Albert Speer: Architecture 1932-1942

Beschreibung:

Seiten; 9781580933544.3 Sprache: Deutsch Gewicht in Gramm: 4. Bestandsnummer des Verkäufers 700681

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Críticas: "In 1985, Mr. Krier produced a monograph about Speer's designs, which display a cold, grandiose, neoclassical style. . . . The Monacelli Press has reissued it in a lavish edition but this time with the added twist of an introduction by the renowned architect Robert A.M. Stern, the dean of Yale's architecture school." --"The Wall Street Journal"

"As the immense and waxing volume of scholarly and popular work on the Nazis (from Elie Wiesel to Quentin Tarantino) shows, no issue is forbidden territory. The more specific question, however, is whether Speer's architectural "oeuvre" has any formal merit." --"The Nation"

"Speer, Hitler's architect and also the Third Reich's minister of armaments and war production, manipulated scale, proportion, columns, and entablatures with great facility--not to mention prodigiousness--and the documentation of Speer's output is of interest. There are even moments I dare call sublime, but they are few. It's mostly crushingly heavy and funereal." --"Architectural Record
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In 1985, Mr. Krier produced a monograph about Speer's designs, which display a cold, grandiose, neoclassical style. . . . The Monacelli Press has reissued it in a lavish edition but this time with the added twist of an introduction by the renowned architect Robert A.M. Stern, the dean of Yale's architecture school. "The Wall Street Journal"
As the immense and waxing volume of scholarly and popular work on the Nazis (from Elie Wiesel to Quentin Tarantino) shows, no issue is forbidden territory. The more specific question, however, is whether Speer s architectural"oeuvre"has any formal merit. "The Nation"
Speer, Hitler's architect and also the Third Reich's minister of armaments and war production, manipulated scale, proportion, columns, and entablatures with great facility not to mention prodigiousness and the documentation of Speer's output is of interest. There are even moments I dare call sublime, but they are few. It's mostly crushingly heavy and funereal. "Architectural Record
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