LEADER 04312oam 2200469I 450 001 9910961029303321 005 20251117081909.0 010 $a1-317-12847-8 010 $a1-315-58462-X 010 $a1-317-12846-X 024 7 $a10.4324/9781315584621 035 $a(CKB)3710000000866168 035 $a(MiAaPQ)EBC4693162 035 $a(OCoLC)970389517 035 $a(BIP)63357846 035 $a(BIP)50751054 035 $a(EXLCZ)993710000000866168 100 $a20180706d2016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aGerman facade design $etraditions of screening from 1500 to modernism /$fRandall Ott 205 $a1st ed. 210 1$aLondon ;$aNew York :$cRoutledge,$d2016. 215 $a1 online resource (477 pages) $cillustrations, maps 311 08$a1-4724-5905-9 320 $aIncludes bibliographical references and index. 327 $a1. Four centuries of faint centers -- 2. Hermeneutics and the sixth component -- 3. Greek, Italian and Germanic precursors -- 4. Comprehensive early screens -- 5. Schinkel and Berlin -- 6. Caspar David Friedrich and the faint axis -- 7. Screens of Southern and Western Germany and Vienna -- 8. Peter Behrens -- 9. Twentieth century screens -- 10. Nazi screens -- 11. Mies van der Rohe and Crown Hall. 330 $aGerman architecture prior to the modern period has received less systemic, analytical study than that of Italy, France, and Britain. Scholarly discussion of broad traditions or continuities within Germanic or Central European fa ade design is even sparser. Baroque era studies of the region mostly devote themselves to isolated architects, monuments, or movements. Modernism's advent decisively changed this: Germanic architecture enjoyed sudden ascendancy. Yet, even so, study specifically of that region's fa ades still lagged - nothing compares to the dozens of treatments of Le Corbusier's fa ade systems, for example, and how these juxtapose with French neoclassical or Italian Renaissance methods. Given the paucity of multi-period studies, one can be forgiven for believing Germany's effervescence of radical, modern works seems unprecedented. This book takes up these multiple quandaries. It identifies and documents a previously unrecognized compositional tradition - characterized here as the 'screen fa ade' - and posits it as a counter-narrative critiquing the essentialist, 'authentic' canon currently dominant in Western architectural history. By crossing evenly over the dividing line between the historical and modern periods, it offers valuable insights on indigenous roots underlying some aspects of Germany's invigorating early twentieth-century architectural developments. The book chronologically examines 400 years of closely related facades, concentrated in Germany but also found in Austria, the Czech Republic, German-speaking Switzerland, and nearby areas of Central Europe. While nearly 75 buildings are mentioned and illustrated, a dozen are given extensive analysis and the book focuses on the works of three architects - Schinkel, Behrens and Mies. Relationships between examples of these three architects' fa ades far transcend mere homage amongst masters. Glimmers of the system they eventually codify are apparent as early as at Heidelberg Castle in 1559 and N rnberg's Rathaus in 1622. The book argues that in Germany, northern Gothic affinities for bisection, intense repetition and rote aggregation intersected with southern Classical affinities for symmetry, hierarchy and centrality, thereby spawning a unique hybrid product - the screen. Instead of graphic formality, this study is guided by on-site perceptions, propositional contrasts, means of approach, interpretive conflicts and emotion and it relates the design of these fa ades to concepts proposed by contemporary philosophers including Novalis, Hegel, Nietzsche, Freud, Adorno, and, most importantly, Gadamer on hermeneutics. 606 $aFacades$zGermany 615 0$aFacades 676 $a729/.1 700 $aOtt$b Randall.$01865597 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910961029303321 996 $aGerman facade design$94472733 997 $aUNINA