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First edition 2003, matching coyright and publishing dates. Published by The MIT Press. Hardcover with DJ. Condition new, square, tight and crisp book, no edgewear, sharp corners, no markings of any kind, no names, no underlinings, no highlights, no bent page corners. Not a reminder. DJ new, bright and shiny, no tears, no chips, no edgewear, not clipped. 8vo, 259 pages.

Mario Carpo provides a subtle and insightful discussion of the intellectual structures that guide architectural composition and the ways that these structures were transformed by the historic shifts from script to print and from hand-made drawings to mechanically reproduced images. He goes on to suggest that the current shift from print to digital representations will have similarly profound consequences. This is a crucial text for anyone interested in the interrelationships of media and design processes.William J. Mitchell, Professor of Architecture and Media Arts and Sciences, MIT

Tschumi introduces the “concept-form”: a concept generating a form, or a form generating a concept.Event-Cities 4 is the latest in the Event-Cities series from Bernard Tschumi, documenting recent built and theoretical projects in the context of his evolving views on architecture, urbanism, and design. Event-Cities C4 follows directly from the work ofEvent-Cities 3, which examined the interaction of architectural content, concept, and context. This volume takes the interaction a step further, looking at a series of projects for which program or context are insufficient as a generative conceptual strategy, hence requiring a different approach. Tschumi has said, “Over the past years, there is one word I have almost never used, except in order to attack it: 'form.'” In Event-Cities 4, Tschumi introduces the “concept-form”: a concept generating a form, or a form generating a concept, so that one reinforces the other. The concept may be programmatic, technological, or social. The form may be singular or multiple, regular or irregular. Concept-forms act as organizing devices or common denominators for the multiple dimensions of programs and their evolution over time, and drive the projects featured in this book. Highlights include master plans for a pair of media-based work spaces and cultural campuses in Singapore and Abu Dhabi; a major master plan for a financial center with 40,000 projected inhabitants in the Dominican Republic; the innovative Blue Residential Tower in New York City; a group of museums and cultural buildings in France, Abu Dhabi, Dubai, and South Korea; a pedestrian bridge in France; and a “multi-programmatic” furniture piece, the TypoLounger. The book contains more than twenty of the Tschumi firm's recent projects, showcasing the most current and forward-looking designs of one of the world's leading architectural practices.

Story and Sustainability explores the role of story in planning theory and practice, with the goal of creating U.S. cities able to balance competing claims for economic growth, environmental health, and social justice. In the book, urban practitioners and scholars from fields as diverse as American studies, English, geography, history, planning, and criminal justice reflect critically on the traditional exclusionary power of storytelling and on its potential to facilitate the transformations of imagination, theory, and practice necessary to create sustainable, democratic American cities. The book begins with an editors' introduction identifying story, sustainable U.S. cities, and democracy as the three key themes. Part I advances and refines these concepts, connects them to contemporary U.S. urban planning, and provides tools that can be used when reading and interpreting the texts in part II. Part II exemplifies, amplifies, and modifies the key themes and arguments through the presentation of eight texts: theoretical and experiential, academic and nonacademic, expository and narrative, and familiar and unfamiliar. The combined focus on story and urban sustainability makes this book a unique contribution to planning literature.

The sequel to Bernard Tschumi's best-selling Event-Cities, documenting his recent architectural projects and updating his thoughts on architectures and cities.In Event-Cities (MIT Press, 1994), Bernard Tschumi expanded his architectural concerns to address the issue of cities and their making. Event-Cities 2 continues this project through new selections from his recent architectural projects. The book includes the first comprehensive documentation of the drawings for the award-winning Parc de la Villette (including many previously unpublished drawings), his project for the expansion of the Museum of Modern Art, two architectural schools, a concert and exhibition hall, a student center, a railway station, a department store, and other urban projects. Tschumi suggests that architecture can accelerate the events of everyday life through new forms of organization. Using various modes of notation ranging from rough models to sophisticated computer-generated images, he reveals the complexities of the architectural process and the rich texture of events that define urban reality today.

