389 Résultats
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.(...)
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.(...)
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Object lessons: Zofia Rydet's 'Sociological record'
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show. ''Object Lessons'', a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. Rydet herself remained unresolved over the question of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that ''Sociological Record'' is a striking testimony of its time.
Object lessons: Zofia Rydet's 'Sociological record'
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show. ''Object Lessons'', a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. Rydet herself remained unresolved over the question of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that ''Sociological Record'' is a striking testimony of its time.
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livres
livres
Publication:
juillet 2018
juillet 2018
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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Aglaia Konrad’s work often takes the form of a book, each conceived as an edited archive of the ways in which she uses photography to investigate urban landscapes. Two of her book projects were part of "The lives of documents—Photography as project", the project curated by Stefano Graziani and Bas Princen, and it was while putting this exhibition together that Konrad(...)
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Aglaia Konrad’s work often takes the form of a book, each conceived as an edited archive of the ways in which she uses photography to investigate urban landscapes. Two of her book projects were part of "The lives of documents—Photography as project", the project curated by Stefano Graziani and Bas Princen, and it was while putting this exhibition together that Konrad(...)
Titre:
Alina, Barbara, Halina, Helena, Zofia
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Aglaia Konrad’s work often takes the form of a book, each conceived as an edited archive of the ways in which she uses photography to investigate urban landscapes. Two of her book projects were part of "The lives of documents—Photography as project", the project curated by Stefano Graziani and Bas Princen, and it was while putting this exhibition together that Konrad shared her enthusiasm after researching the work of five women that conceived several residential neighbourhoods in Warsaw after the Second World War and redefined the city as a green haven. If the two book projects she presented in our exhibition—Atlas (2000) and Copy Cities (2003–2004)—brought together multiple fragments of her extensive and systematic documentary work on cities, her survey of the work of Alina Scholtz, Barbara Brukalska, Halina Skibniewska, Helena Syrkus, and Zofia Hansen leads now to a travel diary that reflects on the role of architecture and landscape architecture in defining places of bonding and belonging.
Alina, Barbara, Halina, Helena, Zofia
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Aglaia Konrad’s work often takes the form of a book, each conceived as an edited archive of the ways in which she uses photography to investigate urban landscapes. Two of her book projects were part of "The lives of documents—Photography as project", the project curated by Stefano Graziani and Bas Princen, and it was while putting this exhibition together that Konrad shared her enthusiasm after researching the work of five women that conceived several residential neighbourhoods in Warsaw after the Second World War and redefined the city as a green haven. If the two book projects she presented in our exhibition—Atlas (2000) and Copy Cities (2003–2004)—brought together multiple fragments of her extensive and systematic documentary work on cities, her survey of the work of Alina Scholtz, Barbara Brukalska, Halina Skibniewska, Helena Syrkus, and Zofia Hansen leads now to a travel diary that reflects on the role of architecture and landscape architecture in defining places of bonding and belonging.
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livres
livres
Publication:
novembre 2024
novembre 2024
Sujet:
Publications du CCA
Publications du CCA
Classification:
périodiques
périodiques
Titre:
Detail 10 2012
Detail 10 2012
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This issue focuses on diverse combinations of architecture and support structures. The structures presented include a pre-stressed concrete construction, a twisted wood frame truss, a point-supported bowl composed of pre-fabricated steel elements and a lattice bowl with an enormous span width. Helen & Hard's library in Norway illustrates how a support structure made of(...)
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This issue focuses on diverse combinations of architecture and support structures. The structures presented include a pre-stressed concrete construction, a twisted wood frame truss, a point-supported bowl composed of pre-fabricated steel elements and a lattice bowl with an enormous span width. Helen & Hard's library in Norway illustrates how a support structure made of(...)
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Detail 10 2012
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This issue focuses on diverse combinations of architecture and support structures. The structures presented include a pre-stressed concrete construction, a twisted wood frame truss, a point-supported bowl composed of pre-fabricated steel elements and a lattice bowl with an enormous span width. Helen & Hard's library in Norway illustrates how a support structure made of glue-laminated timber can merge with built-in components and furniture. A pavilion at the University of Tokyo makes use of a strut system in the form of a tensegrity structure for its temporary architecture. A framework of a completely different kind was used by gmp Architekten for the national stadium in Warsaw: the roof consists of a modified bicycle-wheel-like structure that can be completely enclosed by a membrane. In an interview, Volkwin Marg of gmp Architekten talks about his experiences in conducting major representative projects in many different countries all over the world.
