Walter Gropius (1883-1969) set out to build for the future. As the founding director of the Bauhaus, the Berlin-born architect had an inestimable influence on our aesthetic environment, championing a bold new hybrid of light, geometry, and industrial design, as dazzling today as it was a century ago. In this essential architect introduction, we survey Gropius' evolution and influence with 20 of his most significant projects, from the Bauhaus Building in Dessau, Germany, to the Chicago Tribune Tower and Harvard University Graduate Center, completed after Gropius's exodus to the United States in 1937. We explore his role both as an architectural practitioner, and as a writer and educator, not only as a Bauhaus pioneer, but also, along with Ludwig Mies van der Rohe, as a leading proponent of the International Style. Along the way, we see how many of Gropius's tenets remain benchmarks for architects, designers, and urbanists today. Whether in his emphasis on a functional beauty or his interest in housing and city planning, Gropius astounds in the agility of his thinking as much as in the luminous precision of his work. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

A revealing new look at modernist architecture, emphasizing its diversity, complexity, and broad inventiveness "[Frampton] remains a formidable force in architecture . . . The Other Modern Movement offers an opportunity to re-examine the Western canon of 20th-century architecture-which Frampton himself was crucial in establishing-and delve deeper into the work of lesser-known practitioners."-Josephine Minutillo, Architectural Record Usually associated with Mies and Le Corbusier, the Modern Movement was instrumental in advancing new technologies of construction in architecture, including the use of glass, steel, and reinforced concrete. Renowned historian Kenneth Frampton offers a bold look at this crucial period, focusing on architects less commonly associated with the movement in order to reveal the breadth and complexity of architectural modernism. The Other Modern Movement profiles nineteen architects, each of whom consciously contributed to the evolution of a new architectural typology through a key work realized between 1922 and 1962. Frampton's account offers new insights into iconic buildings like Eileen Gray's E-1027 House in France and Richard Neutra's Kaufmann House in Palm Springs, California, as well as lesser-known works such as Antonin Raymond's Tokyo Golf Club and Alejandro de la Sota's Maravillas School Gymnasium in Madrid. Foregrounding the ways that these diverse projects employed progressive models, advanced new methods in construction techniques, and displayed a new sociocultural awareness, Frampton shines a light on the rich legacy of the Modern Movement and the enduring potential of the unfinished modernist project.

'The beautiful, revelatory biography of Jim Ede and Kettle's Yard that we have been waiting for. I loved it.' Edmund de Waal The lives of Jim Ede and the Kettle's Yard artists represent a thrilling tipping point in twentieth-century modernism: a new guard, a new way of making and seeing, and a new way of living with art. The artists Ben and Winifred Nicholson, Henry Moore, Christopher Wood, Barbara Hepworth, David Jones, Alfred Wallis and Henri Gaudier-Brzeska were not a set like the Bloomsbury Set or Ravilious and his friends. But Jim Ede recognised in each of the artists he championed something common and kindred, some quality of light and life and line. Jim Ede is the figure who unites them. His vision continues to influence the way we understand art and modern living. He was a man of extraordinary energies: a collector, dealer, fixer, critic and, above all, friend to artists. For Ede, works of art were friends and art could be found wherever you looked - in a pebble, feather or seedhead. Art lived and a life without art, beauty, friendship and creativity was a life not worth living. Art was not for galleries alone and it certainly wasn't only for the rich. At Kettle's Yard in Cambridge, he opened his home and his collection to all comers. He showed generations of visitors that learning to look could be a whole new way of life. In this captivating, lively and deeply researched biography, Laura Freeman reveals the life of a man who helped shape twentieth-century British art, and sheds new light on the rare beauty and character of his greatest creation, Kettle's Yard.

Through archival work and storytelling, Musical Migration and Imperial New York revises many inherited narratives about experimental music and art in postwar New York. From the urban street level of music clubs and arts institutions to the world-making routes of global migration and exchange, this book redraws the map of experimental art to reveal the imperial dynamics and citizenship struggles that continue to shape music in the United States. Beginning with the material conditions of power that structured the cityscape of New York in the early Cold War years, Brigid Cohen looks at a wide range of artistic practices (concert music, electronic music, jazz, performance art) and actors (Edgard Varese, Charles Mingus, Yoko Ono, and Fluxus founder George Maciunas) as they experimented with new modes of creativity. Cohen links them with other migrant creators vital to the city's postwar culture boom, creators whose stories have seldom been told (Halim El-Dabh, Michiko Toyama, Vladimir Ussachevsky). She also gives sustained and serious treatment to the work of Yoko Ono, something long overdue in music scholarship. Musical Migration and Imperial New York is indispensable reading, offering a new understanding of global avant-gardes and American experimental music as well as the contrasting feelings of belonging and exclusion on which they were built.

