2014 Reprint of 1953 New York Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. In this text, Worringer identifies two opposing tendencies pervading the history of art from ancient times through the Enlightenment. He claims that in societies experiencing periods of anxiety and intense spirituality, such as those of ancient Egypt and the Middle Ages, artistic production tends toward a flat, crystalline "abstraction," while cultures that are oriented toward science and the physical world, like ancient Greece and Renaissance Italy, are dominated by more naturalistic, embodied styles, which he grouped under the term "empathy." As was traditional for art history at the time, Worringer's book remained firmly engaged with the past, ignoring contemporaneous artistic production. Yet in the wake of its publication-just one year after Pablo Picasso painted his masterpiece "Les Demoiselles d'Avignon"-"Abstraction and Empathy" came to be seen as fundamental for understanding the rise of Expressionism and the role of abstraction in the early twentieth century.

In Access to Eden, John Astley explores the influences that shaped the original public sector housing ideals in Britain. The essay surveys the cultural and legislative strands in a narrative that reveals the origins of public sector housing with company housing (such as Port Sunlight), the Arts and Crafts movement, with architects such as Baillie Scott, the Garden City pioneer Ebenezer Howard, and urban planners such as Raymond Unwin and Barry Parker. In light of these background perspectives, the author considers (in the the aftermath of the 1914-18 War) the impact of the Housing Acts of the 1920s that empowered local authorities of the day to take action on the housing front with a mission to build Homes for Heroes . As a case study, the John Astley selects the Merry Oak housing development in Bitterne, Southampton, to examine the practical outcome of the innovative legislation that had been established, and in particular by the 1924 Housing Act of John Wheatley. The author concludes his essay with a brief look at public sector housing in the present era, and finds a landscape of lost opportunities and a failure to learn from the hard-won lessons of the past. Public sector housing, the author finds, now seems to be seen as social housing as a system of distributed Welfare . . . Is it really too late, though, for local government to regain the moral high ground and deliver quality public sector housing? After reading Access to Eden, you will not be able to look at a house - any house - in quite the same way again. JOHN ASTLEY is a sociologist, lecturer, and writer - and a frequent contributor to journals, conferences, and radio talks. As a sociologist of culture, he is the author of three volumes of collected essays: Liberation and Domestication, Culture and Creativity, and Professionalism and Practice - as well as his well-known monograph on The Beatles phenomenon from a cultural studies perspective Why Don t We Do It in the Road? In recent years, his essay Herbivores an Carnivores (2008) looked at the struggle for democratic values in post-War Britain. In 2010, the first edition of Access to Eden appeared as an examination of the rise and fall of public sector housing ideals in Britain. After many years living and working in Oxford, John Astley is now based in Devon.

Through the Crystal Ball of the Chancellor's Residence brings you inside the original 1928 Chancellor's Residence at 1803 Hillsborough Street to share the vision and the family life of each of the university's leaders, from President Brooks to Chancellor Woodson. Just as the glass globe on the newel of the staircase near the front door reflects a panoramic view of the rooms, the furniture, and the world outside, the house too is a crystal ball through which we can view North Carolina State's history through most of the twentieth century. Treasured photographs from the albums of the house's former residents convey the spirit of each family. The idea for this book was born in late 2011 as Chancellor Randy Woodson and his wife Susan moved from the residence to ""The Point,"" the new residence on Main Campus Drive at Centennial Campus. The stately Georgian Revival house had projected the dignified image of the leaders of the institution since its completion in 1928, and Susan wanted to celebrate the role of the old house during its eighty-three years. The old chancellor's residence on Hillsborough Street will be renovated and expanded as the home of the Gregg Museum of Art & Design. The Gregg's collection of over 25,000 objects includes major holdings in textiles, clothing, ceramics, folk and Native American art, photography, design, decorative arts, and self-taught art. The museum will be able to present more of its holdings as well as special exhibits in the 15,000-square-foot addition designed by the Freelon Group architects of Durham. This book also honors the other buildings and the plan of the historic North Campus along Hillsborough Street. Using documentary images from the NCSU Libraries Special Collections Research Center and recent images by photographers Edward T. Funkhouser, Roger Winstead, Craig McDuffie, Roger Manley, and others, it explores the university's architectural roots, beginning with the 1887 construction of Main Building (Holladay Hall), when one building held the entire college. During the Roaring Twenties, nationally known architect Warren Manning transformed the campus into a modern, harmonious ensemble of Neoclassical Revival educational buildings, Colonial Revival dormitories, gymnasium, and landscape courtyards. The former chancellor's residence stands as one of the final elements of the transformed campus, which served the university well until its growth boom after World War II.