Detail 10 2012
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This issue focuses on diverse combinations of architecture and support structures. The structures presented include a pre-stressed concrete construction, a twisted wood frame truss, a point-supported bowl composed of pre-fabricated steel elements and a lattice bowl with an enormous span width. Helen & Hard's library in Norway illustrates how a support structure made of glue-laminated timber can merge with built-in components and furniture. A pavilion at the University of Tokyo makes use of a strut system in the form of a tensegrity structure for its temporary architecture. A framework of a completely different kind was used by gmp Architekten for the national stadium in Warsaw: the roof consists of a modified bicycle-wheel-like structure that can be completely enclosed by a membrane. In an interview, Volkwin Marg of gmp Architekten talks about his experiences in conducting major representative projects in many different countries all over the world.
Classification:
périodiques
périodiques
Publication:
octobre 2012
octobre 2012
Sujet:
Revues
Revues
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livres
livres
Titre:
Architecture's theory
Architecture's theory
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From poststructuralism and deconstruction to current theories of technology and nature, critical theory has long been closely aligned with architecture. In turn, architecture as a thinking profession materializes theory in the form of built work that always carries symbolic loads. In this collection of essays, Catherine Ingraham studies the complex connectivity between(...)
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From poststructuralism and deconstruction to current theories of technology and nature, critical theory has long been closely aligned with architecture. In turn, architecture as a thinking profession materializes theory in the form of built work that always carries symbolic loads. In this collection of essays, Catherine Ingraham studies the complex connectivity between(...)
Titre:
Architecture's theory
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From poststructuralism and deconstruction to current theories of technology and nature, critical theory has long been closely aligned with architecture. In turn, architecture as a thinking profession materializes theory in the form of built work that always carries symbolic loads. In this collection of essays, Catherine Ingraham studies the complex connectivity between architecture's discipline and practice and theories of philosophy, art, literature, history, and politics. She argues that there can be no architecture without theory. Whether considering architecture's relationship to biomodernity or exploring the ways in which contemporary artists and designers engage in figural play, Ingraham offers provocative interpretations that enhance our understanding of both critical theory and architectural practice today. Along the way, she engages with a wide range of contemporary theorists, including Giorgio Agamben, Judith Butler, Jacques Derrida, Graham Harman, and Timothy Morton, considering buildings around the world, including the Palace of Culture in Warsaw, the Viceroy's House complex in New Delhi, Mack Scogin and Merrill Elam's Wolfsburg Science Center project in Germany, and the Superdome in New Orleans.
Architecture's theory
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From poststructuralism and deconstruction to current theories of technology and nature, critical theory has long been closely aligned with architecture. In turn, architecture as a thinking profession materializes theory in the form of built work that always carries symbolic loads. In this collection of essays, Catherine Ingraham studies the complex connectivity between architecture's discipline and practice and theories of philosophy, art, literature, history, and politics. She argues that there can be no architecture without theory. Whether considering architecture's relationship to biomodernity or exploring the ways in which contemporary artists and designers engage in figural play, Ingraham offers provocative interpretations that enhance our understanding of both critical theory and architectural practice today. Along the way, she engages with a wide range of contemporary theorists, including Giorgio Agamben, Judith Butler, Jacques Derrida, Graham Harman, and Timothy Morton, considering buildings around the world, including the Palace of Culture in Warsaw, the Viceroy's House complex in New Delhi, Mack Scogin and Merrill Elam's Wolfsburg Science Center project in Germany, and the Superdome in New Orleans.
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livres
livres
Publication:
avril 2023
avril 2023
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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Wartime gardens are dramatic examples of what landscape architect Kenneth Helphand calls defiant gardens—gardens created in extreme social, political, economic, or cultural conditions. Illustrated with ninety-five compelling archival photographs and illustrations, some from the Gulf Wars, this remarkable book examines gardens of war in the twentieth century—a period(...)
