6048 Résultats
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224 pages : illustrations (some color), maps (some color) ; 29 cm
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224 pages : illustrations (some color), maps (some color) ; 29 cm
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London : Bloomsbury, 2015.
London : Bloomsbury, 2015.
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Metropolis : mapping the city / Jeremy Black ; contributing editor Christopher Westhorp.
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224 pages : illustrations (some color), maps (some color) ; 29 cm
Metropolis : mapping the city / Jeremy Black ; contributing editor Christopher Westhorp.
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224 pages : illustrations (some color), maps (some color) ; 29 cm
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London : Bloomsbury, 2015.
London : Bloomsbury, 2015.
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xxxi, 429 pages : illustrations ; 25 cm.
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xxxi, 429 pages : illustrations ; 25 cm.
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Turnhout : Brepols ; Genève : Bibliothèque de Genève, 2013.
Turnhout : Brepols ; Genève : Bibliothèque de Genève, 2013.
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Le livre à la Renaissance : introduction à la bibliographie historique et matérielle / Jean-Paul Pittion ; préface de Frédéric Barbier.
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xxxi, 429 pages : illustrations ; 25 cm.
Le livre à la Renaissance : introduction à la bibliographie historique et matérielle / Jean-Paul Pittion ; préface de Frédéric Barbier.
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xxxi, 429 pages : illustrations ; 25 cm.
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Turnhout : Brepols ; Genève : Bibliothèque de Genève, 2013.
Turnhout : Brepols ; Genève : Bibliothèque de Genève, 2013.
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ICA 2009
ICA 2009
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ICA 2009
ICA 2009
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$31.50
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Résumé:
In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history.(...)
$31.50
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In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history.(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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octobre 2006, Cambridge (MA), London
octobre 2006, Cambridge (MA), London
Titre:
Architecture in the age of divided representation : the question of creativity in the shadow of production
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In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
Architecture in the age of divided representation : the question of creativity in the shadow of production
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In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
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livres
livres
Publication:
octobre 2006, Cambridge (MA), London
octobre 2006, Cambridge (MA), London
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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$62.50
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Résumé:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's(...)
$62.50
(disponible sur commande)
Résumé:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's(...)
Titre:
Architecture in the age of divided representation : the question of creativity in the shadow of production
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$62.50
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Résumé:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
Architecture in the age of divided representation : the question of creativity in the shadow of production
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$62.50
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Résumé:
Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective. Understanding this notion of perspective against the background of the medieval philosophy of light, he argues, leads to an understanding of architectural space as formed by typical human situations and by light before it is structured geometrically. The central part of the book addresses the question of divided representation - the tension between the instrumental and the communicative roles of architecture - in the period of the baroque, when architectural thinking was seriously challenged by the emergence of modern science. Vesely argues that to resolve the dilemma of modernity - reconciling the inventions and achievements of modern technology with the human condition and the natural world - we can turn to architecture and its latent capacity to reconcile different levels of reality, its ability to relate abstract ideas and conceptual structures to the concrete situations of everyday life. Vesely sees the restoration of this communicative role of architecture as the key to the restoration of architecture as the topological and corporeal foundation of culture; what the book is to our literacy, he argues, architecture is to culture as a whole. He concludes by proposing a new poetics of architecture that will serve as a framework for the restoration of the humanistic role of architecture in the age of technology.
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juin 2004, Cambridge, Mass.
juin 2004, Cambridge, Mass.
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Théorie de l’architecture
Théorie de l’architecture
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$60.00
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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(...)
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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(...)
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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$60.00
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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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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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avril 2000, Cambridge
avril 2000, Cambridge
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$39.95
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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,(...)
$39.95
(disponible sur commande)
Résumé:
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,(...)
Publication:
avril 2003, Cambridge / London
avril 2003, Cambridge / London
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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$39.95
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Résumé:
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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Résumé:
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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avril 2003, Cambridge / London
avril 2003, Cambridge / London
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Università Iuav di Venezia Quodlibet 2024
Università Iuav di Venezia Quodlibet 2024
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Università Iuav di Venezia Quodlibet 2024
Università Iuav di Venezia Quodlibet 2024
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Description:
ix, 268 pages : illustrations ; 23 cm
Description:
ix, 268 pages : illustrations ; 23 cm
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Baltimore : Johns Hopkins University Press, 1987.
Baltimore : Johns Hopkins University Press, 1987.
Titre:
Visions of the modern city : essays in history, art, and literature / edited by William Sharpe and Leonard Wallock.
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ix, 268 pages : illustrations ; 23 cm
Visions of the modern city : essays in history, art, and literature / edited by William Sharpe and Leonard Wallock.
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ix, 268 pages : illustrations ; 23 cm
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Baltimore : Johns Hopkins University Press, 1987.
Baltimore : Johns Hopkins University Press, 1987.
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xxi, 338 pages : illustrations (some color), maps (some color) ; 27 cm
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xxi, 338 pages : illustrations (some color), maps (some color) ; 27 cm
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Norman [Okla.] : University of Oklahoma Press, 2009.
Norman [Okla.] : University of Oklahoma Press, 2009.
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Framing the sacred : the Indian churches of early colonial Mexico / Eleanor Wake.
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xxi, 338 pages : illustrations (some color), maps (some color) ; 27 cm
Framing the sacred : the Indian churches of early colonial Mexico / Eleanor Wake.
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xxi, 338 pages : illustrations (some color), maps (some color) ; 27 cm
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Norman [Okla.] : University of Oklahoma Press, 2009.
Norman [Okla.] : University of Oklahoma Press, 2009.
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