Domus, Vol. 9, 1980-1984
基本信息·出版社：Taschen ·页码：580 页 ·出版日期：2009年05月 ·ISBN：3836509598 ·International Standard Book Number：3836509598 ·条形码：9 ...
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Domus, Vol. 9, 1980-1984 |
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Domus, Vol. 9, 1980-1984 |
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基本信息·出版社：Taschen
·页码：580 页
·出版日期：2009年05月
·ISBN：3836509598
·International Standard Book Number：3836509598
·条形码：9783836509596
·EAN：9783836509596
·版本：Bilingual
·装帧：精装
·正文语种：英语
·丛书名：Domus
·分册名：9
内容简介 This title provides the quintessential works of Modernism. For eight decades, "Domus" has been hailed as the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, the magazine's central agenda has always remained that of creating a privileged insight toward identifying the style of a particular age, from Art Deco, Modern Movement, Functionalism and Postwar to Pop, Postmodernism and Late Modern. Beautifully designed and comprehensively documented, page after page "Domus" presents some of the most exciting design and architecture projects from around the world. Each of the 12 volumes in TASCHEN's "Domus" reprint collection reproduces a selection of the magazine's pages as they originally appeared, and is packed with articles that bring to light the incredible history of modern design and architecture. Available as separate volumes covering the period of 1928-1999, this series is a major publishing achievement and an important must-have for all design and architecture teaching institutions, practicing architects, designers, collectors, students, and anyone who loves design. It also covers the period of 1980-1984: postmodern preoccupations. This volume revisits the early 1980s, a time of Postmodernism. Italian design groups Alchimia and Memphis, led by Alessandro Mendini, Andrea Branzi, Michele de Lucchi, and Ettore Sottsass, questioned radically and provocatively the ostensible functionality of design objects. Everyday items were reinterpreted, full of relish and fantasy. Ironic redesigns of historic design classics put their role and contemporary use into question. Within the field of architecture, these new ideas found a counterpart in buildings by Hans Hollein, Michael Graves, Studio Nizzoli, and the offices of Venturi, Rauch & Scott Brown. At the same time, the first deconstructivist tendencies were recognizable in the designs of Zaha Hadid.
