complexity contradiction architecture di venturi robert introduction vincent scully (11 risultati)

Paperback. Condizione: Good. 2nd. Softcover. Shelf wear. Front end page excised. Light water damage.

Paperback. Condizione: Very Good. 2nd. ***please read*** no marks on text - cover has some light wear - name insidemy shelf location - cover bn9-top*.

Paperback. Condizione: Very Good. 2nd. 132 pages, illustrations; 23 x 29 cm. Firm binding, clean inside copy. Light shelfwear to wraps, age toning. *** The pioneering document on post-modern architecture. *** CONTENTS: Nonstraightforward architecture: a gentle manifesto; Complexity and contradiction vs. simplification or picturesqueness; Ambiguity; Contradictory levels: the phenomenon of "Both-And" in architecture; Contradictory levels continued: the double-functioning element; Accommodation and the limitations of order: the conventional element; Contradiction adapted; Contradiction juxtaposed; The inside and the outside; The obligation toward the difficult whole. Size: Oblong.

Oversized Paperback. Condizione: Good.

Wrappers. Condizione: Very Good. First Thus. (1966). 8vo. First simultaneous wrappered edition. Rubbing and wear to wraps. VG in wrappers.

Hardcover. 10mo; pp 135; G/G-; ivory spine with black text; dust jacket shows slight soiling to exterior; small chips to corners; tape mends inside dj to spine edges; cloth has slight wear to exterior; strong boards; text block shows light tone to exterior edges; interior clean; illustrated; NOTE: Shelved in Netdesk office, Case #3. 1322443. FP New Rockville Stock.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. 1st Edition. 1st edition, inaugural publication of The Museum of Modern Art Papers on Architecture in 1966. The signature of James Jarrett, professor of architectural theory and Yale and CUNY, on f.f.e.p., likely his own copy. NF boards. Soiling and light chipping to dj, with small open tear to spine tail. Underline in a light hand to limited pages.

Hardcover. Condizione: Fine. Condizione sovraccoperta: Near Fine. First Edition. Fine in gray cloth-covered boards and near fine dust jacket with light rubbing and publisher's price clip and replacement price sticker.

First edition of this essential document of architectural literature. Octavo, original gray cloth, illustrated. Boldly signed by Robert Venturi who has added a drawing of his mother's house on the dedication page. Fine in a near fine dust jacket. Introduction by Vincent Scully. As Venturi's "gentle manifesto for a nonstraightforward architecture," Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture" (The New York Times).

First edition of this essential document of architectural literature. Octavo, original gray cloth, illustrated. Presentation copy, inscribed by the author on the front free endpaper, "To Al, Friendship and respect Bob Venturi." FineÂin a near fine dust jacket with a touch of shelfwear. As Venturi's "gentle manifesto for a nonstraightforward architecture," Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture" (The New York Times).

First edition of this essential document of architectural literature. Octavo, original gray cloth, illustrated. Signed and dated by Robert Venturi on the title page. FineÂin a near fine dust jacket with a touch of shelfwear. As Venturi's "gentle manifesto for a nonstraightforward architecture," Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture" (The New York Times).