Auteur : Jean-Louis Cohen
la langue : en
Éditeur: Reaktion Books
Date de sortie : 2014-08-15
Everyone knows Notre Dame, the Eiffel Tower, and the chateaux of the Loire Valley, but French architects have also produced some of the most iconic buildings of the twentieth century, playing a central role in the emergence and development of modernism. In France, Jean-Louis Cohen presents a complete narrative of the unfolding architectural modernity in the country, grappling not only with the buildings but also with the political and critical context surrounding them. Cohen examines the developments in urban design and architecture within France, depicting the continuities and breaks in French architecture since 1900 against a broader international background. Describing the systems of architectural exchange with other countries—including Italy, Germany, Russia, and the United States—he offers a new view on the ideas, projects, and buildings otherwise so often considered only from narrow nationalistic perspectives. Cohen also maps the problematic search for a national identity against the background of European rivalries and France’s colonial past. Drawing on a wealth of recent research, this authoritatively written book will challenge the way design professionals and historians view modern French architecture.
Auteur : Museum of Modern Art (New York, N.Y.)
la langue : en
Éditeur: The Museum of Modern Art
Date de sortie : 2002
From detailed plans made for entirely practical purposes to impressionistic sketches that reveal experimentation and the elaboration of ideas, architects' drawings are the unseen metaphoric blueprints of the buildings they precede. Envisioning Architecture, the first in a series of three titles showcasing selected works from The Museum of Modern Art's superlative architecture and design collection, features a wide variety of drawings by great architects of the modern period, from early masters such as Frank Lloyd Wright, Le Corbusier, and Ludwig Mies van der Rohe to contemporary practitioners including Frank Gehry, Zaha Hadid, Rem Koolhaas, and others. Revealing the range of aesthetic viewpoints in architecture since the late 19th century, these drawings also cumulatively trace the development of the field, almost incidentally making the crucial point that in this increasingly technological age, the age-old discipline of drawing is as vital and inventive as ever. The book opens with an exploration of the relatively brief history of collecting architectural drawings, whose practice dates back little farther than the 16th century.
Auteur : Rika Devos
la langue : en
Date de sortie : 2016-03-09
This book investigates architecture as a form of diplomacy in the context of the Second World War at six major European international and national expositions that took place between 1937 and 1959. The volume gives a fascinating account of architecture assuming the role of the carrier of war-related messages, some of them camouflaged while others quite frank. The famous standoffs between the Stalinist Russia and the Nazi Germany in Paris 1937, or the juxtaposition of the USSR and USA pavilions in Brussels 1958, are examples of very explicit shows of force. The book also discusses some less known - and more subtle - messages, revealed through an examination of several additional pavilions in both Paris and Brussels; of a series of expositions in Moscow; of the Universal Exhibition in Rome that was planned to open in 1942; and of London’s South Bank Exposition of 1951: all of them related, in one way or another, to either an anticipation of the global war or to its horrific aftermaths. A brief discussion of three pre-World War II American expositions that are reviewed in the Epilogue supports this point. It indicates a significant difference in the attitude of American exposition commissioners, who were less attuned to the looming war than their European counterparts. The book provides a novel assessment of modern architecture’s involvement with national representation. Whether in the service of Fascist Italy or of Imperial Japan, of Republican Spain or of the post-war Franquista regime, of the French Popular Front or of socialist Yugoslavia, of the arising FRG or of capitalist USA, of Stalinist Russia or of post-colonial Britain, exposition architecture during the period in question was driven by a deep faith in its ability to represent ideology. The book argues that this widespread confidence in architecture’s ability to act as a propaganda tool was one of the reasons why Modernist architecture lent itself to the service of such different masters.