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A reprint of the definitive 1918 edition, this bold, thought-provoking volume by one of America's most influential architects features dialogs, or "chats," about architecture, art, education, and life in general. 17 illustrations.
"This book is one of a series related to the 20th Century Gallery at the Victoria & Albert Museum, the National Museum of Art and Design, London. The Gallery is international and comes right up-to-date." "Form Follows Function? explains and then challenges the notion that form in architecture and product design is derived solely from practical functions. The text sets the role of function in a historical perspective quoting extensively from the writings of theorists and designers. The 70 illustrations include works of the Arts and Crafts movement, Modernism, Street Style and recent Italian and Japanese design. They highlight the symbolic, associative and decorative functions of objects, challenging many traditional assumptions."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Authoritative and readable, this excellent text, illustrated by a unique pictorial record of period architecture, surveys and examines how and why the architecture of pleasure related to the stylistic and ideological concerns of modernism in 1930s Britain. Responding to the current interest in modernism and packed with a substantial archive of high quality photographs and other documentation, it relates the professional, entrepreneurial and institutional infrastructures affecting the pleasure industry’s architectural development and appearance in 1930s. A broad range of building through which the general public first experienced Modernism are covered, including: commercial – holiday camps, cinemas and greyhound racing stadia municipal and governmental projects – zoos, seaside pavilions, concert halls, and imperial and international exhibitions. Arguing that the responses to modernism through the architecture of pleasure were conditioned by wider debates about the role of design in relation to high and mass culture, this book is an ideal resource for all those interested in architectural history and design in Britain between the wars.
Nature is in many different ways a pool for the productive human being, but also a counterpoint to his/her own work. This book offers a richly illustrated overview of the history of nature in architecture, civil engineering and art.
This book offers sound advice to practitioners of all the arts, and sound reasoning to students of aesthetics. Stating his principles in the mid-nineteenth century, Greenough was three generations ahead of his time. He reads today like a progressive contemporary, and many an architect, artist, and student of art may benefit by what he has to say. It was Greenough, not Whitman, who first protested against meaningless ornamentation. It was Greenough, not Ruskin, who first expressed the idea that the buildings are art of a pepole express their morality. It was Greenough, no Le Corbusier who first said that buildings designed primarily for us "may be called machines." It was Greenough, not Louis Sullivan, who first enunciated the principle that, in architecture, form must follow function. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1947.
In contrast to standard histories that counterpose the design philosophies of the Chicago and New York "schools," Form Follows Finance shows how market formulas produced characteristic forms in each city - "vernaculars of capitalism" - that resulted from local land-use patterns, municipal codes, and zoning. Refuting some common cliches of skyscraper history such as the equation of big buildings with big business and the idea of a "corporate skyline," this book emphasizes the importance of speculative development and the impact of real estate cycles on the forms of buildings.
Based on a series of lectures developed by noted furniture designer Richard Schultz, this brief, striking book lays out his design manifesto both challenging and adding to Louis Sullivan's credo "form follows function." From African stools carved from a single log to advanced techniques of laminating wood; from simple twisted wire chairs to complex wire furniture bending in three axes; and from basic stonework to iconic post-and-beam structures, the art of design evolves along with the available materials and techniques. Combining Zen wisdom, examples of classic furniture, and a lifetime of experience as a designer, Schultz explores how technology both limits and fosters innovative design. It is the author's hope that this book will encourage students, designers, and others to think about new materials and techniques so that they, too, will create iconic designs.
Form Follows Fiction focuses on a generation of artists who can no longer follow the modemist dictum "form follows function." Some of these artists create structures that intersect with everyday life, while others construct elaborate fictional systems that fuse elements of reality and fantasy. All have developed new models of contemporary reality that are as fictional as they are real. Conceived as a sequel to the 1992 exhibition Post Human, also curated by Jeffrey Deutch.
Comprehensively compiles a set of material systems, analyzing ways in which they can be tessellated to produce novel forms.