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.

The photography of Julius Shulman (1910-2009) transported a West Coast dream around the world. His images of midcentury Southern Californian architecture captured not only the distinctive structural, functional, and design elements of a building but also the context of its surroundings and inhabitants in a holistic, evocative sense of lifestyle. Over time, Shulman's talents would take him around the world, steadily crafting one of the most compelling chronologies of modern architecture. Offering an immense cultural cache for an even lower price, this fresh edition of TASCHEN's Modernism Rediscovered features over 400 architectural treasures from the Shulman archives. Each project and photograph was personally selected from over 260,000 photographs by publisher Benedikt Taschen, who enjoyed a close relationship with Shulman and his work since first publishing Julius Shulman: Architecture and Its Photography (1998). Documenting the reach of modernist aesthetics, the projects span not only the West Coast but also the rest of the United States, as well as Mexico, Israel, and Hong Kong, all captured with Shulman's characteristic understanding of space and situation, as well as his brilliant and intuitive sense of composition. The pictures are contextualized with an introduction by photography critic Owen Edwards, an extensive biography by University of Southern California historian Philip J. Ethington, captions on decorative elements by Los Angeles Modern Auctions founder Peter Loughrey, and biographies of key architects. In addition, the book includes personal reflections from Shulman himself, with an oral history and portrait of the period crafted via months of interviews with arts writer Hunter Drohojowska-Philp.

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.

The Zacherlhaus is located in the heart of Vienna, just 180 meters from St. Stephen's Cathedral, and is one of the most important buildings created by the Otto Wagner School. It was built in the years from 1900 to 1913 and designed for its owner Johann Zacherl by Joesef Plecnik, who later taught at the Academy of Fine Arts in Prague and from 1925 worked on the urban renewal of Ljubljana. It was the first combined residential and commercial building of modern style in the historic inner city and is one of the best known buildings in Vienna. This generously illustrated, authentic publication documents the building and its thorough renovation, which will be completed in 2015; it includes contributions by experts on European architecture of the 20th century.

Beautifully designed and featuring breathtaking photography, this is the ultimate Christmas gift for home design enthusiasts - from cultural phenomenon THE MODERN HOUSE! 'A source of fascination, inspiration and fantasy' Guardian In 2005, childhood friends Matt Gibberd and Albert Hill set out to convince people of the power of good design and its ability to influence our wellbeing. They founded The Modern House - in equal parts an estate agency, a publisher and a lifestyle brand - and went on to inspire a generation to live more thoughtfully and beautifully at home. As The Modern House grew, Matt and Albert came to realise that the most successful homes they encountered - from cleverly conceived studio flats to listed architectural masterpieces - had been designed with attention to the same timeless principles: Space, Light, Materials, Nature and Decoration. In this lavishly illustrated book, Matt tells the stories of these remarkable living spaces and their equally remarkable owners, and demonstrates how the five principles can be applied to your own space in ways both large and small. Revolutionary in its simplicity, and full of elegance, humour and joy, this book will inspire you to find happiness in the place you call home. PRAISE FOR THE MODERN HOUSE: 'One of the best things in the world' GQ 'The Modern House transformed our search for the perfect home' Financial Times 'Nowhere has mastered the art of showing off the most desirable homes for both buyers and casual browsers alike than The Modern House' Vogue

From the Cadillac to the Apple Mac, the skyscraper to the Tiffany lampshade, the world in which we live has been profoundly influenced for over a century by the work of American designers. But the product is only the end of a story that is full of fascinating questions. What has been the social and cultural role of design in American society? To produce useful things that consumers need? Or to persuade them to buy things that they don't need? Where does the designer stand in all this? And how has the role of design in America changed over time, since the early days of the young Republic? Jeffrey Meikle explores the social and cultural history of American design spanning over two centuries, from the hand-crafted furniture and objects of the early nineteenth century, through the era of industrialization and the mass production of the machine age, to the information-based society of the present, covering everything from the Arts and Crafts movement to Art Deco, modernism to post-modernism, MOMA to the Tupperware bowl.

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.

Text in German. The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence. Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art. Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinary iconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light. Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively one-sided image of Modernism.

As one of the key players of modern jewellery in the '20s, Paul Brandt worked with the most famous jewellers of his time, like Fouquet or Sandoz. He followed eclectic studies in Paris (jewellery, painting, sculpture, medals and stones engraving, chiselling, etc) and finally decided to specialise in jewellery design. With his first creations he joined the art nouveau movement before focusing on an art deco style. He took part in the International Exhibition of Decorative Art of 1925 both as an artist and a jury member. Paul Brandt considered his jewellery as works of art in their own right and displayed them during exhibitions where the scenography kept getting more innovative. From the '30s, he extended his activity to interior design. This monograph displays the talent of this major artist who left his mark in France and abroad. Recounting his whole career, it highlights the extent of Paul Brandt's skills, not only in jewellery but also in medal making, decoration and interior design. Text in French.

In Surrealism at Play Susan Laxton writes a new history of surrealism in which she traces the centrality of play to the movement and its ongoing legacy. For surrealist artists, play took a consistent role in their aesthetic as they worked in, with, and against a post-World War I world increasingly dominated by technology and functionalism. Whether through exquisite-corpse drawings, Man Ray's rayographs, or Joan Miro's visual puns, surrealists became adept at developing techniques and processes designed to guarantee aleatory outcomes. In embracing chance as the means to produce unforeseeable ends, they shifted emphasis from final product to process, challenging the disciplinary structures of industrial modernism. As Laxton demonstrates, play became a primary method through which surrealism refashioned artistic practice, everyday experience, and the nature of subjectivity.

