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The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers in an extraordinary conversation about modern art. Bauhaus 1919-1933, published to accompany a major multimedia exhibition at MoMA, is the first comprehensive treatment of the subject by MoMA since 1938 and offers a new generational perspective on the 20th century's most influential experiment in artistic education. It brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture - many of which have rarely if ever been seen outside of Germany. Featuring about 400 colour plates and a rich range of documentary images, this publication includes two overarching images by the exhibition's curators, Leah Dickerman and Barry Bergdoll, concise interpretive essays on key objects by over twenty leading scholars, and an illustrated, narrative chronology.
Table of Contents The Architecture of Science by Galison, Peter L. (Editor); Edelman, Shimon (Editor); Thompson, Emily (Editor) Terms of Use Acknowledgments Notes on Contributors 1 Buildings and the Subject of Science Peter Galison 1 Of Secrecy and Openness: Science and Architecture in Early Modern Europe 2 Masculine Prerogatives: Gender, Space, and Knowledge in the Early Modern Museum Paula Findlen 3 Alchemical Symbolism and Concealment: The Chemical House of Libavius William R. Newman 4 Openness and Empiricism: Values and Meaning in Early Architectural Writings and in Seventeenth-Century Experimental Philosophy Pamela O. Long II Displaying and Concealing Technics in the Nineteenth Century 5 Architecture for Steam M. Norton Wise 6 Illuminating the Opacity of Achromatic Lens Production: Joseph von Fraunhofer's Use of Monastic Architecture and Space as a Laboratory Myles W. Jackson 7 The Spaces of Cultural Representation, circa 1887 and 1969: Reflections on Museum Arrangement and Anthropological Theory in the Boasian and Evolutionary Traditions George W. Stocking Jr. 8 Bricks and Bones: Architecture and Science in Victorian Britian Sophie Forgan III Modern Space 9 "Spatial Mechanics": Scientific Metaphors in Architecture Adrian Forty 10 Diagramming the New World, or Hannes Meyer's "Scientization" of Architecture K. Michael Hays 11 Listening to/for Modernity: Architectural Acoustics and the Development of Modern Spaces in America Emily Thompson 12 Of Beds and Benches: Building the Modern American Hospital Allan M. Brandt and David C. Sloane IV Is Architecture Science? 13 Architecture, Science, and Technology Antoine Picon 14 Architecture as Science: Analogy or Disjunction? Alberto Perez-Gomez 15 The Mutual Limits of Architecture and Science Kenneth Frampton 16 The Hounding of the Snark Denise Scott Brown V Princeton After Modernism: the Lewis Thomas Laboratory for Molecular Biology 17 Thoughts on the Architecture of the Scientific Workplace: Community, Change, and Continuity Robert Venturi 18 The Design Process for the Human Workplace James Collins Jr. 19 Life in the Lewis Thomas Laboratory Arnold J. Levine 20 Two Faces on Science: Building Identities for Molecular Biology and Biotechnology Thomas F. Gieryn VI Centers, Cities, and Colliders 21 Architecture at Fermilab Robert R. Wilson 22 The Architecture of Science: From D'Arcy Thompson to the SSC Moshe Safdie 23 Factory, Laboratory, Studio: Dispersing Sites of Production Peter Galison and Caroline A. Jones Index Descriptive content provided by Syndetics"! a Bowker service
Architectural Theory of Modernism presents an overview of the discourse on function-form concepts from the beginnings, in the eighteenth century, to its peak in High Modernism. Functionalist thinking and its postmodern criticism during the second half of the twentieth century is explored, as well as today's functionalism in the context of systems theory, sustainability, digital design, and the information society. The book covers, among others, the theories of Carlo Lodoli, Gottfried Semper, Eugène-Emmanuel Viollet-le-Duc, Louis Sullivan, Frank Lloyd Wright, Hannes Meyer, Adolf Behne, CIAM, Jane Jacobs, Robert Venturi and Denise Scott Brown, Charles Jencks, William Mitchell, and Manuel Castells.
"Paul Betts first came to my attention through his pioneering article on the post-1945 Bauhaus myth as a joint German-American venture. This book is a landmark study of cultural continuities and ruptures, institutional realignments, and individual careers that introduces a breath of fresh air into a field of research long staled by received ideas. It demonstrates the rewards of approaching the years from 1933 to 1945 as a revealing window onto the subsequent history of West Germany."—Wolfgang Schivelbusch "The Authority of Everyday Objects is a small gem of the new cultural history. This is a work of striking originality and insight that fits the development of industrial design in postwar Germany into the country's broader social, cultural and political history, constructing an analytical narrative that carries from the Third Reich into the Cold War. It illuminates not merely cultural transformation but the wider social history of twentieth-century Germany."—Stanley G. Payne, author of A History of Fascism, 1914-1945 "The Authority of Everyday Objects is a refreshing, innovative, and convincing approach to post-World War II Western consumer society. Design—as a weapon in Cold War competition and as a vehicle for German redemption by revitalizing Bauhaus traditions—is thoroughly researched and wonderfully presented in Paul Betts' book. This well-illustrated work convinces the reader that design was a part of gluecklich Leben ("lucky life") and schoen wohnen ("beautiful living"), and a factor in the politicization of material culture."—Ivan T. Berend, author of Decades of Crisis: Central and Eastern Europe before World War II and History Derailed: Central and Eastern Europe in the Long Nineteenth Century
This volume presents for the first time in English a curated selection of writings by the design thinker Gui Bonsiepe from the 1960s to the present day. Addressing as it does questions of non-Western design and a design practice that is both radical and democratic, Bonsiepe's work has assumed new importance for current debates inspired by global political and environmental crises. Structured into three sections, the anthology first addresses Bonsiepe's work on design theory and practice, particularly in relation to the history and contemporary relevance of the Ulm design school, where Bonsiepe was a professor in the 1960s. A second section then represents Bonsiepe's writings after his move to South America in the 1960s and '70s, where he worked as a design consultant for the Allende government in Chile before the military takeover. In writings from the period, Bonsiepe explores the concept of design 'at the periphery' and the relationship of national design traditions and practices in Latin American countries to those of 'the core' - Western European and American design. The final section comprises selections of Bonsiepe's writings on design in relation to literacy and language, visuality and cognition. This indispensable volume includes new interviews with Bonsiepe as well as his original, previously unpublished texts.
