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286 pages : illustrations, maps ; 29 cm
Chicago : Paul Theobald & Co., 1955.
The Nature of Cities : Origin, Growth, and Decline, Pattern and Form, Planning Problems / L. Hilberseimer.
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286 pages : illustrations, maps ; 29 cm
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Chicago : Paul Theobald & Co., 1955.
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The Lower Manhattan Expressway (LME) was first conceived by "master builder" Robert Moses in the late 1930s as an expressway system running across Lower Manhattan. The idea was revisited by architect Paul Rudolph in 1967 when the Ford Foundation commissioned a study of the project. Had it been constructed, this major urban design plan would have transformed New York(...)
Architecture Monographs
October 2010
Paul Rudolph: Lower Manhattan expressway
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The Lower Manhattan Expressway (LME) was first conceived by "master builder" Robert Moses in the late 1930s as an expressway system running across Lower Manhattan. The idea was revisited by architect Paul Rudolph in 1967 when the Ford Foundation commissioned a study of the project. Had it been constructed, this major urban design plan would have transformed New York City’s topography and infrastructure. Presenting the only records of Rudolph’s visionary proposal, this exhibition catalog illuminates Rudolph’s unique approach to architectural drawing and highlights the fundamental importance of drawing in his overall practice.
Architecture Monographs
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This book is the first to present in a single volume a complete guide to one of the most notorious and radical art movements of the 20th century, the Situationist International (SI). Comprising a comprehensive history that includes an examination of the SI's far-reaching ideas about our 'society of the spectacle', this book also provides an insight into the Situationist(...)
The Situationist International : a user's guide
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This book is the first to present in a single volume a complete guide to one of the most notorious and radical art movements of the 20th century, the Situationist International (SI). Comprising a comprehensive history that includes an examination of the SI's far-reaching ideas about our 'society of the spectacle', this book also provides an insight into the Situationist legacy together with extensive visual material. Tracing its development back to the European avant-garde and groups such as COBRA, Lettrism and the International Movement for an Imaginist Bauhaus, Ford provides a comprehensive historical background to the 1957 foundation of the Situationist International under its self-proclaimed leader, the brilliant Guy Debord. Looking at painting, architecture and cinema, Ford includes detailed profiles of the main members such as the Asger Jorn, Constant, Pinot-Gallizio and Ralph Rumney. With its disintegration in 1972 the final chapter looks at how the SI's legacy can be traced within subsequent artistic and activist movements, from punk through to culture jamming and media activism.
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October 2004, London
Situationism
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Albert Kahn is probably the most important industrial architect of the 20th century. With his factory for the Ford T models, designed for mass production, he found himself at the beginning of modern industrial architecture. His industrial buildings inspired the architects of European Modernism. They were the examples by which the structural rationality of Kahn?s(...)
Albert Kahn's industrial architecture: form follows performance
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Albert Kahn is probably the most important industrial architect of the 20th century. With his factory for the Ford T models, designed for mass production, he found himself at the beginning of modern industrial architecture. His industrial buildings inspired the architects of European Modernism. They were the examples by which the structural rationality of Kahn?s industrial developments became the guiding principle for the New Building movement up until today.
Architecture Monographs
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The dream of scientific management was a rationalized machine world where life would approach the perfection of an assembly line. But since its early twentieth-century peak this dream has come to seem a dehumanizing nightmare. Henry Ford's assembly lines turned out a quarter of a million cars in 1914, but all of them were black. Forgotten has been the unparalleled new(...)
