From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The Glass State, Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of Francois Mitterrand's program of Grands Projets.
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 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.
Le Corbusier's Hands offers a poetic and personal portrait of Le Corbusier—a nuanced portrayal that is in contrast to the popular image of Le Corbusier the aloof modernist. The author knew Le Corbusier intimately for thirty years, first as his draftsman and main assistant, later as his colleague and personal friend. In this book, written in the mid-1980s, Wogenscky remembers his mentor in a series of revealing personal statements and evocative reflections unlike anything that exists in the vast literature on Le Corbusier.
In Tower and Office, Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war was the source of powerful new structural models and construction methods.
The Organizational Complex is a historical and theoretical analysis of corporate architecture in the United States after the Second World War. Its title refers to the aesthetic and technological extension of the military-industrial complex, in which architecture, computers, and corporations formed a network of objects, images, and discourses that realigned social relations and transformed the postwar landscape.
In the 1960s, the architects of Britain's Archigram group and Archigram magazine turned away from conventional architecture to propose cities that move and houses worn like suits of clothes. In drawings inspired by pop art and psychedelia, architecture floated away, tethered by wires, gantries, tubes, and trucks.
Perspecta, the oldest and most respected student-edited architectural journal in the United States, marks its fiftieth anniversary with this selection of influential and provocative pieces published in its pages from the 1950s through the 1990s. The essays and portfolios in Re-Reading Perspecta trace the development of architectural culture and discourse over the past fifty years and bear witness to the influential role played by Perspecta in a time of crucial debate about the function and future of architecture.
Since Greek antiquity, the human body has been regarded as a microcosm of universal harmony. In this book, an international group of architects, architectural historians, and theorists examines the relation of the human body and architecture. The essays view well-known buildings, texts, paintings, ornaments, and landscapes from the perspective of the body's physical, psychological, and spiritual needs and pleasures.
The enigmatic, polyglot Hypnerotomachia Poliphili—the inspiration for the bestselling novel The Rule of Four—has fascinated architects and historians since its publication in 1499. Part fictional narrative and part scholarly treatise, richly illustrated with wood engravings, the book is an extreme case of erotic furor, aimed at everything—especially architecture—that the protagonist, Poliphilo, encounters in his quest for his beloved, Polia.
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.