« Peter Blundell Jones, Professor of Architecture at the University of Sheffield, has long been concerned with the organic movement in architecture and has written extensively about it, including a substantial work on Hans Scharoun. The present book is not just a biography of Haring, but an unusually detailed analysis of his architectural work, including many unbuilt projects which have never before been published. It also includes an account of Haring's theory, with translated extracts from his many writings. Through setting Haring within his historical context, and differentiating his position from figures such as Mies, Le Corbusier and Hannes Meyer, Peter Blundell Jones suggests a radical reframing of the early Modern Movement. He was aided in the development of the book by Haring's personal assistant in the late years, Margot Aschenbrenner, who was trained as a philosopher. »--Jaquette.
The present volume offers eloquent testimony that many of the master builders of this century have held passionate convictions regarding the philosophic and social basis of their art. Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. The most influential of these are collected here in chronological order from 1903 to 1963. Taken together, they constitute a subjective history of modern architecture; compared with one another, their great diversity of style reveals in many cases the basic differences of attitude and temperament that produced a corresponding divergence in architectural style. In point of view, the book covers the aesthetic spectrum from right to left; from programs that rigidly generate designs down to the smallest detail to revolutionary manifestoes that call for anarchy in building form and town plan. The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's 1910 annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in 1919; "Towards a New Architecture, Guiding Principles" by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R. Buckminster Fuller on universal architecture and the architect as world planner. Other pronouncements, some in flamboyant style, including those of Erich Mendelsohn, Hannes Meyer, Theo van Doesburg, Oskar Schlemmer, Ludwig Mies van der Rohe, El Lissitzky, and Louis I. Kahn. There are also a number of collective or group statements, issued in the name of movements such as CIAM, De Stijl, ABC, the Situationists, and GEAM. Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted.
Cultural law is a new and exciting field of study and practice. The core themes of linguistic and other cultural rights, cultural heritage, traditional crafts and knowledge, the performing arts, sports, and religion are of fundamental importance to people around the world, engaging them at the grass roots and often commanding their daily attention. The related legal processes are both significant and complex. This unique collection of materials and commentary on cultural law covers a broad range of themes. Opening chapters explore critical issues involving cultural activities, artifacts, and status as well as the fundamental concepts of culture and law. Subsequent chapters examine the dynamic interplay of law and culture with respect to each of the core themes. The materials demonstrate the reality and efficacy of comparative, international, and indigenous law and legal practices in the dynamic context of culture-related issues. Throughout the book, these issues are presented at multiple levels of legal authority: international, national, and subnational.
The first history of the Congres Internationaux d'Architecture Moderne traces the development and promotion of its influential concept of the "Functional City."
As the first comprehensive encyclopedic survey of Western architectural theory from Vitruvius to the present, this book is an essential resource for architects, students, teachers, historians, and theorists. Using only original sources, Kruft has undertaken the monumental task of researching, organizing, and analyzing the significant statements put forth by architectural theorists over the last two thousand years. The result is a text that is authoritative and complete, easy to read without being reductive.
This book presents the first systematic overview and analysis of the deep connection between Scharoun and China, offering insights into East-West cultural exchange and enriching existing understandings of modernism. The German architect Hans Scharoun has typically been pigeonholed as a leading figure in “expressionist” architecture. As this book shows, however, this understanding oversimplifies the multifaceted nature of Scharoun’s career and overlooks his central role within the tradition of Neues Bauen. The book begins with Scharoun’s early interactions with East Asian architects in the 1930s, his active involvement in the Chinese Werkbund (1941–42), and his extensive research on Chinese architecture and urban culture in the mid-1940s and 1950s. The book then examines Scharoun’s postwar architectural designs and urban planning projects, most notably the Kollektivplan, the Volksschule Darmstadt, and the Berliner Philharmonie, which incorporated original spatial and urbanistic concepts such as “Stadtlandschaft,” “Raum der Mitte,” and “aperspectival” space, inspired to varying degrees by Chinese architectural and urban planning traditions. The book will appeal to scholars and students of modern architecture, urban planning, and architectural theory, especially those interested in modernism and East-West cultural exchange.
This volume describes research in computational design which implements shape grammars or space syntax for morphological analysis, applying these scientific and rule-based methodologies to cultural aspects of the field. The term ‘cultural DNA’ describes the effort to explore computational design from the perspectives of a meme, a socio-cultural analogy to genes. Based on the 1st Cultural DNA Workshop, held at KAIST, Daejeon, Korea in 2015, the book considers whether there is such a thing as a ‘cultural DNA’ common throughout various domains, and if so how computer-assisted tools and methodologies play a role in its investigation. Following an introduction covering some fundamental theories of cultural DNA research, part two of the book describes morphological analysis in architecture, with examples from Malaysia and China. Part three then moves up to morphological analysis at the urban scale, including discussion of morphological evolution in France, development of a model Korean city, and introducing a rule-based generative analysis approach for urban planning. Part four considers methods for analysing the DNA of other cultural artefacts such as online games, novels, cars, and music, and part five introduces the tools under development that aid morphological cultural DNA research including topics about shape grammar, building information modeling (BIM), cultural persona, and prototyping. The book will be of significant interest to those involved in the cultural aspects of urban and architectural design, cultural informatics and design research.
" To strengthen the contemporary focus of this volume, we have added about forty architects and have deleted some whose activity ceased before World War II. In making these decisions, we have been assisted by an Advisory Board. As in the first volume, we have continued to define the word "architect" very broadly, so as to include planners, theorists, structural engineers, and landscape architects whose work seems to be central to the enterprise of creating habitable spaces in our day." --Editor's note.
