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The world's growing vulnerability to planet-sized risks invites action on a global scale. The World as an Architectural Project shows how for more than a century architects have imagined the future of the planet through world-scale projects. With fifty speculative projects by Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Saverio Muratori, Takis Zenetos,(...)
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The world's growing vulnerability to planet-sized risks invites action on a global scale. The World as an Architectural Project shows how for more than a century architects have imagined the future of the planet through world-scale projects. With fifty speculative projects by Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Saverio Muratori, Takis Zenetos,(...)
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The world as an architectural project
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The world's growing vulnerability to planet-sized risks invites action on a global scale. The World as an Architectural Project shows how for more than a century architects have imagined the future of the planet through world-scale projects. With fifty speculative projects by Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Saverio Muratori, Takis Zenetos, Sergio Bernardes, Juan Navarro Baldeweg, Luc Deleu, and many others, documented in text and images, this ambitious and wide-ranging book is the first compilation of its kind. Interestingly, architects begin to address the world as a project long before the advent of contemporary globalism and its assorted anxieties. The Spanish urban theorist and entrepreneur Arturo Soria y Mata, for example, in 1882 envisions a system that connects the entire planet in a linear urban network. In 1927, Buckminster Fuller's “World Town Plan—4D Tower” proposes to solve global housing problems with mobile structures delivered and installed by a Zeppelin. And Joyce Hsiang and Bimal Mendis visualize the conditions of a worldwide “City of Seven Billion” in a 2015–2019 project. Rather than indulging the cliché of the megalomaniac architect, this volume presents a discipline reflecting on its own responsibilities.
The world as an architectural project
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The world's growing vulnerability to planet-sized risks invites action on a global scale. The World as an Architectural Project shows how for more than a century architects have imagined the future of the planet through world-scale projects. With fifty speculative projects by Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Saverio Muratori, Takis Zenetos, Sergio Bernardes, Juan Navarro Baldeweg, Luc Deleu, and many others, documented in text and images, this ambitious and wide-ranging book is the first compilation of its kind. Interestingly, architects begin to address the world as a project long before the advent of contemporary globalism and its assorted anxieties. The Spanish urban theorist and entrepreneur Arturo Soria y Mata, for example, in 1882 envisions a system that connects the entire planet in a linear urban network. In 1927, Buckminster Fuller's “World Town Plan—4D Tower” proposes to solve global housing problems with mobile structures delivered and installed by a Zeppelin. And Joyce Hsiang and Bimal Mendis visualize the conditions of a worldwide “City of Seven Billion” in a 2015–2019 project. Rather than indulging the cliché of the megalomaniac architect, this volume presents a discipline reflecting on its own responsibilities.
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books
books
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April 2020
April 2020
Subject:
Architectural Theory
Architectural Theory
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books
books
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Book of ruins
Book of ruins
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''Book of ruins'' offers a survey – not encyclopedic, but substantial – of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when(...)
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''Book of ruins'' offers a survey – not encyclopedic, but substantial – of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when(...)
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Architectural Theory
Architectural Theory
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September 2022
September 2022
Title:
Book of ruins
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''Book of ruins'' offers a survey – not encyclopedic, but substantial – of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when viewing the destruction of Carthage) to present times (the ruins of a modern city, portrayed in the film ''Requiem for Detroit''), it provides a perspective upon what the past has meant to different cultures at different times. Following an introductory essay, the book includes 70 entries, chronologically ordered, each including an indicative image (or two), an introductory commentary by the authors, and the text itself. The texts come from designers (from Bernini through Piranesi to David Chipperfield) as well as other artists (John Piper), and from literary figures (Goethe, Wordsworth, Byron and Shelley, Hugo, and Hardy). It concludes by discussing what we do with ruins by way of preservation, conservation, adaptive reuse and appropriation, and contemporary loss and ruin, as illustrated by 9/11 and the Neues Museum and highlighting the continuing relevance of the ruin.