"The marvelous story of one of New York City's most unique buildings
"Critics hated it. The public feared it would fall over. Passersby were knocked down by the winds. But even before it was completed, the Flatiron Building had become an unforgettable part of New York City.

Alice Sparberg Alexiou chronicles not just the story of the building, but the heady times in which it was built. It was the dawn of the twentieth century, a time when Madison Square Park shifted from a promenade for rich women to one for gay prostitutes; when photography became an art; motion pictures came into existence; the booming economy suffered increasing depressions; jazz came to the forefront of popular music--and all within steps of one of the city's best-known and best-loved buildings.

Short-listed for the Fage & Oliver Prize for outstanding scholarly work published on Africa. Finalist, African Studies Association Book Prize. Finalist, ASA Bethwell A. Ogot Prize for best book in east African studies. If modernism initially came to Africa through colonial contact, what does Ethiopia's inimitable historical condition--its independence save for five years under Italian occupation--mean for its own modernist tradition? In Modernist Art in Ethiopia--the first book-length study of the topic--Elizabeth W. Giorgis recognizes that her home country's supposed singularity, particularly as it pertains to its history from 1900 to the present, cannot be conceived outside the broader colonial legacy. She uses the evolution of modernist art in Ethiopia to open up the intellectual, cultural, and political histories of it in a pan-African context. Giorgis explores the varied precedents of the country's political and intellectual history to understand the ways in which the import and range of visual narratives were mediated across different moments, and to reveal the conditions that account for the extraordinary dynamism of the visual arts in Ethiopia. In locating its arguments at the intersection of visual culture and literary and performance studies, Modernist Art in Ethiopia details how innovations in visual art intersected with shifts in philosophical and ideological narratives of modernity. The result is profoundly innovative work--a bold intellectual, cultural, and political history of Ethiopia, with art as its centerpiece.

This richly illustrated book explores the contested history of art and nationalism in the tumultuous last decades of British rule in India. Western avant-garde art inspired a powerful weapon of resistance among India's artists in their struggle against colonial repression, and it is this complex interplay of Western modernism and Indian nationalism that is the core of this book. "The Triumph of Modernism" takes the surprisingly unremarked Bauhaus exhibition in Calcutta in 1922 as marking the arrival of European modernism in India. In four broad sections Partha Mitter examines the decline of oriental art and the rise of naturalism as well as that of modernism in the 1920s, and the relationship between primitivism and modernism in Indian art: with Mahatma Gandhi inspiring the Indian elite to discover the peasant, the people of the soil became portrayed by artists as noble savages. A distinct feminine voice also evolved through the rise of female artists. Finally, the author probes the ambivalent relationship between Indian nationalism and imperial patronage of the arts. With a fascinating array of art works, few of which have either been seen or published in the West, "The Triumph of Modernism" throws much light on a previously neglected strand of modern art and introduces the work of artists who are little known in Europe or America. A book that challenges the dominance of Western modernism, it will be illuminating not just to students and scholars of modernism and Indian art, but to a wide international audience that admires India's culture and history.

Text in English & German. When architects design a house for themselves, the often tense relationship between clients and builders is usually absent. That is why in many such buildings the architect-designers artistic stance and political position, preferences and antipathies, temperament and character are more pronounced than usual. Moreover the architectural theories, debates and trends of an epoch also leave their traces in them in a particular way. We encounter both attachment to tradition and commitment to the avant-garde, willingness to experiment and pragmatism, distinctive artistry and views shaped by the fact that a building is also a product of engineering. And last but not least, expressed in their houses are the personal life circumstances of the people concerned, or the messages the houses are meant to convey above and beyond their actual purpose: as a 'manifesto', as the 'self-portrait' of the architect, but also as an advertising tool or as a sign of connection to specific milieux or positions. Building for oneself has a special connotation under the conditionsof migration and exile. Among the most prominent examples are the private homes of Rudolph Schindler in West Hollywood (1921/22), Richard Neutra in Los Angeles (1932), Walter Gropius in Lincoln, Massachusetts (1937/1938), Ernst May near Nairobi (1937/1938), Bruno Taut in Istanbul (1937/1938), Ernoe Goldfinger in London (19371939), Marcel Breuer in New Canaan, Connecticut (1938/1939 and 1947/1948), Josep Lluis Sert in Lattingtown, New York (19471950) and Max Cetto in Mexiko-Stadt (1948/1949). What expression could voluntary migration or forced change of location find in these buildings? To what extent do the architects other buildings differ from such 'homes of ones own' in a foreign country, to use an expression borrowed and modified from Virginia Woolf? The book is a collection of contributions by internationally renowned authors and examines not only the buildings themselves but also other aspects of the topic that have hitherto received little attention.

In his most ambitious endeavour since Freud, acclaimed cultural historian Peter Gay traces and explores the rise of Modernism in the arts, the cultural movement that heralded and shaped the modern world, dominating western high culture for over a century. He traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York, presenting along the way a thrilling pageant of hereitcs that includes Oscar Wilde, Pablo Picasso, James Joyce, Walter Gropius and Any Warhol. The result is a work unique in its breadth and brilliance. Lavishly illustrated, Modernism is a superb achievement by one of our greatest historians.