Der erste Band der Bauwelt Fundamente versammelt 34 Texte von Architekten und Architekturtheoretikern, die das Bauen in den ersten sechs Jahrzehnten des 20. Jahrhunderts nachhaltig gestaltet und geprägt haben. 1963 von Ulrich Conrads, dem damaligen Chefredakteur der Bauwelt, zusammengestellt und kommentiert, bietet diese Sammlung von Programmen, Grundsätzen und Manifesten zur Architektur der Moderne auch heute noch eine Grundlage für das Verständnis und die Auseinandersetzung mit der Praxis und der Theorie des Bauens im vergangenen Jahrhundert. Mit Texten von van de Velde, Loos, Wright, van der Rohe, Le Corbusier, Gropius, Buckminster Fuller, Hollein, Friedman, u.a. sind die Protagonisten des architektonischen Schaffens im 20. Jahrhundert vertreten. 50 Jahre nach Erscheinen ist mit dieser Sammlung von Quellentexten auch ein historisches Dokument der (Selbst-)Reflexion der Architektur wieder lieferbar.

Soccer stadiums, airports, theaters, museums – it falls to very few architects to tackle spectacular building tasks like these. The everyday work of most architects is more often focused on "manageable" projects like the renovation, remodeling, or rebuilding of single- and multi-family houses, schools, and offices. Whatever the nature of the building task, interior construction is always a significant design and qualitative challenge that calls for highly detailed technical expertise. After all, it affects the realm that will be brought to life and utilized by the user when the task is finished, and whose aesthetic and functional serviceability will be put to the test each and every day. The Interior Construction Manual supports planners in their daily work as a practical planning aid and reference work with the relevant standards, guidelines, reference details, and constructional solutions, all illustrated by built example projects. It brings together the crucial facts on all aspects of interior construction and presents the key fundamentals of building physics, fire protection, interior construction systems, and openings. In addition, it offers concrete tips on integrated planning approaches, energy and sustainability issues, materials used in interior construction, hazardous substances, and dealing with building services and light planning.

An ideal design is site-specific, which is the only way architecture can create or connect with a specific sense of identity. This requires addressing the structural and local circumstances. This method handbook offers a playful way in which to systematically ascertain a complex framework and use it for your own design. The "9 x 9 method" takes all relevant factors and their alternate interaction into consideration: location, structure, shell, program, and materiality, all which, in a matrix with various intersections, produce exactly 9 "fields of action" for the design. The individual "fields" are not only illustrated visually with meaningful and eidetic pictures, but are also discussed in texts by leading specialists. For this book, the "9 x 9 method" was completely re-worked and redesigned. Authors: Florian Aicher, Jia Beisi, Adam Caruso, Dietmar Eberle, Franziska Hauser, Vittorio Magnago Lampugnani, Michele Lanza, Arno Lederer, Silvain Malfroy, Adrian Meyer, Marcello Nasso, Fritz Neumeyer, András Pálffy, Miroslav Šik, Laurent Stalder, Eberhard Tröger.

The 20th century was a revolutionary period in art history. In the span of a few short years, Modernism exploded into being, disrupting centuries of classical figurative tradition to create something entirely new. This astoundingly thorough survey of art's modern era showcases all of the key artistic movements of the 20th century, from Fauvism to Pop Art, featuring illustrative examples of some of the most renowned works of the era along with illuminating companion essays by expert critics and art historians. A vivid window into the collective psyche of the modern world's great artists, Art of the 20th Century is a must-have for any fan of contemporary art.

Let it be said at once that the format of this work is richly handsome: it is atwo-volume boxed set comprising 844 pages and well over 1,000 high-quality illustrations, and itreflects throughout its publisher's conviction that good design is an essential, not superficial,part of bookmaking.Beyond that, it should be emphasized that this work is not another facilecultural tour of modern architecture. It is a serious and original study of the beginnings anddevelopment of modernism in which the pictorial aspects are designed to aid in the communication ofthe author's closely reasoned formulations, rather than to gloss over a lack of substantivecontent.The book is a translation of the third Italian edition, published in 1966. Benevolo, who ison the faculty of architecture in Venice, has earned an international reputation as a historian ofarchitecture and town planning, and his publications embrace the span of time from the Renaissanceto the foreseeable future. One such publication, The Origins of Modern Town Planning (The MIT Press,1967), may be read as a prelude to the present work as well as an independent contribution. Perhapsmore than any other architectural historian in our time, Benevolo has made a determined effort toplace developments in design and planning in their proper social and political settings.Indeed, theauthor argues that the development of the modern movement in architecture was determined, not byaesthetic formalisms, but largely by the social changes that have occurred since about 1760: "Afterthe middle of the eighteenth century, without the continuity of formal activity being in any waybroken, indeed while architectural language seems to be acquiring a particular coherence, therelations between architect and society began to change radically.... New material and spiritualneeds, new ideas and modes of procedure arise both within and beyond the traditional limits, andfinally they run together to form a new architectural synthesis that is completely different fromthe old one. In this way it is possible to explain the birth of modern architecture, which otherwisewould seem completely incomprehensible...."This second volume is concerned with the modern movementproper, from 1914 to 1966. The author emphasizes the unity of the movement, rejecting the usualtreatment that allots to the individual architects separate and unconnected biographicalaccounts.Benevolo remarks at one point, "When one talks about modern architecture one must bear inmind the fact that it implies not only a new range of forms, but also a new way of thinking, whoseconsequences have not yet all been calculated." His main concern is to provide a more exactcalculation of those consequences.

First collected in Italy in 1985, Art's Claim to Truth is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, Art's Claim to Truth offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth.

The first history of the Congres Internationaux d'Architecture Moderne traces the development and promotion of its influential concept of the "Functional City."

Description: ArchiSCULPTUREexamines modern sculpture's proximity to and interplay with architecture, a phenomenon long neglected in the history of sculpture--but especially pronounced in the 20th century. More than any other medium, it is sculpture that crosses most with architecture: each exists in three-dimensional space, changing as the viewer moves around and through it. Not only have they shared materials--they have shared many practitioners. And this was long before percent-for-art programs were even initiated, thereby institutionalizing the need for artistic intervention into the built environment. In this generously illustrated publication, works by a long range of artists--from Boullae to Malevich, Picasso to Le Corbusier, and a host of others up to the present--feature alongside essays that examine these borderline forms of design.