Isbn: 9783930698639 - moderne, postmoderne und nun barock?: entwicklungslinien der architektur des 20. jahrhunderts (20 Ergebnisse)

Zustand: very good. 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.

Zustand: New. 1st edition. Cloth, dj, F/F. 136p, b/w illustrations throughout, a fine copy in a fine dustjacket. Text in German. Architectural criticism of the Modernism movement which looks at three fundamental critical points : the fundamental emptiness of its architecture, its lack of relation to its surroundings and its overemphasis of functionalism against decoration.…

Zustand: As New. Unread book in perfect condition.

Zustand: As New. Unread copy in mint condition.

Zustand: New.

Zustand: New. Brand New.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Zustand: New. "This book is an attempt at architectural criticism" that is how Robert Venturi opened the discussion on Post-Modernism in architecture in Complexity and Contradiction in Architecturea generation ago. And this was a typical beginning. Criticism of the Modern movement by architects like Le Corbusier Mies van der Rohe and to extent Frank Lloyd Wright as well that had preceded it was central to Post-Modernism. Soon the architectural historians joined in with the architects, particularly Charles Jencks in the English-speaking world and Heinrich Klotz in Germany. Here too Post-Modern-ism was the start, with three fundamental critical points about Modernism: fundamental emptiness of its architecture, its lack of relation to its surroundings and its overemphasis of functionalism against decoration. And so, even if one does not use pamphlets like Tom Wolfe's or Jencks' early work as a yardstick, the image of the buildings by what are still the best-known architects of our century is strongly overshadowed. The truth is that the International Style reflects the basic forces that architecture can express extraordinarily impressively and al-ways with decided interplay, and thus also with a pronounced unity of effect; and additionally it develops these formal values especially intensively from content. Traditionally such things are called classical. What followed this, the whole spectrum of styles from late Modernism via High-Tech and Deconstructivism to Post-Modernism is all a reaction to the unity of the International Style: either one point in terms of form or content is taken out, exaggerated and thus made into its opposite, or such a point is consciously negated. Until now this phenomenon has been known as Mannerism to art historians. What is characteristic of Baroque as the period after High Renaissance Classicism and Mannerism is less clear; in any case, entirely positive aspects of both found their way into Baroque, and undoubtedly the latter is closer to High Re-naissance Classicism in spirit than to Mannerism. Cannot similar things be seen in the last bare decade of architectural develop-ment? The foundations for this book were laid during a good year's re-search at the University of California in Berkeley. The author now holds a chair at the Martin-Luther-Universität Halle-Wittenberg.…

Zustand: New. 1996. First Edition. Hardcover. Discusses the development of modern architecture in the context of architectural history. Num Pages: 136 pages, 136ill. BIC Classification: AM. Category: (G) General (US: Trade). Dimension: 294 x 240 x 20. Weight in Grams: 1038. . . . . .

Edition Axel Menges, Stuttgart, 1995. 136 S. mit zahlreichen Abb.; 30 cm, Leinen-Einband mit Umschlag, quart, (Umschlag und Seiten leicht randgebräunt)--- 1050 Gramm.

Zustand: New.

Zustand: New. 1996. First Edition. Hardcover. Discusses the development of modern architecture in the context of architectural history. Num Pages: 136 pages, 136ill. BIC Classification: AM. Category: (G) General (US: Trade). Dimension: 294 x 240 x 20. Weight in Grams: 1038. . . . . . Books ship from the US and Ireland.…

Hardcover. Zustand: Gut. 136 S. Ehem. Bibliotheksexemplar mit Signatur und Stempel. GUTER Zustand, ein paar Gebrauchsspuren. Ex-library with stamp and library-signature. GOOD condition, some traces of use. D02676 3930698633 Sprache: Deutsch Gewicht in Gramm: 1150.

Hardback. Zustand: New. New Book, Direct from Publisher.

Einband - fest (Hardcover). Zustand: New.

Zustand: As New. Unread book in perfect condition.

Zustand: Gut. Zustand: Gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Buch. Zustand: Neu. Neuware - 'Dieses Buch ist ein Versuch in Architekturkritik' - so eröffnete Robert Venturi in Complexity and Contradiction in Architecture vor einer Generation die Diskussion um die Postmoderne. Und dieser Anfang war charakteristisch. Zentral für die Postmoderne war vom Zeitpunkt ihrer Entstehung an die Kritik an der vorangegangenen Moderne eines Le Corbusier, Mies van der Rohe, teils auch eines Frank Lloyd Wright.Bald stimmten auch die Architekturhistoriker in die Kritik des Architekten ein, so vor allem Charles Jencks im angloamerikanischen Sprachraum und Heinrich Klotz im deutschen; auch hier blieb der Ansatz der Postmoderne der einer Kritik mit im wesentlichen drei Kritikpunkten an der Moderne: dem der inhaltlichen Leere ihrer Architektur, ihres fehlenden Umweltbezugs und ihres gegenüber dem Dekor überbewerteten Funktionalismus. So ist das Bild von den Bauten der noch immer bekanntesten Architekten unseres Jahrhunderts heute stark überschattet.…

Hardback. Zustand: New. "This book is an attempt at architectural criticism" that is how Robert Venturi opened the discussion on Post-Modernism in architecture in Complexity and Contradiction in Architecturea generation ago. And this was a typical beginning. Criticism of the Modern movement by architects like Le Corbusier Mies van der Rohe and to extent Frank Lloyd Wright as well that had preceded it was central to Post-Modernism. Soon the architectural historians joined in with the architects, particularly Charles Jencks in the English-speaking world and Heinrich Klotz in Germany. Here too Post-Modern-ism was the start, with three fundamental critical points about Modernism: fundamental emptiness of its architecture, its lack of relation to its surroundings and its overemphasis of functionalism against decoration. And so, even if one does not use pamphlets like Tom Wolfe's or Jencks' early work as a yardstick, the image of the buildings by what are still the best-known architects of our century is strongly overshadowed. The truth is that the International Style reflects the basic forces that architecture can express extraordinarily impressively and al-ways with decided interplay, and thus also with a pronounced unity of effect; and additionally it develops these formal values especially intensively from content. Traditionally such things are called classical. What followed this, the whole spectrum of styles from late Modernism via High-Tech and Deconstructivism to Post-Modernism is all a reaction to the unity of the International Style: either one point in terms of form or content is taken out, exaggerated and thus made into its opposite, or such a point is consciously negated. Until now this phenomenon has been known as Mannerism to art historians. What is characteristic of Baroque as the period after High Renaissance Classicism and Mannerism is less clear; in any case, entirely positive aspects of both found their way into Baroque, and undoubtedly the latter is closer to High Re-naissance Classicism in spirit than to Mannerism. Cannot similar things be seen in the last bare decade of architectural develop-ment? The foundations for this book were laid during a good year's re-search at the University of California in Berkeley. The author now holds a chair at the Martin-Luther-Universität Halle-Wittenberg.…