Книги о стилях архитектуры

The unity of art and life was the expressed goal of the Art Nouveau movement, the prelude to modernity. On the basis of shared ideas its adherents strove for a homogenous style, which nonetheless took on manifold variations in its expression. Dr. Gabriele Fahr-Becker pursues this will to style in architecture, interior decor, furniture design, silver and gold-smithery, ceramics and glasswork, graphic arts and painting. The author leads her readers through the diverse national variations of Art Nouveau in Europe and the United States. The significance of the literary and philosophical as well as cultural and political background is explained by means of many theories and writings by artists and their contemporaries. The countless permutations of Art Nouveau are woven into a complex and yet distinctive picture of this artistic movement at the turn of the twentieth century.

For a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau ( New Art ) inflected architecture, design, painting, graphic work, applied arts, and illustration.

Art Nouveau was deliberately nouveau. With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.

At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to handcraftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.

This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudi, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siecle as it is in the trajectory of modernism.

Klaus-Jürgen Sembach is a writer, curator, and former director of the Museum for Industrial Culture in Nuremberg. He has produced numerous publications on architecture, design, photography, and film.

The best of the existing European Art Nouveau buildings, monuments and interiors are celebrated in this lavish book by one of Japan’s leading photographers.

Art Nouveau, which flourished throughout Europe in the late 19th and early 20th centuries, was one of the most significant movements in the history of decorative arts and architecture. Born of a reaction to the rise of industrialism and inspired by aesthetes such as Ruskin and Morris, it was a style that rapidly became recognized the world over, propagated by such architects as Gaudí, Guimard and Olbrich.

Although it flowered only briefly, and while a great many of its creations were destroyed, there remain throughout Europe myriad examples of Art Nouveau’s sinuous forms and organically inspired beauty, the best of which are captured in this book, the ultimate pictorial record of one of the most distinctive architectural styles ever.

This book has over 300 stunning photographs covering the late 1880's to the early 1900's. It features buildings, furniture, metalwork, jewellery, glass etc

Arts in the ‘20s includes a magnificent selection of architecture, interiors, furniture, and decorative objects produced in Europe during the 1920s. Originally published in 1930, this book has since become extremely rare and sought after. This new edition, following the format of the original, has over 800 images organized in six sections: architecture; interiors and furniture; metal and jewelry; ceramics; glass; lace, embroidery, textiles, printed paper and leather. Arts in the ‘20s presents projects realized by the most important architects and designers of the time: Edgar Brandt, Josef Hoffmann, Le Corbusier, Émile-Jacques Ruhlmann, Eliel Saarinen, Gio Ponti, as well as offerings from renown firms such as Baccarat, Cartier, Daum, Moser and Royal Copenhagen. The works of lesser known artists, and an introductory text and opinionated captions by art critic Roberto Papini, help to illustrate the stylistic movements and preoccupations of the period. This exquisitely produced treasury of restored images, printed in duotone on ivory colored paper, will be prized by bibliophiles, collectors, and connoisseurs in a broad range of artistic disciplines.

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A comprehensive monograph on the most lavish, whimsical, and inventive era in the history of architecture, from the cathedrals of Rome to the palaces of Russia.

This book, beautifully illustrated and written by two authorities on sixteenth- and seventeenth-century art and architecture, leads the reader through the major styles and trends of Baroque architecture throughout Europe and beyond, and p provides a fascinating account of how the Baroque developed in relation to the unique urban culture of each nation where the style became popular. To admire the undulating fasade of Rome's San Carlo alle Quattro Fontane, to walk through the Palace of Versailles' lavish succession of rooms, or to marvel at the seemingly endless array of columns and windows in St. Petersburg's Winter Palace is to observe architecture in the act of glorifying the key powers of the dayâthe empire, wealth, the Church, and even mankindâs inventiveness. In-depth coverage of the architecture of France and Italy is coupled with serious analysis on how the style developed in Spain, Portugal, Poland, Russia, and Scandinavia, as well as in the Spanish and Portuguese colonies in the Americas. Giving the richest and most complete account of its history to date, this is an essential introduction to Baroque architecture for the general reader.

During the baroque period, architecture and the other fine arts were the instruments of a staging of world theater on a grand scale. The baroque art of the popes in Rome, the displays of power and opulence in the court of the Sun King, Louis XIV, and Dutch painting they all reflect different aspects of the underlying tension between pleasure in life and fear of death that was such a prominent feature of the baroque world view. This volume portrays the entire span of the fine arts of the baroque era, from rich splendor to religious asceticism.

