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In recent years, the importance of architecture in Germany has surged. There is hardly any other country in the world where internationally acclaimed architects including Tadao Ando, Richard Meier, James Stirling and Norman Foster to name a few have erected so many major structures. And, in turn, the buildings by German architects, e.g., Gottfried Bohm, Thomas Herzog, Josef Paul Kleihues and Oswald Mathias Ungers, are meriting increasing international attention. With its selection of 50 buildings, this handsome volume documents the development and diversity of contemporary architecture in Germany since 1970. It deliberately assumes the character of an introduction and therefore is aimed not only at a specialized readership but also, and above all, at culturally interested readers at home and abroad. Gerd de Bruyn opens the work with a sketch of German architectural history since 1945 and Gerd Zimmermann presents the special position of architecture in the former GDR. The entries in the main section of this reference work are ordered alphabetically, by architect, and feature 50 specially chosen buildings, each on a double page with photographs, ground plans and a project description.
With more than 1,100 entries written by an international group of over 150 contributors, the Encyclopedia of Contemporary German Culture brings together myriad strands of social, political and cultural life in the post-1945 German-speaking world. With a unique structure and format, an inclusive treatment of the concept of culture, and coverage of East, West and post-unification Germany, as well as Austria and Switzerland, the Encyclopedia of Contemporary German Culture is the first reference work of its kind. Containing longer overviews of up to 2,000 words, as well as shorter factual entries, cross-referencing to other relevant articles, useful further reading suggestions and extensive indexing, this highly useable volume provides the scholar, teacher, student or non-specialist with an astonishing breadth and depth of information.
As the first comprehensive encyclopedic survey of Western architectural theory from Vitruvius to the present, this book is an essential resource for architects, students, teachers, historians, and theorists. Using only original sources, Kruft has undertaken the monumental task of researching, organizing, and analyzing the significant statements put forth by architectural theorists over the last two thousand years. The result is a text that is authoritative and complete, easy to read without being reductive.
In 1945 Germany's cities lay in ruins, destroyed by Allied bombers `hat left major architectural monuments badly damaged and much of the housing stock reduced to rubble. At the war's end, observers thought that it would take forty years to rebuild, but by the late 1950s West Germany's cities had risen anew. The housing crisis had been overcome and virtually all important monuments reconstructed, and the cities had reclaimed their characteristic identities. Everywhere there was a mixture of old and new: historic churches and town halls stood alongside new housing and department stores; ancient street layouts were crossed or encircled by wide arteries; old city centers were balanced by garden suburbs laid out according to modern planning principles. In this book, Diefendorf examines the questions raised by this remarkable feat of urban reconstruction. He explains who was primarily responsible, what accounted for the speed of rebuilding, and how priorities were set and decisions acted upon. He argues that in such crucial areas as architectural style, urban planning, historic preservation, and housing policy, the Germans drew upon personnel, ideas, institutions, and practical experiences from the Nazi and pre-Nazi periods. Diefendorf shows how the rebuilding of West Germany's cities after 1945 can only be understood in terms of long-term continuities in urban development.
In 1896, Otto Wagner's "Modern Architecture" shocked the European architectural community with its impassioned plea for an end to eclecticism and for a "modern" style suited to contemporary needs and ideals, utilizing the nascent constructional technologies and materials. Through the combined forces of his polemical, pedagogical, and professional efforts, this determined, newly appointed professor at the Vienna Academy of Fine Arts emerged in the late 1890s - along with such contemporaries as Charles Rennie Mackintosh in Glasgow and Louis Sullivan in Chicago - as one of the leaders of the revolution soon to be identified as the "Modern Movement." Wagner's historic manifesto is now presented in a new English translation - the first in almost ninety years - based on the expanded 1902 text and noting emendations made to the 1896, 1898, and 1914 editions. In his introduction, Dr. Harry Mallgrave examines Wagner's tract against the backdrop of nineteenth-century theory, critically exploring the affinities of Wagner's revolutionary élan with the German eclectic debate of the 1840s, the materialistic tendencies of the 1870s and 1880s, and the emerging cultural ideology of modernity. Modern Architecture is one of those rare works in the literature of architecture that not only proclaimed the dawning of a new era, but also perspicaciously and cogently shaped the issues and the course of its development; it defined less the personal aspirations of one individual and more the collective hopes and dreams of a generation facing the sanguine promise of a new century
On August 13, 1961, under the cover of darkness, East German authorities sealed the border between East and West Berlin using a hastily constructed barbed wire fence. Over the next twenty-eight years of the Cold War, the Berlin Wall grew to become an ever-present physical and psychological divider in this capital city and a powerful symbol of Cold War tensions. Similarly, stark polarities arose in nearly every aspect of public and private life, including the built environment. In Architecture, Politics, and Identity in Divided Berlin Emily Pugh provides an original comparative analysis of selected works of architecture and urban planning in both halves of Berlin during the Wall era, revealing the importance of these structures to the formation of political, cultural, and social identities. Pugh uncovers the roles played by organizations such as the Foundation for Prussian Cultural Heritage and the Building Academy in conveying the political narrative of their respective states through constructed spaces. She also provides an overview of earlier notable architectural works, to show the precursors for design aesthetics in Berlin at large, and considers projects in the post-Wall period, to demonstrate the ongoing effects of the Cold War. Overall, Pugh offers a compelling case study of a divided city poised between powerful contending political and ideological forces, and she highlights the effort expended by each side to influence public opinion in Europe and around the World through the manipulation of the built environment.
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. While others have characterized contemporary Berlin’s museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an “architecture of modern memory” that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Düren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin. Modernism as Memory demonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country.