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Wartime gardens are dramatic examples of what landscape architect Kenneth Helphand calls defiant gardens—gardens created in extreme social, political, economic, or cultural conditions. Illustrated with ninety-five compelling archival photographs and illustrations, some from the Gulf Wars, this remarkable book examines gardens of war in the twentieth century—a period(...)
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Defiant gardens : making gardens in wartime
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Wartime gardens are dramatic examples of what landscape architect Kenneth Helphand calls defiant gardens—gardens created in extreme social, political, economic, or cultural conditions. Illustrated with ninety-five compelling archival photographs and illustrations, some from the Gulf Wars, this remarkable book examines gardens of war in the twentieth century—a period of the deadliest wars in human history—including gardens soldiers built inside and behind the trenches in World War I; gardens built in the Warsaw and other ghettos under the Nazis during World War II; gardens in the POW and civilian internment camps of both world wars; and gardens created by Japanese Americans held at U.S. internment camps during World War II. Proving that gardens are far more than peaceful respites from the outside world, "Defiant gardens" is a thought-provoking analysis of why people build and work in gardens. Helphand portrays the dramatic range of circumstances in which people have created gardens—as a means of nourishment, as a pursuit of beauty, and as an expression of hope. This history of gardens during wartime documents how gardens have humanized landscapes and experience, even under the most dire conditions.
Defiant gardens : making gardens in wartime
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Wartime gardens are dramatic examples of what landscape architect Kenneth Helphand calls defiant gardens—gardens created in extreme social, political, economic, or cultural conditions. Illustrated with ninety-five compelling archival photographs and illustrations, some from the Gulf Wars, this remarkable book examines gardens of war in the twentieth century—a period of the deadliest wars in human history—including gardens soldiers built inside and behind the trenches in World War I; gardens built in the Warsaw and other ghettos under the Nazis during World War II; gardens in the POW and civilian internment camps of both world wars; and gardens created by Japanese Americans held at U.S. internment camps during World War II. Proving that gardens are far more than peaceful respites from the outside world, "Defiant gardens" is a thought-provoking analysis of why people build and work in gardens. Helphand portrays the dramatic range of circumstances in which people have created gardens—as a means of nourishment, as a pursuit of beauty, and as an expression of hope. This history of gardens during wartime documents how gardens have humanized landscapes and experience, even under the most dire conditions.
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livres
livres
Publication:
avril 2006, San Antonio
avril 2006, San Antonio
Sujet:
Théorie du paysage
Théorie du paysage
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livres
livres
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This eighth book in a series from the Poster Collection of the Zurich Museum für Gestaltung focuses on the work of Ralph Schraivogel. Schraivogel was born in 1960 in Lucerne, Switzerland. He studied at the Zurich School of Design and, upon his graduation in 1982, opened his own graphic design studio in Zurich. Long-term clients include Film Podium, the Zurich repertory(...)
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This eighth book in a series from the Poster Collection of the Zurich Museum für Gestaltung focuses on the work of Ralph Schraivogel. Schraivogel was born in 1960 in Lucerne, Switzerland. He studied at the Zurich School of Design and, upon his graduation in 1982, opened his own graphic design studio in Zurich. Long-term clients include Film Podium, the Zurich repertory(...)
Titre:
Poster collection 09 : Ralph Schraivogel
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This eighth book in a series from the Poster Collection of the Zurich Museum für Gestaltung focuses on the work of Ralph Schraivogel. Schraivogel was born in 1960 in Lucerne, Switzerland. He studied at the Zurich School of Design and, upon his graduation in 1982, opened his own graphic design studio in Zurich. Long-term clients include Film Podium, the Zurich repertory cinema, and the Zurich Museum fur Gestaltung. Since opening his studio, Schraivogel has worked with many cultural institutions, such as the Kunsthaus Zurich, Theater am Neumarkt, the Jazz Festival Zurich, the Literature Days in Solothurn and the African Film Festival in Zurich. Among his multiple awards are the Gold Medal at the 1994 Warsaw Poster Biennial, the Gold Medal at the 1994 Moscow Poster Biennial, the Gold Medal at the 1997 Chaumont Poster Festival, the Grand Prix at the 1998 Brno Poster Biennial, and the Gold Medal at the 2001 Ningbo International Poster Exhibition. Schraivogel is the three-time winner of the Swiss Federal Prize for Applied Art and the twelve-time winner of the Best Swiss Poster of the Year Award.
