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  • 1.750,00 kr.

    Ultra rare Swedish avant garde Bauhaus inspired functionalist architecture and design magazine, from the collection of Danish architect Kay Fisker

  • 500,00 kr.

    New York: Horizon Press, 1957. Small quarto in publishers hardcover with original, priceclipped dustjacket. 223 pages, with 126 photographs and drawings. Very good clean copy First edition Sibyl Moholy-Nagy (1903–1971) was an architectural historian, critic, and teacher, who played an important role in the reassessment of modern architecture after World…

  • 500,00 kr.

    J. M. Richards & Eric de Mare: The Functional Tradition in Early Industrial Buildings 1st edition. London: The Architectural Press, 1958. Large 8vo in publishers hardcover with unclipped dustjacket. 200 pages. Illustrated richly. Near fine / fine clean attractive copy First edition, 1st printing copy of one the major classics…

  • 400,00 kr.

    Bernard Rudofsky (Austrian-American, 1905–1988), architect, curator, critic, exhibition designer, and fashion designer whose entire oeuvre was influenced by his lifelong interest in concepts about the body and the use of our senses. Best known for his controversial exhibitions and accompanying catalogs, including Are Clothes Modern? and Architecture without Architects. He was also famous for his mid-20th-century Bernardo sandal designs

  • 300,00 kr.

    COMPLEXITY AND CONTRADICTION IN ARCHITECTURE (The Museum of Modern Art Papers on Architecture # 1). New York: Museum of Modern Art, 1968 (1966). Small 8vo in wraps as issued. 135, (9) pp. with 350 photos, drawings and plans. Very good tight copy 1968 re-issue of this publication first issued in…

  • Out of Stock

    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.

    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

    By John McHale. The R. Buckminster Fuller volume in the Makers of Contemporary Architecture Series. London, Prentice Hall simultaneously George Braziller, New York, NY, 1962. Tall 8vo in publishers halfcloth hardcover with well preserved dustjacket. 127, 1 pp. Illustrated bw. Near fine / fine clean copy First edition. Outsstanding book…

  • Out of Stock

    First published in 1938, this collection of essays sets out some of foundational ideas of 20th-century technology innovator R. Buckminster Fuller, an early pioneer in sustainable design. Written in plain language with a sense of humor, the book outlines his concerns about sustainability, presents his utopian vision of future prosperity driven by technological progress, and reveals his leanings toward poetry and philosophy. This edition contains a brief foreword and two essays on his ideas, plus b&w historical photos of Fuller and some of his inventions

  • Out of Stock

    First published in 1938, this collection of essays sets out some of foundational ideas of 20th-century technology innovator R. Buckminster Fuller, an early pioneer in sustainable design. Written in plain language with a sense of humor, the book outlines his concerns about sustainability, presents his utopian vision of future prosperity driven by technological progress, and reveals his leanings toward poetry and philosophy. This edition contains a brief foreword and two essays on his ideas, plus b&w historical photos of Fuller and some of his inventions

  • Out of Stock
    199,00 kr.

    “Delirious New York. A Retroactive Manifesto for Manhattan”. A New Edition. New York: Monacelli Press / Rotterdam, 010 Publishers, (1994 / 1978). 8vo. Original wrappers. 318 pp. Illustrated. Fine clean copy with only minor edgewear First edition of the new version 1994 “Since its original publication in 1978, Delirious New…