Журналы по архитектуре

Бетон – это противоречивый стройматериал: он наглядно иллюстрирует, как никакой другой материал, процесс изготовления текстуры в опалубке, но за поверхностью скрывает свою структуру. В общем-то, есть огромное желание более живых форм выражения, чем это предлагают совершенно гладкие бетонные поверхности. С другой стороны, такие новаторские разработки как самоуплотняющийся бетон или несущие конструкции из железобетона с улучшенными теплоизоляционными характеристиками показывают технический потенциал развития этого строительного материала. Строительство из бетона продолжает оставаться в движении.

Строительство для детей – детский сад ли, продленка ли или ясли – это, без сомнения, особый вызов профессионализму. Какой архитектурный язык при этом наиболее уместен? Как удается педагогической программе, проповедующей определенные ценности, реализовать себя в пространстве? Там, где дети знакомятся с миром и познают его, каждая деталь, так же как и качество примененных материалов, их цвета и поверхности, играют особую роль.

Театр как символ города, но вероятно даже и всего континента – архитектору Йорну Утцону (Jørn ­ Utzon) с его экспрессивным оперным театром в Сиднее, строительство которого завершилось в 1972 году, это удалось. На многие десятилетия этим он предопределил развитие, которое сегодня вновь активно себя манифестирует: театральные здания, в противоположность музеям, долгое время скорее решали функциональные архитектурные цели, но все больше стали появляться в форме сенсационных городских строений, как указывает Роман Холленштайн в своем труде «Помещение для игр»

A theatre as the emblem of a city, or perhaps of an entire continent: Jørn Utzon succeeded in creating one in his expressive opera house in Sydney in 1972. In doing so, he anticipated by several decades a development that has manifested itself only recently. In contrast to museums, theatres were for a long time designed largely as functional buildings, their appearance determined by the purpose they had to fulfil. Today, they increasingly assume the form of spectacular urban elements, as Roman Hollenstein shows in his article “Space to Play” (p. 146), and star architects are being commissioned to make a mark with buildings of sculptural character. Some of these schemes exhaust themselves in mere formal gesturing, like Paul Andreu’s monumental concert hall in Beijing, which resembles a gigantic object from outer space. In contrast to this, the new Norwegian State Opera house in Oslo by ­Snøhetta (p.198) seems less the outcome of ­formal considerations than a response to the ­local situation. It is, without doubt, one of the most splendid buildings created for the arts in ­recent years. Set impressively on the Oslo Fjord, its roofs, which are accessible to all citizens, make it an extension of the public realm, a new landscape within the city. It has won the hearts of operagoers and visitors alike.

В форме светопропускающих плит, широкопролетных мембран, наполненных воздухом полимерных подушек или в виде изогнутых органических форм: синтетические материалы стремительно распространяются в архитектуре. Новые технические разработки, всегда приводящие к лучшему качеству, а также новое восприятие материала создают предпосылки для этого.

Плоская или наклонная форма кровли – еще 20 лет назад ответ на этот вопрос приравнивался в среде архитекторов почти к основам мировоззрения. Современными и в духе времени могли быть те, кто пропагандировал горизонтальное завершение здания, в то время как сторонники наклонного варианта были быстро загнаны в угол устаревших и неактуальных течений. Проектировщик решался на последнюю альтернативу, прежде всего лишь потому, чтобы выполнить официально заданные требования плана застройки или пожелания заказчика.

Перевод  важнейших материалов журнала DETAIL на русский язык в формате pdf вы можете получить по ссылке.

При использовании стекла в архитектуре технологические разработки последних лет развиваются в самых различных направлениях. В новых выпусках DETAIL Вы найдете обзор актуальных тенденций: модульное использование стекла в оформлении фасадов в комбинации с элементами фотовольтаики или светодиодными инсталляциями является особо интересной экспериментальной областью, в то же время в офисном и жилищном строительстве происходит дальнейшее усовершенствование солнцезащиты, теплозащитных характеристик стекла или двухкамерных стеклопакетов, и цветное или с печатью стекло может создать акценты или особую атмосферу как во внутреннем, так и во внешнем пространстве.

Glass is a fascinating building material with diverse, sometimes contrasting qualities: transparent, reflective or frosted, tough yet fragile. In recent decades tremendous advances have been made in glass technology. Bold architectural designs are now using glass to perform loadbearing functions and, thanks to the advent of sophisticated, largely invisible coatings, for climate control. Much innovative potential still remains to be tapped: engineers and architects, scientists at universities and in industry, and creative companies are coming up with astonishing new developments. Perhaps more so than with any other building material, advances in architectural applications for glass are emerging as a result of close cooperation between designers, experts from a range of scientific disciplines and the constructors.

Перевод  важнейших материалов журнала DETAIL на русский язык в формате pdf вы можете получить по ссылке.

