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$22.95
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À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d’un «double» de Paris, une fausse ville destinée à leurrer d’éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du(...)
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À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d’un «double» de Paris, une fausse ville destinée à leurrer d’éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du(...)
Title:
Paris est un leurre : la véritable histoire du faux Paris
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À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d’un «double» de Paris, une fausse ville destinée à leurrer d’éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du paysage parisien : un bras de Seine, la place de l’Étoile et celle de l’Opéra, les grands boulevards. Certaines cibles que les aviateurs auraient cherché à repérer, comme les gares, devaient également être reproduites. Conçu à une époque où les aviateurs naviguaient sans radar et pouvaient être trompés, de nuit, par de fausse illuminations, ce projet n’a pas fait la preuve de son efficacité.
Paris est un leurre : la véritable histoire du faux Paris
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À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d’un «double» de Paris, une fausse ville destinée à leurrer d’éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du paysage parisien : un bras de Seine, la place de l’Étoile et celle de l’Opéra, les grands boulevards. Certaines cibles que les aviateurs auraient cherché à repérer, comme les gares, devaient également être reproduites. Conçu à une époque où les aviateurs naviguaient sans radar et pouvaient être trompés, de nuit, par de fausse illuminations, ce projet n’a pas fait la preuve de son efficacité.
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books
books
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December 2012
December 2012
Subject:
Urban Theory
Urban Theory
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books
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679 pages : illustrations (some color), color maps, plans, portraits ; 28 cm
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679 pages : illustrations (some color), color maps, plans, portraits ; 28 cm
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Zagreb : Leykam International : Muzej za umjetnost i obrt, 2013.
Zagreb : Leykam International : Muzej za umjetnost i obrt, 2013.
Title:
Arhitekt Herman Bollé / Dragan Damjanović.
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679 pages : illustrations (some color), color maps, plans, portraits ; 28 cm
Arhitekt Herman Bollé / Dragan Damjanović.
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679 pages : illustrations (some color), color maps, plans, portraits ; 28 cm
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books
books
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Zagreb : Leykam International : Muzej za umjetnost i obrt, 2013.
Zagreb : Leykam International : Muzej za umjetnost i obrt, 2013.
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books
books
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$88.00
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The Distant Early Warning Line, also known as the DEW Line, was a system of radar stations in the northern Arctic region of Canada, with additional stations along the north coast and Aleutian Islands of Alaska and the Faroe Islands, Greenland, and Iceland. It intended to detect incoming bombers of the Soviet Union during the Cold War and provide early warning of any sea(...)
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The Distant Early Warning Line, also known as the DEW Line, was a system of radar stations in the northern Arctic region of Canada, with additional stations along the north coast and Aleutian Islands of Alaska and the Faroe Islands, Greenland, and Iceland. It intended to detect incoming bombers of the Soviet Union during the Cold War and provide early warning of any sea(...)
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Early warning systems: Art, the DEW line, and an arctic on the front lines
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The Distant Early Warning Line, also known as the DEW Line, was a system of radar stations in the northern Arctic region of Canada, with additional stations along the north coast and Aleutian Islands of Alaska and the Faroe Islands, Greenland, and Iceland. It intended to detect incoming bombers of the Soviet Union during the Cold War and provide early warning of any sea and land invasion. Today, the Arctic is seen as a place primed for data storage and vaults––doomsday structures with a utilitarian vernacular of architecture, protecting the "knowledge" of places further south rather than recognizing the local presence and expertise of place and Indigenous lifeways and Indigenous science. This book looks at the role of artists as early warning systems and explores the ways we connect and disconnect place and people through technology and the ideas of boundaries.
Early warning systems: Art, the DEW line, and an arctic on the front lines
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$88.00
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The Distant Early Warning Line, also known as the DEW Line, was a system of radar stations in the northern Arctic region of Canada, with additional stations along the north coast and Aleutian Islands of Alaska and the Faroe Islands, Greenland, and Iceland. It intended to detect incoming bombers of the Soviet Union during the Cold War and provide early warning of any sea and land invasion. Today, the Arctic is seen as a place primed for data storage and vaults––doomsday structures with a utilitarian vernacular of architecture, protecting the "knowledge" of places further south rather than recognizing the local presence and expertise of place and Indigenous lifeways and Indigenous science. This book looks at the role of artists as early warning systems and explores the ways we connect and disconnect place and people through technology and the ideas of boundaries.
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books
books
Publication:
April 2025
April 2025
Subject:
Art Theory
Art Theory
Form:
books
books
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$14.95
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Summary:
À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d'un « double » de Paris, une fausse ville destinée à leurrer d'éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du(...)
$14.95
(available in store)
Summary:
À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d'un « double » de Paris, une fausse ville destinée à leurrer d'éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du(...)
Title:
Paris est un leurre : la véritable histoire du faux Paris (n. é.)
