Today, the Hebrew city of Tel Aviv glitters white, its Bauhaus-influenced modernist architecture betraying few traces of the city which once stood where it now stands: the Arab city of Jaffa. In this book, Sharon Rotbard blows apart this palimpsest in a clear, fluent and challenging style, which promises to force the reality of what so many have praised as 'progress' into the mainstream discourse. A book that works on many levels, White City, Black City is, all at once, an angry uncovering of a vanished history, a book mourning the loss of an architectural heritage, a careful study in urban design and a beautifully written narrative history. It is in all senses a political book, but one that expands beyond the typical. This book promises to become the central text on Tel Aviv - its publication in Hebrew was hailed as 'path-breaking' and a 'masterpiece'.

    Richard Sennett shows how Paris, Barcelona and New York City assumed their modern forms; rethinks the reputations of Jane Jacobs, Lewis Mumford and others; and takes us on a tour of emblematic contemporary locations, from the backstreets of Medellín, Colombia, to the Google headquarters in Manhattan. Through it all, he shows how the 'closed city' - segregated, regimented, and controlled - has spread from the global North to the exploding urban agglomerations of the global South. As an alternative, he argues for the 'open city,' where citizens actively hash out their differences and planners experiment with urban forms that make it easier for residents to cope. Rich with arguments that speak directly to our moment - a time when more humans live in urban spaces than ever before - Building and Dwelling draws on Sennett's deep learning and intimate engagement with city life to form a bold and original vision for the future of cities.

    Here is a clear and enthusiastic introduction to buildings methods from ancient times to the present day, including recent advances in science and technology that have had important effects on the planning and construction of buildings: improved materials (steel, concrete, plastics), progress in antiseismic designs, and the revolutionary changes in both architectural and structural design made possible by the computer.

    This movement stems not only from the realization that sprawl is ecologically and economically unsustainable but also from a growing awareness of sprawl's many victims: children, utterly dependent on parental transportation if they wish to escape the cul-de-sac; the elderly, warehoused in institutions once they lose their driver's licenses; the middle class, stuck in traffic for two or more hours each day.Founders of the Congress for the New Urbanism, Andres Duany and Elizabeth Plater-Zyberk are at the forefront of this movement, and in Suburban Nation they assess sprawl's costs to society, be they ecological, economic, aesthetic, or social. It is a lively, thorough, critical lament, and an entertaining lesson on the distinctions between postwar suburbia-characterized by housing clusters, strip shopping centers, office parks, and parking lots-and the traditional neighborhoods that were built as a matter of course until mid-century. It is an indictment of the entire development community, including governments, for the fact that America no longer builds towns. Most important, though, it is that rare book that also offers solutions.

    The stories that make up Why Buildings Fall Down are in the end very human ones, tales of the interaction of people and nature, of architects, engineers, builders, materials, and natural forces all coming together in sometimes dramatic (and always instructive) ways.

    For most of the 19th century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting & sculpture, as well as the writings of such authors as Dickens & Longfellow--enjoyed both high cultural status & mass popularity. In the 19th century Americans (in addition to whatever specific ethnic, class & regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the 20th century this cultural eclecticism & openness became increasingly rare. Cultural space was more sharply defined, less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population & the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences & separate genres of expressive culture. The same transition occurred in concert halls, opera houses & museums. A growing chasm between 'serious' & 'popular', 'high' & 'low' culture came to dominate the expressive arts."If there is a tragedy in this development," Levine notes, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven & Verdi, whom they had enjoyed in various formats for much of the 19th century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value & importance of the popular art forms that were all around them. "Too many of those who considered themselves educated & cultured lost for a significant period--& many have still not regained--their ability to discriminate independently, to sort things out for themselves & understand that simply because a form of expressive culture was widely accessible & highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit."Note: first presented as The William E. Massey Sr. Lectures in the History of American Civilization in 1986,

    This invasion of the world by what Marc Auge calls ‘non-space’ results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Auge uses the concept of ‘supermodernity’ to describe the logic of these late-capitalist phenomena—a logic of excessive information and excessive space. In this fascinating and lucid essay he seeks to establish and intellectual armature for an anthropology of supermodernity. Starting with an attempt to disentangle anthropology from history, Auge goes on to map the distinction between place, encrusted with historical monuments and creative social life, and non-place, to which individuals are connected in a uniform manner and where no organic social life is possible.Unlike Baudelairean modernity, where old and new are interwoven, supermodernity is self-contained: from the motorway or aircraft, local or exotic particularities are presented two-dimensionally as a sort of theme-park spectacle. Auge does not suggest that supermodernity is all-encompassing: place still exist outside non-place and tend to reconstitute themselves inside it. But he argues powerfully that we are in transit through non-place for more and more of our time, as if between immense parentheses, and concludes that this new form of solitude should become the subject of an anthropology of its own.

    Mike Davis shows us where the city's money comes from and who controls it while also exposing the brutal ongoing struggle between L.A.'s haves and have-nots.

    In this unparalleled book, Marshall Berman takes account of the social changes that swept millions of people into the capitalist world and the impact of modernism on art, literature and architecture. This new edition contains an updated preface addressing the critical role the onset of modernism played in popular democratic upheavals in the late 1920s.

    Most deal with questions of design in a wide range of areas, from architecture and furniture, to clothes and jewellery, pottery, plumbing, and printing; others are polemics on craft education and training, and on design in general. Loos, the great cultural reformer and moralist in the history of European architecture and design was always a 'revolutionary against the revolutionaries'. With his assault on Viennese arts and crafts and his conflict with bourgeois morality, he managed to offend the whole country. His 1908 essay 'Ornament and Crime', mocked by an age in love with its accessories, has come to be recognised as a seminal work in combating the aesthetic imperialism of the turn of the century. Today Loos is recognised as one of the great masters of modern architecture.

    I use it as a course text.--Lauren Sickels-Taves, architectural conservator, Henry Ford Museum Greenfield VillageHistoric Preservation provides a thorough overview of the theory, technique, and procedure for preserving our architectural heritage. The perfect introduction for architecture students, local officials, community leaders, and the interested layperson, it covers preservation philosophy, the history of the movement, the role of national, state, and local government, the designation and documentation of historic structures, establishing a historic district, architectural styles, sensitive architectural design and planning, preservation technology, and the economics of building rehabilitation.

    John Wilson, the work of Martin Heidegger has proved of great interest to architects and architectural theorists.The first introduction to Heidegger's philosophy written specifically for architects and students of architecture introduces key themes in his thinking, which has proved highly influential among architects as well as architectural historians and theorists. This guide familiarizes readers with significant texts and helps to decodes terms as well as providing quick referencing for further reading.This concise introduction is ideal for students of architecture in design studio at all levels; students of architecture pursuing undergraduate and postgraduate courses in architectural theory; academics and interested architectural practitioners. Heidegger for Architects is the second book in the new Thinkers for Architects series.

    In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    More than 250 color photos.

    In 1994 we published the first English-language translation of the classic French edition of 1975, which accompanied an exhibition of Virilio's photographs at the Centre Pompidou. In Bunker Archeology, urbanist Paul Virilio turns his attentionand camerato the ominous yet strangely compelling German bunkers that lie abandoned along the coast of France. These ghostly reminders of destruction and oppression prompted Virilio to consider the nature of war and existence, in relation to both World War II and contemporary times. Virilio discusses fortresses and military space in general as well as the bunkers themselves, including an examination of the role of Albert Speer, Hitler's architect, in the rise of the Third Reich.