Poster collection 09 : Ralph Schraivogel
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This eighth book in a series from the Poster Collection of the Zurich Museum für Gestaltung focuses on the work of Ralph Schraivogel. Schraivogel was born in 1960 in Lucerne, Switzerland. He studied at the Zurich School of Design and, upon his graduation in 1982, opened his own graphic design studio in Zurich. Long-term clients include Film Podium, the Zurich repertory cinema, and the Zurich Museum fur Gestaltung. Since opening his studio, Schraivogel has worked with many cultural institutions, such as the Kunsthaus Zurich, Theater am Neumarkt, the Jazz Festival Zurich, the Literature Days in Solothurn and the African Film Festival in Zurich. Among his multiple awards are the Gold Medal at the 1994 Warsaw Poster Biennial, the Gold Medal at the 1994 Moscow Poster Biennial, the Gold Medal at the 1997 Chaumont Poster Festival, the Grand Prix at the 1998 Brno Poster Biennial, and the Gold Medal at the 2001 Ningbo International Poster Exhibition. Schraivogel is the three-time winner of the Swiss Federal Prize for Applied Art and the twelve-time winner of the Best Swiss Poster of the Year Award.
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livres
livres
Publication:
janvier 2004, Zürich
janvier 2004, Zürich
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livres
livres
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$54.95
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Mass-produced from the 1970s to the 1990s, modular kiosks like the seminal K67, designed by the Slovenian architect Saša J. Mächtig, and similar systems – including the Polish Kami, the Macedonian KC190, and the Soviet ‘Bathyscaphe’ – could be found anywhere throughout the former Eastern Bloc and ex-Yugoslav countries, from bustling city squares to socialist-era housing(...)
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Mass-produced from the 1970s to the 1990s, modular kiosks like the seminal K67, designed by the Slovenian architect Saša J. Mächtig, and similar systems – including the Polish Kami, the Macedonian KC190, and the Soviet ‘Bathyscaphe’ – could be found anywhere throughout the former Eastern Bloc and ex-Yugoslav countries, from bustling city squares to socialist-era housing(...)
Titre:
Kiosk: The last modernist booths across Central and Eastern Europe
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Mass-produced from the 1970s to the 1990s, modular kiosks like the seminal K67, designed by the Slovenian architect Saša J. Mächtig, and similar systems – including the Polish Kami, the Macedonian KC190, and the Soviet ‘Bathyscaphe’ – could be found anywhere throughout the former Eastern Bloc and ex-Yugoslav countries, from bustling city squares to socialist-era housing estates. They served as hot dog and Polish zapiekanka joints, farm egg and rotisserie chicken vendors, funeral flower shops, newsstands, car park booths, currency exchange offices, and more. Featuring over 150 kiosks – from Ljubljana to Warsaw, and from Belgrade to Berlin – this photobook provides previously unseen documentation of the remaining modernist booths that witnessed the socio-political transformation of Central and Eastern Europe at the end of the 20th century. While some remain active or have undergone refurbishment, others have been abandoned or have slowly faded from the urban landscape. The photographs in this unique collection were taken over the last decade by Zupagrafika’s founders, David Navarro and Martyna Sobecka. The book includes a foreword by urban explorer Maciej Czarnecki and an introduction by architectural historian Anna Cymer, offering invaluable insights into the history of these mobile structures.
Kiosk: The last modernist booths across Central and Eastern Europe
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$54.95
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Mass-produced from the 1970s to the 1990s, modular kiosks like the seminal K67, designed by the Slovenian architect Saša J. Mächtig, and similar systems – including the Polish Kami, the Macedonian KC190, and the Soviet ‘Bathyscaphe’ – could be found anywhere throughout the former Eastern Bloc and ex-Yugoslav countries, from bustling city squares to socialist-era housing estates. They served as hot dog and Polish zapiekanka joints, farm egg and rotisserie chicken vendors, funeral flower shops, newsstands, car park booths, currency exchange offices, and more. Featuring over 150 kiosks – from Ljubljana to Warsaw, and from Belgrade to Berlin – this photobook provides previously unseen documentation of the remaining modernist booths that witnessed the socio-political transformation of Central and Eastern Europe at the end of the 20th century. While some remain active or have undergone refurbishment, others have been abandoned or have slowly faded from the urban landscape. The photographs in this unique collection were taken over the last decade by Zupagrafika’s founders, David Navarro and Martyna Sobecka. The book includes a foreword by urban explorer Maciej Czarnecki and an introduction by architectural historian Anna Cymer, offering invaluable insights into the history of these mobile structures.
