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Sigfried Giedion (1888–1968) and Carola Giedion-Welcker (1893–1979) were among the most influential scholars of art and architectural history during the early twentieth century. Of particular impact was their role in connecting leading protagonists of modernism in architecture, art, and literature, such as Alvar Aalto, Hans Arp, Constantin Brancusi, Marcel Breuer, Max Ernst, Walter Gropius, Barbara Hepworth, Le Corbusier, László Moholy-Nagy, Piet Mondrian, and Sophie Taeuber-Arp. The interactions they initiated, for example, on the new vision in photography or the synthesis of arts continue to be highly relevant to the present day.             Drawing on a rich trove of documents—16,000 letters and 10,000 photographs and negatives, among other materials—that has only recently become fully accessible for research, The Giedion World offers a long-awaited reevaluation of Sigfried and Carola Giedion-Welcker’s work and lasting significance. Featuring a vast number of previously unpublished documents and photographs alongside excerpts from the extensive correspondence between the pair and their artist friends and colleagues in academia, it provides unique and manifold insight into the “Giedion universe.”  

Paradoxically, Swiss art historian and architecture critic Sigfried Giedion (1888–1968) would only consolidate his reputation as one of the most influential architectural historians of the twentieth century far from his homeland, in America. In his study of Giedion’s life and work Reto Geiser foregrounds the formative character of Giedion’s extended stays in the United States and their role as an inspiring laboratory to propel his scholarship. By challenging the presentation of a continuous line of developments, and revealing the ruptures and contradictions within Giedion’s work, Geiser questions a heroic account of modern architecture, turning instead to the less ideological and frequently overlooked facets of Giedion’s oeuvre. The book argues that, although Giedion’s position in between two cultural spheres created discontinuities in his work, it also facilitated a mutual exchange between the architectural impresario and his North American peers and thereby helped to shape the development and reception of the modern project on either side of the Atlantic. 

Sigfried Giedion (1888–1968) and Carola Giedion-Welcker (1893–1979) were among the most influential scholars of art and architectural history during the early twentieth century. Of particular impact was their role in connecting leading protagonists of modernism in architecture, art, and literature, such as Alvar Aalto, Hans Arp, Constantin Brancusi, Marcel Breuer, Max Ernst, Walter Gropius, Barbara Hepworth, Le Corbusier, László Moholy-Nagy, Piet Mondrian, and Sophie Taeuber-Arp. The interactions they initiated, for example, on the new vision in photography or the synthesis of arts continue to be highly relevant to the present day.             Drawing on a rich trove of documents—16,000 letters and 10,000 photographs and negatives, among other materials—that has only recently become fully accessible for research, The Giedion World offers a long-awaited reevaluation of Sigfried and Carola Giedion-Welcker’s work and lasting significance. Featuring a vast number of previously unpublished documents and photographs alongside excerpts from the extensive correspondence between the pair and their artist friends and colleagues in academia, it provides unique and manifold insight into the “Giedion universe.”  

Paradoxically, Swiss art historian and architecture critic Sigfried Giedion (1888–1968) would only consolidate his reputation as one of the most influential architectural historians of the twentieth century far from his homeland, in America. In his study of Giedion’s life and work Reto Geiser foregrounds the formative character of Giedion’s extended stays in the United States and their role as an inspiring laboratory to propel his scholarship. By challenging the presentation of a continuous line of developments, and revealing the ruptures and contradictions within Giedion’s work, Geiser questions a heroic account of modern architecture, turning instead to the less ideological and frequently overlooked facets of Giedion’s oeuvre. The book argues that, although Giedion’s position in between two cultural spheres created discontinuities in his work, it also facilitated a mutual exchange between the architectural impresario and his North American peers and thereby helped to shape the development and reception of the modern project on either side of the Atlantic. 

In 1929, the great Swiss historian and architecture critic Sigfried Giedion (1888–1968)―later the author of the classics Space, Time and Architecture (1941) and Mechanization Takes Command (1948)―issued Befreites Wohnen (Liberated Dwelling), a small but vocal architecture manifesto and an early expression of modernist housing ideology. From the vision of an international architectural modernism (a mission with which Giedion was involved as the first secretary-general of the International Congresses of Modern Architecture, between 1928 and 1959) to debates on the industrialization of construction processes and their impact on public housing, Liberated Dwelling expresses the dreams and anxieties of early 20th-century modernist architecture.In addition to its polemical argument―a call for "the cheap house, the open house, the house that makes our lives easier"―Liberated Dwelling was a landmark publication in several respects. A critical step in Giedion's rise as one of modernism's most eloquent champions, the manifesto was based on the argumentative power of illuminating visual comparisons. The only book Giedion both authored and designed, it is a photobook as well as an architectural tract.Sigfried Giedion: Liberated Dwelling introduces this critical text to English-language readers for the first time, with an English translation presented in a slipcase alongside a facsimile edition in German, supplemented with comprehensive annotations and a scholarly essay anchoring the work in its context.