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$14.95
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À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d'un « double » de Paris, une fausse ville destinée à leurrer d'éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du paysage parisien : un bras de Seine, la place de l'Étoile et celle de l'Opéra, les Grands Boulevards. Certaines cibles que les aviateurs auraient cherché à repérer, comme les gares, devaient également être reproduites. Conçu à une époque où les aviateurs naviguaient sans radar et pouvaient être trompés, de nuit, par de fausses illuminations, ce projet n'a pas fait la preuve de son efficacité... Xavier Boissel dévoile les détails de cette ville-leurre dans un texte fourmillant et littéraire, agrémenté de documents d'époque inédits.
Paris est un leurre : la véritable histoire du faux Paris (n. é.)
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$14.95
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Summary:
À la fin de la première guerre mondiale, le gouvernement français a planifié la construction d'un « double » de Paris, une fausse ville destinée à leurrer d'éventuels pilotes allemands en route pour bombarder la capitale. La fausse ville, dont la construction était prévue près de Maisons-Laffitte, au nord-ouest de la capitale, reproduisait certains éléments marquants du paysage parisien : un bras de Seine, la place de l'Étoile et celle de l'Opéra, les Grands Boulevards. Certaines cibles que les aviateurs auraient cherché à repérer, comme les gares, devaient également être reproduites. Conçu à une époque où les aviateurs naviguaient sans radar et pouvaient être trompés, de nuit, par de fausses illuminations, ce projet n'a pas fait la preuve de son efficacité... Xavier Boissel dévoile les détails de cette ville-leurre dans un texte fourmillant et littéraire, agrémenté de documents d'époque inédits.
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books
books
Publication:
October 2017
October 2017
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
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books
books
Title:
Julie Snow Architects
Julie Snow Architects
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$55.95
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It's an unfortunate reality that architects practicing in the great expanse between the East and West coasts all too often find themselves beyond the radar of the profession's so-called "tastemakers." And it's especially a shame in the case of Julie Snow, a Minneapolis-based architect who has, over the past decade, developed one of the most inventive practices anywhere in(...)
$55.95
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Summary:
It's an unfortunate reality that architects practicing in the great expanse between the East and West coasts all too often find themselves beyond the radar of the profession's so-called "tastemakers." And it's especially a shame in the case of Julie Snow, a Minneapolis-based architect who has, over the past decade, developed one of the most inventive practices anywhere in(...)
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Julie Snow Architects
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$55.95
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It's an unfortunate reality that architects practicing in the great expanse between the East and West coasts all too often find themselves beyond the radar of the profession's so-called "tastemakers." And it's especially a shame in the case of Julie Snow, a Minneapolis-based architect who has, over the past decade, developed one of the most inventive practices anywhere in the United States. Snow's meticulously constructed work has the structural opacity and formal integrity that characterized Mies van der Rohe's architecture, but with a sense of humanity and a sensitivity to the environment that seems borrowed from her Midwestern progenitor, Frank Lloyd Wright. This, the first monograph on Snow's work, provides in depth documentation of 14 of her residential, institutional, corporate, and public projects, including the Koehler Residence in New Brunswick, Canada, a series of Minneapolis Light Rail Stations, the Minnesota Children's Museum, and the University of South Dakota School of Business.
Julie Snow Architects
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$55.95
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Summary:
It's an unfortunate reality that architects practicing in the great expanse between the East and West coasts all too often find themselves beyond the radar of the profession's so-called "tastemakers." And it's especially a shame in the case of Julie Snow, a Minneapolis-based architect who has, over the past decade, developed one of the most inventive practices anywhere in the United States. Snow's meticulously constructed work has the structural opacity and formal integrity that characterized Mies van der Rohe's architecture, but with a sense of humanity and a sensitivity to the environment that seems borrowed from her Midwestern progenitor, Frank Lloyd Wright. This, the first monograph on Snow's work, provides in depth documentation of 14 of her residential, institutional, corporate, and public projects, including the Koehler Residence in New Brunswick, Canada, a series of Minneapolis Light Rail Stations, the Minnesota Children's Museum, and the University of South Dakota School of Business.
Form:
books
books
Publication:
January 2005, New York
January 2005, New York
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$16.00
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''Raum'' simply affirms an undefined 'space' and with this work for Angle the Japanese photographer Hayahisa Tomiyasu selects a tiny slice of the richness of public space. An observation of a lizard basking in the sun on a summer’s day in Zürich has led to a photographic sequence in black and white – in portrait as well as landscape format. The demarcation of the(...)
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''Raum'' simply affirms an undefined 'space' and with this work for Angle the Japanese photographer Hayahisa Tomiyasu selects a tiny slice of the richness of public space. An observation of a lizard basking in the sun on a summer’s day in Zürich has led to a photographic sequence in black and white – in portrait as well as landscape format. The demarcation of the(...)
