The Bridge Between Matter Spirit Is Matter Becoming Spirit

"Paolo Soleri (21 June 1919 ? 9 April 2013) was an Italian-American architect. He established Arcosanti and the educational Cosanti Foundation. Soleri was a lecturer in the College of Architecture at Arizona State University and a National Design Award recipient in 2006. He died at home of natural causes on 9 April 2013 at the age of 93."--Wikipedia.

"Paolo Soleri (21 June 1919 ? 9 April 2013) was an Italian-American architect. He established Arcosanti and the educational Cosanti Foundation. Soleri was a lecturer in the College of Architecture at Arizona State University and a National Design Award recipient in 2006. He died at home of natural causes on 9 April 2013 at the age of 93."--Wikipedia.

From 1960–1980, both eastern and western Europe experienced a construction boom of new dimensions. Cybernetics, the science of planning, and sociology, as well as the new possibilities offered by technology and production, paved the way to large-scale processes and systems in architecture and urban design, which favored technocratic and utopian concepts. Increasingly, architects and planners saw themselves as designers of comprehensive infrastructure and mega-structures in a technology-focused world. The authors assesses these developments on the back of a knowledge transfer between East and West. It confirms a change in attitude that can still be felt today – recession, social changes, and environmental problems led to criticism of the then contemporary concepts of modernity.

In the mid-twentieth century, American Catholic churches began to shed the ubiquitous spires, stained glass, and gargoyles of their European forebears, turning instead toward startling and more angular structures of steel, plate glass, and concrete. But how did an institution like the Catholic Church, so often seen as steeped in inflexible traditions, come to welcome this modernist trend? Catherine R. Osborne’s innovative new book finds the answer: the alignment between postwar advancements in technology and design and evolutionary thought within the burgeoning American Catholic community. A new, visibly contemporary approach to design, church leaders thought, could lead to the rebirth of the church community of the future. As Osborne explains, the engineering breakthroughs that made modernist churches feasible themselves raised questions that were, for many Catholics, fundamentally theological. Couldn’t technological improvements engender worship spaces that better reflected God's presence in the contemporary world? Detailing the social, architectural, and theological movements that made modern churches possible, American Catholics and the Churches of Tomorrow breaks important new ground in the history of American Catholicism, and also presents new lines of thought for scholars attracted to modern architectural and urban history.

A first-class work of reference that will be both an essential resource for independent study as well as a useful aid in teaching: a solid but also provocative starting point for wider exploration of the city.

In the heady and hallucinogenic days of the 1960s and ’70s, a diverse range of artists and creative individuals based in the American West—from the Pacific coast to the Rocky Mountains and the Southwest—broke the barriers between art and lifestyle and embraced the new, hybrid sensibilities of the countercultural movement. Often created through radically collaborative artistic practices, such works as Paolo Soleri’s earth homes, the hand-built architecture of the Drop City and Libre communes, Yolanda López’s political posters, the multisensory movement workshops of Anna and Lawrence Halprin, and the immersive light shows and video-based work by the Ant Farm and Optic Nerve collectives were intended to generate new life patterns that pointed toward social and political emancipation. In West of Center, Elissa Auther and Adam Lerner bring together a prominent group of scholars to elaborate the historical and artistic significance of these counterculture projects within the broader narrative of postwar American art, which skews heavily toward New York’s avant-garde art scene. This west of center countercultural movement has typically been associated with psychedelic art, but the contributors to this book understand this as only one dimension of the larger, artistically oriented, socially based phenomenon. At the same time, they reveal the disciplinary, geographic, and theoretical biases and assumptions that have led to the dismissal of countercultural practices in the history of art and visual culture, and they detail how this form of cultural and political activity found its place in the West. A companion to an exhibition originating at the Museum of Contemporary Art Denver, this book illuminates how, in the western United States, the counterculture’s unique integration of art practices, political action, and collaborative life activities serves as a linchpin connecting postwar and contemporary artistic endeavors.

A multidisciplinary collection of essays examining the influence of Mexican American religion on Mexican American literature, art, politics, and popular culture.