In 1929, the great Swiss historian and architecture critic Sigfried Giedion (1888–1968)―later the author of the classics Space, Time and Architecture (1941) and Mechanization Takes Command (1948)―issued Befreites Wohnen (Liberated Dwelling), a small but vocal architecture manifesto and an early expression of modernist housing ideology. From the vision of an international architectural modernism (a mission with which Giedion was involved as the first secretary-general of the International Congresses of Modern Architecture, between 1928 and 1959) to debates on the industrialization of construction processes and their impact on public housing, Liberated Dwelling expresses the dreams and anxieties of early 20th-century modernist architecture.In addition to its polemical argument―a call for "the cheap house, the open house, the house that makes our lives easier"―Liberated Dwelling was a landmark publication in several respects. A critical step in Giedion's rise as one of modernism's most eloquent champions, the manifesto was based on the argumentative power of illuminating visual comparisons. The only book Giedion both authored and designed, it is a photobook as well as an architectural tract.Sigfried Giedion: Liberated Dwelling introduces this critical text to English-language readers for the first time, with an English translation presented in a slipcase alongside a facsimile edition in German, supplemented with comprehensive annotations and a scholarly essay anchoring the work in its context.

The architectural and cultural historian Sigfried Giedion (1888-1968) was a contemporary of the pioneering generation of modern architects - the generation of Walter Gropius, Ludwig Mies van der Rohe and Le Corbusier.After studying art history with Heinrich Wolfflin, Giedion followed a polemical career that went far beyond the conventional bounds of academia. He defined the historical context and significance of the modern movement, proclaiming its goals and chronicling its progress. As General Secretary of the CIAM (International Congress for Modern Architecture) he was the organisational and theoretical focus of the modernist debate for over forty years. His book Space, Time and Architecture has been enormously influential for successive generations of architects and historians, and this and other writing provide the basis for an intellectual biography of Giedion that is of fundamental importance to the understanding of architectural modernism.

OKrt. (Hardcover), OUmschl., Gr.8° 221 S., ein tadelloses, augenscheinlich ungenutztes Exemplar.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Can architecture help us find our place and way in today's complex world? Can it return individuals to a whole, to a world, to a community? Developing Giedion's claim that contemporary architecture's main task is to interpret a way of life valid for our time, philosopher Karsten Harries answers that architecture should serve a common ethos. But if architecture is to meet that task, it first has to free itself from the dominant formalist approach, and get beyond the notion that its purpose is to produce endless variations of the decorated shed.In a series of cogent and balanced arguments, Harries questions the premises on which architects and theorists have long relied―premises which have contributed to architecture's current identity crisis and marginalization. He first criticizes the aesthetic approach, focusing on the problems of decoration and ornament. He then turns to the language of architecture. If the main task of architecture is indeed interpretation, in just what sense can it be said to speak, and what should it be speaking about? Expanding upon suggestions made by Martin Heidegger, Harries also considers the relationship of building to the idea and meaning of dwelling.Architecture, Harries observes, has a responsibility to community; but its ethical function is inevitably also political. He concludes by examining these seemingly paradoxical functions.

First published in 1948, Mechanization Takes Command is an examination of mechanization and its effects on everyday life. A monumental figure in the field of architectural history, Sigfried Giedion traces the evolution and resulting philosophical implications of such disparate innovations as the slaughterhouse, the Yale lock, the assembly line, tractors, ovens, and “comfort” as defined by advancements in furniture design. A groundbreaking text when originally published, Giedion’s pioneering work remains an important contribution to architecture, philosophy, and technology studies.

Winner of the 8th Annual AIA International Architecture Book Award for Criticism Can architecture help us find our place and way in today's complex world? Can it return individuals to a whole, to a world, to a community? Developing Giedion¹s claim that contemporary architecture's main task is to interpret a way of life valid for our time, philosopher Karsten Harries answers that architecture should serve a common ethos. But if architecture is to meet that task, it first has to free itself from the dominant formalist approach, and get beyond the notion that its purpose is to produce endless variations of the decorated shed. In a series of cogent and balanced arguments, Harries questions the premises on which architects and theorists have long relied —premises which have contributed to architecture's current identity crisis and marginalization. He first criticizes the aesthetic approach, focusing on the problems of decoration and ornament. He then turns to the language of architecture. If the main task of architecture is indeed interpretation, in just what sense can it be said to speak, and what should it be speaking about? Expanding upon suggestions made by Martin Heidegger, Harries also considers the relationship of building to the idea and meaning of dwelling. Architecture, Harries observes, has a responsibility to community; but its ethical function is inevitably also political, He concludes by examining these seemingly paradoxical functions.

First published in 1948, Mechanization Takes Command is an examination of mechanization and its effects on everyday life. A monumental figure in the field of architectural history, Sigfried Giedion traces the evolution and resulting philosophical implications of such disparate innovations as the slaughterhouse, the Yale lock, the assembly line, tractors, ovens, and “comfort” as defined by advancements in furniture design. A groundbreaking text when originally published, Giedion’s pioneering work remains an important contribution to architecture, philosophy, and technology studies.

