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This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics.Teige's principal work on modernism, now in English for the first time, is supplemented by a selection of his other writings on art and architecture.
There are only a few figures in modern Czech art as legendary as the architect Jan Kotera. In his lifetime, Kotera was a symbol of the spirit of modernity, a pivotal role-player in early twentieth-century Czech fine art culture. A student of Otto Wagner, friend of Josef Hoffman and early member of the Viennese Secession, Kotera brought international standards to Czechoslovakia, introducing his country's architects to the work of Louis Sullivan and Frank Lloyd Wright while retaining an interest in folk structures. Some of his most notable structures and designs include the City Museum in Hradec Králové, his own villa and studio in Vinohrady and his housing colony for railway employees in Louny.
This atlas of more than one thousand Modernist architectural masterpieces uncovers hidden gems while offering new perspectives on old favorites. 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. This expansive and inspiring book is the definitive guide to architecture in the 20th century in all its different forms and tendencies from its strict rationalist to flamboyant decorative styles.
Suppressed by the former communist governments and overshadowed by a focus on German and Dutch early modernism, the outstanding achievements of functionalist architects in Eastern Europe have been largely ignored by historians and critics. this book is the first retrospective ever published of functionalist buildings completed between the wars, the "Golden Age" of modernism, in Czechoslovakia, Hungary, and Poland. It is illustrated with rare archival and current photographs of the most famous and exemplary projects in each country: sanatoriums, hotels, sports facilities, private houses, offices, and religious and governmental buildings. Among the illustrious architects whose work is presented here are Karel Teige, Bohuslav Fuchs, and Josef Gocar of Czechoslovakia; Alfred Forbat and Jozsef Fischer of Hungary; and Lucian Korngold, Barbara and Stanislaw Brukalski, and Bohdeon Lachert of Poland. An introductory essay examines functionalism in Eastern Europe from an international perspective; essays by prominent architectural historians from Czechoslovakia, Hungary, and Poland explore competing ideas and functionalism in each country.
The Optimum Imperative examines the multiple ways that architecture was entangled within the problem of Socialist lifestyle in Czechoslovakia.
Reading modern architecture and urbanism in socialist and capitalist cities, this work challenges the twentieth-century divide between East and West in favour of a shared and contested history that plays out on the peripheries of the world's cities.
A History of Design Institutes in China examines the intricate relationship between design institutes, the state, and, in later periods, the market economy through a carefully situated discussion of significant theoretical and historical issues including socialist utopia, collective and individual design, structural transformation, and architectural exportation, amongst others. It shows how, over the past six decades, China’s design institutes have served the state’s strategy for socialist construction and urbanisation to create socioeconomic and cultural value. Through first-hand research, authors Xue and Ding reveal how the tensions between pragmatism, creativity, collaboration, and resistance have played a crucial role in defining architectural production. Appealing to academics, researchers, and graduate students, this book provides a much-needed contribution to the discourse on architectural history, building practices, and policymaking in contemporary China.
This book takes a new approach to interwar Prague by addressing religion as an integral part of the city's cultural history. Berglund views Prague's cultural history in the broader context of religious change and secularization in 20th-century Europe. Based on detailed knowledge of sources, the monograph explores the interdisciplinary linkages between politics, architecture and theology in the building of symbolism and a "new mythology" of the first Czechoslovak republic (1918-1938). Berglunds text provides an important service for understanding both Czech history as well as current Czech political debate. The author's method can be characterized as culture history, able to connect several disciplines, emphasizing common topic (religion, politics, symbolics). Modern Czech elites, superficially characterized as "ateistic", appears in a new light to be deeply religious, a transition from more traditional, (mostly) Catholic religiosity, to a concept of a new, modern, ethical religion. The study incorporates biographical research, focusing on three principal characters: Tomás Garrigue Masaryk, Czechoslovakia's first president; his daughter Alice Garrigue Masaryková, founding director of the Czechoslovak Red Cross; and Joze Plecnik, the Slovenian architect who directed the renovations of Prague Castle.
The water's edge, whether shore or riverbank, is a marginal territory that becomes invested with layers of meaning. The essays in this collection present intriguing perspectives on how the water's edge has been imagined and represented in different places at various times and how this process contributed to the formation of social identities. Art and Identity at the Water's Edge focuses upon national coastlines and maritime heritage; on rivers and seashore as regions of liminality and sites of conflicting identities; and on the edge as a tourist setting. Such themes are related to diverse forms of art, including painting, architecture, maps, photography, and film. Topics range from the South African seaside resort of Durban to the French Riviera. The essays explore successive ideological mappings of the Jordan River, and how Czech cubist architecture and painting shaped a new nationalist reading of the Vltava riverbanks. They examine post-Hurricane Katrina New Orleans as a filmic spectacle that questions assumptions about American identity, and the coast depicted as a site of patriotism in nineteenth-century British painting. The collection demonstrates how waterside structures such as maritime museums and lighthouses, and visual images of the water's edge, have contributed to the construction of cultural and national identities.
Over the past ten years, the study of mobility has demonstrated groundbreaking approaches and new research patterns. These investigations criticize the concept of mobility itself, suggesting the need to merge transport and communication research, and to approach the topic with novel instruments and new methodologies. Following the debates on the role of users in shaping transport technology, new mobility research includes debates from sociology, planning, economy, geography, history, and anthropology. This edited volume examines how users, policy-makers, and industrial managers have organized and continue to organize mobility, with a particularly attention to Europe, North America, and Asia. Taking a long-term and comparative perspective, the volume brings together thirteen chapters from the fields of urban studies, history, cultural studies, and geography. Covering a variety of countries and regions, these chapters investigate how various actors have shaped transport systems, creating models of mobility that differ along a number of dimensions, including public vs. private ownership and operation as well as individual vs. collective forms of transportation. The contributions also examine the extent to which initial models have created path dependencies in terms of technology, physical infrastructure, urban development, and cultural and behavioral preferences that limit subsequent choices.