Title:
Angle 26° : Hayahisa Tomiyasu, Raum
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''Raum'' simply affirms an undefined 'space' and with this work for Angle the Japanese photographer Hayahisa Tomiyasu selects a tiny slice of the richness of public space. An observation of a lizard basking in the sun on a summer’s day in Zürich has led to a photographic sequence in black and white – in portrait as well as landscape format. The demarcation of the photographic space – the extremely limited detail – is consistently kept low, around ground level. Through the sequential and the serial, with a point of departure in the close surroundings, Tomiyasu is preoccupied with new views of various territories in the shared space where we are separated from others’ invisible boundaries. Here the animals are subject to an alternative, instinct-driven logic. But humans too operate with distance, marking and ownership. An urge for invisibility and camouflage can appear on the radar at any time, and make us want to scuttle away like a lizard.
Angle 26° : Hayahisa Tomiyasu, Raum
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''Raum'' simply affirms an undefined 'space' and with this work for Angle the Japanese photographer Hayahisa Tomiyasu selects a tiny slice of the richness of public space. An observation of a lizard basking in the sun on a summer’s day in Zürich has led to a photographic sequence in black and white – in portrait as well as landscape format. The demarcation of the photographic space – the extremely limited detail – is consistently kept low, around ground level. Through the sequential and the serial, with a point of departure in the close surroundings, Tomiyasu is preoccupied with new views of various territories in the shared space where we are separated from others’ invisible boundaries. Here the animals are subject to an alternative, instinct-driven logic. But humans too operate with distance, marking and ownership. An urge for invisibility and camouflage can appear on the radar at any time, and make us want to scuttle away like a lizard.
Form:
books
books
Publication:
October 2023
October 2023
Subject:
Photography monographs
Photography monographs
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books
books
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41 s. : barev. il., plány ; 22 cm
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41 s. : barev. il., plány ; 22 cm
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V Praze : ČVUT, 2012.
V Praze : ČVUT, 2012.
Title:
Nová letní scéna v Českém Krumlově : studentská architektonická soutěž Praha - únor 2012 / [editoři Václav Girsa, Vladimír Soukenka].
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41 s. : barev. il., plány ; 22 cm
Nová letní scéna v Českém Krumlově : studentská architektonická soutěž Praha - únor 2012 / [editoři Václav Girsa, Vladimír Soukenka].
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41 s. : barev. il., plány ; 22 cm
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books
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V Praze : ČVUT, 2012.
V Praze : ČVUT, 2012.
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archives
archives
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approximately 9 items : illustrations, maps, plans
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approximately 9 items : illustrations, maps, plans
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Ecopolis "Antichernobyl-XXI" (Concordia) : competition documents, 1992-1993.
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approximately 9 items : illustrations, maps, plans
Ecopolis "Antichernobyl-XXI" (Concordia) : competition documents, 1992-1993.
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approximately 9 items : illustrations, maps, plans
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archives
archives
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15 pages : color illustrations ; 30 cm
Description:
15 pages : color illustrations ; 30 cm
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[Place of publication not identified] : [publisher not identified], [2006?]
[Place of publication not identified] : [publisher not identified], [2006?]
Title:
Kościoły drewniane na Słowacji / [red. nacz. Bendrich Schreiber ; rada red. Slivia Šuleková Kolláriková [and others] ; tłum. Grażyna Lašček].
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15 pages : color illustrations ; 30 cm
Kościoły drewniane na Słowacji / [red. nacz. Bendrich Schreiber ; rada red. Slivia Šuleková Kolláriková [and others] ; tłum. Grażyna Lašček].
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15 pages : color illustrations ; 30 cm
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books
books
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[Place of publication not identified] : [publisher not identified], [2006?]
[Place of publication not identified] : [publisher not identified], [2006?]
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books
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$40.00
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Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his(...)
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Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his(...)
Title:
Wim Wenders : places, strange and quiet
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Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards express a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetical captions, some of which elucidate what is depicted, others of which lightly supplement with an anecdote (one characteristically deadpan caption accompanies an image of a cowboy clown standing at a rodeo: “It is amazing how many different ideas of 'fun' co-exist in this world” ). This publication gathers photographs from 1983 to 2011 in a full panorama of Wenders' photography to date.
Wim Wenders : places, strange and quiet
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Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards express a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetical captions, some of which elucidate what is depicted, others of which lightly supplement with an anecdote (one characteristically deadpan caption accompanies an image of a cowboy clown standing at a rodeo: “It is amazing how many different ideas of 'fun' co-exist in this world” ). This publication gathers photographs from 1983 to 2011 in a full panorama of Wenders' photography to date.
Form:
books
books
Publication:
July 2011
July 2011
Subject:
Photography monographs
Photography monographs