При использовании стекла в архитектуре технологические разработки последних лет развиваются в самых различных направлениях. В новых выпусках DETAIL Вы найдете обзор актуальных тенденций: модульное использование стекла в оформлении фасадов в комбинации с элементами фотовольтаики или светодиодными инсталляциями является особо интересной экспериментальной областью, в то же время в офисном и жилищном строительстве происходит дальнейшее усовершенствование солнцезащиты, теплозащитных характеристик стекла или двухкамерных стеклопакетов, и цветное или с печатью стекло может создать акценты или особую атмосферу как во внутреннем, так и во внешнем пространстве.

For over seventy-five years, 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, Post-Modernism 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.

TASCHEN’s twelve-volume reprint features selected highlights from the years 1928 to 1999. Reproducing the pages as they originally appeared, each volume is packed with articles that bring to light the incredible history of modern design and architecture. A truly comprehensive lexicon of styles and movements, the volumes are accompanied by specially commissioned introductory texts that not only outline the history of the magazine but also describe what was happening in design and architecture during each era covered. These texts have been written by many of the magazine’s renowned past editors: Mario Bellini, François Burkhardt, Cesare Maria Casati, Stefano Casciani, Germano Celant, Manolo De Giorgi, Fulvio Irace, Vittorio Magnago Lampugnani, Alessandro Mendini, Lisa Licitra Ponti, Ettore Sottsass Jr., Luigi Spinelli, and Deyan Sudjic. The volumes have also been thoroughly indexed, allowing the reader easy access to key articles —many of which have been translated into English for the first time.

TASCHEN’s domus collection 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.

domus - The quintessential works of Modernism

Volume I  -  1928–1939

For over eight decades domus has been the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, it has consistently highlighted the characteristic styles of each age, from Art Deco, Modernism, Functionalism, to Pop, Postmodernism and Late Modern. Beautifully designed and documented, domus presents the most exciting projects from around the world.
Each volume of TASCHEN's domus reprint collection reproduces a selection of the magazine's original pages, packed with articles tracing the history of modern design and architecture. Available as 12 separate volumes covering 1928-1999, this series is a major publishing event and a must-have item for design and architecture institutions and practices, architects, designers, students, and anyone who loves design.

1928–1939: Birth of the International Style
The International Style of the late '20s and '30s was defined by groundbreaking buildings, interiors and furniture by Le Corbusier, Mies van der Rohe, Marcel Breuer, Robert Mallett-Stevens, Alvar Aalto, and Richard Neutra. The Italian avant-garde, including Giuseppe Terragni, Carlo Mollino, Gio Ponti, Melchiorre Bega, Franco Albini or Studio BBPR, were also central in the formative decade of Modernism. Tubular furniture, glass works by Venini and Fontana Arte, and industrial design are featured, alongside American skyscrapers and office interiors.

For over eight decades domus has been the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, it has consistently highlighted the characteristic styles of each age, from Art Deco, Modernism, Functionalism, to Pop, Postmodernism and Late Modern. Beautifully designed and documented, domus presents the most exciting projects from around the world.
Each volume of TASCHEN's domus reprint collection reproduces a selection of the magazine's original pages, packed with articles tracing the history of modern design and architecture. Available as 12 separate volumes covering 1928-1999, this series is a major publishing event and a must-have item for design and architecture institutions and practices, architects, designers, students, and anyone who loves design.

1940–1949: Destruction and reconstruction
Fascism's rise and World War II led to widespread destruction in Europe, followed by reconstruction, democratization, and the search for new social values. In fascist Italy, Modernism flourished in buildings and designs by Carlo Mollino, Gian Luigi Banfi, Franco Albini, and Giuseppe Terragni. After the war, Organic Design emerged alongside the International Style. Despite enormous obstacles, the avant-garde continued to thrive in Italy, Switzerland, Scandinavia and the USA. This tome includes reports and features on modern industrial design and furniture, domestic and business interiors, new prefabricated houses, and American academic architecture.

domus - The quintessential works of Modernism

For over eight decades domus has been the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, it has consistently highlighted the characteristic styles of each age, from Art Deco, Modernism, Functionalism, to Pop, Postmodernism and Late Modern. Beautifully designed and documented, domus presents the most exciting projects from around the world.
Each volume of TASCHEN's domus reprint collection reproduces a selection of the magazine's original pages, packed with articles tracing the history of modern design and architecture. Available as 12 separate volumes covering 1928-1999, this series is a major publishing event and a must-have item for design and architecture institutions and practices, architects, designers, students, and anyone who loves design.

