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      <image:caption>hello@lisamahar.com</image:caption>
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    <loc>https://www.lisamahar.com/project-statement-counterfeit-cloud</loc>
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      <image:title>Book Foreward - Grain Elevators</image:title>
      <image:caption>“To those who travel the great highways of the Midwest, silos appear like cathedrals, and in fact they are the cathedrals of our times. Their materials impose the rhythms of this book - wood, brick, tile, steel, concrete - and they mark the passage of time, the slow evolution of a collective work.” The Great Plains of America are vast, and secret are its villages turned inward on their religious sects and antique languages, as if time had stood still. These people were not seeking America, but were escaping from Europe, and in these first wooden silos there is a memory of, and an obsession with, architecture from different parts of central Europe. Over time the silos rose with ever greater assurance and created the landscape of the New World. In abandoning the problem of form, they rediscovered architecture. From out of the gray landscape of publications on architecture emerges this book that searches for something authentic and definitive. Lisa Mahar analyzes these architectures typologically and in terms of their constructional systems, disguising the secret of their allure. Her photographs, taken as she followed the route of the pioneers are like black and white etchings. we are struck by the purity of the geometries, the clarity of the construction, the relationship with the landscape. And yet the author’s photographs also speak to us at another level: the sky, the shadows, the composition simultaneously reveal and conceal the beauty that we seek. Somehow the book makes me think of James Joyce, and not just because the author is of Irish decent, but because of the way the landscape appears and disappears within the story. In photographs of the elevator in the landscape, we find the fresco of the American countryside constructed of a few essential items: the grain elevator, a few trees and telephone poles give us a scene much like the profiles of the hills in the films of John Ford. Lisa Mahar has located something that perhaps even she did not expect to find: architecture. In these times of so much mediocrity I rediscover a faith that at times I feel I have lost. This small book teaches us that despite everything, even our profession can participate in the search for the truth.” Aldo Rossi, New York, November 1992</image:caption>
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      <image:title>Book Description - American Signs</image:title>
      <image:caption>“The roadside sign has become an American icon: a glowing neon symbol of the golden age of the open road. Yet signs are complex pieces of design, serving not only as physical markers but also as cultural, political, and economic ones. In American Signs, Lisa Mahar traces the evolution of motel signs on Route 66 in a distinctive visual approach that combines text, images, and graphics.” American Signs reveals the rich vernacular traditions of motel sign-making in five eras, spanning from the late 1930s through the 1970s. The motel signs of the early 1940s, for instance, reflect vernacular traditions dating back at least a century, while examples from the later years of the decade reveal a culture newly obsessed with themes. America's fascination with newness and technological progress is manifested in 1950s motel signs. Finally, in the 1960s, a turn toward simplicity and the use of new, modular technologies allowed motel signs to address the needs of a mass society and the beginnings of a national, rather than regional, aesthetic for motel signs.</image:caption>
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    <lastmod>2022-11-03</lastmod>
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      <image:title>Work - The Understory - Ongoing</image:title>
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      <image:title>Work - American Signs - Monacelli Press, 2002</image:title>
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      <image:title>Work - Grain Elevators - Princeton Architectural Press, 1993</image:title>
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      <image:title>Work - Grain Elevators - Princeton Architectural Press, 1993</image:title>
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