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For street photographers, New York has always been a city of unparalleled visual excitement, teeming with diverse people and distinctive neighborhoods. "New York: capital of photography" examines how photographers chronicled New York throughout the twentieth century, how the city changed their vision, and how their work affected ideas about New York throughout the(...)
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For street photographers, New York has always been a city of unparalleled visual excitement, teeming with diverse people and distinctive neighborhoods. "New York: capital of photography" examines how photographers chronicled New York throughout the twentieth century, how the city changed their vision, and how their work affected ideas about New York throughout the(...)
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New York : capital of photography
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For street photographers, New York has always been a city of unparalleled visual excitement, teeming with diverse people and distinctive neighborhoods. "New York: capital of photography" examines how photographers chronicled New York throughout the twentieth century, how the city changed their vision, and how their work affected ideas about New York throughout the world. This illustrated book presents the work of both famous and lesser-known photographers, many of them Jewish. An underlying theme in this pictorial history of New York is the critical role played by Jewish sensibility. Max Kozloff begins with the development of street photography that emerged in New York in the early 1900s with a local school of photographers led by Alfred Stieglitz. Documenting work, loneliness, play, conflict, love, and spectacle, this group came to define urban perception as the characteristic visual experience of modernity. Some photographers also became social activists, observing New York’s ethnic and racial diversity and focusing their lenses on newcomers and marginalized groups. From the 1930s to 1960s, Kozloff shows, members of the New York School envisioned the city in a different way, as a processing center for immigrants, a site of commercial display, and a crossroads of world culture. In the 1950s and 1960s, photographers saw New York as an uneasy battleground, and their pictures caught the forces of civil rights, sexual liberation, and leftist politics as they clashed with traditional powers. Finally, as the century waned, photographers became more self-conscious, exploring their own and their friends’ identities through the camera’s eye. From Lewis Hine’s 1905 picture of recent immigrants at Ellis Island to Nan Goldin’s portraits of her friends over the past thirty years, these photographs reveal the true vitality of New York. Max Kozloff, art critic and former executive editor of Artforum, has published widely on twentieth-century art and photography. Published in association with The Jewish Museum, New York.
New York : capital of photography
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$55.95
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For street photographers, New York has always been a city of unparalleled visual excitement, teeming with diverse people and distinctive neighborhoods. "New York: capital of photography" examines how photographers chronicled New York throughout the twentieth century, how the city changed their vision, and how their work affected ideas about New York throughout the world. This illustrated book presents the work of both famous and lesser-known photographers, many of them Jewish. An underlying theme in this pictorial history of New York is the critical role played by Jewish sensibility. Max Kozloff begins with the development of street photography that emerged in New York in the early 1900s with a local school of photographers led by Alfred Stieglitz. Documenting work, loneliness, play, conflict, love, and spectacle, this group came to define urban perception as the characteristic visual experience of modernity. Some photographers also became social activists, observing New York’s ethnic and racial diversity and focusing their lenses on newcomers and marginalized groups. From the 1930s to 1960s, Kozloff shows, members of the New York School envisioned the city in a different way, as a processing center for immigrants, a site of commercial display, and a crossroads of world culture. In the 1950s and 1960s, photographers saw New York as an uneasy battleground, and their pictures caught the forces of civil rights, sexual liberation, and leftist politics as they clashed with traditional powers. Finally, as the century waned, photographers became more self-conscious, exploring their own and their friends’ identities through the camera’s eye. From Lewis Hine’s 1905 picture of recent immigrants at Ellis Island to Nan Goldin’s portraits of her friends over the past thirty years, these photographs reveal the true vitality of New York. Max Kozloff, art critic and former executive editor of Artforum, has published widely on twentieth-century art and photography. Published in association with The Jewish Museum, New York.
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livres
livres
Publication:
avril 2002, New York
avril 2002, New York
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$63.00
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Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia, and the Middle East for over twenty years. In his most compelling photographs, one witnesses how man’s footprint has visually scarred and continually altered the earth’s surface. This book, published in conjunction with the first major touring exhibition of(...)
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Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia, and the Middle East for over twenty years. In his most compelling photographs, one witnesses how man’s footprint has visually scarred and continually altered the earth’s surface. This book, published in conjunction with the first major touring exhibition of(...)
