000			03253nam a2200385Ia 4500
003			pucpr
005			20260820155323.0
008			012411s2006 ilua b 001 0 eng
010			_a 2005026033
020			_a0226764699 (cloth : alk. paper)
020			_a0226764696(pbk. : alk. paper)
020			_a9780226764696
035			_a(OCoLC)ocm61478764
040			_appucpr _beng _cpucpr _dpucpr _erda
041			_aspa
049			_aCARIBET
050	0	0	_aN72.S6 _bS56 2006
082	0	0	_a720.1/03 _222
100	1		_aSmith, Terry _q(Terry E.) _9278219 _d1953-
245	1	4	_aThe Architecture of Aftermath : _cTerry Smith. _htxt
264			_aChicago : _bChicago Press, _c2006.
300			_axiii, 246 p. _bill. ; plans ; _c27 cm. _fbook
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediaded _bn
338			_2rdacarrier _avolume _bnc
500			_aInclude index.
504			_aIncludes bibliographical references and index.
505			_aContents: Acknowledgments ix -- List of Illustrations xi -- Introduction After Effects Architecture, Iconomy, -- Contemporaneity 1 -- Part I: Dispacing time : 1. The Bilbao Affect Culture as Industry 19 -- 2. Flashback Uluru and the Sydney Opera House 35 -- 3. The Past Modern Present Empire Redux at the Getty Center 50 -- 4. Remembrance Now Architecture after Auschwitz at the Jewish Museum, Berlin 67 -- Part II: Targets and opportunities : 5. WTC Fast Forward Skyscrapers on the Isle of the Dead 97 -- 6. Architecture’s Unconscious Trauma and the Contemporary Sublime at Ground Zero 124 -- 7. Shock Build Mourn Hope Architects Confront Contemporaneity 160 -- Conclusion Aftermath and After 190 -- Notes 205 -- Index 233 --
520			_a"The September 11 terrorist attacks targeted, in Osama bin Laden's words, "America's icons of military and economic power." In The Architecture of Aftermath, Terry Smith argues that it was no accident that these targets were buildings: architecture has long served as a symbol of proud, defiant power--and never more so than in the late twentieth century. But after September 11, Smith asserts, late modern architecture suddenly seemed an indulgence. With close readings of key buildings--including Jorn Utzon's Sydney Opera House, Minoru Yamasaki's World Trade Center, Frank Gehry's Guggenheim Museum Bilbao, and Richard Meier's Getty Center--Smith traces the growth of the spectacular architecture of modernity and then charts its aftermath in the conditions of contemporaneity. Indeed, Smith focuses on the very culture of aftermath itself, exploring how global politics, clashing cultures, and symbolic warfare have changed the way we experience destination architecture. Like other artists everywhere, architects are responding to the idea of aftermath by questioning the viability of their forms and the validity of their purposes. With his richly illustrated The Architecture of Aftermath, Smith has done so as well." --
650		0	_aArchitecture and society. _954083 _2Local
650		0	_954088 _aArchitecture, Modern _y21st century _2Local
650		0	_954088 _aArchitecture, Modern _y20th century. _2Local
650		0	_aSymbolism in architecture _9282062 _2Local
942			_2lcc _c27 _hN72.S6 _kGeneral _mS56 2006
999			_c220265 _d220265