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livres
livres
Publication:
novembre 2024
novembre 2024
Sujet:
Modernisme
Modernisme
Classification:
livres
livres
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$95.95
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity(...)
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity(...)
Titre:
Central European avant-gardes : exchange and transformation, 1910-1930
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb.
Central European avant-gardes : exchange and transformation, 1910-1930
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb.
Classification:
livres
livres
Publication:
mai 2002, Cambridge, Mass.
mai 2002, Cambridge, Mass.
Sujet:
Modernisme
Modernisme
Classification:
livres
livres
Titre:
Screening the city
Screening the city
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Résumé:
In this provocative collection of essays, films as diverse as "The Man with a Movie Camera", "Annie Hall", "Street of Crocodiles", "Boyz N the Hood", "Three Colors Red", and "Crash" are examined in terms of the relationship between cinema and the changing urban experience in Europe and the United States since the early twentieth century. Peter Jelavich, for example, links(...)
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In this provocative collection of essays, films as diverse as "The Man with a Movie Camera", "Annie Hall", "Street of Crocodiles", "Boyz N the Hood", "Three Colors Red", and "Crash" are examined in terms of the relationship between cinema and the changing urban experience in Europe and the United States since the early twentieth century. Peter Jelavich, for example, links(...)
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
Publication:
mars 2003, London / New York
mars 2003, London / New York
Titre:
Screening the city
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Résumé:
In this provocative collection of essays, films as diverse as "The Man with a Movie Camera", "Annie Hall", "Street of Crocodiles", "Boyz N the Hood", "Three Colors Red", and "Crash" are examined in terms of the relationship between cinema and the changing urban experience in Europe and the United States since the early twentieth century. Peter Jelavich, for example, links the suppression of the creative, liberal Weimar Berlin in the 1931 film "Berlin Alexanderplatz" to the rise of the Nazi regime and the end of one of the great eras of modernist experimentation in German visual culture; Jessie Labov considers Kieslowski’s treatment of the Warsaw housing blok in "Dekalog" in terms of Solidarity’s strategy of resisting totalitarianism in 1980's Poland; Allan Siegel examines the motif of the city in a broad range of American and international cinema to demonstrate how film and society since the 1960's have been driven by the fading of mass political radicalism and the triumph of privatization and capital; Paula Massood uses the socially illuminating theories of Mikhail Bakhtin to examine the representation of the ghetto and urban underclass in recent African-American films such as "Menace II Society"; and Matthew Gandy examines the focus on disease in Todd Haynes’s "[Safe]" as a metaphor for social and spatial breakdown in contemporary Los Angeles.
Screening the city
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Résumé:
In this provocative collection of essays, films as diverse as "The Man with a Movie Camera", "Annie Hall", "Street of Crocodiles", "Boyz N the Hood", "Three Colors Red", and "Crash" are examined in terms of the relationship between cinema and the changing urban experience in Europe and the United States since the early twentieth century. Peter Jelavich, for example, links the suppression of the creative, liberal Weimar Berlin in the 1931 film "Berlin Alexanderplatz" to the rise of the Nazi regime and the end of one of the great eras of modernist experimentation in German visual culture; Jessie Labov considers Kieslowski’s treatment of the Warsaw housing blok in "Dekalog" in terms of Solidarity’s strategy of resisting totalitarianism in 1980's Poland; Allan Siegel examines the motif of the city in a broad range of American and international cinema to demonstrate how film and society since the 1960's have been driven by the fading of mass political radicalism and the triumph of privatization and capital; Paula Massood uses the socially illuminating theories of Mikhail Bakhtin to examine the representation of the ghetto and urban underclass in recent African-American films such as "Menace II Society"; and Matthew Gandy examines the focus on disease in Todd Haynes’s "[Safe]" as a metaphor for social and spatial breakdown in contemporary Los Angeles.
Classification:
livres
livres
Publication:
mars 2003, London / New York
mars 2003, London / New York
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