How was the national agenda of a previously subordinated, ruling Latvian majority reconciled with established academic practices for appointments and enrolment - candidates judged on merit irrespective of ethnicity? Following the disintegration of the Russian Empire, the ethnic Latvian majority assumed power and used state resources to further their national project. Complex national issues arose when a new university, teaching in Latvian, was founded in 1919 - Latvian was a language previously regarded as a peasant vernacular wholly unsuitable for cultural or academic purposes. During the same period the Latvian state was a multi-ethnic parliamentary democracy containing several ethnic minorities, all with full citizenship rights. Some of these minorities, the Baltic Germans and the Jews in particular, possessed considerable cultural capita land experience of academia. The inherent conflicts and compromises in this double agenda are the main focus of Between National and Academic Agendas.

Nicholas Fox Weber, for thirty-four years head of the Albers Foundation, spent many years with Anni and Josef Albers, the only husband-and-wife artistic pair at the Bauhaus (she was a textile artist; he was a professor and an artist, in glass, metal, wood, and photography). The Alberses told him their own stories and described life at the Bauhaus with their fellow artists and teachers, Walter Gropius, Paul Klee, Wassily Kandinsky, Ludwig Mies van der Rohe, as well as with these figures' lesser-known wives and girlfriends.

In this extraordinary group biography, Weber brilliantly brings to life the pioneering art school in Germany's Weimar and Dessau in the 1920s and early 1930s, and captures the spirit and flair with which these Bauhaus geniuses lived, as well as their consuming goal of making art and architecture.

This monograph--published to coincide with the Bauhaus exhibition at the MoMA (November 8, 2009-January 25, 2010)--celebrates the work of twenty women artists who created feverishly in all the teaching, workshop, and production branches of the Bauhaus--women who should have been included in the major art histories of the twentieth century long ago, but whose names, masterpieces, and extraordinary lives have only gradually become known to us. Recognized figures such as Anni Albers--the first textile artist to be exhibited at the MoMA--and Marianne Brandt--whose elegant geometric tableware have become classic Alessi designs--are showcased alongside previously unknown artists such as Gertrud Grunow, who taught "Harmonizing Science"; Helene Borner, who led the textile workshop; and Ilse Fehling, a sculptor and the most sought-after set and costume designer of her generation. Founded in 1919, the Bauhaus and most of its students were poor and lacking in just about everything. What it did have, however, was an abundance of enthusiasm, talent, and innovative creativity. Furthermore, over half of those seeking to enroll at the school were women. This tornado of the "fairer sex" was initially seen as a threat, and the weaving mill was quickly turned into a separate "women's facility." Nevertheless, over the years the mill became a hotbed of groundbreaking production, whose impact far surpassed national borders, as demonstrated by the international acclaim of photographers Lucia Moholy, Florence Henri, and Grete Stern.

The present book is based on the author's diploma thesis written at the Institute of Media and Phototechnology University of Applied Sciences Cologne and describes the recent development of digital interactive art and the usage of the graphical programming environment Max/MSP/Jitter. In the beginning, a brief overview of the present scientific discourse on the key issues interactivity and interface design are given. Furthermore, it portrays exceptional examples of digital art within the past five years, focusing on the main themes of digital installations and software art. This is followed by a description of Max's main features and programming methods, its extensibility with control devices and micro controllers, as well as differences to important alternative graphical programming environments such as Pure data and vvvv. The second part documents the whole process of creating an interactive installation using Max/MSP and its graphics extension Jitter. This includes a description of the creative concept, the different parts of the soft- and hardware as well as some of their important key techniques. Finally, a summary of user feedback and a personal reflection on the project is given. The book is dedicated to both technicians and artists seeking an introduction to the present digital interactive art and practical information about the new emerging graphical programming techniques like Max or Pure Data for creating meaningful interactive systems.