Titre:
Emmet Gowin : changing the earth - aerial photographs
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Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia, and the Middle East for over twenty years. In his most compelling photographs, one witnesses how man’s footprint has visually scarred and continually altered the earth’s surface. This book, published in conjunction with the first major touring exhibition of Gowin’s photographs in over ten years, focuses on images created after 1986. That was the year Gowin began to extend his aerial photography explorations in America by recording images of military test sites, missile silos, ammunition storage and disposal facilities, coal mining, pivot irrigation, offroad motor traffic, and more. The book also surveys his more recent works, which focus on other regions of the world, including the battlefields of Kuwait, new golf courses in Japan, and the chemo-petrol industries of the Czech Republic. Gowin’s richly toned black-and-white images have been characterized as "immorally gorgeous," since at a distance even his most disturbing images can appear to be beautiful. In this volume, Jock Reynolds provides an overview of Gowin’s aerial photography and places it in the context of his earlier work and that of such photographers as Carleton Watkins, Alfred Stieglitz, Ansel Adams, and Frederick Sommer. Philip Brookman illuminates Gowin’s recent work in the Czech Republic, while Terry Tempest Williams discusses Gowin’s images from the American West, especially his Nevada Test Site series.
Emmet Gowin : changing the earth - aerial photographs
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Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia, and the Middle East for over twenty years. In his most compelling photographs, one witnesses how man’s footprint has visually scarred and continually altered the earth’s surface. This book, published in conjunction with the first major touring exhibition of Gowin’s photographs in over ten years, focuses on images created after 1986. That was the year Gowin began to extend his aerial photography explorations in America by recording images of military test sites, missile silos, ammunition storage and disposal facilities, coal mining, pivot irrigation, offroad motor traffic, and more. The book also surveys his more recent works, which focus on other regions of the world, including the battlefields of Kuwait, new golf courses in Japan, and the chemo-petrol industries of the Czech Republic. Gowin’s richly toned black-and-white images have been characterized as "immorally gorgeous," since at a distance even his most disturbing images can appear to be beautiful. In this volume, Jock Reynolds provides an overview of Gowin’s aerial photography and places it in the context of his earlier work and that of such photographers as Carleton Watkins, Alfred Stieglitz, Ansel Adams, and Frederick Sommer. Philip Brookman illuminates Gowin’s recent work in the Czech Republic, while Terry Tempest Williams discusses Gowin’s images from the American West, especially his Nevada Test Site series.
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livres
livres
Publication:
mai 2002, New Haven / London
mai 2002, New Haven / London
Sujet:
Monographies photo
Monographies photo
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livres
livres
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This book reveals state-of-the art tables, chairs and lights from some of the most talented and accomplished designers in the world. "The best tables, chairs, lights" shows how the products are made, detailing the technology and materials used through photographs and diagrams. It also details the revolution that has occurred in the last few decades in the use and(...)
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This book reveals state-of-the art tables, chairs and lights from some of the most talented and accomplished designers in the world. "The best tables, chairs, lights" shows how the products are made, detailing the technology and materials used through photographs and diagrams. It also details the revolution that has occurred in the last few decades in the use and(...)
Titre:
The best tables - chairs - lights : innovation and invention in design products for the home
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This book reveals state-of-the art tables, chairs and lights from some of the most talented and accomplished designers in the world. "The best tables, chairs, lights" shows how the products are made, detailing the technology and materials used through photographs and diagrams. It also details the revolution that has occurred in the last few decades in the use and exploration of old and new materials – fibers, composites, plastics, synthetic wood, adhesives, paper, foam, metal and even seaweed. The products featured within the pages of this book range from unique one-offs to designs with a product run of hundreds of thousands and there are designs from all around the world.
The best tables - chairs - lights : innovation and invention in design products for the home
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$47.95
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This book reveals state-of-the art tables, chairs and lights from some of the most talented and accomplished designers in the world. "The best tables, chairs, lights" shows how the products are made, detailing the technology and materials used through photographs and diagrams. It also details the revolution that has occurred in the last few decades in the use and exploration of old and new materials – fibers, composites, plastics, synthetic wood, adhesives, paper, foam, metal and even seaweed. The products featured within the pages of this book range from unique one-offs to designs with a product run of hundreds of thousands and there are designs from all around the world.
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livres
livres
Publication:
janvier 1900, Crans-Près-Céligny
janvier 1900, Crans-Près-Céligny
Sujet:
Design d’intérieur
Design d’intérieur
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livres
livres
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$32.50
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In "Each Wild Idea", Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a(...)