Book of ruins
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''Book of ruins'' offers a survey – not encyclopedic, but substantial – of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when viewing the destruction of Carthage) to present times (the ruins of a modern city, portrayed in the film ''Requiem for Detroit''), it provides a perspective upon what the past has meant to different cultures at different times. Following an introductory essay, the book includes 70 entries, chronologically ordered, each including an indicative image (or two), an introductory commentary by the authors, and the text itself. The texts come from designers (from Bernini through Piranesi to David Chipperfield) as well as other artists (John Piper), and from literary figures (Goethe, Wordsworth, Byron and Shelley, Hugo, and Hardy). It concludes by discussing what we do with ruins by way of preservation, conservation, adaptive reuse and appropriation, and contemporary loss and ruin, as illustrated by 9/11 and the Neues Museum and highlighting the continuing relevance of the ruin.
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books
books
Publication:
September 2022
September 2022
Subject:
Architectural Theory
Architectural Theory
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books
books
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Do Glaciers Listen? explores the conflicting depictions of glaciers to show how natural and cultural histories are objectively entangled in the Mount Saint Elias ranges. This rugged area, where Alaska, British Columbia, and the Yukon Territory now meet, underwent significant geophysical change in the late eighteenth and nineteenth centuries, which coincided with dramatic(...)
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Do Glaciers Listen? explores the conflicting depictions of glaciers to show how natural and cultural histories are objectively entangled in the Mount Saint Elias ranges. This rugged area, where Alaska, British Columbia, and the Yukon Territory now meet, underwent significant geophysical change in the late eighteenth and nineteenth centuries, which coincided with dramatic(...)
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Do glaciers listen? Local knowledge, colonial encounters, and social imagination
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Do Glaciers Listen? explores the conflicting depictions of glaciers to show how natural and cultural histories are objectively entangled in the Mount Saint Elias ranges. This rugged area, where Alaska, British Columbia, and the Yukon Territory now meet, underwent significant geophysical change in the late eighteenth and nineteenth centuries, which coincided with dramatic social upheaval resulting from European exploration and increased travel and trade among Aboriginal peoples. European visitors brought with them varying conceptions of nature as sublime, as spiritual, or as a resource for human progress. They saw glaciers as inanimate, subject to empirical investigation and measurement. Aboriginal oral histories, conversely, described glaciers as sentient, animate, and quick to respond to human behaviour. In each case, however, the experiences and ideas surrounding glaciers were incorporated into interpretations of social relations. Focusing on these contrasting views during the late stages of the Little Ice Age (1550-1900), Cruikshank demonstrates how local knowledge is produced, rather than discovered, through colonial encounters, and how it often conjoins social and biophysical processes. She then traces how the divergent views weave through contemporary debates about cultural meanings as well as current discussions about protected areas, parks, and the new World Heritage site.
Do glaciers listen? Local knowledge, colonial encounters, and social imagination
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$34.95
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Summary:
Do Glaciers Listen? explores the conflicting depictions of glaciers to show how natural and cultural histories are objectively entangled in the Mount Saint Elias ranges. This rugged area, where Alaska, British Columbia, and the Yukon Territory now meet, underwent significant geophysical change in the late eighteenth and nineteenth centuries, which coincided with dramatic social upheaval resulting from European exploration and increased travel and trade among Aboriginal peoples. European visitors brought with them varying conceptions of nature as sublime, as spiritual, or as a resource for human progress. They saw glaciers as inanimate, subject to empirical investigation and measurement. Aboriginal oral histories, conversely, described glaciers as sentient, animate, and quick to respond to human behaviour. In each case, however, the experiences and ideas surrounding glaciers were incorporated into interpretations of social relations. Focusing on these contrasting views during the late stages of the Little Ice Age (1550-1900), Cruikshank demonstrates how local knowledge is produced, rather than discovered, through colonial encounters, and how it often conjoins social and biophysical processes. She then traces how the divergent views weave through contemporary debates about cultural meanings as well as current discussions about protected areas, parks, and the new World Heritage site.
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books
books
Publication:
April 2006
April 2006
Subject:
Architectural Theory
Architectural Theory
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books
books
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$56.95
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Utopia tends to generate a bad press - regarded as impracticable, perhaps nostalgic, or contradictory when visions of a perfect world cannot accommodate the change that is necessary to a free and self-organizing society. But people from diverse backgrounds are currently building a new society within the old, balancing literal and metaphorical utopianism, and demonstrating(...)
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Utopia tends to generate a bad press - regarded as impracticable, perhaps nostalgic, or contradictory when visions of a perfect world cannot accommodate the change that is necessary to a free and self-organizing society. But people from diverse backgrounds are currently building a new society within the old, balancing literal and metaphorical utopianism, and demonstrating(...)
