false 18031 0 0 146571 1580931588 9781580931588 1 <![CDATA[Crib Sheets: Notes on Contemporary Architectural Conversation]]> http://photo.goodreads.com/books/1172181255m/146571.jpg http://photo.goodreads.com/books/1172181255s/146571.jpg http://www.goodreads.com/book/show/146571.Crib_Sheets_Notes_on_Contemporary_Architectural_Conversation 4.00 2 Each of the words is presented with a list of quotations, or sound bites, arranged in order of length and drawn from more than two hundred commentators, from Charles Baudelaire, Le Corbusier, and Buckminster Fuller to Frank Gehry, Paul Goldberger, and Rem Koolhaas. The structure attempts to evoke the present-day architectural conversation, capturing social milieus, current events, clusters of topics, and even background noise and eavesdropping.

]]> 18031 4.20 5 1 84846 4.62 8 1 1191424 4.00 2 1 2005 2211801 0262622130 9780262622134 0 <![CDATA[Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/2211801.Form_Follows_Libido_Architecture_and_Richard_Neutra_in_a_Psychoanalytic_Culture 5.00 1 -- Richard Neutra, 1954

Sylvia Lavin's Form Follows Libido argues that by the 1950s, some architects felt an urge to steer the cool abstraction of high modernism away from a neutral formalism toward the production of more erotic, affective environments. Lavin turns to the architecture of Richard Neutra (1892-1970) to explore the genesis of these new mood-inducing environments. In a series of engaging essays weaving through the designs and writings of this Vienna-born, California-based architect, Lavin discovers in Neutra a sustained and poignant psychoanalytic reflection set in the context of a burgeoning psychoanalytic culture in America.

Lavin shows that Neutra's redirection of modernism constituted not a lyrical regression to sentimentality but a deliberate advance of architectural theory and technique to engage the unconscious mind, fueled by the ideas of psychoanalysis that were being rapidly disseminated at the time. In Neutra's responses to a vivid range of issues, from psychoanalysis proper to the popular psychology of tele-evangelical prayer, Lavin uncovers a radical reconstitution of the architectural discipline.

Arguing persuasively that the received historical views of both psychoanalysis and architecture have led to a suppression of their compelling coincidences and unorthodoxies, Lavin sets out to unleash midcentury architecture's hidden libido. Neither Neutra nor psychoanalysis emerges unscathed from her investigation of how architecture came to be saturated by the intrigues of affect, often against its will. If Reyner Banham sought to put architecture "on the couch," then Lavin, through Neutra, leaps beyond Banham's ameliorative aim to lure contemporary architecture into the lush and dangerous liaisons of environmental design.]]> 18031 4.20 5 1 2007 146567 0262122685 9780262122689 0 <![CDATA[Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture]]> http://photo.goodreads.com/books/1172181253m/146567.jpg http://photo.goodreads.com/books/1172181253s/146567.jpg http://www.goodreads.com/book/show/146567.Form_Follows_Libido_Architecture_and_Richard_Neutra_in_a_Psychoanalytic_Culture 5.00 1 -- Richard Neutra, 1954

Sylvia Lavin's Form Follows Libido argues that by the 1950s, some architects felt an urge to steer the cool abstraction of high modernism away from a neutral formalism toward the production of more erotic, affective environments. Lavin turns to the architecture of Richard Neutra (1892-1970) to explore the genesis of these new mood-inducing environments. In a series of engaging essays weaving through the designs and writings of this Vienna-born, California-based architect, Lavin discovers in Neutra a sustained and poignant psychoanalytic reflection set in the context of a burgeoning psychoanalytic culture in America.

Lavin shows that Neutra's redirection of modernism constituted not a lyrical regression to sentimentality but a deliberate advance of architectural theory and technique to engage the unconscious mind, fueled by the ideas of psychoanalysis that were being rapidly disseminated at the time. In Neutra's responses to a vivid range of issues, from psychoanalysis proper to the popular psychology of tele-evangelical prayer, Lavin uncovers a radical reconstitution of the architectural discipline.

