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Titre:
Architecture theory since 1968

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$105.00
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Résumé:
In the discussion of architecture, the prevailing sentiment of the past three decades has been that cultural production can no longer be understood to arise spontaneously, as a matter of social course, but is constructed through ever more self-conscious theoretical procedures. The development of interpretive modes of various stripes--poststructuralist, Marxian, phenomenological, psychoanalytic, as well as others dissenting or eccentric--has given scholars a range of tools for rethinking architecture in relation to other fields and for reasserting architecture's general importance in intellectual discourse. This long-awaited anthology is in some sense a sequel to Joan Ockman's "Architecture Culture 1943-1968, A Documentary Anthology" (1993). It presents forty-seven of the primary texts of contemporary architecture theory, introducing each by detailing the concepts and categories necessary for its understanding and evaluation. It also presents twelve documents of projects or events that had major theoretical repercussions for the period. Several of the essays appear here in English for the first time.

Titre:
Jean Baudrillard and Jean Nouvel : the singular objects of architecture

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Résumé:
A revelatory conversation between two major figures in visual culture. What is a singular object? An idea, a building, a color, a sentiment, a human being. Each in turn comes under scrutiny in this exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today. From such singular objects, Jean Baudrillard and Jean Nouvel move on to fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life. Among the topics the two speakers take up are the city of tomorrow and the ideal of transparency, the gentrification of New York City and Frank Gehry's Guggenheim museum in Bilbao. As Nouvel prompts Baudrillard to reflect on some of his signature concepts (the virtual, transparency, fatal strategies, oblivion, and seduction, among others), the confrontation between such philosophical concerns and the specificity of architecture gives rise to novel and striking formulations-and a new way of establishing and understanding the connections between the practitioner and the philosopher, the object and the idea. This wide-ranging conversation builds a bridge between the fields of architecture and philosophy. At the same time it offers readers an intimate view of the meeting of objects and ideas in which the imagined, constructed, and inhabited environment is endlessly changing, forever evolving.

Titre:
Bernard Tschumi

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$42.00
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Résumé:
Acclaimed as one of the world's foremost modern architects, Bernard Tschumi achieved early fame by winning the competition to design the Parc de la Villette on the northeast edge of Paris, featuring bright red "deconstructivist" pavillons. Tschumi is widely credited with leading the Graduate School of Architecture, Planning and Preservation at New York's Columbia University into the digital age and positioning the school at the forefront of the architectural vanguard. During his fifteen-year tenure, Tschumi has continued to build and the results are empty illustrated in the first monogragraph to document Tschumi's full career. Projects included: Le Fresnoy National Studio for Contemporary Arts in Tourcoing, France (1998); Columbia University's Lerner Hall Student Center (1999); Marne La Vallée School of Architecture, Paris (1999); the Interface Flon, a bus, train, and subway station and pedestrian bridge in Lausanne, Switzerland (2000); a Concert Hall and Exhibition Complex in Rouen (2001); the new Florida International School of Architecture in Miami; the Museum for African Art in New York; and the New Acropolis Museum in Athens.

Titre:
Toshiko Mori architect

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Founded in New York City in 1981, Toshiko Mori Architect is known for using both new and traditional materials and for integrating architecture with light and landscape. This monograph, the first on the practice, includes more than twenty-five residential, cultural, institutional, and commercial projects. The firm has designed private houses in Maine, New York, and Florida, including additions to modern residences by Paul Rudolph and Marcel Breuer. In addition, Toshiko Mori Architect specializes in exhibition designs, notably various installations of textiles and other materials at the Museum of Modern Art and the Cooper-Hewitt, National Design Museum.