These in-depth, historical, and critical essays study the meaning of ornament, the role it played in the formation of modernism, and its theoretical importance between the mid-nineteenth century and the late twentieth century in England and Germany. Ranging from Owen Jones to Ernst Gombrich through Gottfried Semper, Alois Riegl, August Schmarsow, Wilhelm Worringer, Adolf Loos, Henry van de Velde, and Hermann Muthesius, the contributors show how artistic theories are deeply related to the art practice of their own times, and how ornament is imbued with historical and social meaning.

A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design Alloys looks at a unique period of synergy and exchange in the postwar United States, when sculpture profoundly shaped architecture, and vice versa. Leading architects such as Gordon Bunshaft and Eero Saarinen turned to sculptors including Harry Bertoia, Alexander Calder, Richard Lippold, and Isamu Noguchi to produce site-determined, large-scale sculptures tailored for their buildings' highly visible and well-traversed threshold spaces. The parameters of these spaces-atriums, lobbies, plazas, and entryways-led to various designs like sculptural walls, ceilings, and screens that not only embraced new industrial materials and processes, but also demonstrated art's ability to merge with lived architectural spaces. Marin Sullivan argues that these sculptural commissions represent an alternate history of midcentury American art. Rather than singular masterworks by lone geniuses, some of the era's most notable spaces-Philip Johnson's Four Seasons Restaurant in Mies van der Rohe's Seagram Building, Max Abramovitz's Philharmonic Hall at Lincoln Center, and Pietro Belluschi and Walter Gropius's Pan Am Building-would be diminished without the collaborative efforts of architects and artists. At the same time, the artistic creations within these spaces could not exist anywhere else. Sullivan shows that the principle of synergy provides an ideal framework to assess this pronounced relationship between sculpture and architecture. She also explores the afterlives of these postwar commissions in the decades since their construction. A fresh consideration of sculpture's relationship to architectural design and functionality following World War II, Alloys highlights the affinities between the two fields and the ways their connections remain with us today.

A curated list of more than 250 must-see destinations organized geographically from Maine to Florida

Featuring architecture by some of the biggest Mid-Century names, including Mies van der Rohe, Marcel Breuer, Eero Saarinen, and Philip Johnson, each of the more than 250 buildings is located on a regional map. The book includes all the additional information needed to find and visit each building.

Its cool and functional design makes this book a coveted Modernist-style object in itself.

Including icons from The Met Breuer to the fabulous beach houses of Fire Island, private homes in Connecticut, Manhattan skyscrapers, and the Tropical Modern residences of Sarasota, Florida, it is a must-have guide to one of the most fertile and lesser-known regions for the development of Mid-Century Modern architecture.

From the publisher of Mid-Century Modern Architecture Travel Guide: West Coast USA.

"A Poiret dress, a Catholic shrine in France, Thomas Walliss Hoover Factory building, an Edna Manley sculpture, the poetry of Bei Dao, the internal combustion engine- what makes such artifacts modernist? Disciplining Modernism explores the different ways disciplines conceive modernism and modernity, undisciplining modernist studies in the process"--Provided by publisher.

Alan Caswell Collier was one of Canada's most admired and successful landscape painters, but during the Depression he worked alongside other single, unemployed men in government-run relief camps. Labouring for twenty cents a day, he detailed camp life and politics in letters to his fiancee and depicted fellow "relief stiffs" and the BC landscape in character sketches and paintings. Incisive and candid, his letters reveal a born contrarian with a strong sense of social superiority over his fellow "twenty centers." But his letters also offer a fresh perspective on the hopes and dreams of an eminent Ontario artist and of the generation who came of age at a time of economic upheaval and class conflict.

One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.

In the 1920s, German-Swiss artist Paul Klee (1879-1940) began his long-lasting engagement with polyphonic art-multi-voiced way of painting analogous to music. A relentless experimenter, Klee began these studies while teaching at the Bauhaus in Dessau, developed them further during his tenure at the art academy in Dusseldorf, and brought them to conclusion after his return to Switzerland in 1933. In this book, distinguished art historian Oskar Batschmann explores Klee's seminal painting Ad Parnassum (1932). Painted shortly after the artist's departure from the Bauhaus, it symbolises a new era, also one of Klee's own self-discovery. Batschmann documents how the artist strove for a connection of music and painting in his colour hues and in the rhythmic movement of coloured dots. Richly illustrated, this book places Klee's polyphonic understanding of art in an art-historical context by using this key work and offers insight into the synesthetic thinking that emerged in the art world during that time. Text in English and German.

Jewish designers and architects played a key role in shaping the interwar architecture of Central Europe, and in the respective countries where they settled following the Nazi's rise to power. This book explores how Jewish architects and patrons influenced and reformed the design of towns and cities through commercial buildings, urban landscaping and other material culture. It also examines how modern identities evolved in the context of migration, commercial and professional networks, and in relation to the conflict between nationalist ideologies and international aspirations in Central Europe and beyond. Pointing to the production within cultural platforms shared by Jews and Christians, the book's research sheds new light on the importance of integrating Jews into Central European design and aesthetic history. Leading historians, curators, archivists and architects present their critical analyses further to 'design' the past and push forward a transformation in the historical consciousness of Central Europe. By reconsidering the seminal role of Central European emigre and exiled architects and designers in shaping today's global design cultures, this book further strengthens humanistic, progressive and pluralistic cultural trends in Europe today.