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Urban utopias : the built and social architectures of alternative settlements
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Utopia tends to generate a bad press - regarded as impracticable, perhaps nostalgic, or contradictory when visions of a perfect world cannot accommodate the change that is necessary to a free and self-organizing society. But people from diverse backgrounds are currently building a new society within the old, balancing literal and metaphorical utopianism, and demonstrating plural possibilities for alternative futures and types of settlement. Thousands of such places exist around the world, including intentional communities, eco-villages, permaculture plots, religious and secular retreats, co-housing projects, self-build schemes, projects for low-impact housing, and activist squats in urban and rural sites. This experience suggests, however, that when planning and design are not integral to alternative social formations, the modern dream to engineer a new society cannot be realized. The book is structured in four parts. In part one, literary and theoretical utopias from the early modern period to the nineteenth-century are reconsidered. Part two investigates twentieth-century urban utopianism and contemporary alternative settlements focusing on social and environmental issues, activism and eco-village living. Part three looks to wider horizons in recent practices in the non-affluent world, and Part four reviews a range of cases from the author’s visits to specific sites. This is followed by a short conclusion in which a discussion of key issues is resumed. This book brings together insights from literary, theoretical and practical utopias, drawing out the characteristics of groups and places that are part of a new society. It links today’s utopian experiments to historical and literary utopias, and to theoretical problems in utopian thought.
Urban utopias : the built and social architectures of alternative settlements
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Utopia tends to generate a bad press - regarded as impracticable, perhaps nostalgic, or contradictory when visions of a perfect world cannot accommodate the change that is necessary to a free and self-organizing society. But people from diverse backgrounds are currently building a new society within the old, balancing literal and metaphorical utopianism, and demonstrating plural possibilities for alternative futures and types of settlement. Thousands of such places exist around the world, including intentional communities, eco-villages, permaculture plots, religious and secular retreats, co-housing projects, self-build schemes, projects for low-impact housing, and activist squats in urban and rural sites. This experience suggests, however, that when planning and design are not integral to alternative social formations, the modern dream to engineer a new society cannot be realized. The book is structured in four parts. In part one, literary and theoretical utopias from the early modern period to the nineteenth-century are reconsidered. Part two investigates twentieth-century urban utopianism and contemporary alternative settlements focusing on social and environmental issues, activism and eco-village living. Part three looks to wider horizons in recent practices in the non-affluent world, and Part four reviews a range of cases from the author’s visits to specific sites. This is followed by a short conclusion in which a discussion of key issues is resumed. This book brings together insights from literary, theoretical and practical utopias, drawing out the characteristics of groups and places that are part of a new society. It links today’s utopian experiments to historical and literary utopias, and to theoretical problems in utopian thought.
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books
books
Publication:
December 2007, New York, London
December 2007, New York, London
Subject:
Urban Theory
Urban Theory
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books
books
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AD In praise of penumbra
AD In praise of penumbra
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Penumbra, from the Latin paene (almost) and umbra (shadow), can be defined as an intermediate zone of transition between light and shadow. Penumbra is therefore that space, both physical and imaginary, where everything is possible: it is the place of the uncanny, where presence and/or absence can produce wonder or horror. This AD positions the presence of this(...)
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Penumbra, from the Latin paene (almost) and umbra (shadow), can be defined as an intermediate zone of transition between light and shadow. Penumbra is therefore that space, both physical and imaginary, where everything is possible: it is the place of the uncanny, where presence and/or absence can produce wonder or horror. This AD positions the presence of this(...)
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AD In praise of penumbra
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Penumbra, from the Latin paene (almost) and umbra (shadow), can be defined as an intermediate zone of transition between light and shadow. Penumbra is therefore that space, both physical and imaginary, where everything is possible: it is the place of the uncanny, where presence and/or absence can produce wonder or horror. This AD positions the presence of this archetype in the contemporary world of architecture, investigating the ways it permeates different expressive forms – from critical theory to architectural drawing, from design and planning to photography. The contributors illustrate and discuss how penumbra has shaped their creativity and modified their approach to the design process. As a physical phenomenon, penumbra has supra-historical and global connotations; nonetheless, different cultures elaborate its symbolism in different ways. Its wide semantic spectrum powerfully inspires creative forms that hover between fullness and emptiness, presence and absence, past and future. The critical perspectives in this issue offer a wide analysis of penumbra’s expressive potential and the key to an in-depth understanding of this elusive layer of reality.
