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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles > Modernist design & Bauhaus
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.
Das Terrassenhaus entspricht als Bautyp modernen
Wohnbau-Anforderungen: es ist oekonomisch und bietet bei geringem
Bodenverbrauch hohen Wohnkomfort mit Terrasse und Garten. Popular
geworden mit den sozialen Bewegungen in den 1960er-Jahren, geriet
es mit der fortschreitenden Erosion der Idee von Gesellschaft
wieder in Vergessenheit und wurde gar als Bausunde abqualifiziert.
Doch die anhaltende Bewohnerzufriedenheit und die oekologischen
Vorteile eines begrunten Hauses machen das Terrassenhaus mehr denn
je attraktiv. Die im Buch untersuchten Bauten sind heute nicht nur
architektonische Ikonen; man kann auch von ihnen immer noch lernen,
was der Wohnungsbau heute braucht. Ein Vertreter dieses Bautyps war
Harry Gluck, dessen Pladoyer fur die grune Stadt hier in Teilen
abgedruckt wird.
Light as Experience and Imagination from Medieval to Modern Times
synthesizes and interpretates the experience of light as revealed
in a wide range of art and literature from medieval to modern
times. The true subject of the book is making sense of the
individual's relationship with light, rather than the investigation
of light's essential nature. It tells the story of light "seducing"
individuals from the Middle Ages to our modern times. Consequently,
it is not concerned with the "progress" of scientific inquiries
into the physical properties and behavior of light (optical
science), but rather with subjective reactions as reflected in art,
architecture, and literature. Instead of its evolution, this book
celebrates the complexity of our relation to light's character. No
individual experience of light being "truer" than any other.
From the end of World War II until the mid-1960s, exciting things
were happening in American architecture. Emerging talents were
focusing on innovative projects that integrated at once modern
design and low-cost materials. The trend was most notably embodied
in the famous Case Study House Program, a blueprint for modern
habitation championed by the era's leading American journal, Arts
& Architecture. The complete facsimile of the ambitious and
groundbreaking Arts & Architecture was published by TASCHEN in
2008 as a limited edition. This new curation-directed and produced
by Benedikt Taschen-brings together all the covers and the
highlights from the first five years of the legendary magazine,
with a special focus on the Case Study House Program and its
luminary pioneers including Neutra, Schindler, Saarinen, Ellwood,
Lautner, Eames, and Koenig. A celebration of the first brave years
of a politically, socially and culturally engaged publication, this
special selection is also a testimony to one of the most unique and
influential events in the history of American architecture.
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Muriel Cooper
(Hardcover)
Robert Wiesenberger
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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.
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.
This richly illustrated book details the wide-ranging construction
and urban planning projects launched across Germany after the Nazi
Party seized power. Hagen and Ostergren show that it was far more
than just an architectural and stylistic enterprise. Instead, it
was a series of interrelated programs intended to thoroughly
reorganize Germany's economic, cultural, and political landscapes.
The authors trace the specific roles of its component parts-the
monumental redevelopment and cleansing of cities; the construction
of new civic landscapes for educational, athletic, and leisure
pursuits; the improvement of transportation, industrial, and
military infrastructures; and the creation of networked landscapes
of fear, slave labor, and genocide. Through distinctive examples,
the book draws out the ways in which combinations of place, space,
and architecture were utilized as a cumulative means of
undergirding the regime and its ambitions. The authors consider how
these reshaped spaces were actually experienced and perceived by
ordinary Germans, and in some cases the world at large, as the
regime intentionally built a new Nazi Germany.
In 1908 Peter Behrens recruited the young Walter Gropius in his
architect's office - but threw him out again in 1910. Gestalt und
Hinterhalt [Form and Attack] places a tongue-in-cheek focus on
relationships among artists that revolved around the Bauhaus and
Darmstadt's artists' colony Mathildenhoehe, Germany. We gain
insights into the numerous love affairs of Alma Mahler, and follow
Herbert Bayer, who set off from Darmstadt to Weimar, and soon
toppled Walter Gropius's second marriage. This book narrates the
story of Bauhaus in a way never told before - through not only the
successes and talents of those involved, but also through their
failures and failings. Text in German.
The Brazilian architect Oscar Niemeyer (1907-2012) is a twentieth
century classic. He became world renowned for planning and
buildingBrasilia, which was declared a World Heritage Site in 1987.
In 1988 he was awarded the Pritzker Prize. His buildings are deeply
respectful of the site and are characterized by an unmistakable,
almost Baroque design impulse. This second and revised edition of
"Oscar Niemeyer: A Legend of Modernity" has a new preface and an
updated biography and list of works. It contains essays that
analyze the important and current aspects of Niemeyer's work, as
well as texts by Niemeyer himself. Topics include the place of
Niemeyer's work in modern Brazilian architecture, his work as urban
planner, the aspect of landscape in his practice, and his influence
on architecture in Germany. Niemeyer, who was highly prolific up
until his death, is one of the most productive architects in
history with over 600 buildings to his name. He was considered the
"last giant of modern architecture." (Suddeutsche Zeitung)
This book provides a bidirectional investigation of Asia's
spatiotemporality by asking how Asia is located and how localities
are Asianized. Historical and theoretical inquiries into
architecture and urbanism in order to trace a notional "common
divisor" are integrated with readings of this Asian imagery. Such a
common divisor is conditioned to Asia's phenomenal postcolonial
subjectivation and showcases Asia's unique character. This book
contends that the postcolonial condition of architecture in Asia
suggests a potential and critical bridge to better understanding of
the region. Theoretically, "display-ness" is a strategic and
allegoric carrier that is in the focus of this book in order to
emphasize the quality of display in a broader sense of time and
space. Asia's architectural and urban spectacle thus is meaningly
magnified and intensified with this notion of display-ness to
ground the cohesive abstraction among ideological discourse
production, innovative theorizations, and empirical phenomena in
contemporary scholarship.
South African artist Irma Stern (1894-1966) is one of the nation's
most enigmatic modern figures. Stern held conservative political
positions on race even as her subjects openly challenged racism and
later the apartheid regime. Using paintings, archival research, and
new interviews, this book explores how Stern became South Africa's
most prolific painter of Black, Jewish, and Colored (mixed-race)
life while maintaining controversial positions on race. Through her
art, Stern played a crucial role in both the development of
modernism in South Africa and in defining modernism as a global
movement. Spanning the Boer War to Nazi Germany to apartheid South
Africa and into the contemporary #RhodesMustFall movement, Irma
Stern's work documents important twentieth-century cultural and
political moments. More than fifty years after her death, Stern's
legacy challenges assumptions about race, gender roles, and
religious identity and how they are represented in art history.
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.
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