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In 2006, architecture and design curator Adam Stech embarked on a photographic project to document the best Modernist architecture around the globe. More than thirty countries and more than a decade later, the fruits of that monumental project are gathered in this impressive collection covering nearly a century of architectural history. Driven by a passion for(...)
Modern architecture and interiors
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In 2006, architecture and design curator Adam Stech embarked on a photographic project to document the best Modernist architecture around the globe. More than thirty countries and more than a decade later, the fruits of that monumental project are gathered in this impressive collection covering nearly a century of architectural history. Driven by a passion for rediscovering forgotten or lesser known architectural treasures of Modernism, Stech took thousands of diverse photographs of exteriors and interiors. This survey features often overlooked details and hidden projects that Stech helps bring to light. His brief commentary on each featured building reveals insights into his vast collection of images that includes treasures of Italian Modernism, American mid-century classics, South American Art Deco, Belgian organic architecture, French Brutalism, forgotten Australian modern houses, and much more. T
Modernisme
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This volume chronicles the iconic double house in Mexico City constructed in 1930 by Swiss architects Hans Schmidt (1938–1972) and Paul Artaria (1892–1959). Built in the booming Colonia Del Valle neighborhood, the house was one of the first modernist buildings in Mexico City.
The first modern building in Mexico: twin houses of Paul Artaria and Hans Schmidt
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This volume chronicles the iconic double house in Mexico City constructed in 1930 by Swiss architects Hans Schmidt (1938–1972) and Paul Artaria (1892–1959). Built in the booming Colonia Del Valle neighborhood, the house was one of the first modernist buildings in Mexico City.
Modernisme
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It is an architectural concept as alluring as it is elusive, as futuristic as it is primordial. Megastructure is what it sounds like: a vastly scaled edifice that can contain potentially countless uses, contexts, and adaptations. Theorized and briefly experimented with in built form in the 1960s, megastructures almost as quickly went out of fashion in the profession. But(...)
Megastructure: urban futures of the recent past
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It is an architectural concept as alluring as it is elusive, as futuristic as it is primordial. Megastructure is what it sounds like: a vastly scaled edifice that can contain potentially countless uses, contexts, and adaptations. Theorized and briefly experimented with in built form in the 1960s, megastructures almost as quickly went out of fashion in the profession. But Reyner Banham's 1976 book compiled the origin stories and ongoing mythos of this visionary movement, seeking to chart its lively rise, rapid fall, and ongoing meaning. Now back in print after decades Megastructure: Urban Futures of the Recent Past is part of the recent surge in attention to this quixotic form, of which some examples were built but to this day remains--decades after its codification--more of a poetic idea than a real architectural type.
Modernisme
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Following the liberation and subsequent occupation of Austria at the end of World War II in spring 1945 by the victorious powers Britain, France, the United States, and the Soviet Union, Vienna soon became a central stage for the quickly emerging Cold War. The struggle of differing political systems was also carried out in the field of architecture. Cold War and(...)
Cold war and architecture: the competing forces that reshaped Austria after 1945
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Following the liberation and subsequent occupation of Austria at the end of World War II in spring 1945 by the victorious powers Britain, France, the United States, and the Soviet Union, Vienna soon became a central stage for the quickly emerging Cold War. The struggle of differing political systems was also carried out in the field of architecture. Cold War and Architecture sheds new light on the building activity in postwar Austria and its main protagonists. For the first time, this book explores the lines of architectural debates of the time in the context of the global political and cultural conflict of East vs. West. With its transnational perspective, it changes our view of architectural history and postwar society. During the ten-year occupation period, Austria experienced a transition from authoritarian government to democratic consumer society. Each of the four Allied powers established its own extensive cultural program. Architectural exhibitions became important instruments of such educational schemes with the objective of a new social order. British, American, French, and Soviet cultural policies served as catalysts for ideological convictions.
Modernisme
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Questo libro nasce da una serie di lezioni tenute da Kenneth Frampton a Mendrisio, all’Accademia di architettura dell’Università della Svizzera italiana, ed è dedicato all’analisi del Movimento Moderno, una corrente progettuale complessa e assai variegata nelle sue molteplici manifestazioni. Il libro è organizzato in 18 capitoli dedicati ciascuno a un architetto – da(...)
Kenneth Frampton: L'altro Movimento Moderno
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Questo libro nasce da una serie di lezioni tenute da Kenneth Frampton a Mendrisio, all’Accademia di architettura dell’Università della Svizzera italiana, ed è dedicato all’analisi del Movimento Moderno, una corrente progettuale complessa e assai variegata nelle sue molteplici manifestazioni. Il libro è organizzato in 18 capitoli dedicati ciascuno a un architetto – da Schindler a Jacobsen, da Neutra a Bill, da Duiker a Krejcar –, del quale si dà una breve introduzione storico-biografica e si analizza un’opera di riferimento.
Modernisme
Le siège de l'Unesco
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Fruit du travail commun de trois architectes - le Français Bernard Zehrfuss, l'Américain d'origine hongroise Marcel Breuer et l'Italien Pier Luigi Nervi - le siège de l'Unesco est inauguré à Paris, le 3 novembre 1958 à la suite d'une consultation qui rassembla les plus grands noms de l'architecture mondiale. Leur réalisation est l'une des plus belles prouesses de l'usage(...)
