蒙太奇已被誉为现代性的重要结构原理之一，但其对现代城市及其建筑思想的重要性却从未得到过充分的探索。在这部开创性的新作品中，马蒂诺•斯泰里（Martino Stierli）记录了19世纪末城市和建筑背景下的蒙太奇历史，20世纪初前卫艺术家们它的应用以及它在后现代时期的最终使用。书中各章着重介绍了蒙太奇影像，谢尔盖•爱森斯坦（Sergei Eisenstein）的电影理论，密斯•凡•德•罗（Mies van der Rohe）的空间实验，以及雷姆•库哈斯（Rem Koolhaas）在其开创性的宣言《德里克•纽约》（Delirious New York，1978）中对文学蒙太奇的使用。斯蒂尔展示了蒙太奇在现代空间探索，构思和表现当代城市中的核心地位。这本跨学科的书籍用精美的插图展示了建筑，摄影，电影，文学和视觉文化，其中包括密斯，库哈斯，保罗•雪铁龙，乔治•格罗兹，汉娜•霍奇，艾尔•利西茨基和勒•柯布西耶等艺术家和建筑师的作品。

Montage has been hailed as one of the key structural principles of modernity, yet its importance to the history of modern thought about cities and their architecture has never been adequately explored. In this groundbreaking new work, Martino Stierli charts the history of montage in late 19th‑century urban and architectural contexts, its application by the early 20th‑century avant‑gardes, and its eventual appropriation in the postmodern period. With chapters focusing on photomontage, the film theories of Sergei Eisenstein, Mies van der Rohe’s spatial experiments, and Rem Koolhaas’s use of literary montage in his seminal manifesto Delirious New York (1978), Stierli demonstrates the centrality of montage in modern explorations of space, and in conceiving and representing the contemporary city. Beautifully illustrated, this interdisciplinary book looks at architecture, photography, film, literature, and visual culture, featuring works by artists and architects including Mies, Koolhaas, Paul Citroen, George Grosz, Hannah Höch, El Lissitzky, and Le Corbusier.