DOMUS VOL 9 （1980-1984）杜马斯图案设计 卷9 pdf 免费 地址 txt lrf 下载 kindle umd

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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 instituti***, practicing architects, designers, collectors, students, and anyone who loves design. It also covers the period of 1980-1984: postmodern preoccupati***. 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 dec***tructivist tendencies were recognizable in the designs of Zaha Hadid.

作者简介：

Charlotte and Peter Fiell run a design c***ultancy in London specializing in the sale, acquisition, study and promotion of design artifacts. They have lectured widely, curated a number of exhibiti***, and written numerous articles and books on design and designers, including Taschen's 1000 Lights, 1000 Chairs, Design of the 20th Century, Industrial Design A-Z, Designing the 21st Century, and Scandinavian Design.

Editorial

domus under Alessandro Mendini/La domus di Alessandro Mendini

The Birth of 'Neo-Modern'/Il neomoderno

domus 1980-1984

domus 1980

domus 1981

domus 1982

domus 1983

domus 1984

Appendix

Index

Acknowledgements and Imprint

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书籍介绍

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 instituti***, practicing architects, designers, collectors, students, and anyone who loves design. It also covers the period of 1980-1984: postmodern preoccupati***. 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 dec***tructivist tendencies were recognizable in the designs of Zaha Hadid.