Leading art historians, architects, designers, artists, and urbanists share new perspectives on this visionary architect's material legacy Lina Bo Bardi (1914-1992) is renowned for her boldly modernist designs like the Sao Paulo Museum of Art and the culture and leisure center SESC Pompeia. An artist, architect, designer, writer, and activist, she was a tireless champion for local craft and materials. Her democratic designs were inclusive and stood as an open invitation to those typically excluded from elitist institutions, embodying an aesthetic that stood out among the modernist movement in Brazil and abroad. This collection of essays presents new perspectives on Bo Bardi from leading contemporary artists, architects, curators, and scholars. Contributors engage with the conceptual, social, and political philosophies latent in the architectural materials she chose-from her application of concrete to her implementation of nature and her reuse of vernacular materials. Beautifully illustrated and featuring seven gatefolds, Lina Bo Bardi: Material Ideologies sheds vital new light on the ideological strategies inherent in Bo Bardi's iconic projects and lesser-known work. Distributed for the Princeton University School of Architecture

An explosion of little architectural magazines in the 1960s and 1970s instigated a radical transformation in architectural culture, as the magazines acted as a site of innovation and debate. Clip/Stamp/Fold takes stock of seventy little magazines from this period that were published in over a dozen cities. The book brings together a remarkable range of documents and original research which the project has produced during its continuous travels over the last four years starting with the memorable exhibition at the Storefront for Art and Architecture in November 2006. The book features transcripts from the Small TalksA" events at Storefront in which editors and designers were invited to discuss their magazines; a stocktaking of over 100 significant issues that tracks the changing density and progression of the little magazine phenomenon; transcripts of more than forty interviews with magazine editors and designers from all over the world; a selection of magazine facsimiles that have been fully reproduced at three-quarter scale; and a fold out poster, inspired by the exhibition's printed wallpaper, that offers a mosaic image of more than 1,200 covers examined during the research. Just as each iteration of the exhibition is an open-ended collaboration with the visitors and with a different group of editors, institutions, and collectors who provide a different set of original magazines in each city, this catalogue documents a work in progress, hoping to stimulate further discussion and research. The book features original by a galaxy of remarkable magazine makers: Takefumi Aida and Minoru Takeyama, Ernesto Alva, Jean Aubert, Isabelle Auricoste, Stephen Bann, Stefano Boeri, Oriol Bohigas, Yve-Alain Bois, Andrea Branzi, Pierre Clement, Peter Cook, Dennis Crompton, Peter Crump, Pietro Derossi, Peter Eisenman, Gunther Feuerstein, Hal Foster, Kenneth Frampton, Mildred Friedman, Mario Gandelsonas, Edith Girard, Olivier Girard, Jorge Gleason Peart, Nancy Goldring, Steven Holl, Hans Hollein, Jean-Paul Jungmann, Rosalind Krauss, Ugo La Pietra, Miguel Lawner, Lisa Licitra Ponti, Chip Lord and Curtis Schreier, Jacques Lucan, Alessandro Mendini, William Menking, Robin Middleton, Hans Mol, Rafael Moneo, Peter Murray, Patrice Noviant, John Outram, Grahame Shane, Dennis Sharp, Alison Sky, Manuel de Sola-Morales, Philip Steadman, Suzanne Stevens, Bernard Tschumi, Roel van Duyn, Anthony Vidler, Stanislaus von Moos, Michael Webb, David Wild, James Wines, Tom Woolley Beatriz Colomina is Professor of Architecture and Founding Director of the Program in Media and Modernity at Princeton University. Craig Buckley teaches at the Graduate School of Architecture, Planning, and Preservation, Columbia University, where he is also the Director of Print Publications. Clip/Stamp/Fold Research Team: Craig Buckley, Leonardo, Diaz-Borioli, Anthony Fontenot, Urtzi Grau,, Lisa Hsieh, Alicia Imperiale, Lydia Kallipoliti, Olympia Kazi, Daniel Lopez-Perez, Joaquim Moreno, Irene Sunwoo.

Are We Human? rethinks the philosophy of design in a multi-dimensional exploration from the very first tools and ornaments to the constant buzz of social media. The average day involves the experience of thousands of layers of design that reach to outside space but also reach deep into our bodies and brains. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design. Design has become the world. Design is what makes the human. It is the very basis of social life. But design also engineers inequalities and new forms of neglect, such as lawlessness, poverty, and the climate at the same time as the human genome and the weather are being actively redesigned. We can no longer reassure ourselves with the idea of "good design." Design itself needs to be redesigned.