Arguing persuasively that the received historical views of both psychoanalysis and architecture have led to a suppression of their compelling coincidences and unorthodoxies, Lavin sets out to unleash midcentury architecture's hidden libido. Neither Neutra nor psychoanalysis emerges unscathed from her investigation of how architecture came to be saturated by the intrigues of affect, often against its will. If Reyner Banham sought to put architecture "on the couch," then Lavin, through Neutra, leaps beyond Banham's ameliorative aim to lure contemporary architecture into the lush and dangerous liaisons of environmental design.]]> 18031 4.20 5 1 2005 1086066 0262121662 9780262121668 0 <![CDATA[Quatremère de Quincy and the Invention of a Modern Language of Architecture]]> http://photo.goodreads.com/books/1180871734m/1086066.jpg http://photo.goodreads.com/books/1180871734s/1086066.jpg http://www.goodreads.com/book/show/1086066.Quatrem_re_de_Quincy_and_the_Invention_of_a_Modern_Language_of_Architecture 3.00 1
Lavin suggests that by using language to provide architecture with a conventional rather than natural model, Quatremere equated architecture's capacity for progressive development with its sociality. Challenging the usual appraisal of Quatremere as a conservative academic, Lavin argues that his underlying emphasis on the social contract of architecture, rather than the neoclassical style he explicitly promulgated, is the key to the persistent interest in his writings. She shows how Quatremere's effort to establish a universally valid theory of architecture led him beyond the boundaries of academic classicism and into contemporary developments in language theory, ethnography, and Egyptology.

Lavin then demonstrates how the relativism of these emerging spheres of knowledge, which sought to discover fundamental relationships between distinct cultural traditions, affected Quatremere's understanding of architecture. She posits Quatremere as the first thinker to develop a theory of architecture able to accommodate a wide range of formal expressions and generate dissimilar discourses. In the process, she reveals a consonance between the interdisciplinary nature of his thought and the extraordinary breadth of his influence.

Sylvia Lavin is Assistant Professor of Architectural History and Theory in the Graduate School of Architecture and Urban Planning at the University of California at Los Angeles.]]> 18031 4.20 5 1 1992 166443 9056624539 9789056624538 0 <![CDATA[Petra Blaisse: Inside Outside]]> http://photo.goodreads.com/books/1172347721m/166443.jpg http://photo.goodreads.com/books/1172347721s/166443.jpg http://www.goodreads.com/book/show/166443.Petra_Blaisse_Inside_Outside 0.0 0 96787 3.78 41 5 18031 4.20 5 1 2007 6742764 097919914X 9780979199141 0 <![CDATA[ReFusing Fashion: Rei Kawakubo]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/6742764-refusing-fashion 0.0 0 The museum's exhibition committee, a group of artists, art historians, collectors and curators, took a fine art approach to the organization, seeing the exhibition as an installation, and a Gesamtkunstwerk, or total work of art: all the pieces together revealing the whole. To understand the work, you need to see, sense and witness its majestic variety and uncompromising originality -- a dress with four arm holes in 1979; a jacket with the back cut up then tied together in 1988; a jacket with four sleeves: two regular, two kimono from 2003; garments sewn, tied, wrapped, pinned and assembled from others; seams frayed turning inside out, holes made and found, fabrics invented, pop art flowers, motorcycle jackets shaped like baseball gloves, capes with the geometry of an Amish quilt or Navajo blanket and a bride so contemporary that the decorations on her gown are printed images not made of actual fabric, but reproducible histories.

The book was designed to capture the flowing exhibition from all angles. The book designers and exhibition photographer developed a system of standing in fixed locations throughout the space and taking photos while turning around in a 360 degree circle. The photos start on the cover and continue throughout the book, alternating with pages of text, to create a sense that the pages have insides and outsides similar to clothing.

In addition to photographs of the exhibition, the book includes photos by Timothy Greenfield-Sanders of Kawakubo's costume designs for Merce Cunningham, photos from select Comme des Garcons fashion shows, a chronology, and essays by Harold Koda, curator in charge at the Costume Institute at the Metropolitan Museum of Art, architect Sylvia Lavin, Judith Thurman, writer for the New Yorker, and art historian Michael Stone-Richards.

]]> 70347 4.18 129 14 18031 4.20 5 1 275747 4.50 2 2 14851 3.92 297 51 3034237 0.0 0 0 3034238 0.0 0 0 3034239 0.0 0 0 2008 6208913 0847830608 9780847830602 0 <![CDATA[Frank Gehry: The Houses: The Houses]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/6208913.Frank_Gehry_The_Houses_The_Houses 0.0 0 1916 3.58 31 3 18031 4.20 5 1 60303 3.72 18 4 2009