Titre:
Architectural ethnography: Atelier Bow-Wow

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$26.50
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Résumé:
When Yoshi Tsukamoto and Momoyo Kaijima of the Tokyo-based firm Atelier Bow-Wow arrived at the Harvard University Graduate School of Design as guest professors, in the winter of 2016, they challenged students to deeply consider their surroundings and record their reactions as a large pencil drawing. In this public drawing time is suspended and expanded; futures, presents, and pasts converge; and the act of drawing becomes an instrument of dialogue and engagement. Tsukamoto and Kaijima later spoke about the project with K. Michael Hays, Eliot Noyes Professor of Architectural Theory at Harvard s Graduate School of Design, and reflected on representation, occupation, and the democracy of architecture. They unfolded their concept of an ecology of livelihood, wherein shadowless figures, objects, and spaces coexist with construction details. Explaining their belief in the behavioral capacities of humans, architecture, and nature, Tsukamoto and Kaijima revealed the generosity of spirit in their work, and the importance of pushing such capacities to their most yielding limits.

Titre:
Inscriptions: Architecture before speech

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$93.95
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Résumé:
This volume is a theory of contemporary architecture, spanning the work of 112 practices in 750 images. Against the popular characterization of contemporary architecture as a centerless field where anything goes and everything is possible, the book argues that much recent work belongs to a collective undertaking. Underneath the impression of kaleidoscopic difference produced by the rapid circulation of design images, there is a shared mechanism, an agreement about how architectural objects emerge from the procedures of design. This mechanism, which we call "Inscription", manages to both offer fundamentally intelligible form to architecture’s audiences, while at the same time advancing the field toward novel outcomes. The ensuing work is nothing less than democratically optimistic in its wide appeal and challenging in its cuts against convention.

Titre:
Architecture theory since 1968

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Prix:
$76.95
(disponible sur commande)

Résumé:
In the discussion of architecture, the prevailing sentiment of the past three decades has been that cultural production can no longer be understood to arise spontaneously, as a matter of social course, but is constructed through ever more self-conscious theoretical procedures. The development of interpretive modes of various stripes--poststructuralist, Marxian, phenomenological, psychoanalytic, as well as others dissenting or eccentric--has given scholars a range of tools for rethinking architecture in relation to other fields and for reasserting architecture's general importance in intellectual discourse. This long-awaited anthology is in some sense a sequel to Joan Ockman's "Architecture Culture 1943-1968, A Documentary Anthology" (1993). It presents forty-seven of the primary texts of contemporary architecture theory, introducing each by detailing the concepts and categories necessary for its understanding and evaluation. It also presents twelve documents of projects or events that had major theoretical repercussions for the period. Several of the essays appear here in English for the first time.

Titre:
Modernism and the posthumanist subject : the architecture of Hannes Meyer and Ludwig Hilberseimer

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$37.50
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Résumé:
Drawing both on the work of modern theorists like Georg Lukacs, Walter Benjamin, Theodor Adorno, and Siegfried Kracauer and on more recent poststructuralist thought, Hays creates an entirely new method of reading architectural production. Challenging much of the traditional wisdom about modernism and the avant-garde, Hays argues that a rigorously articulated 'posthumanist' position was actually developed in the modernist architecture of Hannes Meyer and Ludwig Hilberseimer. He reinterprets their buildings, projects, and writings as constructions of this new category of subjectivity.

Titre:
Architecture's desire: reading the late avant-garde

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Résumé:
While it is widely recognized that the advanced architecture of the 1970s left a legacy of experimentation and theoretical speculation as intense as any in architecture's history, there has been no general theory of that ethos. Now, in Architecture's Desire, K. Michael Hays writes an account of the "late avant-garde" as an architecture systematically twisting back on itself, pondering its own historical status, and deliberately exploring architecture's representational possibilities right up to their absolute limits. In close readings of the brooding, melancholy silence of Aldo Rossi, the radically reductive "decompositions" and archaeologies of Peter Eisenman, the carnivalesque excesses of John Hejduk, and the "cinegrammatic" delirium of Bernard Tschumi, Hays narrates the story of architecture confronting its own boundaries with objects of ever more reflexivity, difficulty, and intransigence.