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In Alpine Architecture, Bruno Taut projected the utopia of a conversion of the world, which would begin with an architectural reworking of the Alps, continue with building on and under the earth's crust, and extend even to the stars. This work of Expressionist architecture is published here for the first time with a detailed scholarly commentary. An illustrated essay and reproductions of the large-format original drawings combine to bring Taut's vision to life.

As a formative exemplar of early architectural modernism, Bruno Taut’s seminal exhibition pavilion the Glashaus (literally translated Glasshouse) is logically part of the important debate of rethinking the origins of modernism. However, the historical record of Bruno Taut’s Glashaus has been primarily established by one art historian and critic. As a result the historical record of the Glashaus is significantly skewed toward a singlular notion of Expressionism and surprisingly excludes Taut’s diverse motives for the design of the building. In an effort to clarify the problematic historical record of the Glashaus, this book exposes Bruno Taut’s motives and inspirations for its design. The result is that Taut’s motives can be found in yet unacknowledged precedents like the botanical inspiration of the Victoria regia lily; the commercial interests of Frederick Keppler as the Director of the Deutche Luxfer Prismen Syndikat; and imitation that derived openly from the Gothic. The outcome is a substantial contribution to the re-evaluation of the generally accepted histories of the modern movement in architecture.

As a formative exemplar of early architectural modernism, Bruno Taut’s seminal exhibition pavilion the Glashaus (literally translated Glasshouse) is logically part of the important debate of rethinking the origins of modernism. However, the historical record of Bruno Taut’s Glashaus has been primarily established by one art historian and critic. As a result the historical record of the Glashaus is significantly skewed toward a singlular notion of Expressionism and surprisingly excludes Taut’s diverse motives for the design of the building. In an effort to clarify the problematic historical record of the Glashaus, this book exposes Bruno Taut’s motives and inspirations for its design. The result is that Taut’s motives can be found in yet unacknowledged precedents like the botanical inspiration of the Victoria regia lily; the commercial interests of Frederick Keppler as the Director of the Deutche Luxfer Prismen Syndikat; and imitation that derived openly from the Gothic. The outcome is a substantial contribution to the re-evaluation of the generally accepted histories of the modern movement in architecture.

Edition 2024. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Edition 2024. Ammareal gives back up to 15% of this item's net price to charity organizations.

Paul Scheerbart (1863–1915) was a visionary German novelist, theorist, poet, and artist who made a lasting impression on such icons of modernism as Walter Benjamin, Bruno Taut, and Walter Gropius. Fascinated with the potential of glass architecture, Scheerbart’s satirical fantasies envisioned an electrified future, a world composed entirely of crystalline, colored glass.In 1912, Scheerbart published The Light Club of Batavia, a Novelle about the formation of a club dedicated to building a spa for bathing—not in water, but in light—at the bottom of an abandoned mineshaft. Translated here into English for the first time, this rare story serves as a point of departure for Josiah McElheny, who, with an esteemed group of collaborators, offers a fascinating array of responses to this enigmatic work.The Light Club makes clear that the themes of utopian hope, desire, and madness in Scheerbart’s tale represent a part of modernism’s lost project: a world based on political and spiritual ideals rather than efficiency and logic. In his compelling introduction, McElheny describes Scheerbart’s life as well as his own enchantment with the writer, and he explains the ways in which The Light Club of Batavia inspired him to produce art of uncommon breadth. The Light Club also features inspired writings from Gregg Bordowitz and Ulrike Müller, Andrea Geyer, and Branden W. Joseph, as well as translations of original texts by and about Scheerbart. A unique response by one visionary artist to another, The Light Club is an unforgettable examination of what it might mean to see radical potential in absolute illumination.

Lissitzky's book is a classic in architectural and planning theory, as well as an important document in social and intellectual history. It contains an appendix of excerpted writings by his contemporaries—M. J. Ginzburg, P. Martell, Bruno Taut, Ernst May, M. Ilyin, Wilm Stein, Martin Wagner, Hannes Meyer, Hans Schmidt, and others—all of whom illuminate the architecture and planning of Europe and Russia during the 1920s. There are over 100 plates and drawings.

The simple beauty of Japanese architecture and design has inspired many of the world's top architects and designers, such as Bruno Taut, Frank Lloyd Wright, and Terence Conran, to name just a few. The grace and elegance of the Japanese sensibility is reflected in both modern and traditional Japanese homes, from their fluid floor plans to their use of natural materials. In The Japanese House, renowned Japanese photographer Noboru Murata has captured this Eastern spirit with hundreds of vivid color photographs of 15 Japanese homes. As we step behind the lens with Murata, we're witness to the unique Japanese aesthetic, to the simple proportions modeled after the square of the tatami mat; to refined, rustic decor; to earthy materials like wood, paper, straw, ceramics, and textiles. This is a glorious house-tour readers can return to again and again, for ideas, inspiration, or simply admiration.

