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This innovative study considers one of the most important art and design movements of the 20th century, the Bauhaus, in conjunction with current research in public relations and organizational communication, elaborating on the mechanisms of internal and external communication available to influence the stakeholders in politics, society, industry, and the art world. In a movement where a substantial share of productivity ran in measures to highlight the public value of the institution funded by the taxpayer, the directors, and other persons in charge, the Bauhaus developed comprehensive strategies to communicate their messages to a variety of target groups such as politicians and economic leaders, intellectuals and other artists, current and prospective students, and the general public. To achieve this goal, the Bauhaus anticipated many instruments of modern public relations and corporate communications, including press releases, staging of events, media publications, community building, lobbying, and the creation of nationwide public presence. Rössler argues that as an organization, the Bauhaus cultivated corporate behavior and, most prominently, a corporate design which unfolded revolutionary power. The basic achievements of new typography (a label coined at the Bauhaus) determine visual communication to this day, while the Bauhaus moved from an institutional organization to a community. Beginning with an overview of the Bauhaus’ corporate identity and a close examination of the respective directors’ roles for internal and external communication, this book visits exhibitions, events, and the media attention they evoked in newspapers and contemporary periodicals, along with media products designed at the Bauhaus such as magazines, books, and bank notes.
The eighteenth century struggled to define architecture as either an art or a science—the image of the architect as a grand figure who synthesizes all other disciplines within a single master plan emerged from this discourse. Immanuel Kant and Johann Wolfgang Goethe described the architect as their equal, a genius with godlike creativity. For writers from Descartes to Freud, architectural reasoning provided a method for critically examining consciousness. The architect, as philosophers liked to think of him, was obligated by the design and construction process to mediate between the abstract and the actual. In On the Ruins of Babel, Daniel Purdy traces this notion back to its wellspring. He surveys the volatile state of architectural theory in the Enlightenment, brought on by the newly emerged scientific critiques of Renaissance cosmology, then shows how German writers redeployed Renaissance terminology so that "harmony," "unity," "synthesis," "foundation," and "orderliness" became states of consciousness, rather than terms used to describe the built world. Purdy's distinctly new interpretation of German theory reveals how metaphors constitute interior life as an architectural space to be designed, constructed, renovated, or demolished. He elucidates the close affinity between Hegel's Romantic aesthetic of space and Daniel Libeskind's deconstruction of monumental architecture in Berlin's Jewish Museum. Through a careful reading of Walter Benjamin's writing on architecture as myth, Purdy details how classical architecture shaped Benjamin's modernist interpretations of urban life, particularly his elaboration on Freud's archaeology of the unconscious. Benjamin's essays on dreams and architecture turn the individualist sensibility of the Enlightenment into a collective and mythic identification between humans and buildings.
Bruno Taut and Walter Gropius, organized the Arbeitsrat fur Kunst (Work council on the arts). Behne would also become an early critic of both the Werkbund and the Bauhaus. Written in 1923, Behne's Modern Functional Building clarifies the concepts of German Modernism at their very inception, especially the crucial distinctions between functionalism, rationalism, and utilitarianism. In this text, Behne advocates a functionalism that is not technocentric, but is comparable.
Archaeology has been historically reluctant to embrace the subject of agent-based simulation, since it was seen as being used to "re-enact" and "visualize" possible scenarios for a wider (generally non-scientific) audience, based on scarce and fuzzy data. Furthermore, modeling "in exact terms" and programming as a means for producing agent-based simulations were simply beyond the field of the social sciences. This situation has changed quite drastically with the advent of the internet age: Data, it seems, is now ubiquitous. Researchers have switched from simply collecting data to filtering, selecting and deriving insights in a cybernetic manner. Agent-based simulation is one of the tools used to glean information from highly complex excavation sites according to formalized models, capturing essential properties in a highly abstract and yet spatial manner. As such, the goal of this book is to present an overview of techniques used and work conducted in that field, drawing on the experience of practitioners.
Conceptual ordering, spatial and social narrative are fundamental to the ways in which buildings are shaped, used and perceived. This intriguing book explores the ways in which these three dimensions interact in the design and life of buildings.
This study presents an overview of the wooden furniture that has come to light since the rediscovery of Herculaneum in the 18th century, with an emphasis on the form, function and the techniques employed. The combination of comments in the excavation reports with the information derived from the surviving pieces of furniture and fittings made of other materials as well as indications for the presence of furniture in the architecture and decoration of the houses, offers a representative idea of the role of wooden furniture in the interior arrangements of the houses at Herculaneum.
This selection of non-fictional work from the author of Life, a User's Manual, demonstrates Georges Perec's characteristic lightness of touch, wry humour and accessibility.
Creole paints a vivid and dramatic picture of a decadent social order in tatters. Extraordinary characters, real and fictional, look on as their world collapses.
The essays in this volume address three fundamental questions in the philosophy of science: What is required for some fact to be evidence for a scientific hypothesis? What does it mean to say that a scientist or a theory explains a phenomenon? Should scientific theories that postulate "unobservable" entities such as electrons be construed realistically as aiming to correctly describe a world underlying what is directly observable, or should such theories be understood as aiming to correctly describe only the observable world? Distinguished philosopher of science Peter Achinstein provides answers to each of these questions in essays written over a period of more than 40 years. The present volume brings together his important previously published essays, allowing the reader to confront some of the most basic and challenging issues in the philosophy of science, and to consider Achinstein's many influential contributions to the solution of these issues. He presents a theory of evidence that relates this concept to probability and explanation; a theory of explanation that relates this concept to an explaining act as well as to the different ways in which explanations are to be evaluated; and an empirical defense of scientific realism that invokes both the concept of evidence and that of explanation.