AD In praise of penumbra
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Penumbra, from the Latin paene (almost) and umbra (shadow), can be defined as an intermediate zone of transition between light and shadow. Penumbra is therefore that space, both physical and imaginary, where everything is possible: it is the place of the uncanny, where presence and/or absence can produce wonder or horror. This AD positions the presence of this archetype in the contemporary world of architecture, investigating the ways it permeates different expressive forms – from critical theory to architectural drawing, from design and planning to photography. The contributors illustrate and discuss how penumbra has shaped their creativity and modified their approach to the design process. As a physical phenomenon, penumbra has supra-historical and global connotations; nonetheless, different cultures elaborate its symbolism in different ways. Its wide semantic spectrum powerfully inspires creative forms that hover between fullness and emptiness, presence and absence, past and future. The critical perspectives in this issue offer a wide analysis of penumbra’s expressive potential and the key to an in-depth understanding of this elusive layer of reality.
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books
books
Publication:
July 2023
July 2023
Subject:
Magazines
Magazines
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books
books
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$64.95
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The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum s suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this(...)
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The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum s suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this(...)
Title:
The anti-museum - an anthology
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The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum s suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this anthology is devoted to the anti-museum, through anti-art, the anti-artist, anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. This notion - unpatented but regularly reappropriated - traces the erratic, fractured, and sometimes paradoxical counter-history of the contestation of artistic institutions. From the first anti-exhibition to the first catalog retracing the history of "Closed Exhibitions" from Dada to Noise music, from "Everything is Art" to NO!art, the Japanese avant-gardes to Lettrist cinema, and not forgetting such major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale, and Lydia Lunch, "The anti-museum" sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.
The anti-museum - an anthology
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The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum s suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this anthology is devoted to the anti-museum, through anti-art, the anti-artist, anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. This notion - unpatented but regularly reappropriated - traces the erratic, fractured, and sometimes paradoxical counter-history of the contestation of artistic institutions. From the first anti-exhibition to the first catalog retracing the history of "Closed Exhibitions" from Dada to Noise music, from "Everything is Art" to NO!art, the Japanese avant-gardes to Lettrist cinema, and not forgetting such major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale, and Lydia Lunch, "The anti-museum" sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.
Form:
books
books
Publication:
June 2017
June 2017
Subject:
Museology
Museology
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books
books
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$61.00
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In the early decades of the twentieth century, European artists, poets, and designers called for the destruction of outdated assumptions about vision and language. Numerous manifestos resulted, demanding new artistic forms. None of these manifestos was more aggressive and poetic, or wider in scope than Filippo Tomasso Marinetti’s Futurist Manifesto of 1909. Painting,(...)
$61.00
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Summary:
In the early decades of the twentieth century, European artists, poets, and designers called for the destruction of outdated assumptions about vision and language. Numerous manifestos resulted, demanding new artistic forms. None of these manifestos was more aggressive and poetic, or wider in scope than Filippo Tomasso Marinetti’s Futurist Manifesto of 1909. Painting,(...)
Title:
Futurist typography and the liberated text
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$61.00
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In the early decades of the twentieth century, European artists, poets, and designers called for the destruction of outdated assumptions about vision and language. Numerous manifestos resulted, demanding new artistic forms. None of these manifestos was more aggressive and poetic, or wider in scope than Filippo Tomasso Marinetti’s Futurist Manifesto of 1909. Painting, sculpture, literature, architecture, theatre, cinema, and music were all caught up in its net. Typography—until then a distant relative in the arts—also played a major role in Marinetti’s program. Written by Alan Bartram, this book examines the rise and evolution of the Futurists’ approach to typography and graphic design, placing it within the context of contemporary artistic and literary movements. The volume features examples of some eighty Futurist books or other designs for print, many of them relatively unknown or previously unpublished, accompanied by new translations of over twenty of the featured texts. Bartram illuminates the complicated meanings of the Futurist designers’ graphic works in order to provide a new understanding of their extraordinary and influential visual language.