This book explores the impact of medical discourse and diagnostic technologies on the formation, representation, and reception of modern architecture. It challenges the normal understanding of modern architecture by proposing that the architecture of the early twentieth century was shaped by the dominant medical obsession of its time: tuberculosis and its primary diagnostic tool, the X-ray.If architectural discourse has from its beginning associated building and body, the body that it describes is the medical body, reconstructed by each new theory of health. Modern architects pre- sented their architecture as a kind of medical instrument for protecting and enhancing the body. X-ray technology and modern architecture were born around the same time and evolved in parallel. While the X-ray exposed the inside of the body to the public eye, the modern building unveiled its interior, inverting the relationship between private and public.Colomina suggests that if we want to talk about the state of the art in buildings, we should look to the dominant obsessions about illness and the latest techniques of imaging the body-and ask what effects they may have on the way we conceive architecture.

The voices of thirty-six internationally active women architects are heard through their own projects. This diverse panorama is supplemented by essays on pioneering female architects, and analyses that get to the bottom of the structural discrimination against women architects. With Mona Bayr, Odile Decq, Elke Delugan-Meissl, Julie Eizenberg, Manuelle Gautrand, Annette Gigon, Silvia Gmür, Cristina Guedes, Melkan Gürsel, Itsuko Hasegawa, Anna Heringer, Fabienne Hoelzel, Helle Juul, Karla Kowalski, Anupama Kundoo, Anne Lacaton, Regine Leibinger, Dorte Mandrup, Rozana Montiel, Kathrin Moore, Farshid Moussavi, Carme Pinós, Nili Portugali, Paula Santos, Kazuyo Sejima, Annabelle Selldorf, Pavitra Sriprakash, Siv Helene Stangeland, Brigitte Sunder-Plassmann, Lene Tranberg, Billie Tsien, Elisa Valero, Natalie de Vries, Andrea Wandel, Helena Weber, and Lu Wenyu.

In the immediate postwar years, a new type of modern architecture emerges. Beatriz Colomina presents domesticity as a potent new weapon in a changed architectural battlefield. This architecture becomes the property of the middle-class consumer bombarded with images of domestic bliss, a lifestyle campaign launched through recycled military techniques. The significance of architects like Charles and Ray Eames lies in their sensitivity to buildings and images both defining space. Colomina is Director of Princeton University's Architecture PhD program and acclaimed author of "Privacy and Publicity" and "Sexuality and Space".

In a supportive article covering the 4th Berlin Biennial, critic Steven Henry Madoff took a moment to question what many have termed "Biennial Fever," writing, "Are [biennials] here to capture trends or to advance artists' voices in a larger social dialogue? Do they promote international understanding or local interests? Are they bully pulpits for curators turned ideologues, or are they simply there to tap the art market's stopwatch till the next survey of hot new things draws the attention of an ever expanding universe of collectors?" For the 2008 edition of this always-provocative international fair, Curators Adam Szymczyk and Elena Filipovic brought together primarily newly commissioned work by 50 emerging and established international artists for a round-the-clock exhibition that included 63 nightly events. This expansive volume documents it all, and contains contributions by writers, critics and artists including Beatriz Colomina, Bettina Viesmann, Cameron Jamie, Gabriel Kuri, Babette Mangolte, Ahmet Ogut and Katerina Seda.