For this work, editor Rolf Toman has gathered contributions from seven renowned authors with great expertise in the fields of architecture and art history to work with him. Taken as a whole, they give us a multi-faceted picture of baroque art in all its forms.

This stunning book offers insider access to Lake Maggiore's Borromeo Palace, a resplendent achievement of baroque Italian architecture. This is a perfect volume for classic Italian art and architecture lovers.

In a unique natural setting--the Isola Bella island on Lake Maggiore, surrounded by the Alps -- stands the sumptuous palace built, and still owned, by the Borromeo family. Photographs guide the readers through the halls of the palace, which overlooks the lake and offers charming views. The halls and rooms are furnished with luxury furniture, marble, and stucco decorations, and enriched with ancient sculptures, armory, and a valuable collection of six Flemish tapestries woven in gold and silk. A large painting collection can be admired in General Berthier's gallery.

About the Authors:

Stefano Zuffi is an independent art historian focusing on art of the Renaissance and baroque periods. Massimo Listri is an Italian photographer who specializes in architectural photography. Already a longtime collaborator of FMR magazine, he has published several books and exhibited his photographs in Italy and abroad.

A glorious celebration of the singular sophistication of English furniture, this lavishly illustrated volume features more than 150 objects from the world-class collection of Hyde Park Antiques — one of the most prestigious purveyors of objects from England's history — showcased among charming illustrations of period interiors, exquisite drawings from cabinet-makers' albums, and contemporary interiors from the world's luminary decorators, including Mario Buatta, Albert Hadley, Bunny Williams, Charlotte Moss, and Cullman & Kravis, among many others. 

Five major styles from the periods between 1700 and 1830 are showcased in depth — from Queen Anne to Georgian, spanning Paladianism, English Rococo, Neoclassicsim, and Regency — along with the important designers of the age such as Thomas Chippenddale, Robert Adam, and George Hepplewhite. 

Recommended for both the serious collector and more casual admirer of traditional English style and design, this volume is destined to be a classic and is a must-have addition for every antiques aficionado's library.

About the Author:

Emily Eerdmans received her master's degree in fine and decorative arts from Sotheby's Institute of Art in London, and has become a leading authority on antique furniture while working for Partridge Fine Arts, Devenish, and Hyde Park Antiques, New York. She lives in New York City. Mario Buatta is one of the most sought-after interior designers working today.

Having worked in period interiors for all her successful transatlantic career, Henrietta Spencer-Churchill turns to her key area of expertise: architectural detail and how to incorporate period details into your own home.

This comprehensive guide to the best of three centuries of the most enduring decorating styles explains and illustrates the distinguishing characteristics, from both European and American periods, from the Baroque to the end of the nineteenth century. Henrietta shows how architectural elements of these classic decorating styles can be adapted and used in the home today to produce her trademark understated grandeur.

Divided by period, each section begins with a beautifully illustrated introduction and chronology of interior styles, with a guide to the history, nature, and most enduring aspects of the time. Covering both architectural and furnishing detail, photographs and artworks illustrate the best of period features and schemes from real homes, and Henrietta shows how to use influences from the past to create a period feel. Using beautiful interiors from around the world, the book covers every detail from grand Regency marble columns to lavish Baroque-inspired cushions.

Lady Henrietta Spencer-Churchill is the elder daughter of the 11th Duke of Marlborough, whose family home is Blenheim Palace. Her interest in interior design began when at the age of 16 she travelled to study fine art and languages in Florence and Paris. Later she returned to England to finish her formal studies at the world-famous Inchbald School of Design.

The beauty of Soviet brutalism. A photographic record of 90 weird and wonderful buildings from the last decades of the USSR

Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.

Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.

Frédéric Chaubin's Cosmic Communist Constructions Photographed is elected best book on architecture of the year by the International Artbook and Film Festival in Perpignan/France (Festival International du Livre d'Art & du Film Perpignan).

The photographer:

Frédéric Chaubin has been, for the last fifteen years, editor-in-chief of the French lifestyle magazine Citizen K. Since 2000 he has regularly featured works combining text and photography. The CCCP collection research was carried out from 2003 to 2010, through an intuitive and creative travel process. This project has been shown throughout the world, from Japan to the United States.