Futurist typography and the liberated text
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In the early decades of the twentieth century, European artists, poets, and designers called for the destruction of outdated assumptions about vision and language. Numerous manifestos resulted, demanding new artistic forms. None of these manifestos was more aggressive and poetic, or wider in scope than Filippo Tomasso Marinetti’s Futurist Manifesto of 1909. Painting, sculpture, literature, architecture, theatre, cinema, and music were all caught up in its net. Typography—until then a distant relative in the arts—also played a major role in Marinetti’s program. Written by Alan Bartram, this book examines the rise and evolution of the Futurists’ approach to typography and graphic design, placing it within the context of contemporary artistic and literary movements. The volume features examples of some eighty Futurist books or other designs for print, many of them relatively unknown or previously unpublished, accompanied by new translations of over twenty of the featured texts. Bartram illuminates the complicated meanings of the Futurist designers’ graphic works in order to provide a new understanding of their extraordinary and influential visual language.
Form:
books
books
Publication:
March 2006, London
March 2006, London
Subject:
Graphic Design and Typography
Graphic Design and Typography
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books
books
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$47.95
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Summary:
Momus is the most ambitious literary creation of Leon Battista Alberti, the famous humanist-scientist-artist and "universal man" of the Italian Renaissance. In this dark comedy, written around 1450, Alberti charts the lively fortunes of his anti-hero Momus, the unscrupulous and vitriolic god of criticism. Alberti deploys his singular erudition and wit to satirize subjects(...)
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Momus is the most ambitious literary creation of Leon Battista Alberti, the famous humanist-scientist-artist and "universal man" of the Italian Renaissance. In this dark comedy, written around 1450, Alberti charts the lively fortunes of his anti-hero Momus, the unscrupulous and vitriolic god of criticism. Alberti deploys his singular erudition and wit to satirize subjects(...)
Title:
Momus
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Momus is the most ambitious literary creation of Leon Battista Alberti, the famous humanist-scientist-artist and "universal man" of the Italian Renaissance. In this dark comedy, written around 1450, Alberti charts the lively fortunes of his anti-hero Momus, the unscrupulous and vitriolic god of criticism. Alberti deploys his singular erudition and wit to satirize subjects from court life and politics to philosophy and intellectuals, from grand architectural designs to human and divine folly. The possible contemporary resonance of Alberti's satire, read variously as a humanist roman-à-clef and as a veiled mockery of the mid-Quattrocento papacy, is among its most intriguing aspects. While his more famous books on architecture, painting, and family life have long been regarded as indispensable to a study of Renaissance culture, Momus has recently attracted increasing attention from scholars as a work anticipating the realism of Machiavelli and the satiric wit of Erasmus. This edition provides a new Latin text, the first to be based on the two earliest manuscripts, both corrected by Alberti himself, and includes the first full translation into English.
Momus
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Momus is the most ambitious literary creation of Leon Battista Alberti, the famous humanist-scientist-artist and "universal man" of the Italian Renaissance. In this dark comedy, written around 1450, Alberti charts the lively fortunes of his anti-hero Momus, the unscrupulous and vitriolic god of criticism. Alberti deploys his singular erudition and wit to satirize subjects from court life and politics to philosophy and intellectuals, from grand architectural designs to human and divine folly. The possible contemporary resonance of Alberti's satire, read variously as a humanist roman-à-clef and as a veiled mockery of the mid-Quattrocento papacy, is among its most intriguing aspects. While his more famous books on architecture, painting, and family life have long been regarded as indispensable to a study of Renaissance culture, Momus has recently attracted increasing attention from scholars as a work anticipating the realism of Machiavelli and the satiric wit of Erasmus. This edition provides a new Latin text, the first to be based on the two earliest manuscripts, both corrected by Alberti himself, and includes the first full translation into English.
Form:
books
books
Publication:
May 2003, Cambridge, Mass.
May 2003, Cambridge, Mass.
Subject:
Treatises
Treatises
Form:
books
books
Title:
After-images of the city
After-images of the city
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Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written(...)
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Summary:
Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written(...)
Subject:
Urban Theory
Urban Theory
Publication:
February 2003, Ithaca, N.Y.
February 2003, Ithaca, N.Y.