A poster first printed in Germany in 1926 depicts the human body as a factory populated by tiny workers doing industrial tasks. Devised by Fritz Kahn (1888-1968), a German-Jewish physician and popular science writer, "Der Mensch als Industriepalast" (or "Man as Industrial Palace") achieved international fame and was reprinted, in various languages and versions, all over the world. It was a new kind of image-an illustration that was conceptual and scientific, a visual explanation of how things work-and Kahn built a career of this new genre. In collaboration with a stable of artists (only some of whom were credited), Kahn created thousands of images that were metaphorical, allusive, and self-consciously modern, using an eclectic grab-bag of schools and styles: Dada, Art Deco, photomontage, Art Nouveau, Bauhaus functionalism, and commercial illustration. In Body Modern, Michael Sappol offers the first in-depth critical study of Fritz Kahn and his visual rhetoric. Kahn was an impresario of the modern who catered to readers who were hungry for products and concepts that could help them acquire and perform an overdetermined "modern" identity. He and his artists created playful new visual tropes and genres that used striking metaphors to scientifically explain the "life of Man." This rich and largely obscure corpus of images was a technology of the self that naturalized the modern and its technologies by situating them inside the human body. The scope of Kahn's project was vast-entirely new kinds of visual explanation-and so was his influence. Today, his legacy can be seen in textbooks, magazines, posters, public health pamphlets, educational websites, and Hollywood movies. But, Sappol concludes, Kahn's illustrations also pose profound and unsettling epistemological questions about the construction and performance of the self. Lavishly illustrated with more than 100 images, Body Modern imaginatively explores the relationship between conceptual image, image production, and embodied experience.

Functional beauty Founded in Welmar in 1919, the Bauhaus school developed a revolutionary approach that fused fine art with craftsmanship and engineering in everything from architecture to furniture, typography, and even theater. Originally headed by Walter Gropius, the Bauhaus counted among its members artists and architects such as Paul Klee, Lyonel Feininger, Wassily Kandinsky, Laszlo Moholy-Nagy, and Marcel Breuer. In 1930 Ludwig Mies van der Rohe took over as the leader, but soon after, in 1933, the Nazi government shut down the school. During its fourteen years of existence, Bauhaus managed to change the faces of art, architecture, and industrial design forever and is still hugely influential today.

The career of the pioneering designer Muriel Cooper, whose work spanned media from printed book to software interface; generously illustrated in color. Muriel Cooper (1925-1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)-seven bars that represent the lowercase letters "mitp" as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she developed software interfaces and taught a new generation of designers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper's career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper's legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters. She designed design's future.

Jugendstil, that is Germany's distinct engagement with the international Art Nouveau movement, is now firmly engrained in histories of modern art, architecture and design. Recent exhibitions and publications across the world explored Jugendstil's key protagonists and artistic centres to firmly anchor their activities within the trajectories of German modernism. Women, however, continue to be largely absent from these revisionist accounts. Jugendstil Women and the Making of Modern Design argues that women in fact actively participated in the cultural and socio-economic exchanges that generated German design responses to European modernity. By drawing on previously unpublished archival material and a series of original case studies including Elsa Bruckmann's Munich salon, the Photo Studio Elvira and the Debschitz School, the book explores women's important contributions to modern German culture as collectors, consumers, critics, designers, educators, and patrons. This book offers a new interpretation of this vibrant period by considering diverse manifestations of historical female agency that pushed against historically entrenched conventions and gender roles. The book's rigorous approach reshapes Jugendstil historiography by positing women's lived experiences against dominant ideologies that emerged at this precise moment. In short, the book advocates women as an integral part of the emergence, dissemination and reception of Jugendstil and questions the deeply gendered histories of this key period in modern art, architecture and design.

Bauhaus Diaspora and Beyond presents an extraordinary new Australasian cultural history. It is a migrant and refugee story: from 1930, the arrival of so many emigre, internee and refugee educators helped to transform art, architecture and design in Australia and New Zealand. Fifteen thematic essays and twenty individual case studies bring to light a tremendous amount of new archival material in order to show how these innovative educators, exiled from Nazism, introduced Bauhaus ideas and models to a new world.

Carter Wiseman presents an original, readable, and literate overview of the major figures, influential movements, and landmark buildings that have defined American architecture over the past hundred years. In a survey that is "as good . . . as anyone is likely to write . . . accurate in its facts, wise and fair in its judgments"(New York Times), he focuses to a large extent on architecture's makers--the commanding figures who by force of personality and sheer artistic ability indelibly influenced its progress: Louis Sullivan, Frank Lloyd Wright, Philip Johnson, I. M. Pei, Robert Venturi, Louis Kahn, Frank Gehry. The triumph of modernism; the growth of architectural preservation; the eclipse of the practical arts by money, theory, and abstraction; and the uncertain future of architecture in a country that celebrates both individualism and community are just some of the issues addressed in this highly praised work. Originally published in hardcover under the title Shaping a Nation.

Art Deco is one of the most exciting chapters in the history of the decorative arts. Conceived in France before the First World War, it spread throughout Europe and had its greatest and most spectacular success in the United States. Myriad influences shaped the style - Cubism, Constructivism, Orientalism, the Ballets Russes, the Bauhaus - and its exponents included many of the century's most celebrated artists, designers and craftsmen.