How concept, context, and content interact in architecture; provocative examples from recent projects by Bernard Tschumi.In Event-Cities 3, Bernard Tschumi explores the complex and productive triangulation of architectural concept, context, and content. There is no architecture without a concept, an overriding idea that gives coherence and identity to a building. But there is also no architecture without context―historical, geographical, cultural―or content (what happens inside). Concept, context, and content may be in unison or purposely discordant. Against the contextualist movement of the 1980s and 1990s, which called for architecture to blend in with its surroundings, Tschumi argues that buildings may or may not conform to their settings―but that the decision should always be strategic.Through documentation of recent projects―including the new Acropolis Museum in Athens, a campus athletic center in Cincinnati, museums in Sao Paolo, New York, and Antwerp, concert halls in France, and a speculative urban project in Beijing―Tschumi examines different ways that concept, context, and content relate to each other in his work. In the new Acropolis Museum, for example, Tschumi looks at the interaction of the concept―a simple and precise museum with the clarity of ancient Greek buildings―with the context (its location at the base of the Acropolis, 800 feet from the Parthenon) and the content, which incorporates archaeological excavations on the building site into the fabric of the museum. Through provocative examples, Tschumi demonstrates that the relationship of concept, context, and content may be one of indifference, reciprocity, or conflict―all of which, he argues, are valid architectural approaches. Above all, he suggests that the activity of architecture is less about the making of forms than the investigation and materialization of concepts.

This book is a critical reappraisal of contemporary theories of urban planning and design and of the role of the architect-planner in an urban context. The authors, rejecting the grand utopian visions of "total planning" and "total design," propose instead a "collage city" which can accommodate a whole range of utopias in miniature.

The classic work on the evaluation of city form.

Book is in NEW condition. 0.88

A proposal for a new way to understand cities and their design not as artifacts but as systems composed of flows and networks.In The New Science of Cities, Michael Batty suggests that to understand cities we must view them not simply as places in space but as systems of networks and flows. To understand space, he argues, we must understand flows, and to understand flows, we must understand networks―the relations between objects that compose the system of the city. Drawing on the complexity sciences, social physics, urban economics, transportation theory, regional science, and urban geography, and building on his own previous work, Batty introduces theories and methods that reveal the deep structure of how cities function.Batty presents the foundations of a new science of cities, defining flows and their networks and introducing tools that can be applied to understanding different aspects of city structure. He examines the size of cities, their internal order, the transport routes that define them, and the locations that fix these networks. He introduces methods of simulation that range from simple stochastic models to bottom-up evolutionary models to aggregate land-use transportation models. Then, using largely the same tools, he presents design and decision-making models that predict interactions and flows in future cities. These networks emphasize a notion with relevance for future research and planning: that design of cities is collective action.

How we can invent―but not predict―the future of cities.We cannot predict future cities, but we can invent them. Cities are largely unpredictable because they are complex systems that are more like organisms than machines. Neither the laws of economics nor the laws of mechanics apply; cities are the product of countless individual and collective decisions that do not conform to any grand plan. They are the product of our inventions; they evolve. In Inventing Future Cities, Michael Batty explores what we need to understand about cities in order to invent their future.Batty outlines certain themes―principles―that apply to all cities. He investigates not the invention of artifacts but inventive processes. Today form is becoming ever more divorced from function; information networks now shape the traditional functions of cities as places of exchange and innovation. By the end of this century, most of the world's population will live in cities, large or small, sometimes contiguous, and always connected; in an urbanized world, it will be increasingly difficult to define a city by its physical boundaries. Batty discusses the coming great transition from a world with few cities to a world of all cities; argues that future cities will be defined as clusters in a hierarchy; describes the future “high-frequency,” real-time streaming city; considers urban sprawl and urban renewal; and maps the waves of technological change, which grow ever more intense and lead to continuous innovation―an unending process of creative destruction out of which future cities will emerge.

How New York City subways signage evolved from a “visual mess” to a uniform system with Helvetica triumphant.For years, the signs in the New York City subway system were a bewildering hodge-podge of lettering styles, sizes, shapes, materials, colors, and messages. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. Efforts to untangle this visual mess began in the mid-1960s, when the city transit authority hired the design firm Unimark International to create a clear and consistent sign system. We can see the results today in the white-on-black signs throughout the subway system, displaying station names, directions, and instructions in crisp Helvetica. This book tells the story of how typographic order triumphed over chaos.The process didn't go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren't there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn't happen that way―that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn't until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images―photographs, sketches, type samples, and documents). He places this signage evolution in the context of the history of the New York City subway system, of 1960s transportation signage, of Unimark International, and of Helvetica itself.

A summation and extension of Lynch's vision for the exploration of city form.With the publication of The Image of the City in 1959, Kevin Lynch embarked upon the process of exploring city form. Good City Form is both a summation and an extension of his vision, a high point from which he views cities past and possible. First published in hardcover under the title A Theory of Good City Form.

