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First published in 2004. Walter Benjamin famously defined modernity as “the world dominated by its phantasmagorias”. The chapters in this book focus on one such phantasmagoria, namely that of ‘modernity’ itself. From the late seventeenth century until today, the ‘modern’ has served as a key category by which to understand an ever-changing present. Art and architecture have played a key role in this pursuit as the means by which the modern was to manifest itself. The aim of this anthology is to trace the modern project through its multifarious manifestations, in order to understand contemporary culture in a deeper sense than facile discussions of modernism and post-modernism often grant. Drawing on architectural and urban history as well as philosophy and sociology, the chapters outline the complex and conflicting roots of modernity by tracing its manifestations in architecture and the city. The book is divided into three parts, each exploring a distinct aspect of modernity. While part one scrutinizes the much-abused concepts of ‘modernity’ , ‘modernism’ and ‘the modern’ , parts two and three look at the manifestations of the modern in architecture and the city respectively. Focusing particularly on the transition between historicism and modernism, the chapters offer a re-interpretation of early modern architectural and urban culture as it came to expression in people such as Cerda, Semper, Bötticher, Scott, Baudelaire, the Goncourt brothers, Benjamin, Warburg, Kracauer, Mackintosh, Behrens, Taut, and Le Corbusier. For all their differences, these were thinkers and practitioners whose undisputed modernity arose from a deep preoccupation with history. A re-reading of their legacy may throw light on the neglected reciprocity between modernity and its historical conditions of becoming.
847 kr
Skickas inom 10-15 vardagar
First published in 2004. Walter Benjamin famously defined modernity as “the world dominated by its phantasmagorias”. The chapters in this book focus on one such phantasmagoria, namely that of ‘modernity’ itself. From the late seventeenth century until today, the ‘modern’ has served as a key category by which to understand an ever-changing present. Art and architecture have played a key role in this pursuit as the means by which the modern was to manifest itself. The aim of this anthology is to trace the modern project through its multifarious manifestations, in order to understand contemporary culture in a deeper sense than facile discussions of modernism and post-modernism often grant. Drawing on architectural and urban history as well as philosophy and sociology, the chapters outline the complex and conflicting roots of modernity by tracing its manifestations in architecture and the city. The book is divided into three parts, each exploring a distinct aspect of modernity. While part one scrutinizes the much-abused concepts of ‘modernity’ , ‘modernism’ and ‘the modern’ , parts two and three look at the manifestations of the modern in architecture and the city respectively. Focusing particularly on the transition between historicism and modernism, the chapters offer a re-interpretation of early modern architectural and urban culture as it came to expression in people such as Cerda, Semper, Bötticher, Scott, Baudelaire, the Goncourt brothers, Benjamin, Warburg, Kracauer, Mackintosh, Behrens, Taut, and Le Corbusier. For all their differences, these were thinkers and practitioners whose undisputed modernity arose from a deep preoccupation with history. A re-reading of their legacy may throw light on the neglected reciprocity between modernity and its historical conditions of becoming.
754 kr
Skickas inom 10-15 vardagar
Routes and roads make their way into and across the landscape, defining it as landscape and making it accessible for many kinds of uses and perceptions. Bringing together outstanding scholars from cultural history, geography, philosophy, and a host of other disciplines, this collection examines the complex entanglement between routes and landscapes. It traces the changing conceptions of the landscape from the Enlightenment to the present day, looking at how movement has been facilitated, imagined and represented and how such movement, in turn, has conditioned understandings of the landscape. A particular focus is on the modern transportation landscape as it came into being with the canal, the railway, and the automobile. These modes of transport have had a profound impact on the perception and conceptualization of the modern landscape, a relationship investigated in detail by authors such as Gernot Böhme, Sarah Bonnemaison, Tim Cresswell, Finola O'Kane, Charlotte Klonk, Peter Merriman, Christine Macy, David Nye, Vittoria Di Palma, Charles Withers, and Thomas Zeller.
2 171 kr
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Routes and roads make their way into and across the landscape, defining it as landscape and making it accessible for many kinds of uses and perceptions. Bringing together outstanding scholars from cultural history, geography, philosophy, and a host of other disciplines, this collection examines the complex entanglement between routes and landscapes. It traces the changing conceptions of the landscape from the Enlightenment to the present day, looking at how movement has been facilitated, imagined and represented and how such movement, in turn, has conditioned understandings of the landscape. A particular focus is on the modern transportation landscape as it came into being with the canal, the railway, and the automobile. These modes of transport have had a profound impact on the perception and conceptualization of the modern landscape, a relationship investigated in detail by authors such as Gernot Böhme, Sarah Bonnemaison, Tim Cresswell, Finola O'Kane, Charlotte Klonk, Peter Merriman, Christine Macy, David Nye, Vittoria Di Palma, Charles Withers, and Thomas Zeller.
156 kr
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"When I put together a collage, I think about architecture." The famous Norwegian postmodernist architect Jan Digerud is a collector of bits of paper: "Together these bits of paper form my palette, textures and forms. The paper collages in this book comprise a selection from my sketch books. My wish is that precedents from the beginnings of modernism are linked to contemporary ideals, so the past and the present need not stand apart. The collages here are independent, finished compositions. Yet even more so, they are exercises in design, inspired by time and place."