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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.
For more information including the introduction, a full list of entries and contributors, a generous selection of sample pages and more, visit the Encyclope dia of 20th Century Architecture website. Focusing on architecture from all regions of the world, this three-volume set profiles the twentieth century's vast chronicle of architectural achievements, both within and well beyond the theoretical confines of modernism. Unlike existing works, this encyclopedia examines the complexities of rapidly changing global conditions that have dispersed modern architectural types, movements, styles, and building practices across traditional geographic and cultural boundaries.
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.
The work of EEA, as presented in this retrospective of the past 10 years of its work, covers the full architectural gamut including public, educational, residential, interior design, exhibition design and the design of furniture and objects.
Once again, new interpretations are presented of some of the most famous architecture of the period. Work by lesser-known architects, whose influence and role have been overlooked by conventional histories of the subject, is discussed. The case study structure allows each example to be discussed and used as a springboard to explore different theoretical approaches. Filled with beautiful photographs, plans and architect's drawings, this is a clear and accessible discussion on a period of architecture that engages many questions still under debate in architecture today.
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
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.
"New scholarship and interpretation of Flavin's work also appears in the form of three critical essays by experts and an extensive chronology, comprehensive bibliography, and exhibition history. In addition, this book includes Flavin's text, "'...in daylight or cool white.' an autobiographical sketch," originally published in Artforum in 1965, and two interviews with the artist - one from 1972 and the other from 1982."--BOOK JACKET.