A wide-ranging and challenging exploration of design and how it engages with the self The field of design has radically expanded. As a practice, design is no longer limited to the world of material objects but rather extends from carefully crafted individual styles and online identities to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes. Superhumanity seeks to explore and challenge our understanding of "design" by engaging with and departing from the concept of the "self." This volume brings together more than fifty essays by leading scientists, artists, architects, designers, philosophers, historians, archaeologists, and anthropologists, originally disseminated online via e-flux Architecture between September 2016 and February 2017 on the invitation of the Third Istanbul Design Biennial. Probing the idea that we are and always have been continuously reshaped by the artifacts we shape, this book asks: Who designed the lives we live today? What are the forms of life we inhabit, and what new forms are currently being designed? Where are the sites, and what are the techniques, to design others? This vital and far-reaching collection of essays and images seeks to explore and reflect on the ways in which both the concept and practice of design are operative well beyond tangible objects, expanding into the depths of self and forms of life. Contributors: Zeynep Celik Alexander, Lucia Allais, Shumon Basar, Ruha Benjamin, Franco "Bifo" Berardi, Daniel Birnbaum, Ina Blom, Benjamin H. Bratton, Giuliana Bruno, Tony Chakar, Mark Cousins, Simon Denny, Keller Easterling, Hu Fang, Ruben Gallo, Liam Gillick, Boris Groys, Rupali Gupte, Andrew Herscher, Tom Holert, Brooke Holmes, Francesca Hughes, Andres Jaque, Lydia Kallipoliti, Thomas Keenan, Sylvia Lavin, Yongwoo Lee, Lesley Lokko, MAP Office, Chus Martinez, Ingo Niermann, Ahmet OEgut, Trevor Paglen, Spyros Papapetros, Raqs Media Collective, Juliane Rebentisch, Sophia Roosth, Felicity D. Scott, Jack Self, Prasad Shetty, Hito Steyerl, Kali Stull, Pelin Tan, Alexander Tarakhovsky, Paulo Tavares, Stephan Truby, Etienne Turpin, Sven-Olov Wallenstein, Eyal Weizman, Mabel O. Wilson, Brian Kuan Wood, Liam Young, and Arseny Zhilyaev.

Through a series of close readings of two major figures of the modern movement, Adolf Loos and Le Corbusier, Beatriz Colomina argues that architecture only becomes modern in its engagement with the mass media, and that in so doing it radically displaces the traditional sense of space and subjectivity.Privacy and Publicity boldly questions certain ideological assumptions underlying the received view of modern architecture and reconsiders the methodology of architectural criticism itself. Where conventional criticism portrays modern architecture as a high artistic practice in opposition to mass culture, Colomina sees the emerging systems of communication that have come to define twentieth-century culture -- the mass media -- as the true site within which modern architecture was produced. She considers architectural discourse as the intersection of a number of systems of representation such as drawings, models, photographs, books, films, and advertisements. This does not mean abandoning the architectural object, the building, but rather looking at it in a different way. The building is understood here in the same way as all the media that frame it, as a mechanism of representation in its own right.With modernity, the site of architectural production literally moved from the street into photographs, films, publications, and exhibitions -- a displacement that presupposes a new sense of space, one defined by images rather than walls. This age of publicity corresponds to a transformation in the status of the private, Colomina argues; modernity is actually the publicity of the private. Modern architecture renegotiates the traditional relationship between public and private in a way that profoundly alters the experience of space. In a fascinating intellectual journey, Colomina tracks this shift through the modern incarnations of the archive, the city, fashion, war, sexuality, advertising, the window, and the museum, finally concentrating on the domestic interior that constructs the modern subject it appears merely to house.

“Best in Show” — 2014 AAM Museum Publications Design Competition Between 1950 and 1975, some of the postwar era’s most innovative artists flocked to a very unexpected place: New Jersey. Appreciating what others tended to ignore or mock, they gravitated to the state’s most desolate peripheries: its industrial wastescapes, crumbling cities, crowded highways, and banal suburbs. There they produced some of the most important work of their careers. The breakthroughs in land, conceptual, performance, and site-specific art that New Jersey helped catalyze are the subject of New Jersey as Non-Site, whose title evokes the mixed-media sculptures that Robert Smithson began to create in 1968 while driving the state’s highways with Nancy Holt. This catalogue examines more than 100 works by sixteen artists, including Amiri Baraka, George Brecht, Dan Graham, Allan Kaprow, Gordon Matta-Clark, and George Segal. Organized around three themes—ruin, cooperation, and displacement—Kelly Baum’s essay considers their work in relationship to seismic shifts in the world of art and equally dramatic changes to New Jersey’s economy, infrastructure, landscape, demography, and social stability. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum (10/05/13–01/04/14)

The expert contributors to this lavishly illustrated volume, devoted entirely to Mies van der Rohe's Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion's genesis. Habitually thought of as an abstract, unpolluted, and splendidly isolated building--a precursor of Mies's American period--the Pavilion is revealed here as a thoroughly European work, perhaps less pristine but more authentic. Mies and Lilly Reich were commissioned to design not only the Pavilion but also more than one hundred thousand square feet of German stands spread throughout the Exposition. By examining that work in addition to the Pavilion itself, the contributors present a farreaching reinterpretation of the whole. They also explore connections with the mass media, highlight the work's antecedents and meaning in the history of architecture, and analyze the current pavilion, a reconstruction of the original built in 1986. No other critical study offers a comparable overview of Mies's work in Barcelona.