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Brutalist Beauties. Architectural remnants of the USSR

An unrivalled photographic journey through time and geography, Frédéric Chaubin’s Cosmic Communist Constructions Photographed gathers 90 buildings in 14 former Soviet Republics, each built between 1970 and 1990. In their local exoticism, outlandish ideologies, and puzzle of styles, these vast, weird, and wonderful buildings are extraordinary remnants of a fallen system and state.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frédéric Chaubin’s Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.

Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the “speaking architecture” widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political centre watching you like Big Brother (House of Soviets, Kaliningrad).

In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system. In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

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As time rolls on, neoclassical style becomes more and more popular. Except for pure neoclassical style elements are applied to décor, more and more other style elements come into mix of use with neoclassical style. Of course, this phenomenon is not accidental. It has undergone a long process of evolution, opening and development.

During the developing process, neoclassical style keeps its original essence yet never stops changing. Combining the current trend of neoclassical style’s diverse mixing with other styles, we choose 6 the most obvious types in this book, which are integrations of neoclassical style with European style, American style, Mediterranean style, Art Deco style, Chinese style and post-modern style. Each of them features various characters and sparkles, from which, you can find out its key point, use of materials, approaches, stuffs that need to pay attention to and many materials specially applied to neoclassical style design.

Contents:

01 European Neoclassicism

La Mamounia Hotel, Morocco 020
Shangri-La Hotel Paris 028
Taleon Imperial Hotel, St. Petersburg 040
St. Regis, New York 046
The Shelbourne Hotel, Dublin 050
Grand Emperor Hotel, Macao 054
Hôtel Plaza Athénée, New York 064
Chateau du Grand-Luce’, France 070
International Shipping Company Offices, London 074
PRADA Women Fashion Showspace, Milan 080
1+1 Palace, Xi’an 082
Sandalwood Estates No. 30, Shanghai 088
Bene Italian Restaurant, Sheraton Tianjin Hotel, Binhai New Area 094
Luyin • Windsor Castle Clubhouse, Dongguan 098
The Grand Riviera, Sales Department, Foshan 104
Green Rivers Manor, Beijing 108
Shanghai Star • Qizhong No. 71, Shanghai 112
Shanghai Star • Qizhong No. 70, Shanghai 122
Dahua • Xixi Style Phase V, Model House, Hangzhou 126
Ocean Great Harmony Show Flat, Beijing 132
Wonderful Garden Model House, Hangzhou 136
The Hua Mansion, Room 2701, Hagongguan, Harbin 138
Cuihua Garden Show Flat, Chizhou 140
Vanke • Spring Dew Mansion 2S-2, Zhongshan 2S-2 144
Junyue • River Paradise No. 8 Show Flat, Changsha 148
Nanjiao Villa 254, Shanghai 150
 

02 Art Deco Style Neoclassicism

Regent Grand Hotel, Bordeaux 156
Hotel Le Notre Dame, Paris 162
Le Negresco, Nice 168
Hotel Hermitage, Monaco 174
The Fairmont Savoy, London 178
JW Marriott Chicago 190
Town Hall Hotel & Apartments, London 194
Fairmont Peace Hotel, Shanghai 198
The Peninsula, Shanghai 212
Gou Bu Li Chinese Restaurant, Beijing 220
Brightwill • Gold Coast Sales Center, Kunshan 226
One House Mansion Sales Center, Nantong 232
Nanyuan Universe Deluxe Hotel, Ningbo 238
Jiangjin Jiayuan Show Flat, Wenzhou 242
Model House of Acadia Manor, Beijing 248
Horoy • Parkland Model Villa T13-2, Shenzhen 252
Jiucheng Lakeside International B1, Shanghai  256
Jiucheng Lakeside International D1, Shanghai 260
New Jingrun Sales Office & Show Flat, Beijing 264
Show Flat D of Zhongbei Garden II, Hangzhou 270
Harmonious Flourishing Show Flat, Shenzhen 274
Jade Laguna Villa Space, Shanghai 276
Chengtou Builders Exhibition Center, Moon Lake Garden, Ningbo 280
 

03 Mediterranean Style Neoclassicism

Emerald Palace Kempinski Palm Jumeirah, Dubai 288
CastaDiva Resort, Italy 292
Borgo Egnazia Hotel, Italy 298
Blythswood Square, Glasgow 304
The Augustine, Prague 308
Inspirock Hotel, Tongxiang 314
CRREG • Tsingtao Center Sales Office 322
Dome Clubhouse of Villa Royale, Chengdu 330
OCT East Shenzhen • Tianlu ўш 336
Poly Exclusive Villa Demonstration Unit, Changsha 340
Kaisa • Waterside New Metropolis, Sales Office, Changsha 346
Tianma Country Club 20, Shanghai 352
 