Title:
After-images of the city
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Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written for this volume, scholars of literary and visual studies, the history of architecture, cultural theory, and urban geography explore the ways perceptual or conceptual paradigms of the city supersede or replace others, while at the same time retaining the "after-image" of what went before. The writers touch on a wide variety of issues related to contemporary urban cultures as they journey through cities including New York, Barcelona, Madrid, Paris, Tijuana, Berlin, and London. Drawing on the work of Roland Barthes, Walter Benjamin, Camilo José Cela, Honoré de Balzac, and Alfred Stieglitz, their approach is broadly cultural rather than technical. "After-images of the city" takes into account the intrinsic instability of the image and reveals that representations of the modern metropolis cannot be fixed in time and history.
After-images of the city
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Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written for this volume, scholars of literary and visual studies, the history of architecture, cultural theory, and urban geography explore the ways perceptual or conceptual paradigms of the city supersede or replace others, while at the same time retaining the "after-image" of what went before. The writers touch on a wide variety of issues related to contemporary urban cultures as they journey through cities including New York, Barcelona, Madrid, Paris, Tijuana, Berlin, and London. Drawing on the work of Roland Barthes, Walter Benjamin, Camilo José Cela, Honoré de Balzac, and Alfred Stieglitz, their approach is broadly cultural rather than technical. "After-images of the city" takes into account the intrinsic instability of the image and reveals that representations of the modern metropolis cannot be fixed in time and history.
Form:
books
books
Publication:
February 2003, Ithaca, N.Y.
February 2003, Ithaca, N.Y.
Subject:
Urban Theory
Urban Theory
Form:
books
books
Title:
The lost vanguard
The lost vanguard
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$98.00
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The Lost Vanguard documents the work of modernist architects in the Soviet Union during the years following the 1917 revolution and civil war. In little more than a decade, some of the most radical buildings of the twentieth century were completed by a small group of architects who developed a new architectural language in support of new social goals of communal life.(...)
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The Lost Vanguard documents the work of modernist architects in the Soviet Union during the years following the 1917 revolution and civil war. In little more than a decade, some of the most radical buildings of the twentieth century were completed by a small group of architects who developed a new architectural language in support of new social goals of communal life.(...)
Subject:
Modernism
Modernism
Publication:
June 2007, New York
June 2007, New York
Title:
The lost vanguard
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$98.00
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Summary:
The Lost Vanguard documents the work of modernist architects in the Soviet Union during the years following the 1917 revolution and civil war. In little more than a decade, some of the most radical buildings of the twentieth century were completed by a small group of architects who developed a new architectural language in support of new social goals of communal life. Rarely published and virtually inaccessible until the collapse of the Soviet regime, these important buildings have remained unknown and unappreciated. Richard Pare's photographs reveal the powerful forms of these structures, some still in use but many now abandoned and decayed. Massive industrial complexes like the Dnieper River Dam and MoGES, which supplies electricity to the city of Moscow; vast communal houses for workers, including Ginzburg's Narkomfin; commercial buildings and government offices; and smaller clubs and theaters were all built in this brief period. In an incisive essay, architectural historian Jean-Louis Cohen surveys the history of the period, providing a context for the emergence of this startling new architecture in parallel to contemporary experiments in Europe.
The lost vanguard
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Price:
$98.00
(available to order)
Summary:
The Lost Vanguard documents the work of modernist architects in the Soviet Union during the years following the 1917 revolution and civil war. In little more than a decade, some of the most radical buildings of the twentieth century were completed by a small group of architects who developed a new architectural language in support of new social goals of communal life. Rarely published and virtually inaccessible until the collapse of the Soviet regime, these important buildings have remained unknown and unappreciated. Richard Pare's photographs reveal the powerful forms of these structures, some still in use but many now abandoned and decayed. Massive industrial complexes like the Dnieper River Dam and MoGES, which supplies electricity to the city of Moscow; vast communal houses for workers, including Ginzburg's Narkomfin; commercial buildings and government offices; and smaller clubs and theaters were all built in this brief period. In an incisive essay, architectural historian Jean-Louis Cohen surveys the history of the period, providing a context for the emergence of this startling new architecture in parallel to contemporary experiments in Europe.
Form:
books
books
Publication:
June 2007, New York
June 2007, New York
Subject:
Modernism
Modernism
