• Out of Stock

    Tobias Faber m.fl.: Kay Fisker. Arkitektens Forlag, 1995. 4to. Original hardcover med (noget slidt) smudsomslag. 231 pp. Illustreret. Indvendig ren og pæn Første udgave

  • 200,00 kr.

    Skriver, Poul Erik. – Christiansen, Jørgen Hegner m.fl.: KAY FISKER. Special Issue of Architectura # 15. København: Selskabet for Arkitekturhistorie, 1993. 4to i original heftet omslag. 184 pp. Hft. Illustreret. Pænt rent eksemplar Første udgave

  • Out of Stock

    First Danish edition of “Den nya arkitekturen” (The New Architecture) with a new preface by the author, and a new selection of illustrations made by the translator Henning Bröchner in collaboration with Kay Fisker. In addition to examples of Danish architecture by Kay Fisker, Ivar Bentsen, Aage Rafn, and Povl Baumann, furniture by Kaare Klint, ceramic ware by Svend Hammershøj, etc., there are illustrations of work by i.a. Gunnar Asplund, Elis Benckert, Baillie Scott, Josef Hoffmann, Richard Riemerschmid, and Hans Poelzig, not to be found in the 1916 Swedish edition. THIS COPY WITH FINE PROVENANCE from the collection of and signed by Kay Fisker

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    Martin Søberg: “Kay Fisker: Works and Ideas in Danish Modern Architecture” (Bloomsbury Studies in Modern Architecture). Bloomsbury Visual Arts, 2022 (2021). Paperback. XXIV, 205 pages. Illustrated. Text in English. Fine copy

  • 300,00 kr.

    Translated from the French by Clive Entwistle, from ‘Propos D’Urbanisme’ New York: Yale University Press, 1948. Small 8vo in publishers clothed grey hardcover with original pictorial dustjacket. 127pp. With 44 line drawings by Le Corbusier in text. Very good clean copy First American edition, provenance: Danish architect Kay Fisker (not…

  • Out of Stock

    Provenance: Danish architect Kay Fisker

  • 175,00 kr.

    “Nothing is transmissible but thought. Over the years a man gradually
    acquires, through his struggles, his work, his inner combat, a certain
    capital, his own individual and personal conquest. But all the
    passionate quests of the individual, all that capital, that experience
    so dearly paid for will disappear. The law of life: death. Nature
    shuts off all activity by death. Thought alone, the fruit of labor is
    transmissible. Days pass, in the stream of days, in the course of a
    Everything is harmony relationships, presences, and also thundering
    synthesis, an unleashing, a trigger, a flash of lightning for the
    sight, intervention, catalysis. Raison d’être: that which is
    impassably permanent in the midst of, beyond, above, below certain
    events, certain elements throughout everything”

    The first English translation of Mise au point, the first illustrated critical bilingual edition, and the first attempt to integrate this document into Le Corbusier’s life as a whole, especially its final embittered years

  • 100,00 kr.

    Redigeret af Mogens Krustrup pg Esbjorn Hjort. Statens Museum for Kunst, 1987. 4to. 120 pp. Hft. Illustreret. Pænt eksemplar

  • 245,00 kr.

    New York: Dover Publications Inc. 1952. Tall 8vo paperback. XVIII, 348 pages, illustrated. Very good well preserved clean copy This edition contains a new Preface and three additional charpters by the author.Part I: The Balance Sheet: Writing – Painting – Sculpture – Architecture – Music – Science – Religion –…

  • 345,00 kr.

    Through a series of close readings of two major figures of the modern movement, Adolf Loos and Le Corbusier, Beatriz Colomina argues that architecture only becomes modern in its engagement with the mass media, and that in so doing it radically displaces the traditional sense of space and subjectivity. Privacy and Publicity boldly questions certain ideological assumptions underlying the received view of modern architecture and reconsiders the methodology of architectural criticism itself. Where conventional criticism portrays modern architecture as a high artistic practice in opposition to mass culture, Colomina sees the emerging systems of communication that have come to define twentieth-century culture—the mass media—as the true site within which modern architecture was produced. She considers architectural discourse as the intersection of a number of systems of representation such as drawings, models, photographs, books, films, and advertisements. This does not mean abandoning the architectural object, the building, but rather looking at it in a different way. The building is understood here in the same way as all the media that frame it, as a mechanism of representation in its own right. With modernity, the site of architectural production literally moved from the street into photographs, films, publications, and exhibitions—a displacement that presupposes a new sense of space, one defined by images rather than walls. This age of publicity corresponds to a transformation in the status of the private, Colomina argues; modernity is actually the publicity of the private. Modern architecture renegotiates the traditional relationship between public and private in a way that profoundly alters the experience of space. In a fascinating intellectual journey, Colomina tracks this shift through the modern incarnations of the archive, the city, fashion, war, sexuality, advertising, the window, and the museum, finally concentrating on the domestic interior that constructs the modern subject it appears merely to house.

  • 245,00 kr.

    When American architects, designers, and cultural institutions converted wartime strategies to new ends, the aggressive promotion of postwar domestic bliss became another kind of weapon: In the years immediately following World War II, America embraced modern architecture—not as something imported from Europe, but as an entirely new mode of operation, with original and captivating designs made in the USA. In Domesticity at War, Beatriz Colomina shows how postwar American architecture adapted the techniques and materials that were developed for military applications to domestic use. Just as manufacturers were turning wartime industry to peacetime productivity—going from missiles to washing machines—American architects and cultural institutions were, in Buckminster Fuller’s words, turning “weaponry into livingry.”This new form of domesticity itself turned out to be a powerful weapon. Images of American domestic bliss—suburban homes, manicured lawns, kitchen accessories—went around the world as an effective propaganda campaign. Cold War anxieties were masked by endlessly repeated images of a picture-perfect domestic environment. Even the popular conception of the architect became domesticated, changing from that of an austere modernist to a plaid-shirt wearing homebody. Colomina examines, with interlocking case studies and an army of images, the embattled and obsessive domesticity of postwar America. She reports on, among other things, MOMA’s exhibition of a Dymaxion Deployment Unit (DDU), a corrugated steel house suitable for use as a bomb shelter, barracks, or housing; Charles and Ray Eames’s vigorous domestic life and their idea of architecture as a flexible stage for the theatrical spectacle of everyday life; and the American lawn as patriotic site and inalienable right.Domesticity at War itself has a distinctive architecture. Housed within the case are two units: one book of text, and one book of illustrations—most of them in color, including advertisements, newspaper and magazine articles, and many architectural photographs

  • Out of Stock

    GOD’S OWN JUNKYARD. THE PLANNED DETERIORATION OF AMERICA’S LANDSCAPE. New York: Holt, Rinehart & Winston, 1964. Small 4to in wraps as issued (27×21 cm). 144 pages with 157 photos. Light edgewear. Clean, and overall a very good copy First edition Blake (1920-2006) was born in 1920 into a bourgeoisie family…