$32.50
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In "Each Wild Idea", Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
avril 2002, Cambridge, Mass.
avril 2002, Cambridge, Mass.
Titre:
Each wild idea : writing, photography, history
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In "Each Wild Idea", Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs--from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at--rather than beyond--the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.
Each wild idea : writing, photography, history
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In "Each Wild Idea", Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs--from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at--rather than beyond--the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.
Classification:
livres
livres
Publication:
avril 2002, Cambridge, Mass.
avril 2002, Cambridge, Mass.
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$79.95
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
$79.95
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
mai 2002, Cambridge, Mass.
mai 2002, Cambridge, Mass.
Titre:
Uncommon ground : architecture, technology. and topography
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
Uncommon ground : architecture, technology. and topography
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$79.95
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
Classification:
livres
livres
Publication:
mai 2002, Cambridge, Mass.
mai 2002, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Classification:
livres
livres
Prix:
$39.95
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
$39.95
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
Titre:
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
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$39.95
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Classification:
livres
livres
Publication:
avril 2002, Cambridge, Mass.
avril 2002, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$71.95
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It was at Black Mountain College that Merce Cunningham formed his dance company, John Cage staged his first "happening," and Buckminster Fuller built his first dome. Although it lasted only twenty-four years (1933-1957) and enrolled fewer than 1,200 students, Black Mountain College launched a remarkable number of the artists who spearheaded the avant-garde in America of(...)
$71.95
(disponible sur commande)
Résumé:
It was at Black Mountain College that Merce Cunningham formed his dance company, John Cage staged his first "happening," and Buckminster Fuller built his first dome. Although it lasted only twenty-four years (1933-1957) and enrolled fewer than 1,200 students, Black Mountain College launched a remarkable number of the artists who spearheaded the avant-garde in America of(...)
Publication:
mai 2002, Cambridge, Mass.
mai 2002, Cambridge, Mass.
Titre:
The arts at Black Mountain College
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$71.95
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It was at Black Mountain College that Merce Cunningham formed his dance company, John Cage staged his first "happening," and Buckminster Fuller built his first dome. Although it lasted only twenty-four years (1933-1957) and enrolled fewer than 1,200 students, Black Mountain College launched a remarkable number of the artists who spearheaded the avant-garde in America of the 1960s. The faculty included such diverse talents as Anni and Josef Albers, Eric Bentley, Ilya Bolotowsky, Robert Creeley, Willem de Kooning, Robert Duncan, Lyonel Feininger, Paul Goodman, Walter Gropius, Franz Kline, Robert Motherwell, and Charles Olson. Among the students were Ruth Asawa, John Chamberlain, Francine du Plessix Gray, Kenneth Noland, Arthur Penn, Robert Rauschenberg, Kenneth Snelson, Cy Twombly, Stan Vanderbeek, and Jose Yglesias. In this definitive account of the arts at Black Mountain College, back in print after many years, Mary Emma Harris describes a unique educational experiment and the artists and writers who conducted it. She replaces the myth of the college as a haphazardly conceived venture with a portrait of a consciously directed liberal arts school that grew out of the progressive education movement. Proceeding chronologically through the four major periods of the college’s history, Harris covers every aspect of its extraordinary curriculum in the visual, literary, and performing arts.
The arts at Black Mountain College
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$71.95
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Résumé:
It was at Black Mountain College that Merce Cunningham formed his dance company, John Cage staged his first "happening," and Buckminster Fuller built his first dome. Although it lasted only twenty-four years (1933-1957) and enrolled fewer than 1,200 students, Black Mountain College launched a remarkable number of the artists who spearheaded the avant-garde in America of the 1960s. The faculty included such diverse talents as Anni and Josef Albers, Eric Bentley, Ilya Bolotowsky, Robert Creeley, Willem de Kooning, Robert Duncan, Lyonel Feininger, Paul Goodman, Walter Gropius, Franz Kline, Robert Motherwell, and Charles Olson. Among the students were Ruth Asawa, John Chamberlain, Francine du Plessix Gray, Kenneth Noland, Arthur Penn, Robert Rauschenberg, Kenneth Snelson, Cy Twombly, Stan Vanderbeek, and Jose Yglesias. In this definitive account of the arts at Black Mountain College, back in print after many years, Mary Emma Harris describes a unique educational experiment and the artists and writers who conducted it. She replaces the myth of the college as a haphazardly conceived venture with a portrait of a consciously directed liberal arts school that grew out of the progressive education movement. Proceeding chronologically through the four major periods of the college’s history, Harris covers every aspect of its extraordinary curriculum in the visual, literary, and performing arts.
