Max Bill Architect - Couverture souple

Couverture souple

ISBN 10 : 8425219566 ISBN 13 : 9788425219566

Editeur : Gustavo Gili, 2004

A propos du livre

Extrait :

Max Bill concrete design 1936 is a kind of creation that develops from its own means and laws without having to borrow or derive these from external natural phenomena. visual creation is therefore based on colour, form, space, light, and movement. although every sort of creative work is stimulated by inspiration it cannot be completed without clear and precise form-giving. through the act of form-giving the works in the process of being created acquire a concrete form, they are translated from their purely intellectual existence into facts, they become objects of visual and intellectual use. although the point here is not to compare the creation of form in music with form-giving in the fields of painting and sculpture, it is still possible to draw parallels that offer viewpoints from which concrete visual creation can be regarded. music has created forms like, for example, bach’s fugues, which will have an eternal validity. this musical form is not based on an imitation of nature, but is a purely intellectual treatment of the theme. with the use of fantasy it is handled according to certain plans and laws and is transformed and heightened, allowing the creation of a completed effect, which is peculiar to music, of a sequence of tones within a certain space and time. in the same way as clear and clean musical forms are pleasant for the listener and, due to the way they are constructed, offer those with a certain level of knowledge great delight, so pure, clear forms and colours should visually delight the viewers.

|

Max Bill diseño concreto 1936 es aquel diseño que surge por sus propios medios y leyes sin necesidad de haberlos deducido ni tomado prestado de fenómenos naturales exteriores. el diseño óptico parte por tanto del color, de la forma, del espacio, de la luz, del movimiento. si bien todo diseño creador se ve estimulado por la inspiración, ésta no podrá culminar sin una formalización clara y precisa. mediante la formalización, las nuevas obras adoptan una forma concreta, y trasladan su existencia puramente espiritual a hechos, convirtiéndose así en objetos, en utensilios ópticos y espirituales. pese a que la creación de formas musicales no sea comparable a la formalización en pintura y escultura, pueden establecerse paralelismos con el fin de insinuar de un modo sencillo bajo qué aspectos debe considerarse el diseño óptico concreto. la música ha desarrollado formas que, como las fugas de johann sebastian bach, conservarán una validez eterna; esta forma musical no tiene sus fundamentos en la imitación de la naturaleza, sino que constituye la pura creación espiritual del tema, que, transformado y elevado mediante una elaboración planificada, regular y llena de imaginación, origina la consumada impresión de un desarrollo tonal en el tiempo y el espacio, propio de la música. del mismo modo que las formas musicales claras y limpias son gratas al oyente y motivo de gozo para quien conoce su estructura, las formas y los colores puros y claros deben deleitar al espectador.

Présentation de l'éditeur :

DOUBLE ISSUE

Despite being known the world over as an artist Max Bill always considered himself to be an architect. His visual work and his educational labours in charge of the Hochschule für Gestaltung in Ulm have been widely studied and publicised, yet his facet as an architect has scarcely received attention.

This publication brings together his complete architectural work for the first time, work ranging from his early projects as a Bauhaus student, taking in his first house in Zurich-Höngg and his many designs for exhibitions, to such mature works as the Hochschule für Gestaltung, Expo 64 in Lausanne or his own house in Zumikon, many of these unpublished for decades. The information is rounded off with the pavilion-sculptures Max Bill dedicated himself to for twenty years and which stand midway between sculpture and architecture.

The number is introduced by critical texts from such important connoisseurs of his oeuvre as Stanislaus von Moos, Hans Frei, Karin Gimmi, Arthur Rüegg and Jakob Bill, Max Bill’s son, along with unpublished archive material, extensive photo-reports commissioned for the occasion from the Swiss photographer Georg Aerni, and a selection of the author’s most important theoretical writings.

À propos de cette édition

• Éditeur: Gustavo Gili
• Date d'édition: 2004
• ISBN 10: 8425219566
• ISBN 13: 9788425219566
• Reliure: Broché
• Numéro d'édition: 1
• Nombre de pages: 276