1950 – 1954: Architecture of the avant-garde
The early 1950s were characterized by great optimism, as memories of World War II receded. Architecture and design sought new forms, materials and applications – and domus captured the mood with detailed reports on Tapio Wirkkala, Finn Juhl, Carlo de Carli, Carlo Mollino, Piero Fornasetti, Harry Bertoia and George Nelson; via features on Le Corbusier’s famous Unité d’Habitation; the Case Study Houses of Charles and Ray Eames; Richard Neutra in California and Oscar Niemeyer in Brazil; and the futuristic Olivetti Showroom by Studio BBPR in New York. This book offers a superb overview of international architecture of the avant-garde in the early '50s.

domus - The quintessential works of Modernism

For over eight decades domus has been the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, it has consistently highlighted the characteristic styles of each age, from Art Deco, Modernism, Functionalism, to Pop, Postmodernism and Late Modern. Beautifully designed and documented, domus presents the most exciting projects from around the world.
Each volume of TASCHEN's domus reprint collection reproduces a selection of the magazine's original pages, packed with articles tracing the history of modern design and architecture. Available as 12 separate volumes covering 1928-1999, this series is a major publishing event and a must-have item for design and architecture institutions and practices, architects, designers, students, and anyone who loves design.

1955–1959: International affairs
The late 50s was an era of grand visions and increasing internationalization, as evidenced by the works included here by architects and designers like Oscar Niemeyer, Carlos Raúl Villanueva, Vittoriano Viganò, and Angelo Mangiarotti. Also featured are office machines by Olivetti, furniture by Ray and Charles Eames, ceramics and lights by Ettore Sottsass, the Herman Miller Showroom by Alexander Girard in San Francisco, Le Corbusier’s pilgrimage church in Ronchamp and Gio Ponti’s Villa Arreaza in Caracas.

The quintessential works of Modernism

For over eight decades domus has been the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, it has consistently highlighted the characteristic styles of each age, from Art Deco, Modernism, Functionalism, to Pop, Postmodernism and Late Modern. Beautifully designed and documented, domus presents the most exciting projects from around the world.
Each volume of TASCHEN's domus reprint collection reproduces a selection of the magazine's original pages, packed with articles tracing the history of modern design and architecture. Available as 12 separate volumes covering 1928-1999, this series is a major publishing event and a must-have item for design and architecture institutions and practices, architects, designers, students, and anyone who loves design.

1960–1964: Design goes pop
The early '60s saw the rise of Pop Art and popular culture, leading to Pop Design–particularly in interiors, where new synthetics and plastics replaced metal, glass or wood, leading to radical new designs. Volume V features designs by Ray and Charles Eames, Verner Panton, Achille and Pier Giacomo Castiglioni, and Joe Colombo. In architecture, buildings by Gio Ponti, Carlo Scarpa, Angelo Mangiarotti, James Stirling, and Eero Saarinen are among the highlights.

domus - The quintessential works of Modernism

For over eight decades domus has been the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, it has consistently highlighted the characteristic styles of each age, from Art Deco, Modernism, Functionalism, to Pop, Postmodernism and Late Modern. Beautifully designed and documented, domus presents the most exciting projects from around the world.

Each volume of TASCHEN's domus reprint collection reproduces a selection of the magazine's original pages, packed with articles tracing the history of modern design and architecture. Available as 12 separate volumes covering 1928-1999, this series is a major publishing event and a must-have item for design and architecture institutions and practices, architects, designers, students, and anyone who loves design.

1965–1969: Looking to the future
In the late '60s, architecture and design changed radically. Functionality, elegance, and faithfulness to materials gave way to experimentation and exploration. Archizoom and Archigram questioned status symbols and consumerism, reflected in the Anti and Radical Design movements. Also featured are Joe Colombo, Ettore Sottsass, Gae Aulenti, Olivier Mourgue, Achille and Pier Giacomo Castiglioni, Verner Panton, Kenzo Tange, Luigi Moretti, Oscar Niemeyer, and Gio Ponti.

domus - The quintessential works of Modernism

For more than eight decades, domus has been the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, it has consistently highlighted the characteristic styles of each age, from Art Deco, Modernism, Functionalism, to Pop, Postmodernism and Late Modern. Beautifully designed and documented, domus presents the most exciting design and architecture projects from around the world.
Each volume of TASCHEN's domus reprint collection reproduces a selection of the magazine's original pages, packed with articles tracing the history of modern design and architecture. Available as 12 separate volumes covering 1928-1999, this series is a major publishing event and a must-have item for design and architecture institutions and practices, architects, designers, students, and anyone who loves design.

1970–74: Individuality reigns supreme
The early '70s saw seismic changes in architecture and design, as a trend towards individuality manifested in novel styles and construction methods. Futuristic work by Luigi Moretti stood in contrast to practical designs by Renzo Piano or Richard Rogers; elsewhere the first postmodern tendencies could be detected. Japanese architect Kisho Kuramata created metabolic buildings and city planning, while the living landscapes of designers Verner Panton and Joe Colombo opened new vistas.