Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories of history, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in both their local and European context.

    Aesthetics entered into everyday life with often staggering results. Our homes and workplaces turned into veritable galleries of style and innovation. From furniture to graphics, it's all here?the work of artists who have shaped and recreated the modern world with a dizzying variety of materials. From the organic to the geometric, from Art Deco, through to Pop and High-Tech, this book contains all the great names - Bernhard, Bertoia, De Stijl, Dieter Rams, Starck, Charles and Ray Eames, to name only a very few. This essential book is a comprehensive journey through the shapes and colours, forms and functions of design history in the 20th century. An A-Z of designers and design schools, which builds into a complete picture of contemporary living.

    The descriptive method is based on seven guided visits to a group of real or imaginary houses that make up a sufficiently extended panorama for understanding what the 20th century has bequeathed to us by way of a heritage. In short, this book takes the reader on a fantasy tour, one whose aim is not just to celebrate the diversity of the 20th-century house but also to stimulate the pleasure of thinking, planning and living intensely, to promote the appearance of a house that does not yet exist.

    Along with commercial and dwelling units, temples, palaces, and cathedrals, Zevi treats structures such as fountains, columns, and monuments, subjecting them all to aesthetic, cultural, and functional criteria and explaining them in easily understood terms. Beautifully illustrated with examples from the entire history of the art, this is one of the most stimulating and provocative books ever written on the history and purpose of architecture.

    As a school that strove to combine applied art with both the fine arts and technology, the Bauhaus movement has outlasted all other trends in architecture and design. This volume provides insight into the historical, cultural, philosophical, political and pedagogical background of the 1930s, when the Bauhaus was founded. It also portrays the famous Bauhaus directors and teachers and describes their signature pedagogical methods. Finally, the authors take readers inside Individual workshops, where they can discover for themselves the unique wealth of forms and ideas that remain the hallmark of Bauhaus products. Through its contributions to current discourse on the Bauhaus as a "fixed star of the avant-garde," its wealth of pictorial material (some of which has never before been published), as well as the rich variety of topics it addresses, this book offers a comprehensive look at one of the most significant institutions in the history of modern art and culture.

    Born of a functional need rather than aesthetic ideal, golf range nets span spaghetti snack bars and a host of 70 other remarkable combinations are pictured and described in this quintessential glimpse of Tokyo's architectural grass roots.

    Among significant mid-century interiors, none are more celebrated yet underpublished as the homes created by architects and interior designers for themselves. This collection of newly commissioned photographs presents the most compelling homes by influential mid-century designers, such as Russel Wright, George Nakashima, Harry Bertoia, Charles and Ray Eames, and Eva Zeisel, among others. Intimate as well as revelatory, Williamson’s photographs show these creative homes as they were lived in by their designers: Walter Gropius’s historic Bauhaus home in Massachusetts; Albert Frey’s floating modernist aerie on a Palm Springs rock outcropping; Wharton Esherick’s completely handmade Pennsylvania house, from the organic handcarved staircase to the iconic furniture. Personal and breathtaking by turn—these homes are exemplary studies of domestic modernism at its warmest and most creative.

    Every building contains clues embedded in its design that identify not only its architectural style but also the story of who designed it, who it was built for, and why. Organized by architectural element (roofs, doors, windows, columns, domes, towers, arches, etc.), the book is roughly chronological within each section, examining the elements across history, through different architectural styles, and by geographical distribution. Additional chapters offer overviews of how architecture has been affected by geography, history, and religion, along with an illustrated timeline of architectural elements. Also included is a chapter on applied ornament and a handy introduction to naming each part of a building. All entries are accompanied by examples in the forms of period engravings, line drawings, and pictures. The extended captions make the book invaluable for anyone who has ever pondered the meaning or importance of a hipped roof, rounded doorway, or classical pediment.

    In entirely new photographs taken especially for this book by two leading architectural photographers under the direction of co-editor David Larkin, such internationally famous buildings as the Solomon R. Guggenheim Museum and Fallingwater and Wright's homes Taliesin, Taliesin West, and the Oak Park Home and Studio are seen afresh, benefiting from the photographers' special access. Several lesser-known residences, such as Auldbrass Plantation in South Carolina, an array of wooden buildings that is Wright's American alternative to antebellum architecture, the William H. Winslow house in River Forest, Illinois, one of the architect's earliest and most surprisingly decorative houses, and the Kenneth Laurent house in Rockford, Illinois, a masterful curvilinear design, are seen in full color and demonstrate dimensions of Wright's work less often seen before. Public buildings, such as the dramatic concrete, glass, and steel Marin County Civic Center and Beth Sholom Synagogue show Wright as engineering virtuoso as well as creative architect. In addition to these existing masterworks, only the most famous of which are open to the public, the book covers buildings that have been demolished, notably the Larkin Company Administration Building, Midway Gardens, and the Imperial Hotel, which are represented here by drawings and rich archival photographs. Each of the buildings is presented from conceptual sketch, plan, or drawing to finished masterwork, andeach is accompanied by an in-depth essay detailing the development of the work. Extensive quotes from Wright's writings, unpublished talks, and private letters to the clients give valuable insight into the architect's own thinking about each commission. Never before has Wright's architecture been presented so elaborately in one volume.

    The strange saga of American architecture in the twentieth century makes for both high comedy and intellectual excitement as Wolfe debunks the European gods of modern and postmodern architecture and their American counterparts.

    He introduces the reader to communal architecture--architecture produced not by specialists but by the spontaneous and continuing activity of a whole people with a common heritage, acting within a community experience. A prehistoric theater district for a hundred thousand spectators on the American continent and underground towns and villages (complete with schools, offices, and factories) inhabited by millions of people are among the unexpected phenomena he brings to light.The beauty of primitive architecture has often been dismissed as accidental, but today we recognize in it an art form that has resulted from human intelligence applied to uniquely human modes of life. Indeed, Rudofsky sees the philosophy and practical knowledge of the untutored builders as untapped sources of inspiration for industrial man trapped in his chaotic cities.

    It also relates to…Meaning in Western Architecture. Common to all of them is the view that architecture represents a means to give man an “existential foothold”…The philosophy of Heidegger has been the catalyst which has made the present book possible and determined its approach. The wish for understanding architecture as a concrete phenomenon…could be satisfied in the present book…thanks to Heidegger’s essays on language and aesthetics.Man dwells when he can orient himself within and identify himself with an environment, or, in short, when he experiences the environment as meaningful. Dwelling therefore implies something more than “shelter”. It implies that the spaces where life occurs are places, in the true sense of the word. A place is a space which has a distinct character. Since ancient times the genius loci, or “spirit of place”, has been recognized as the concrete reality man has to face and come to terms with in his daily life. Architecture means to visualize the genius loci, and the task of the architect is to create meaningful places, whereby he helps man to dwell.

    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

    Professor Twombly's introduction and headnotes offer incisive commentary on the texts.