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A key publication in the literature on Le Corbusier that offers a new perspective on his creative mind
New York City, the unique metropolis that Le Corbusier has called a beautiful catastrophe,' is a natural home to Bruce Gilden. Since 1981, Gilden has been roaming the streets of the city, capturing its characters and eccentricities with hsi confrontational, highly energetic style and exuberant vision. In this new opus, A Beautiful Catastrophe, Magnum photographer Bruce Gilden celebrates a trademark style with abandon, firmly ensconsing him in the pantheon of New York City photographic poets.'
Ever since its invention, photography has enjoyed a close and mutually stimulating relationship with architecture - an association underlined by one description of photography as "building with light". So well established is this link that photography is now regarded as the easiest and most reliable means of making architecture and its ideas accessible to a wider public. Our first, sometimes our only, impression of a building often comes from a photograph, and the skilled photographer can help us to see even the most familiar structures with a fresh eye. This book offers a lively exploration of the development of architectural photography and some of its key themes. From the earliest examples of the genre in the nineteenth century to today's digital revolution, Robert Elwall skilfully focuses on the changing aesthetic of the medium worldwide. Included are such topics as the early influence of architectural drawing; the growth of specialist photographic firms documenting the nineteenth-century building boom; the influence of photography on both architectural practice and history; the invention of half-tone reproduction; the role of photography in the spread of Modernism; the impact of colour photography during the 1970s and 1980s; and the increasing use of computers to shape a new direction. Authoritatively written by a world-renowned expert and illustrated with arresting images from collections throughout the world, this study is essential reading for anyone interested in architecture, photography and the history of their special relationship. Book jacket.
One hundred years ago, architects found in the medium of photography—so good at representing a building’s lines and planes—a necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication. Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her “picture anthropology” demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up “photographic architecture,” Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism. In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architecture—transforming how we see the world and how we act on it.
Le Corbusier's assistant and fellow architect remembers his mentor in a series of concise and poetic reflections. Le Corbusier's Hands offers a poetic and personal portrait of Le Corbusier—a nuanced portrayal that is in contrast to the popular image of Le Corbusier the aloof modernist. The author knew Le Corbusier intimately for thirty years, first as his draftsman and main assistant, later as his colleague and personal friend. In this book, written in the mid-1980s, Wogenscky remembers his mentor in a series of revealing personal statements and evocative reflections unlike anything that exists in the vast literature on Le Corbusier. Wogenscky draws a portrait in swift, deft strokes—50 short chapters, one leading to the next, one memory of Le Corbusier opening into another. Appearing and reappearing like a leitmotif are Le Corbusier's hands—touching, taking, drawing, offering, closing, opening, grasping, releasing: "It was his hands that revealed him.... They spoke all his feelings, all the vibrations of his inner life that his face tried to conceal." Wogenscky writes about Le Corbusier's work, including the famous design of the chapel at Ronchamp, his ideas for high-density Unités d'Habitation linked to the center of a "Radiant City," and his "Modulor" system for defining proportions—which Wogenscky compares to a piano tuner's finding the exact relation between sounds. He remembers the day Picasso spent with Le Corbusier at the Marseilles building site—"All day long they outdid one another in a show of modesty," he observes in amazement. He adds, speaking for himself and the others present, "We were inside a double energy field." And Wogenscky writes about Le Corbusier more personally. "I have spent years trying to understand what went on in his mind and in his hand," he tells us. With Le Corbusier's Hands, Wogenscky gives us a unique record of an enigmatic genius.
The book is based on amateur films, shot by the architect Ernest Weissmann (1903-1985) with a Pathé Motocamera in the years 1929-1933 at, among other places, the Atelier Le Corbusier and Pierre Jeanneret. These films capture moments from Le Corbusier's life that have never been seen before. It also documents his friendships with Pierre Jeanneret, Josep Lluís Sert, Charlotte Perriand, Norman Rice, Kunio Maekawa, Sigfried Giedion and others. Across six chapters, the book shows impressive stills from these films and places them in the respective historical and personal context of Le Corbusier in introductory texts. Two introductions are devoted to the history of these pioneering amateur films and to Ernest Weissmann's life and his life-long relationship with Le Corbusier. A documentary treasure trove on the life of Le Corbusier Featuring 80 previously unpublished film stills Available as softcover (9783035627282), hardcover (9783035627299) and limited special edition with three photographic prints (9783035627305)
A revised and updated edition of a bestselling introduction to Le Corbusier, one of the leading architects of the twentieth century. Le Corbusier is one of the most famous architects of the twentieth century. The richness and variety of his work combined with his passionately expressed philosophy of architecture have had an immense impact on the urban fabric and the way we live. Weaving through his long and prolific life are certain recurrent themes—his perennial drive toward new types of dwelling, such as the early white villas to the Unité d'Habitation at Marseilles; his evolving concepts of urban form, including the Plan Voisin of 1925 with its cruciform towers imposed on the city of Paris and his work at Chandigarh in India; and his belief in a new technocratic order. The distinguished critic and architecture historian Kenneth Frampton reexamines all facets of the architect’s artistic and philosophical worldview in light of recent thinking and presents us with a Le Corbusier whose work is still relevant for the twenty-first century. This second edition of Le Corbusier features a new introduction and color illustrations.
This volume examines Le Corbusier's relationship with the topographies of five continents, in essays by thirty of the formeost scholars of his work and with contemporary photographs by Richard Pare.
Le Corbusier is probably the most famous architect of the 20th century. The richness and variety of his work and his passionately expressed philosophy of architecture have had a gigantic impact on the urban fabric and the way we live. Weaving through his long and prolific life are certain recurrent themes his perennial drive towards new types of dwelling, from the early white villas to the Unité dHabitation at Marseilles; his evolving concepts of urban form, including the Plan Voisin of 1925 with its cruciform towers imposed on the city of Paris and his work at Chandigarh in India; and his belief in a new technocratic order. The distinguished critic and architecture historian Kenneth Frampton re-examines all the facets of his artistic and philosophical world-view in light of recent thinking, and presents us with a Le Corbusier for the 21st century. This revised edition features a new introduction; some illustrations have now been replaced with colour.
The Restless Hungarian is the saga of an extraordinary life set against the history of the rise of modernism, the Jewish Diaspora, and the Cold War. A Hungarian Jew whose inquiring spirit helped him to escape the Holocaust, Paul Weidlinger became one of the most creative structural engineers of the twentieth century. As a young architect, he broke ranks with the great modernists with his radical idea of the “Joy of Space.” As an engineer, he created the strength behind the beauty in mid-century modern skyscrapers, churches, museums, and he gave concrete form to the eccentric monumental sculptures of Pablo Picasso, Isamu Noguchi, and Jean Dubuffet. In his private life, he was a divided man, living behind a wall of denial as he lost his family to war, mental illness, and suicide. In telling his father’s story, the author sifts meaning from the inspiring and contradictory narratives of a life: a motherless child and a captain of industry, a clandestine communist who designed silos for the world’s deadliest weapons during the Cold War, a Jewish refugee who denied he was a Jew, a husband who was terrified of his wife’s madness, and a man whose personal saints were artists.