How do we live well? The first sentence of Grace and Gravity raises
the fundamental question that constantly occupies our minds—and
of all those who lived before us. Paradoxically, the impossibility
of answering this question opens up the very room needed to find
ways of living well. It is the gap where all disciplines fall
short, where architecture does not fit its inhabitants, where
economy is not based on shortage, where religion cannot be
explained by its followers, and where technology works far beyond
its own principles. According to Lars Spuybroek, the prize-winning
former architect, this marks the point where the “paradoxical
machine” of grace reveals its powers, a point where we “cannot
say if we are moving or being moved”. Following the trail of
grace leads him to a new form of analysis that transcends the
age-old opposition between appearances and technology. Linking up a
dazzling and often delightful variety of sources—monkeys,
paintings, lamp posts, octopuses, tattoos, bleeding fingers, rose
windows, robots, smart phones, spirits, saints, and fossils—with
profound meditations on living, death, consciousness, and
existence, Grace and Gravity offers an eye-opening provocation to a
wide range of art historians, architects, theologians,
anthropologists, artists, media theorists and philosophers.
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