venturi robert vincent scully (19 résultats)

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

Etat : Used - Very Good. 1992. paperback. Oblong octavo. 224 pp. Profusely illustrated. Mild shelf wear to wraps. Altogether a copy in Very Good condition. Very Good.

Etat : New.

Soft cover. Etat : Fine. 1st Edition. Stiff white wraps, lettered in red and black. Just a hint of shelf wear, essentially as issued. 3rd ptg.: 1974. 144 pp. Size: 8vo - over 7¾" - 9¾" tall. Book.

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

Hardcover. Etat : Fine. Etat de la jaquette : 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.

perfect. Etat : Gut. 224 Seiten; Wiese - 1. Auf. 1992 : Vincent Scully - tb. Gr. Lang DT-DL55-8ZAI Sprache: Deutsch Gewicht in Gramm: 1.

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. First edition. 21.5 x 28.5 cm. Oblong quarto. 224pp. Red cloth in dust jacket. Small stain to foredge. Some soiling to the jacket. Previous owner's name on front free endpaper. Very Good in Very Good dust jacket.

Hardcover. Etat : Very Good. Etat de la jaquette : 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.

Hard cover. Etat : Very good. Etat de la jaquette : Very good. Bin 4 (Long Case). Inscribed by Robert Venturi. First edition. Book has a slight musty smell. Jacket is lightly tanned and rubbed, with mild wear along edges. Binding is tight. Covers and pages are clean and unmarked.

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).