04 American Style Neoclassicism

Vidago Palace, Portugal 360
The Lu’s Villa in Beverly, Ningbo 366
Rongqiao Grand Residence Show Flat, Fuzhou 376
Mansion 8 VIP Club & Boutique Hotel, Beijing 382
Business Club Royal Tangshan, Beijing 386
Gree Plaza Penthouse Duplex, Zhuhai 392
Oriental Hawaii Big Island R-2, Beijing 398
Shanghai Star · Qizhong Club, Shanghai 402
Spring Dew Mansion 408
Citic • Mangrove Bay Show Flat, Shenzhen 416

05 Post-modern Style Neoclassicism

The Leon's Place, Rome 422
Nobis Hotel, Stockholm 428
Corinthian Club, Glasgow 434
Spa and Swimming Pool Area in a Private House, Dublin 438
The Fairmont San Jose, California 442
Elysian Hotel, Chicago 446
El Palauet Living Hotel Space, Barcelona 450
Mayfair Penthouse, London 452
Sanctum Soho Hotel, London 456
Tommy Hilfiger Retail Store, New York 460
Join-In • Noble House Community Sales Department, Fuzhou 466
Show Flat of House Type D, Royal Tangshan, Beijing 470
Master Land Model House, Nanjing 478
An Interior Space in Value Bay, Shanghai 484
Hongqiao Yindu Show Flat, Shanghai 486
 

06 Chinese Style Neoclassicism

New HNA Building, Haikou 492
Raffles Presidential Suite, Tianjin 504
Oriental Gold-stone Reception Center, Qingdao 508
Li’s Apartment, Beijing 514
Zhongyi • Helen & Spring Unit A401, Guangzhou 520
Chengkai Club, Shanghai 526
Tian Honghe Hotel, Yangzhou 532
One Villa Space in Forest Manor, Shanghai 538

Die Avantgarde-Architektur der 20er Jahre wird heute fast ausschließlich mit dem Bauhaus oder Le Corbusier assoziiert. »Neues Bauen«, für konservative Zeitgenossen seinerzeit ein Schimpfwort, in seiner deutschen Sprachfassung jedoch bald international ein Begriff, beschränkte sich aber keineswegs nur auf die westlichen Metropolen. Nach der Oktoberrevolution von 1917 begann sich das junge sowjetische Rußland zu formieren und auch nach außen als radikal neu darzustellen. Neu waren schließlich auch die Bauaufgaben: Gewerkschaftshäuser und Arbeiterclubs, Kraftwerke und Fabriken, kollektive Wohnanlagen und Sanatorien für die Werktätigen, staatliche Großkaufhäuser, Partei- und Verwaltungsbauten, ein Mausoleum für Lenin… Nicht nur in Moskau und St. Petersburg, auch im fernen Baku (Aserbaidschan), in Sochi am Schwarzen Meer oder im ukrainischen Charkow hielt die Moderne Einzug mit Bauten aus Glas, Stahl und Beton. Utopie, Bauhaus-Ästhetik und russischer Konstruktivismus fanden sich hier in einem auch quantitativ einzigartigen Experiment, das damals weltweit Aufsehen erregte: Avantgarde pur. Wie in Deutschland endete dieses innovative Abenteuer Anfang der 30er Jahre, als die politische und akademische Reaktion die Führung in der Partei übernahm. Die Auflösung der UdSSR 1991 gab den letzten Zeugen dieses so kurzlebigen Aufbruchs in die Moderne schließlich den Rest. Bis auf wenige prominente Ausnahmen erst verunstaltet, dann vergessen und verwahrlost, wurde ein Viertel der noch existierenden Bauten in den letzten Jahren Opfer der Spekulation. Das Buch dokumentiert die Relikte dieser »verlorenen Avantgarde« in ebenso beeindruckenden wie ernüchternden Photographien, die der renommierte britische Architekturphotograph Richard Pare auf mehreren Reisen durch die ehemaligen Sowjetrepubliken in den 90er Jahren aufgenommen hat.

Посмотреть избранные развороты книги  Die verlorene Avantgarde: Russische Revolutionsarchitektur 1922-1932  в pdf-формате на сайте издательства.

Русскоязычное издание книги Потерянный авангард. Русская модернистская архитектура 1922-1932