The German architect Bruno Taut compared the Katsura in cultural importance with the Parthenon. "An eternal thing" were his words. In this book, we are given a stunning tour of the seventeenth-century imperial villa and its garden through lush photographs, architectural drawings, a foldout site plan, and an instructive commentary on the history and aesthetic scheme behind this rural mansion. In What Is Japanese Architecture?, the authors write: "The Katsura Detached Palace is a nobleman's private Xanadu and was built in the countryside to allow unimpeded relaxation in the midst of nature. Toshihito, Toshitada, and their guests would admire the cherry blossoms in spring and the crimson leaves in autumn at their spacious garden pond. The grounds form an integrated whole with the buildings within it. The tastefully situated rocks and artfully maintained trees and bushes are not meant to be the occasional object of an admiring glance or quarter-hour's stroll, but to be the constant, active companions of the residents...."

'Das japanische Haus und sein Leben' ist eines von Bruno Tauts Hauptwerken, das der Architekt in den Jahren der Emigration auf der Flucht vor den Nationalsozialisten in Japan verfasst hat und erscheint erst jetzt in deutscher Sprache nach dem originalen Manuskript. Hierzulande assoziiert man mit Bruno Taut seine weltberuhmten Siedlungen der 20er Jahre und seinen wesentlichen Einfluss auf die Vorstellung von moderner Baukunst, die sich mit seiner Architektur verbindet. Zwar ist sein Wirken als Architekturschriftsteller nicht unbekannt geblieben, aber eines seiner Hauptwerke erscheint erst jetzt in deutscher Sprache nach dem originalen Manuskript. In englischer Sprache sind, zuerst 1937, bereits zwei Auflagen erschienen, in Japan gilt das Buch bis heute als Standardwerk zum Verstandnis der Architekturgeschichte des Landes. Das, was die Architektur Bruno Tauts im besonderen auszeichnet, kehrt in der Betrachtung der historischen Architektur Japans wieder, Qualitaten wie Einfachheit, Bescheidenheit und Respekt vor wahrer Tradition zeichnen beide aus. Dem Leser des Buches bietet sich die Moglichkeit fur ein tieferes Verstandnis der japanischen Architektur, die aus ihren historischen und gesellschaftlichen Bedingungen heraus entworfen wird. Das Layout der deutschen Ausgabe folgt genau den Vorgaben Bruno Tauts, der das Buch bis in die letzten Details selbst entworfen hat.

Lissitzky's book is a classic in architectural and planning theory, as well as an important document in social and intellectual history. It contains an appendix of excerpted writings by his contemporaries—M. J. Ginzburg, P. Martell, Bruno Taut, Ernst May, M. Ilyin, Wilm Stein, Martin Wagner, Hannes Meyer, Hans Schmidt, and others—all of whom illuminate the architecture and planning of Europe and Russia during the 1920s. There are over 100 plates and drawings.

This book presents a detailed history of Katsura, the 17th century Imperial Palace in Kyoto, Japan that is a pivotal work of Japanese Architecture, often described as the "quintessence of Japanese taste." First revealed to the modern architectural world by Bruno Taut, the great German architect, in the early 20th century, Katsura stunned and then excited the architectural community of the West. Le Corbusier and Walter Gropius, pillars of the Modernist establishment, were fascinated by Katsura’s "modernity." They saw in its orthogonal and modular spaces, devoid of decoration, clear parallels to contemporary Modernism, going so far as to proclaim Katsura a "historical" example of Modernity. This book documents the palace in detail, combining newly commissioned photographs, detailed drawings, archival material and historical analysis.

Paul Scheerbart (1863–1915) was a visionary German novelist, theorist, poet, and artist who made a lasting impression on such icons of modernism as Walter Benjamin, Bruno Taut, and Walter Gropius. Fascinated with the potential of glass architecture, Scheerbart’s satirical fantasies envisioned an electrified future, a world composed entirely of crystalline, colored glass.In 1912, Scheerbart published The Light Club of Batavia, a Novelle about the formation of a club dedicated to building a spa for bathing—not in water, but in light—at the bottom of an abandoned mineshaft. Translated here into English for the first time, this rare story serves as a point of departure for Josiah McElheny, who, with an esteemed group of collaborators, offers a fascinating array of responses to this enigmatic work.The Light Club makes clear that the themes of utopian hope, desire, and madness in Scheerbart’s tale represent a part of modernism’s lost project: a world based on political and spiritual ideals rather than efficiency and logic. In his compelling introduction, McElheny describes Scheerbart’s life as well as his own enchantment with the writer, and he explains the ways in which The Light Club of Batavia inspired him to produce art of uncommon breadth. The Light Club also features inspired writings from Gregg Bordowitz and Ulrike Müller, Andrea Geyer, and Branden W. Joseph, as well as translations of original texts by and about Scheerbart. A unique response by one visionary artist to another, The Light Club is an unforgettable examination of what it might mean to see radical potential in absolute illumination.