This classic of twentieth-century architectural literature, now available in English for the first time, presents Sigfried Giedion's provocative vision of architecture in the industrial era and his response to technological advances in the production of key building materials.Giedion shows how iron and reinforced concrete allowed the construction of buildings of unprecedented size and openness in the nineteenth and early twentieth centuries. Focusing on the radical possibilities of skeletal support structures, he celebrates innovative uses of these materials in buildings from the Eiffel Tower and the Crystal Palace to glass-canopied railroad stations, department stores, and exhibition halls. With this volume, first published in 1928, Giedion became a leading advocate of modern architecture. He was the first to exalt Le Corbusier as the champion of the new style, at the expense of a considerable body of Germanic theory and practice, and his arguments strongly influenced the direction of architecture for the next four decades. Later, although diluting his criticism of architectual thought in previous periods, Giedion incorporated much of this text into Space, Time, and Architecture, his best-known work.

First published in 1948, Mechanization Takes Command is an examination of mechanization and its effects on everyday life. A monumental figure in the field of architectural history, Sigfried Giedion traces the evolution and resulting philosophical implications of such disparate innovations as the slaughterhouse, the Yale lock, the assembly line, tractors, ovens, and “comfort” as defined by advancements in furniture design. A groundbreaking text when originally published, Giedion’s pioneering work remains an important contribution to architecture, philosophy, and technology studies.

In this his last work, published posthumously, the eminent architectural critic and historian Sigfried Giedion presents three conceptions of space which he views as representing the great stages in Western architecture. The first originated in the ancient high civilizations - Egypt and Mesopotamia - and continued through the design of the Greek temples and assembly places. The emphasis was on the volume in space and on interplay between volumes. Giedion's second conception - the development of interior space - was formulated and reached full glory in Rome with further manifestations in Gothic cathedrals and extensions into the architecture of the late nineteenth century. With the twentieth century emerged the third space conception, a fusion of the first two which interrelated the space-emanating powers of volumes and the sculptural form of interior and exterior space. Linking one concept with another are the phenomena of transition. One expression of the transition between the first space conception and the second is the circular form exemplified in the temples of Malta, the tholos tombs, and the tumuli. To find the sources of the third space conception, the author declares, one must examine the fundamentals of modern construction. Structural possibilities had to be developed and tested before architects could give them a spatial form, and it was the existence and use of new building materials, especially iron and steel, that made this conception possible.

Can architecture help us find our place and way in today's complex world? Can it return individuals to a whole, to a world, to a community? Developing Giedion's claim that contemporary architecture's main task is to interpret a way of life valid for our time, philosopher Karsten Harries answers that architecture should serve a common ethos. But if architecture is to meet that task, it first has to free itself from the dominant formalist approach, and get beyond the notion that its purpose is to produce endless variations of the decorated shed.In a series of cogent and balanced arguments, Harries questions the premises on which architects and theorists have long relied―premises which have contributed to architecture's current identity crisis and marginalization. He first criticizes the aesthetic approach, focusing on the problems of decoration and ornament. He then turns to the language of architecture. If the main task of architecture is indeed interpretation, in just what sense can it be said to speak, and what should it be speaking about? Expanding upon suggestions made by Martin Heidegger, Harries also considers the relationship of building to the idea and meaning of dwelling.Architecture, Harries observes, has a responsibility to community; but its ethical function is inevitably also political. He concludes by examining these seemingly paradoxical functions.

A milestone in modern thought, Space, Time and Architecture has been reissued many times since its first publication in 1941 and translated into half a dozen languages. In this revised edition of Mr. Giedion's classic work, major sections have been added and there are 81 new illustrations.The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier's only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death], which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post-World War II architectural concepts.A new essay, "Changing Notions of the City," traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as José Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert's Peabody Terrace is discussed as an example of the interlocking of the collective and individual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.

Winner of the 8th Annual AIA International Architecture Book Award for Criticism Can architecture help us find our place and way in today's complex world? Can it return individuals to a whole, to a world, to a community? Developing Giedion¹s claim that contemporary architecture's main task is to interpret a way of life valid for our time, philosopher Karsten Harries answers that architecture should serve a common ethos. But if architecture is to meet that task, it first has to free itself from the dominant formalist approach, and get beyond the notion that its purpose is to produce endless variations of the decorated shed. In a series of cogent and balanced arguments, Harries questions the premises on which architects and theorists have long relied —premises which have contributed to architecture's current identity crisis and marginalization. He first criticizes the aesthetic approach, focusing on the problems of decoration and ornament. He then turns to the language of architecture. If the main task of architecture is indeed interpretation, in just what sense can it be said to speak, and what should it be speaking about? Expanding upon suggestions made by Martin Heidegger, Harries also considers the relationship of building to the idea and meaning of dwelling. Architecture, Harries observes, has a responsibility to community; but its ethical function is inevitably also political, He concludes by examining these seemingly paradoxical functions.

A milestone in modern thought, Space, Time and Architecture has been reissued many times since its first publication in 1941 and translated into half a dozen languages. In this revised edition of Mr. Giedion's classic work, major sections have been added and there are 81 new illustrations. The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier's only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death], which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post-World War II architectural concepts. A new essay, "Changing Notions of the City," traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as José Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert's Peabody Terrace is discussed as an example of the interlocking of the collective and individual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.