The taylorized beauty of the mechanical
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The dream of scientific management was a rationalized machine world where life would approach the perfection of an assembly line. But since its early twentieth-century peak this dream has come to seem a dehumanizing nightmare. Henry Ford's assembly lines turned out a quarter of a million cars in 1914, but all of them were black. Forgotten has been the unparalleled new aesthetic beauty once seen in the ideas of Ford and scientific management pioneer Frederick Winslow Taylor. In The Taylorized Beauty of the Mechanical, Mauro Guillén recovers this history and retells the story of the emergence of modernist architecture as a romance with the ideas of scientific management--one that permanently reshaped the profession of architecture. Modernist architecture's pioneers, Guillén shows, found in scientific management the promise of a new, functional, machine-like--and beautiful--architecture, and the prospect of a new role for the architect as technical professional and social reformer. Taylor and Ford had a signal influence on Bauhaus founder Walter Gropius and on Le Corbusier and his Towards a New Architecture, the most important manifesto of modernist architecture. Architects were so enamored with the ideas of scientific management that they adopted them even when there was no functional advantage to do so. Not a traditional architectural history but rather a sociological study of the profession of architecture during its early modernist period, The Taylorized Beauty of the Mechanical provides a new understanding of the degree to which modernist architecture emerged from a tradition of engineering and industrial management.
Architectural Theory
The taylorized beauty of the mechanical : scientific managment and rise of modernist architecture
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The dream of scientific management was a rationalized machine world where life would approach the perfection of an assembly line. But since its early twentieth-century peak this dream has come to seem a dehumanizing nightmare. Henry Ford's assembly lines turned out a quarter of a million cars in 1914, but all of them were black. Forgotten has been the unparalleled new(...)
Architecture since 1900, Europe
July 2006, Princeton / Oxford
The taylorized beauty of the mechanical : scientific managment and rise of modernist architecture
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The dream of scientific management was a rationalized machine world where life would approach the perfection of an assembly line. But since its early twentieth-century peak this dream has come to seem a dehumanizing nightmare. Henry Ford's assembly lines turned out a quarter of a million cars in 1914, but all of them were black. Forgotten has been the unparalleled new aesthetic beauty once seen in the ideas of Ford and scientific management pioneer Frederick Winslow Taylor. In "The taylorized beauty of the mechanical", Mauro Guillén recovers this history and retells the story of the emergence of modernist architecture as a romance with the ideas of scientific management - one that permanently reshaped the profession of architecture. Modernist architecture's pioneers, Guillén shows, found in scientific management the promise of a new, functional, machine-like--and beautiful--architecture, and the prospect of a new role for the architect as technical professional and social reformer. Taylor and Ford had a signal influence on Bauhaus founder Walter Gropius and on Le Corbusier and his Towards a New Architecture, the most important manifesto of modernist architecture. Architects were so enamored with the ideas of scientific management that they adopted them even when there was no functional advantage to do so. Not a traditional architectural history but rather a sociological study of the profession of architecture during its early modernist period, "The taylorized beauty of the mechanical" provides a new understanding of the degree to which modernist architecture emerged from a tradition of engineering and industrial management.
Architecture since 1900, Europe
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Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative(...)
Charles Sheeler : across media
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Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative painting, and applied art at the School of Industrial Art in Philadelphia, Sheeler also attended the Pennsylvania Academy of the Fine Arts, where he learned an impressionistic, painterly style. He later embraced European modernism and taught himself photography. Sheeler fully absorbed the lessons of each discipline and forged his own singular approach. This illustrated book, created to accompany a traveling exhibition of Sheeler's work, features detailed analyses of the artist's mediums and working methods. Focusing on the complex, often paradoxical, relationships among photography, film, drawing, printmaking, and painting that were central to Sheeler's art, this book traces critical points in Sheeler's trajectory, beginning with a small selection of Sheeler's seminal photographs, circa 1917, of the interior of an eighteenth-century Quaker fieldstone house in Doylestown, Pennsylvania. Sections are also devoted to the 1920 film Manhatta, made in collaboration with Paul Strand; a series of commercial photographs of the Ford Motor Company's River Rogue factory (1927); the enigmatic painting The Artist Looks at Nature (1943) and its related works; and finally a group of mill subjects from the 1940s and 1950s that experiments with photomontage.
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