"Architects' Journeys" brings together a cross section of contemporary architects, historians and theorists to reconsider the role that travel has played in architectural practice from the early twentieth century to the present. Looking beyond the model of enlightened tourism based on the legacy of the Grand Tour, the book's contributors investigate travel as a form of displacement, prefiguring the emergence of the figure of the global architect in the late twentieth century. Designed by the award-winning design studio Project Projects, the book features writings by an international group of innovative thinkers in the field including Ruben A. Alcolea, Beatriz Colomina, Kenneth Frampton, Hector Garcia-Diego, Carlos Labarta, Jose Angel Medina, Juan Miguel Otxotorena, Spyros Papapetros, Jose Manuel Pozo, Galia Solomonoff, Jorge Tarrago and Mark Wigley.

Key writings and projects from the group of architects, sociologists, and urbanists known as Utopie. "When the imagination reaches and oversteps the boundaries authorized by the institution of culture, we speak of poetry, of utopia.... When the event reaches and oversteps the boundaries authorized by judicial law and by the anomic rules, we speak of revolution."-Rene Lourau The short-lived grouping of architects, sociologists, and urbanists known as Utopie, active in Paris from 1967 to 1978, was the product of several factors: the student protests for the reform of architectural education, the unprecedented expansion and replanning of the Parisian urban fabric carried out by the government of Charles de Gaulle, and the domestication of military and industrial technologies by an emerging consumer society. The group's collaborative publications included the work of Jean Aubert, Isabelle Auricoste, Jean Baudrillard, Catherine Cot, Charles Goldblum, Jean-Paul Jungmann, Henri Lefebvre, Rene Lourau, Antoine Stinco, and Hubert Tonka. Offering a militant alternative to professional urban planning journals, these writers not only formulated a critique of the technocratic and administrative rule over a disabled and alienated urban society but also projected an ephemeral urban poetics. With ties to the Ecole Nationale Superieure des Beaux-Arts (ENSBA) in central Paris and to the sociology department established by Henri Lefebvre at the suburban campus of Nanterre, the group challenged postwar modernization and urban planning and questioned the roles into which architects, sociologists, and urban planners had been cast. Utopie makes the group's diverse body of theoretical work accessible in English for the first time, offering translations of more than twenty key texts. Designed in a facsimile format that follows the innovative graphic layouts of the journals, pamphlets, posters, and articles produced by Utopie, the volume not only provides the first thorough overview of the group's activities but also seeks to capture Utopie's linkage of architectural and urban theory to radical publication strategies.

An innovative look at the contribution of montage to twentieth-century architecture Graphic Assembly unearths the role played by montage and collage in the development of architectural culture over the past century, revealing their unexamined yet crucial significance. Craig Buckley brings together experimental architectural practices based in London, Paris, Vienna, and Florence, showing how breakthroughs in optical media and printing technologies enabled avant-garde architects to reimagine their field. Graphic Assembly considers a range of architects and movements from the 1950s through the early '70s, including Theo Crosby, Hans Hollein, and John McHale; the magazine Clip-Kit; and the groups Archigram, Superstudio, and Utopie. It gives a thorough account of how montage concepts informed the design of buildings, prototypes, models, exhibitions, and multimedia environments, accompanied by Buckley's insightful interpretations of the iconic images, exhibitions, and buildings of the 1960s that mark how the decade is remembered. Richly illustrated with never-before-published material from more than a dozen archives and private collections, Graphic Assembly offers a comparative overview of the network of experimental architectural practice in Europe. It provides a deep historical account of the cut-and-paste techniques now prevalent with architecture's digital turn, demonstrating the great importance of montage to architecture past, present, and future.

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.