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The work of Erich Mendelsohn (1887-1953) is extraordinarily open-minded in its attitude to material and planning, as a result of his completely original form of architectural thinking.
Using empathy, as established by the Vienna School of Art History, complemented by insights on how the mind processes visual stimuli, as demonstrated by late 19th-century psychologists and art theorists, this book puts forward an innovative interpretative method of decoding the forms and spaces of Modern buildings. It proposes that Modern architecture is too diverse to be reduced to a few common formal or ornamental features. Instead, by relying on the viewer’s innate psycho-physiological perceptive abilities, the sensual and intuitive understandings of composition, form, and space are emphasized.
Mit dem 1921 gebauten Einsteinturm in Potsdam erlangte der junge Erich Mendelsohn frühe Berühmtheit. Die beiden Kaufhäuser für Schocken in Stuttgart und Chemnitz sowie der Kinokomplex am Kurfürstendamm in Berlin zeigten ihn bereits auf der Höhe seiner Meisterschaft: dynamisch-fließende Linienführung mit konstruktiver Klarheit gepaart in Gebäuden von expressiver Plastizität. Ab 1933 führte ihn die Emigration zunächst nach Großbritannien und Palästina, von 1941 bis zu seinem Tode wirkte er in den USA. Das von Bruno Zevi, dem Grand old man der italienischen Architekturgeschichtsschreibung, engagiert und einfühlsam herausgegebene Gesamtwerk ist ein fundamentales Kompendium, unerläßlich für jeden, der sich ernsthaft mit Mendelsohn und seinem Werk beschäftigen will. Eine Sammlung von über 1000 Skizzen, Entwürfen, Plänen, Modellfotos und zeitgenössischen Gebäudeaufnahmen, die Erich Mendelsohns Innovationskraft erschöpfend dokumentiert.
A classic examination of superb design through the centuries. Widely regarded as a classic in the field, Experiencing Architecture explores the history and promise of good design. Generously illustrated with historical examples of designing excellence—ranging from teacups, riding boots, and golf balls to the villas of Palladio and the fish-feeding pavilion of Beijing's Winter Palace—Rasmussen's accessible guide invites us to appreciate architecture not only as a profession, but as an art that shapes everyday experience. In the past, Rasmussen argues, architecture was not just an individual pursuit, but a community undertaking. Dwellings were built with a natural feeling for place, materials and use, resulting in “a remarkably suitable comeliness.” While we cannot return to a former age, Rasmussen notes, we can still design spaces that are beautiful and useful by seeking to understand architecture as an art form that must be experienced. An understanding of good design comes not only from one's professional experience of architecture as an abstract, individual pursuit, but also from one's shared, everyday experience of architecture in real time—its particular use of light, color, shape, scale, texture, rhythm and sound. Experiencing Architecture reminds us of what good architectural design has accomplished over time, what it can accomplish still, and why it is worth pursuing. Wide-ranging and approachable, it is for anyone who has ever wondered “what instrument the architect plays on.”
After several pages of prologue summing up 18th century highlights--especially the rise in importance of geometry--some forty pages cover 1784-1916, focusing on the heavily fenestrated high-rises of the Chicago School and the iron and glass pavilions of Europe. The chapter spanning 1892-1925 concentrates on the many disputes over the trajectory of modernism: Nieuwe Kunst, Stile Liberty, Jugendstil, and Art Nouveau, all arguing the direction that the boom of prisons, hospitals, schools, town halls, and other institutional buildings would take. Three more time divisions follow and a concise compendium of architect biographies ends the volume. Along with an array of great pictures (par for Taschen), Gossel and Leuthauser--both active in the private sector--add a strong prose style attentive to debates among architects and the socioeconomic stage on which architects act. Annotation copyrighted by Book News, Inc., Portland, OR
"This book includes seventy-three structures, starting with the Shabolovka Radio Tower in Moscow and concluding with the Lenin Mausoleum. In between are buildings from all over Moscow (where the greatest concentration of modernist buildings still remains), St. Petersburg, Ivanovo, Ekaterinburg, Kiev, Kharkov, Zaporozhe, Nizhi Novgorod, Sochi, and Baku. The buildings range from grand projects such as Gasprom in Kharkov to a modest bus shelter in Sochi, a rare survivor by an unknown architect." "In an essay, architectural historian Jean-Louis Cohen surveys the history of the period, providing a context for the emergence of this startling new architecture in parallel to contemporary experiments in Europe."--BOOK JACKET.
Noted German architect photographed American cityscapes in the 20s. New York's Times Square, Fifth Avenue, Brooklyn Bridge, Trinity Church, many other sites. Chicago's Michigan Avenue, Tribune Building, Federal Reserve Bank. Also buildings and locales in Buffalo and Detroit. Striking, dramatic views by trained observer. Newly translated introduction and captions. Reprinted from rare original edition.
Architecture’s Historical Turn traces the hidden history of architectural phenomenology, a movement that reflected a key turning point in the early phases of postmodernism and a legitimating source for those architects who first dared to confront history as an intellectual problem and not merely as a stylistic question. Jorge Otero-Pailos shows how architectural phenomenology radically transformed how architects engaged, theorized, and produced history. In the first critical intellectual account of the movement, Otero-Pailos discusses the contributions of leading members, including Jean Labatut, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton. For architects maturing after World War II, Otero-Pailos contends, architectural history was a problem rather than a given. Paradoxically, their awareness of modernism’s historicity led some of them to search for an ahistorical experiential constant that might underpin all architectural expression. They drew from phenomenology, exploring the work of Bachelard, Merleau-Ponty, Heidegger, and Ricoeur, which they translated for architectural audiences. Initially, the concept that experience could be a timeless architectural language provided a unifying intellectual basis for the stylistic pluralism that characterized postmodernism. It helped give theory—especially the theory of architectural history—a new importance over practice. However, as Otero-Pailos makes clear, architectural phenomenologists could not accept the idea of theory as an end in itself. In the mid-1980s they were caught in the contradictory and untenable position of having to formulate their own demotion of theory. Otero-Pailos reveals how, ultimately, the rise of architectural phenomenology played a crucial double role in the rise of postmodernism, creating the antimodern specter of a historical consciousness and offering the modern notion of essential experience as the means to defeat it.