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.

2014 Reprint of 1927 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. This classic work is a collection of essays written by Le Corbusier advocating for and exploring the concept of modern architecture. The book has had a lasting effect on the architectural profession, serving as the manifesto for a generation of architects, a subject of hatred for others, and unquestionably a critical piece of architectural theory. The architectural historian Reyner Banham once claimed that its influence was unquestionably "beyond that of any other architectural work published in this 20th] century to date." That unparalleled influence has continued, unabated, into the 21st century. The polemical book contains seven essays. Each essay dismisses the contemporary trends of eclecticism and art deco, replacing them with architecture that was meant to be more than a stylistic experiment; rather, an architecture that would fundamentally change how humans interacted with buildings. This new mode of living derived from a new spirit defining the industrial age, demanding a rebirth of architecture based on function and a new aesthetic based on pure form.

In this, the first collection of prose by "one of the U.S.'s most controversial performance artists" (P-Form Magazine), Frank Moore explores his deep and uncompromising vision of human liberation and art as a "battle against fragmentation." In the essays, writings and rants of Frankly Speaking, roughly covering the period from the late 1970s until his death in 2013, Moore reveals his plan for the complete political and social transformation of American society (see Platform for Frank's Presidential Candidacy 2008), stirs up the "art world," urging fellow artists to truly live their calling and not accept censorship (see Art is Not Toothpaste or The Combine Plot), pulls the reader deeply into the heart of magic, responsibility, shamanism, play, and expanded sexuality (see Inter-Penetration or Dance of No Dancers), and much much more. Frank Moore's essays have been praised by political activists, authors, artists and cultural icons like Bill Mandel, John Sinclair, Penny Arcade, Annie Sprinkle and many others for their comprehensive and revolutionary world-view. The reader gets to join Frank's joyful and fearless digging into the core issues of human experience to get to something deeper: intimacy, tribal community, freedom. Frankly Speaking also gives us a peek into the history of these pieces, which have been widely published all over the world, from the smallest of underground zines to the most established mainstream art journals. But Frank always focused on the small, personal, intimate level, and always fought to stay "underground." As he writes in Mainstream Avant-Garde?: "The underground is where the real freedom and the real ability to change society are to be found." The writings in this collection have this "beautiful slow pace as if forcing the mind of the reader to change pace as well and let the other world come to the forefront - the cartography of the soul is where you take us ... each in our own way ... rather than your way ... which is generous indeed of you." (Shelley Berc, writer, teacher) "You've hit another homer ... You ought to publish a book of essays or perhaps a Frank Moore anthology." - Bill Mandel, broadcast journalist, left-wing political activist and author, best known for his televised condemnation of Sen. Joseph McCarthy in the early '50s and later for his dramatic defiance of the House Un-American Activities Committee (HUAC) in May 1960. Published by Inter-Relations

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.

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.

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.

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.

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.

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.

Each technical information page contains: address, a location map, an artistic photograph and an explanatory text written by an expert. In addition to a short list of specifications, a QR code refers to qualified institutional websites where more information can be found. At the foot of each page, there is a reference to the maps in the final pages, organized by area and marked with routes adapted to the proximity of each work. Four blank pages follow for writing, drawing or pasting in memories of your visit, to turn the guide into a personalized object and a souvenir at the end of your trip.

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.