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Modern Architecture is a landmark text - the first book in which this American architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the(...)
Architecture, monographies
mars 2008, Princeton, Oxford
Modern architecture : being the Kahn Lectures for 1930
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Modern Architecture is a landmark text - the first book in which this American architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the development of modern architecture and the career of Frank Lloyd Wright, "Modern Architecture" is a provocative and profound polemic against America's architectural eclecticism, commercial skyscrapers, and misguided urban planning. The book is also a work of savvy self-promotion, in which Wright not only advanced his own concept of an organic architecture but also framed it as having anticipated by decades - and bettered -what he saw as the reductive modernism of his European counterparts. Based on the 1931 original, for which Wright supplied the cover illustration, this edition includes a new introduction that puts "Modern Architecture" in its broader architectural, historical, and intellectual context for the first time. The subjects of these lively lectures -from "Machinery, Materials and Men" to "The Tyranny of the Skyscraper" and "The City" - move from a general statement of the conditions of modern culture to particular applications in the fields of architecture and urbanism at ever broadening scales. Wright's vision in "Modern Architecture" is ultimately to equate the truly modern with romanticism, imagination, beauty, and nature - all of which he connects with an underlying sense of American democratic freedom and individualism.
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mars 2008, Princeton, Oxford
Architecture, monographies
William Eggleston: Paris
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For photographers, the city of Paris must constitute a genre of its own (alongside "nudes" or "botanical"), so perennially photogenic are its streets, skylines, storefronts and people. Here, William Eggleston--"The Father of Color Photography"--offers a brilliant, unusual take on Paris today, with depictions that completely revitalize our sense of this most picturesque of cities.
William Eggleston: Paris
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For photographers, the city of Paris must constitute a genre of its own (alongside "nudes" or "botanical"), so perennially photogenic are its streets, skylines, storefronts and people. Here, William Eggleston--"The Father of Color Photography"--offers a brilliant, unusual take on Paris today, with depictions that completely revitalize our sense of this most picturesque of cities.
Monographies photo
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Based in New York City, Amy Sillman (born 1955) is an artist whose work consistently combines the visceral with the intellectual. 'Faux pas' aims at revealing the coherence and originality of Sillman’s reflection, as she addresses the possibilities of art today, favoring excess over good taste, wrestling over dandyism, forms over symbols, with as much critical sense as humor.
Amy Sillman : faux pas, selected writings and drawings
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Based in New York City, Amy Sillman (born 1955) is an artist whose work consistently combines the visceral with the intellectual. 'Faux pas' aims at revealing the coherence and originality of Sillman’s reflection, as she addresses the possibilities of art today, favoring excess over good taste, wrestling over dandyism, forms over symbols, with as much critical sense as humor.
Théorie de l’art
Desired Landscapes, Issue 3
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When traveling to new places, we usually hunt for the genuine, the truest. Is there a single story to provide a convenient coherency for a city’s identity? While avoiding a call for nostalgia, 'Desired Landscapes' is ever curious about the discontent that stems from the narrative leap affecting contemporary cities: is it possible to connect yesterday to tomorrow and(...)
Revues
mai 2021
Desired Landscapes, Issue 3
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When traveling to new places, we usually hunt for the genuine, the truest. Is there a single story to provide a convenient coherency for a city’s identity? While avoiding a call for nostalgia, 'Desired Landscapes' is ever curious about the discontent that stems from the narrative leap affecting contemporary cities: is it possible to connect yesterday to tomorrow and affirm a sense of belonging? Issue 3 takes you to TOKYO – PARIS – ATHENS – BRASÍLIA – VENICE – SINGAPORE – LOS ANGELES – LAMPEDUSA – CAIRO – NEW YORK CITY – LONDON – MEXICO CITY
Revues
Becoming Jane Jacobs
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Jane Jacobs is universally recognized as one of the key figures in American urbanism. The author of "The Death and Life of Great American Cities," she uncovered the complex and intertwined physical and social fabric of the city and excoriated the urban renewal policies of the 1950s. As the legend goes, Jacobs, a housewife, single-handedly stood up to Robert Moses, New(...)
Becoming Jane Jacobs
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Jane Jacobs is universally recognized as one of the key figures in American urbanism. The author of "The Death and Life of Great American Cities," she uncovered the complex and intertwined physical and social fabric of the city and excoriated the urban renewal policies of the 1950s. As the legend goes, Jacobs, a housewife, single-handedly stood up to Robert Moses, New York City's powerful master builder, and other city planners who sought first to level her Greenwich Village neighborhood and then to drive a highway through it. Jacobs's most effective weapons in these David-versus-Goliath battles, and in writing her book, were her powers of observation and common sense.