A proposal for a new way to understand cities and their design not as artifacts but as systems composed of flows and networks.In The New Science of Cities, Michael Batty suggests that to understand cities we must view them not simply as places in space but as systems of networks and flows. To understand space, he argues, we must understand flows, and to understand flows, we must understand networks―the relations between objects that compose the system of the city. Drawing on the complexity sciences, social physics, urban economics, transportation theory, regional science, and urban geography, and building on his own previous work, Batty introduces theories and methods that reveal the deep structure of how cities function.Batty presents the foundations of a new science of cities, defining flows and their networks and introducing tools that can be applied to understanding different aspects of city structure. He examines the size of cities, their internal order, the transport routes that define them, and the locations that fix these networks. He introduces methods of simulation that range from simple stochastic models to bottom-up evolutionary models to aggregate land-use transportation models. Then, using largely the same tools, he presents design and decision-making models that predict interactions and flows in future cities. These networks emphasize a notion with relevance for future research and planning: that design of cities is collective action.

“A cracking read, funny, witty and self-deprecating. Les spares no one, least of all himself” – Lorraine Kelly“There’s no shortage of juicy revelations to shock his former fans” – Edinburgh Evening NewsIn 1973, at the age of 18, Les McKeown became the lead singer of the Bay City Rollers, at that stage a one-hit-wonder pop group on the verge of giving up. His charismatic personality and unique voice transformed the Rollers into an international super-group that reached the top of the charts all over the world.Les was the catalyst for mass hysteria not witnessed since the days of Beatlemania. By 1975, he was the most adored man on the planet. Four years later, he was homeless and penniless after quitting the Rollers. Shang-A-Lang reveals the remarkable story of the boy from the back streets of Edinburgh whose dream came true and how that dream was shattered. A compelling, thought-provoking and amusing account of Rollermania and beyond, Shang-A-Lang takes a revealing trip through the many ups and downs in the life of one of the music industry's bona fide survivors and provides a candid insight into the less savoury aspects of the music industry.

One of the great classics of XXth century architecture. Initially published in 1973 by the MIT Press. Belongs to every public and college library.

Founded in Paris and now headquartered in New York City, Helmut Lang transcends borders having pioneered minimalist design in the eighties and nineties. This legacy continues today with pieces like the Trench Skirt, featuring an asymmetrical midi-length cut and statement signature seatbelt closure. Accented with oversized patch pockets, the sleek and understated design is given a unique technical touch. 75% Cotton, 25% Nylon, Wrap Style with Belt, 2 Flap Patch Pockets, Midi Length, Dry Clean Only. Helmut Lang Women's Trench Coat Skirt in Navy, Size Medium

Founded in Paris and now headquartered in New York City, Helmut Lang transcends borders having pioneered minimalist design in the eighties and nineties. This legacy continues today with pieces like the Trench Skirt, featuring an asymmetrical midi-length cut and statement signature seatbelt closure. Accented with oversized patch pockets, the sleek and understated design is given a unique technical touch. 75% Cotton, 25% Nylon, Wrap Style with Belt, 2 Flap Patch Pockets, Midi Length, Dry Clean Only. Helmut Lang Women's Trench Coat Skirt in Navy, Size Large

Helmut Lang brings its iconic minimalist design to your summer look this season with this vacation shirt. Perfect for the resort or a stroll through a new city, this shirt is made from a cotton blend with a wide camp collar, it’s lightweight and built for the season. 60% Rayon, 24% Cotton, 12% Polyester, 4% Linen, Camp Collar, Button Closure, Embroidered Branding. Helmut Lang Men's Roll Up Logo Vacation Shirt in Juniper, Size Small

Die SMS Kaiserin Elisabeth hatte sich bereits ein Jahr lang in chinesischen und japanischen Gewassern und Hafen aufgehalten, als der Kreuzer und seine Mannschaft - darunter der junge osterreichische Unteroffizier Friedrich Kirchner - ganz unverhofft zur Teilnahme am Weltkrieg verpflichtet wurden. Bedingt durch die Bundnisse zwischen Osterreich und Deutschland sowie zwischen England und Japan, waren aus bis dahin befreundeten Staaten plotzlich Gegner geworden. Friedrich Kirchner hat uber die Kampfeinsatze und seine Kriegsgefangenschaft minutios Tagebuch gefuhrt. Darin schildert er die Kampfe um den deutschen Marinestutzpunkt Tsingtau gegen die Ubermacht der Japaner und die Jahre seiner Kriegsgefangenschaft in Japan. Im dortigen Lager warteten 300 Osterreicher auf das Kriegsende und haben spater keine schlechten Erinnerungen mit nach Hause gebracht. Das Tagebuch wird hier in einer kommentierten Ausgabe vorgelegt und enthalt eine historische Einfuhrung.