Ideal homes investigates the tastes and aspirations of the new suburban communities that emerged in Britain following the First World War. In a period when homeownership was becoming the norm, these communities sought out varieties of architecture and design that were both nostalgic and modern, reflecting longings for 'Old England' on the one hand and technological convenience on the other. The book draws on exhibitions, memoirs, advertisements and films, as well as surviving examples of suburban architecture and interiors, to identify a distinctively suburban modernism, embodied by the Tudorbethan semi. Arguing that the 'ideal' home of the period was both a retreat from the outside world and a site of change and experimentation, it concludes by considering how such houses are lived in today. This new edition also features an introductory chapter on researching the history of your own home. -- .

A beautifully illustrated retrospective of Art Nouveau architect and designer Hector Guimard, positioning him at the forefront of the modernist movement The aesthetic of architect Hector Guimard (1867-1942) has long characterized French Art Nouveau in the popular imagination. This groundbreaking book showcases all aspects of his artistry and recognizes the fundamental modernity of his work. Known for, among other things, the decorative entrances to the Paris Metro and the associated lettering, he often looked to nature for inspiration, and combined materials such as stone and cast iron in unique ways to create designs composed of curves and waves that evoked movement. Guimard broke away from his classical Beaux-Arts training to advocate a modern, abstract style; he also pioneered the use of standardized models for his design objects and experimented with prefabricated designs in his social housing commissions, advancing the technology of the time. With copious, beautifully reproduced illustrations of his architectural drawings as well as his furniture, jewelry, and textile designs, this volume explores Guimard's full oeuvre and elucidates the significance of his work to the history of modern art. Essays by an international group of scholars present Guimard as a visionary architect, a shrewd entrepreneur, an industrialist, and a social activist. Published in association with the Richard H. Driehaus Museum Exhibition Schedule: Cooper Hewitt, Smithsonian Design Museum, New York (November 17, 2022-May 21, 2023) The Richard H. Driehaus Museum, Chicago (June 22, 2023-January 7, 2024)

Working from a discourse analysis perspective, MA1/4ller examines how a national art history was constituted through its linguistic construction and transmission. The study demonstrates how German art history was a ~manufactureda (TM) through language, particularly in the 19th and 20th centuries. The study operates at the interface between text linguistics, the history of concepts and the history of words and makes an important contribution to the history of national consciousness.

With his geometric structures perched upon the hillsides, beaches, and deserts of California, John Lautner (1911-1994) was behind some of the most striking and innovative architectural designs in mid-20th-century America. This introductory book brings together the most important of Lautner's projects to explore his his ingenious use of modern building materials and his bold stylistic repertoire of sweeping rooflines, glass-paneled walls, and steel beams. From commercial buildings to such iconic homes as the Chemosphere, we look at Lautner's sensitivity to a building's surroundings and his unique capacity to integrate structures into the Californian landscape. With several of Lautner's houses now labeled Los Angeles Historic-Cultural Monuments, we'll also consider the architect's cultural legacy, as much as his pioneering of a visual paradigm of 1950s optimism, economic growth, and space-age adventure. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

Modernists of the early twentieth century were transfixed by the X-ray-a means of seeing through skin into systems of bones and tissue. What, nearly a century later, can X-rays reveal about the systems of modernism itself? Modern Management Methods asks how the value of a building is produced through instruments of expertise, management ideologies, and historical narratives. Through unorthodox survey practices, the project uses the imaging techniques of conservation and the documentary detritus of heritage preservation to show how scientific methods attempt to produce stable notions of history and value. Deploying the medium of the X-ray, Caitlin Blanchfield and Farzin Lotfi-Jam tell two related histories of building conservation, internationalism, and the making of modernist meaning through the architect Le Corbusier's building Stuttgart's Weissenhofsiedlung and the United Nations Headquarters in New York City.

Reconsidering the status and meaning of Bauhaus objects in relation to the multiple re-tellings of the schoola (TM)s history, this volume positions art objects of the Bauhaus within the theoretical, artistic, historical, and cultural concerns in which they were produced and received.

Contributions from leading scholars writing in the field today - including Frederic J. Schwartz, Magdalena Droste, and Alina Payne - offer an entirely new treatment of the Bauhaus. Issues such as art and design pedagogy, the practice of photography, copyright law, and critical theory are discussed. Through a strong thematic structure, new archival research and innovative methodologies, the questions and subsequent conclusions presented here re-examine the history of the Bauhaus and its continuing legacy. Essential reading for anyone studying the Bauhaus, modern art and design.