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143 pages : illustrations (some color) ; 25 cm
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143 pages : illustrations (some color) ; 25 cm
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Chicago : The Art Institute of Chicago, [2017]
Chicago : The Art Institute of Chicago, [2017]
Title:
As seen : exhibitions that made architecture and design history / edited by Zoë Ryan ; with contributions by Paola Antonelli, Jan Boelen, Meredith Carruthers, Alison J. Clarke, Penelope Dean, Alison Fisher, Lindsay Garbutt, Karen Kice, Prem Krishnamurthy, Sylvia Lavin, Debbie Millman, Jonathan Olivares, Alice Rawsthorn, Zoë Ryan, and Mirko Zardini.
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143 pages : illustrations (some color) ; 25 cm
As seen : exhibitions that made architecture and design history / edited by Zoë Ryan ; with contributions by Paola Antonelli, Jan Boelen, Meredith Carruthers, Alison J. Clarke, Penelope Dean, Alison Fisher, Lindsay Garbutt, Karen Kice, Prem Krishnamurthy, Sylvia Lavin, Debbie Millman, Jonathan Olivares, Alice Rawsthorn, Zoë Ryan, and Mirko Zardini.
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143 pages : illustrations (some color) ; 25 cm
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books
books
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Chicago : The Art Institute of Chicago, [2017]
Chicago : The Art Institute of Chicago, [2017]
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197 pages : color illustrations, plans ; 29 cm
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197 pages : color illustrations, plans ; 29 cm
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Paris : Editions du Centre Pompidou, 2007.
Paris : Editions du Centre Pompidou, 2007.
Title:
Richard Rogers + architectes : ouvrage publié à l'occasion de l'exposition présentée au centre Pompidou, Galerie Sud, du 21 novembre 2007 au 3 mars 2008 / Centre Pompidou ; [direction d'ouvrage Olivier Cinqualbre].
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197 pages : color illustrations, plans ; 29 cm
Richard Rogers + architectes : ouvrage publié à l'occasion de l'exposition présentée au centre Pompidou, Galerie Sud, du 21 novembre 2007 au 3 mars 2008 / Centre Pompidou ; [direction d'ouvrage Olivier Cinqualbre].
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197 pages : color illustrations, plans ; 29 cm
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books
books
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Paris : Editions du Centre Pompidou, 2007.
Paris : Editions du Centre Pompidou, 2007.
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125 pages : illustrations (some color), portrait, plans ; 17 x 24 cm
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125 pages : illustrations (some color), portrait, plans ; 17 x 24 cm
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[Nantes] : Musées du Château des ducs de Bretagnes, ©2002.
[Nantes] : Musées du Château des ducs de Bretagnes, ©2002.
Title:
Jacques V Gabriel : un architecte du Roi dans les grandes villes de la façade atlantique (1720-1750).
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125 pages : illustrations (some color), portrait, plans ; 17 x 24 cm
Jacques V Gabriel : un architecte du Roi dans les grandes villes de la façade atlantique (1720-1750).
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125 pages : illustrations (some color), portrait, plans ; 17 x 24 cm
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[Nantes] : Musées du Château des ducs de Bretagnes, ©2002.
[Nantes] : Musées du Château des ducs de Bretagnes, ©2002.
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artefacts
artefacts
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1 model : pewter, felt ; 9 x 15 x 5 cm
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1 model : pewter, felt ; 9 x 15 x 5 cm
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([Allentown, Penn.] : InFocusTech, [between 2000 and 2010])
([Allentown, Penn.] : InFocusTech, [between 2000 and 2010])
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Sears Roebuck Building, Chicago, Century of Progress, 1933
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1 model : pewter, felt ; 9 x 15 x 5 cm
Sears Roebuck Building, Chicago, Century of Progress, 1933
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1 model : pewter, felt ; 9 x 15 x 5 cm
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artefacts
artefacts
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([Allentown, Penn.] : InFocusTech, [between 2000 and 2010])
([Allentown, Penn.] : InFocusTech, [between 2000 and 2010])
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$39.95
(available to order)
Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
$39.95
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Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
Publication:
April 2003, Cambridge / London
April 2003, Cambridge / London
Title:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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$39.95
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Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
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books
books
Publication:
April 2003, Cambridge / London
April 2003, Cambridge / London
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
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books
books
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$60.00
(available to order)
Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
$60.00
(available to order)
Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
Publication:
April 2000, Cambridge
April 2000, Cambridge
Title:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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$60.00
(available to order)
Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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Price:
$60.00
(available to order)
Summary:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
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books
books
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April 2000, Cambridge
April 2000, Cambridge
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
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16 pages illustrations
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16 pages illustrations
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Melbourne, A.J. Mullett [1915]
Melbourne, A.J. Mullett [1915]
Title:
Irrigation in Victoria. Information for home seekers.
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16 pages illustrations
Irrigation in Victoria. Information for home seekers.
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16 pages illustrations
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Melbourne, A.J. Mullett [1915]
Melbourne, A.J. Mullett [1915]
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168 pages : illustrations (certaines en couleur) ; 22 cm
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168 pages : illustrations (certaines en couleur) ; 22 cm
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Ottawa : Galerie nationale du Canada, 1982.
Ottawa : Galerie nationale du Canada, 1982.
Title:
Les esthétiques modernes au Québec de 1916 à 1946 / Jean-René Ostiguy.
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168 pages : illustrations (certaines en couleur) ; 22 cm
Les esthétiques modernes au Québec de 1916 à 1946 / Jean-René Ostiguy.
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168 pages : illustrations (certaines en couleur) ; 22 cm
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books
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Ottawa : Galerie nationale du Canada, 1982.
Ottawa : Galerie nationale du Canada, 1982.
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463, [1] pages frontispiece, folded map, plans 25 cm
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463, [1] pages frontispiece, folded map, plans 25 cm
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Toronto, Printed by J. Lovell, 1856.
Toronto, Printed by J. Lovell, 1856.
Title:
Canada at the Universal exhibition of 1855. Printed by order of the Legislative assembly.
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463, [1] pages frontispiece, folded map, plans 25 cm
Canada at the Universal exhibition of 1855. Printed by order of the Legislative assembly.
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463, [1] pages frontispiece, folded map, plans 25 cm
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books
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Toronto, Printed by J. Lovell, 1856.
Toronto, Printed by J. Lovell, 1856.
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books
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Title:
Amtlicher bericht über die Weltausstellung in Saint Louis 1904. Erstattet vom Reichskommissar.
Amtlicher bericht über die Weltausstellung in Saint Louis 1904. Erstattet vom Reichskommissar.
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viii, 171, iv, 577 pages plates (some color, some folded), folded color plan 32 cm
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viii, 171, iv, 577 pages plates (some color, some folded), folded color plan 32 cm
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Berlin, Gedruckt in der Reichsdruckerei, 1906.
Berlin, Gedruckt in der Reichsdruckerei, 1906.
Title:
Amtlicher bericht über die Weltausstellung in Saint Louis 1904. Erstattet vom Reichskommissar.
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viii, 171, iv, 577 pages plates (some color, some folded), folded color plan 32 cm
Amtlicher bericht über die Weltausstellung in Saint Louis 1904. Erstattet vom Reichskommissar.
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viii, 171, iv, 577 pages plates (some color, some folded), folded color plan 32 cm
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books
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Berlin, Gedruckt in der Reichsdruckerei, 1906.
Berlin, Gedruckt in der Reichsdruckerei, 1906.
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