Classification:
livres
livres
Publication:
mai 2002, Cambridge, Mass.
mai 2002, Cambridge, Mass.
Classification:
livres
livres
Titre:
The minimum dwelling
The minimum dwelling
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$96.00
(disponible en magasin)
Résumé:
Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the(...)
$96.00
(disponible en magasin)
Résumé:
Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the(...)
Titre:
The minimum dwelling
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$96.00
(disponible en magasin)
Résumé:
Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the twentieth century. "The minimum dwelling" is not just a book on architecture, but also a blueprint for a new way of living. It calls for a radical rethinking of domestic space and of the role of modern architecture in the planning, design, and construction of new dwelling types for the proletariat. Teige shows how Gropius, Le Corbusier, Mies van der Rohe, and others designed little more than new versions of baroque palaces, mainly for the new financial aristocracy. Teige envisioned the minimum dwelling not as a reduced version of a bourgeois apartment or rural cottage, but as a wholly new dwelling type built on the cooperation of architects, sociologists, economists, health officials, physicians, social workers, politicians, and trade unionists. The book covers many subjects that are still of great relevance. Of particular interest are Teige’s rejection of traditional notions of the kitchen as the core of family-centered plans and of marriage as the foundation of modern cohabitation. He describes alternative lifestyles and new ways of cohabitation of sexes, generations, and classes. The detailed programmatic chapters on collective housing remain far ahead of current thinking, and his comments on collective dwelling presage communal living experiments of the 1960s and 1970s, as well as the communal facilities in contemporary condominium buildings and retirement communities. Translated and introduced by Eric Dluhosch.
The minimum dwelling
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Prix:
$96.00
(disponible en magasin)
Résumé:
Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the twentieth century. "The minimum dwelling" is not just a book on architecture, but also a blueprint for a new way of living. It calls for a radical rethinking of domestic space and of the role of modern architecture in the planning, design, and construction of new dwelling types for the proletariat. Teige shows how Gropius, Le Corbusier, Mies van der Rohe, and others designed little more than new versions of baroque palaces, mainly for the new financial aristocracy. Teige envisioned the minimum dwelling not as a reduced version of a bourgeois apartment or rural cottage, but as a wholly new dwelling type built on the cooperation of architects, sociologists, economists, health officials, physicians, social workers, politicians, and trade unionists. The book covers many subjects that are still of great relevance. Of particular interest are Teige’s rejection of traditional notions of the kitchen as the core of family-centered plans and of marriage as the foundation of modern cohabitation. He describes alternative lifestyles and new ways of cohabitation of sexes, generations, and classes. The detailed programmatic chapters on collective housing remain far ahead of current thinking, and his comments on collective dwelling presage communal living experiments of the 1960s and 1970s, as well as the communal facilities in contemporary condominium buildings and retirement communities. Translated and introduced by Eric Dluhosch.
Classification:
livres
livres
Publication:
mai 2002, Cambridge, Mass.
mai 2002, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Classification:
livres
livres
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$95.95
(disponible sur commande)
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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(...)
$95.95
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Résumé:
"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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Prix:
$95.95
(disponible sur commande)
Résumé:
"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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Prix:
$95.95
(disponible sur commande)
Résumé:
"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
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$71.95
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Résumé:
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as(...)
$71.95
(disponible sur commande)
Résumé:
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as(...)
Titre:
The soundscape of modernity : architectural acoustics and the culture of listening in America, 1900-1933
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Prix:
$71.95
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Résumé:
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston’s Symphony Hall, New York’s office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound--clear, direct, efficient, and nonreverberant—-had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
The soundscape of modernity : architectural acoustics and the culture of listening in America, 1900-1933
Actions:
Prix:
$71.95
(disponible sur commande)
Résumé:
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston’s Symphony Hall, New York’s office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound--clear, direct, efficient, and nonreverberant—-had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
Classification:
livres
livres
Publication:
avril 2002, Cambridge, Mass.
avril 2002, Cambridge, Mass.
Sujet:
Matériaux et éclairage
Matériaux et éclairage