Much of modernist architecture was inspired by the emergence of internationalism: the ethics and politics of world peace, justice and unity through global collaboration. Mark Crinson here shows how the ideals represented by the Tower of Babel - built, so the story goes, by people united by one language - were effectively adapted by internationalist architecture, its styles and practices, in the modern period. Focusing particularly on the points of convergence between modernist and internationalist trends in the 1920s, and again in the immediate post-war years, he underlines how such architecture utilised the themes of a cooperative community of builders and a common language of forms.The 'International Style' was one manifestation of this new way of thinking, but Crinson shows how the aims of modernist architecture frequently engaged with the substance of an internationalist mindset in addition to sharing surface similarities. Bringing together the visionaries of internationalist projects - including Le Corbusier, Bruno Taut, Berthold Lubetkin, Walter Gropius and Mies van der Rohe - Crinson interweaves ideas of evolution, ecology, utopia, regionalism, socialism, free trade, and anti-colonialism to reveal the possibilities heralded by modernist architecture. Furthermore, he re-connects pivotal figures in architecture with a cast of polymath internationalists such as Patrick Geddes, Lewis Mumford, Julian Huxley, Rabindranath Tagore and H. G. Wells, to provide a richly detailed socio-cultural framework. This is a book crafted for students and scholars of architecture and art theory, as well as for those interested in the history of twentieth-century optimism about the world and its architecture.
2018 IPHS Special Book Prize Award Recipient The Routledge Handbook of Planning History offers a comprehensive interdisciplinary overview of planning history since its emergence in the late 19th century, investigating the history of the discipline, its core writings, key people, institutions, vehicles, education, and practice. Combining theoretical, methodological, historical, comparative, and global approaches to planning history, The Routledge Handbook of Planning History explores the state of the discipline, its achievements and shortcomings, and its future challenges. A foundation for the discipline and a springboard for scholarly research, The Routledge Handbook of Planning History explores planning history on an international scale in thirty-eight chapters, providing readers with unique opportunities for comparison. The diverse contributions open up new perspectives on the many ways in which contemporary events, changing research needs, and cutting-edge methodologies shape the writing of planning history. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution (CC-BY) 4.0 license.
German architecture prior to the modern period has received less systemic, analytical study than that of Italy, France, and Britain. Scholarly discussion of broad traditions or continuities within Germanic or Central European façade design is even sparser. Baroque era studies of the region mostly devote themselves to isolated architects, monuments, or movements. Modernism's advent decisively changed this: Germanic architecture enjoyed sudden ascendancy. Yet, even so, study specifically of that region's façades still lagged – nothing compares to the dozens of treatments of Le Corbusier's façade systems, for example, and how these juxtapose with French neoclassical or Italian Renaissance methods. Given the paucity of multi-period studies, one can be forgiven for believing Germany's effervescence of radical, modern works seems unprecedented. This book takes up these multiple quandaries. It identifies and documents a previously unrecognized compositional tradition - characterized here as the 'screen façade' – and posits it as a counter-narrative critiquing the essentialist, 'authentic' canon currently dominant in Western architectural history. By crossing evenly over the dividing line between the historical and modern periods, it offers valuable insights on indigenous roots underlying some aspects of Germany's invigorating early twentieth-century architectural developments. The book chronologically examines 400 years of closely related facades, concentrated in Germany but also found in Austria, the Czech Republic, German-speaking Switzerland, and nearby areas of Central Europe. While nearly 75 buildings are mentioned and illustrated, a dozen are given extensive analysis and the book focuses on the works of three architects – Schinkel, Behrens and Mies. Relationships between examples of these three architects' façades far transcend mere homage amongst masters. Glimmers of the system they eventually codify are apparent as early as at Heidelberg Castle in 1559 and Nürnberg's Rathaus in 1622. The book argues that in Germany, northern Gothic affinities for bisection, intense repetition and rote aggregation intersected with southern Classical affinities for symmetry, hierarchy and centrality, thereby spawning a unique hybrid product – the screen. Instead of graphic formality, this study is guided by on-site perceptions, propositional contrasts, means of approach, interpretive conflicts and emotion and it relates the design of these façades to concepts proposed by contemporary philosophers including Novalis, Hegel, Nietzsche, Freud, Adorno, and, most importantly, Gadamer on hermeneutics.
Publicatie n.a.v. de conferentie gehouden op 1 april 2006 op de faculteit Bouwkunde van de TU Delft over de huidige en toekomstige veranderingen rond de digitaal ontworpen architectuur- en designpraktijk.