This publication, accompanying the worldwide exhibition series, takes the quotation of the former Bauhaus student and subsequent university teacher Fritz Kuhr as a starting point for reflections on the Bauhaus; not only as a school in Weimar, Dessau and Berlin, but also in order to focus on the parallel Modernist movements in non-European regions. This volume explains in hitherto unknown depth the Bauhaus and its multi-faceted forms of expression, which extended far beyond the Constructivist language of the 1920s. Case studies from Buenos Aires, Mexico City, Santiago de Chile, Moscow, the USA and elsewhere show that the Bauhaus was not an exclusive undertaking of the modern age. Avant-gardes in many regions of the world examined the Bauhaus from their own point of view and integrated it into their discourses. In this way the Bauhaus became a global motor for new developments in society, culture and politics.

With the International Exhibition of Modern Decorative and Industrial Arts in 1925, Art Deco seduced the world. From New York to Paris, the press celebrated this event which permanently imposes this universal style. Crossing the Atlantic aboard sumptuous liners such as Ile-de-France and Normandy, main French decorators such as Jacques-Emile Ruhlmann, Jean Dunand and Pierre Chareau exhibited in department stores, from New York to Philadelphia. From Mexico to Canada, this enthusiasm is driven by North American architects trained at the School National Museum of Fine Arts in Paris from the beginning of the 20th century, then at the Art Training Center in Meudon and at the Fontainebleau School of Fine Arts, two art schools founded after the First World War world which strengthened the links between the two continents. This book reveals a reciprocal emulation which is illustrated in the architecture and ornamentation of skyscrapers as well as in cinema, fashion, press, sport... Thirty-seven texts and 350 illustrations make it possible to discover the unique links that unite France and America, from the Statue of Liberty by Bartholdi to the Streamline which succeeds Art Deco. Text in French.

The worldwide use of building envelopes in steel and glass is one of the characteristic features of modern architecture. Many of these pre- and post-war buildings are now suffering severe defects in the building fabric, which necessitate measures to preserve the buildings. In this endeavor, aspects of architectural design, building physics, and the preservation of historic buildings play a key role. Using a selection of 20 iconic buildings in Europe and the USA, the book documents the current technological status of the three most common strategies used today: restoration, rehabilitation, and replacement. The buildings include Fallingwater House by Frank Lloyd Wright, Farnsworth House by Ludwig Mies van der Rohe, Fagus Factory and Bauhaus Building by Walter Gropius.

The orthodox concept of the Modern, as it was passed down from the 1920s to the post-war era, has been in a state of crisis for quite some time. This is particularly visible in the fields of urban planning, architecture, and design. Theorists and practitioners have either fiercely defended it as a crowning historical achievement to be upheld and further cultivated, or dismissively rejected it as a short-lived and outdated episode that needs to be replaced with something different and new. Architectural theorist and practitioner Vittorio Magnago Lampugnani suggests a third option: that we reformulate our understanding of the Modern, continuing to pursue its original social and humanist ambitions while radically re-examining its ideological, political, social, technical, functional, economic, ecological, and aesthetic assumptions. Our world, which continues to be shaken by dreadful wars, is also being sapped and polluted by our thoughtlessness and our greed. The capitalist compulsion to turn everything into a commodity has led to needless production and consumption, and we are both victims and accomplices of this predicament. The consumerist frenzy has brought completely new forms of exploitation and exacerbated the unjust inequalities between different parts of our world. Starting from these premises, the author puts forward a new design approach that strives for - and is defined by - durability. This is an approach that rejects the frivolous waste of resources and superficial prolif eration of images that have become commonplace today. It offers an alternative to the contemporary fixation on spectacles, both hollow and dangerous, and instead calls for measured restraint and substantial simplicity.

For self-made artist and soldier Horace Pippin-who served in the 369th all-black infantry in World War I until he was wounded-war provided a formative experience that defined much of his life and work. His ability to transform combat service into canvases of emotive power, psychological depth, and realism showed not only how he viewed the world but also his mastery as a painter. In Suffering and Sunset, Celeste-Marie Bernier painstakingly traces Pippin's life story of art as a life story of war. Illustrated with more than sixty photographs, including works in various mediums-many in full color-this is the first intellectual history and cultural biography of Pippin. Working from newly discovered archives and unpublished materials, Bernier provides an in-depth investigation into the artist's development of an alternative visual and textual lexicon and sheds light on his work in its aesthetic, social, and political contexts. Suffering and Sunset illustrates Pippin's status as a groundbreaking artist as it shows how this African American painter suffered from but also staged many artful resistances to racism in a white-dominated art world.