Théorie de l’urbanisme
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The contributors to this volume trace cinema in Iceland from the 1979 establishment of the Icelandic Film Fund — before which the country’s film industry barely existed — through today. In a series of scene reviews, they show how rapidly the city has changed over the past thirty years. In thematic spotlight articles, they go on to explore such topics as the relationship(...)
septembre 2012
World film locations : Reykjavik
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The contributors to this volume trace cinema in Iceland from the 1979 establishment of the Icelandic Film Fund — before which the country’s film industry barely existed — through today. In a series of scene reviews, they show how rapidly the city has changed over the past thirty years. In thematic spotlight articles, they go on to explore such topics as the relationship between Iceland and its capital city; youth culture and night life; the relationship between film and the local music community; cinematic representations of Scandinavian crime; and filmmakers’ response to the 2008 banking crisis. Together, these varied contributions show how films shot in Reykjavík have been shaped both by Iceland’s remoteness from the rest of the world and by Icelandic filmmakers’ sense that the city remains forever on the brink of desolate and harsh wilderness.
Desired Landscapes 8
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We walk in cities with no postcards, only to collect postcards from home. We close our eyes to move our bodies through dense tourism and rising floods. We drive through the past, holding on to occult rituals to stay rooted. We taste the city on the go, misled by its disguised façades and concealed staircases. We bring home wild plants, only to forget them, and choose to(...)
Revues
juillet 2025
Desired Landscapes 8
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We walk in cities with no postcards, only to collect postcards from home. We close our eyes to move our bodies through dense tourism and rising floods. We drive through the past, holding on to occult rituals to stay rooted. We taste the city on the go, misled by its disguised façades and concealed staircases. We bring home wild plants, only to forget them, and choose to live beside volcanoes despite the risk. We switch off the lights to walk under the stars, and to hear the echoes of suppressed rivers. In this issue, we sense all kinds of flows. Issue 08 will take you to TIRANA – ATHENS – MUSCAT – LISBON – BENIDORM – MADRID – NEW YORK CITY – NAPLES – ISTANBUL – VALLETTA – PARIS – OAXACA – YEREVAN, with a city guide on VENICE.
Revues
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Nicholas Howe contemplates how places create and gather their stories and how, in turn, a sense of place locates the stories of our own lives. Howe begins with a description of Buffalo, that city on an inland sea where he grew up. He gives us a fresh Paris, viewed from the river below. And he depicts Oklahoma as a site of open lands and dislocation--a place of coming(...)
Théorie de l’architecture
janvier 1900, Princeton and Oxford
Across an inland sea : writing in place form Buffalo to Berlin
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Nicholas Howe contemplates how places create and gather their stories and how, in turn, a sense of place locates the stories of our own lives. Howe begins with a description of Buffalo, that city on an inland sea where he grew up. He gives us a fresh Paris, viewed from the river below. And he depicts Oklahoma as a site of open lands and dislocation--a place of coming and going. Howe then turns to Chartres, a traditional location of pilgrimage, to ask what other sites might still be capable of compelling visitors in secular time. He portrays Berlin as a scene of twentieth-century history--and a city that helped him make sense of his American life. Finally, he writes about Columbus, Ohio, as home. Vividly rendering the places he has known, Howe meditates on the weight of home, the temptations of the metropolis, the fact of dislocation, the unraveling of history, the desire to remake ourselves through voyage, and the wonder of the familiar. In ways that too often elude travel writers, it is place that holds our imagination, that inspires much of our art and literature. Across an Inland Sea evokes the various senses of place that can fill and haunt a life--and ultimately give life its form and meaning.
Théorie de l’architecture
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A “partition” (score) is a special representational form. It is linked to instructions for action and looks forward rather than backward: to the planning of a forthcoming event. The “open score” goes one step further: it articulates the process of producing new realities and their indeterminacy. In his latest publication, Christopher Dell sketches an “open-ended city(...)
La ville comme partition ouverte : diagramme, plan, notation, processus, improvisation
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A “partition” (score) is a special representational form. It is linked to instructions for action and looks forward rather than backward: to the planning of a forthcoming event. The “open score” goes one step further: it articulates the process of producing new realities and their indeterminacy. In his latest publication, Christopher Dell sketches an “open-ended city score.” The term does not refer to a representation of urban sound texture, nor is the city interpreted in an aestheticizing or musicprogramming sense. Instead, urban processes are rendered visible in a new form, by deploying a musical mode of spatial conception as a filter and perspective. For temporality and the dimension of action are vital components in unveiling the visual structures of phenomena in urban practice.
Théorie de l’urbanisme
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Preserved buildings and historic districts, museums and reconstructions have become an important part of the landscape of cities around the world. Beginning in the 1970s, Tokyo participated in this trend. However, repeated destruction and rapid redevelopment left the city with little building stock of recognized historical value. Late twentieth-century Tokyo thus presents(...)
Tokyo vernacular : common spaces, local histories, found objects
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Preserved buildings and historic districts, museums and reconstructions have become an important part of the landscape of cities around the world. Beginning in the 1970s, Tokyo participated in this trend. However, repeated destruction and rapid redevelopment left the city with little building stock of recognized historical value. Late twentieth-century Tokyo thus presents an illuminating case of the emergence of a new sense of history in the city’s physical environment, since it required both a shift in perceptions of value and a search for history in the margins and interstices of a rapidly modernizing cityscape.