscape architects and urban planners but also land development experts, architects and(...)
Title:
Bureau B+B : urbanism and landscape architecture, collective genius 1977-2010
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Established by Riek Bakker and Ank Bleeker in 1977, the Bakker & Bleeker Bureau has functioned as a laboratory for the landscape design and urban planning community. Operating as Bureau B+B since 1990, the office has always taken an interdisciplinary approach, employing not just landscape architects and urban planners but also land development experts, architects and industrial designers. It has served as an incubator for some of the Netherlands' leading creative professionals : Winy Maas, Adriaan Geuze, Michael van Gessel, West 8, Karres en Brands and Rietveld Landscape, amog others. The development of Bureau B+B coincides with the emancipation of Dutch postwar landscape architecture and urbanism; self-assured and autonomous, the Bureau soon ranked among the world’s foremost urban institutes, thanks among other things to its design for the Parc de la Villette in Paris (1982), a commission won ex aequo with designers such as Rem Koolhaas and Bernard Tschumi. The bureau has always been interdisciplinary, employing landscape architects, urban planners, architects, land development experts and industrial designers. This publication presents a generous selection from its 1,500 projects, including the Dutch Pavilion for the World Expo 2000 in Hanover, the Waldpark in Potsdam and the Wollefoppenpark in Rotterdam. The book features essays on the Bureau's practice over three decades, focusing on its core qualities of analytical craftsmanship and experimental rigor.
Bureau B+B : urbanism and landscape architecture, collective genius 1977-2010
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$77.00
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Summary:
Established by Riek Bakker and Ank Bleeker in 1977, the Bakker & Bleeker Bureau has functioned as a laboratory for the landscape design and urban planning community. Operating as Bureau B+B since 1990, the office has always taken an interdisciplinary approach, employing not just landscape architects and urban planners but also land development experts, architects and industrial designers. It has served as an incubator for some of the Netherlands' leading creative professionals : Winy Maas, Adriaan Geuze, Michael van Gessel, West 8, Karres en Brands and Rietveld Landscape, amog others. The development of Bureau B+B coincides with the emancipation of Dutch postwar landscape architecture and urbanism; self-assured and autonomous, the Bureau soon ranked among the world’s foremost urban institutes, thanks among other things to its design for the Parc de la Villette in Paris (1982), a commission won ex aequo with designers such as Rem Koolhaas and Bernard Tschumi. The bureau has always been interdisciplinary, employing landscape architects, urban planners, architects, land development experts and industrial designers. This publication presents a generous selection from its 1,500 projects, including the Dutch Pavilion for the World Expo 2000 in Hanover, the Waldpark in Potsdam and the Wollefoppenpark in Rotterdam. The book features essays on the Bureau's practice over three decades, focusing on its core qualities of analytical craftsmanship and experimental rigor.
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books
books
Publication:
February 2011
February 2011
Subject:
Architecture Monographs
Architecture Monographs
Form:
books
books
Actions:
Price:
$34.95
(available to order)
Summary:
From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
$34.95
(available to order)
Summary:
From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
Publication:
October 2007, Syracuse
October 2007, Syracuse
Title:
The end of innocence : The 1964-1965 New York world's fair
Actions:
Price:
$34.95
(available to order)
Summary:
From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
The end of innocence : The 1964-1965 New York world's fair
Actions:
Price:
$34.95
(available to order)
Summary:
From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
Form:
books
books
Publication:
October 2007, Syracuse
October 2007, Syracuse