Le siège de l'Unesco
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Fruit du travail commun de trois architectes - le Français Bernard Zehrfuss, l'Américain d'origine hongroise Marcel Breuer et l'Italien Pier Luigi Nervi - le siège de l'Unesco est inauguré à Paris, le 3 novembre 1958 à la suite d'une consultation qui rassembla les plus grands noms de l'architecture mondiale. Leur réalisation est l'une des plus belles prouesses de l'usage du béton armé. Au bâtiment principal - la célèbre " étoile à trois branches " - s'ajouteront par la suite trois autres édifices. A l'ombre des bâtiments, Isamu Noguchi réalise son fameux jardin japonais, ou " Jardin de la Paix ". Pendant le chantier, un " comité pour l'architecture et les oeuvres d'art " est mis en place pour sélectionner des artistes chargés d'exécuter une ouvre monumentale pour un emplacement précis : on compte ainsi des sculptures d'Henry Moore, d'Alexander Calder et d'Eduardo Chillida à l'extérieur, et à l'intérieur une céramique de Joan Miró ainsi qu'une fresque monumentale de Picasso. En plus de ce noyau initial, l'Unesco a acquis au fil des ans d'autres ouvres et cette " maison de l'Unesco ", symbole de paix universelle et de diversité culturelle, compte aujourd'hui plus de 700 oeuvres d'art.
Modernisme
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"L'Ornement est un crime" rend hommage de manière originale au mouvement moderne, l'une des périodes les plus inventives et radicales de l'histoire de l'architecture. Des chefs-d'oeuvre des premiers architectes du mouvement moderne tels Le Corbusier, Marcel Breuer, Walter Gropius ou Mies van der Rohe et de nombreux trésors méconnus côtoient ainsi les créations de grands(...)
L'ornement est un crime : architecture du mouvement moderne
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"L'Ornement est un crime" rend hommage de manière originale au mouvement moderne, l'une des périodes les plus inventives et radicales de l'histoire de l'architecture. Des chefs-d'oeuvre des premiers architectes du mouvement moderne tels Le Corbusier, Marcel Breuer, Walter Gropius ou Mies van der Rohe et de nombreux trésors méconnus côtoient ainsi les créations de grands architectes contemporains dont l'oeuvre s'inscrit dans la même lignée, tels David Adjaye, Tadao Ando ou Steven Holl. "L'Ornement est un crime" offre un tour du monde de ce style d'architecture, réunissant des maisons conçues aussi bien aux Etats-Unis et en Europe (notamment en République tchèque, en Irlande, en Pologne, au Portugal, en Slovaquie, en Grèce) qu'en Argentine, au Chili, au Pérou, en Australie, au Canada, au Ghana ou en Israël.
Modernisme
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After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and ‘20s. As 'Modernism as Memory' illustrates, these postwar practices undergird the approaches(...)
Modernism as memory: building identity in the Federal Republic of Germany
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After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and ‘20s. As 'Modernism as Memory' illustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror.
Modernisme
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Building for oneself has a special connotation under the conditions of migration and exile. Among the most prominent examples are the private homes of Rudolph Schindler in West Hollywood, Richard Neutra in Los Angeles, Walter Gropius in Lincoln, Massachusetts. What expression could voluntary migration or forced change of location find in these buildings? To what extent(...)
A home of one's own: Émigré architects and their houses 1920-1960
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Building for oneself has a special connotation under the conditions of migration and exile. Among the most prominent examples are the private homes of Rudolph Schindler in West Hollywood, Richard Neutra in Los Angeles, Walter Gropius in Lincoln, Massachusetts. 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 one’s own' in a foreign country, to use an expression borrowed and modified from Virginia Woolf?
Modernisme
The spirit of the Bauhaus
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“Architects, sculptors, painters, we all must return to the crafts!” declared architect Walter Gropius in his Bauhaus manifesto. Founded in 1919 as an art school in Weimar, the Bauhaus established itself as a major influence on twentieth- century art and design. Bauhaus students were taught by some of the most celebrated artists of the time, including Paul Klee, Lyonel(...)
The spirit of the Bauhaus
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“Architects, sculptors, painters, we all must return to the crafts!” declared architect Walter Gropius in his Bauhaus manifesto. Founded in 1919 as an art school in Weimar, the Bauhaus established itself as a major influence on twentieth- century art and design. Bauhaus students were taught by some of the most celebrated artists of the time, including Paul Klee, Lyonel Feininger, and Wassily Kandinsky. Having moved to Berlin in 1932 under architect Ludwig Mies van der Rohe, it was forced to close for good by the Gestapo in 1933. Uncovering the sources of inspiration that brought the Bauhaus into existence, from medieval cathedrals of Europe and Hokusai prints to William Morris and Arts and Crafts, The Spirit of the Bauhaus explores workshops and courses in detail, illustrating the extraordinary wealth of experimentation in every medium: ceramics, wood and metalwork, textiles, glass- painting, sculpture, mural, printing and binding, theater, architecture, and photography. This essential and accessible guide to the Bauhaus, published in time for the 100th anniversary of the school in 2019, celebrates a school that continues to be recognized as the most durable and influential source of modern ideas about art, design, and craft.
Modernisme