A detailed history of Katsura, the seventeenth-century Imperial Palace in Kyoto, Japan, a pivotal work of Japanese architecture, often described as the 'quintessence of Japanese taste'. First revealed to the modern architectural world by Bruno Taut, the great German architect, in the early twentieth-century, Katsura stunned and then excited the architectural community of the West. Le Corbusier and Walter Gropius, pillars of the Modernist establishment, were fascinated by Katsura's 'modernity'. This book documents the palace in detail, combining newly commissioned photographs, detailed drawings, archival material, and historical analysis.

This book presents a detailed history of Katsura, the 17th century Imperial Palace in Kyoto, Japan that is a pivotal work of Japanese Architecture, often described as the "quintessence of Japanese taste." First revealed to the modern architectural world by Bruno Taut, the great German architect, in the early 20th century, Katsura stunned and then excited the architectural community of the West. Le Corbusier and Walter Gropius, pillars of the Modernist establishment, were fascinated by Katsura’s "modernity." They saw in its orthogonal and modular spaces, devoid of decoration, clear parallels to contemporary Modernism, going so far as to proclaim Katsura a "historical" example of Modernity. This book documents the palace in detail, combining newly commissioned photographs, detailed drawings, archival material and historical analysis.

Lissitzky's book is a classic in architectural and planning theory, as well as an important document in social and intellectual history. It contains an appendix of excerpted writings by his contemporaries—M. J. Ginzburg, P. Martell, Bruno Taut, Ernst May, M. Ilyin, Wilm Stein, Martin Wagner, Hannes Meyer, Hans Schmidt, and others—all of whom illuminate the architecture and planning of Europe and Russia during the 1920s. There are over 100 plates and drawings.

The German architect Bruno Taut compared the Katsura in cultural importance with the Parthenon. "An eternal thing" were his words. In this book, we are given a stunning tour of the seventeenth-century imperial villa and its garden through lush photographs, architectural drawings, a foldout site plan, and an instructive commentary on the history and aesthetic scheme behind this rural mansion. In What Is Japanese Architecture?, the authors write: "The Katsura Detached Palace is a nobleman's private Xanadu and was built in the countryside to allow unimpeded relaxation in the midst of nature. Toshihito, Toshitada, and their guests would admire the cherry blossoms in spring and the crimson leaves in autumn at their spacious garden pond. The grounds form an integrated whole with the buildings within it. The tastefully situated rocks and artfully maintained trees and bushes are not meant to be the occasional object of an admiring glance or quarter-hour's stroll, but to be the constant, active companions of the residents...."

'Das japanische Haus und sein Leben' ist eines von Bruno Tauts Hauptwerken, das der Architekt in den Jahren der Emigration auf der Flucht vor den Nationalsozialisten in Japan verfasst hat und erscheint erst jetzt in deutscher Sprache nach dem originalen Manuskript. Hierzulande assoziiert man mit Bruno Taut seine weltberuhmten Siedlungen der 20er Jahre und seinen wesentlichen Einfluss auf die Vorstellung von moderner Baukunst, die sich mit seiner Architektur verbindet. Zwar ist sein Wirken als Architekturschriftsteller nicht unbekannt geblieben, aber eines seiner Hauptwerke erscheint erst jetzt in deutscher Sprache nach dem originalen Manuskript. In englischer Sprache sind, zuerst 1937, bereits zwei Auflagen erschienen, in Japan gilt das Buch bis heute als Standardwerk zum Verstandnis der Architekturgeschichte des Landes. Das, was die Architektur Bruno Tauts im besonderen auszeichnet, kehrt in der Betrachtung der historischen Architektur Japans wieder, Qualitaten wie Einfachheit, Bescheidenheit und Respekt vor wahrer Tradition zeichnen beide aus. Dem Leser des Buches bietet sich die Moglichkeit fur ein tieferes Verstandnis der japanischen Architektur, die aus ihren historischen und gesellschaftlichen Bedingungen heraus entworfen wird. Das Layout der deutschen Ausgabe folgt genau den Vorgaben Bruno Tauts, der das Buch bis in die letzten Details selbst entworfen hat.