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Founded in 1928 as a "living diary" by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world's most influential architecture and design journal. With both style and rigor, it has offered consistent coverage of major themes and stylistic movements in product, structure, interior, and industrial design. In this fresh reprint of all 1950s issues, the magazine brings its visual and intellectual clarity to an era of post-war optimism. As memories of conflict receded, architecture and design sought new forms, materials, and applications, as well as international dialogue. domus captured the mood with features on Le Corbusier's design of the United Nations Building in New York; the Case Study Houses of Charles and Ray Eames; Richard Neutra in California and Oscar Nierneyer in Brazil. Other highlights include office machines by Olivetti, furniture by Ray and Charles Eames, ceramics and lights by Ettore Sottsass, and the Herman Miller Showroom by Alexander Girard in San Francisco.
(source: Nielsen Book Data)

<strong>Forms on the front line: Architecture and design in the context of WWII</strong>Founded in 1928 as a living diary by the great Milanese architect and designer Gio Ponti, <em>domus</em> has been hailed as <strong>the world s most influential architecture and design journal</strong>. With style and rigor, it has reported on the major themes and stylistic movements in industrial, interior, product, and structural design.This fresh reprint of <em>domus</em> s coverage of the 1940s brings together the most important features from a <strong>decade of destruction and reconstruction</strong>. Even amid the bombing raids inflicted on Milan, <em>domus</em> continued to publish through much of the war, charting the design zeitgeist, while managing a successive turnover of editors and editors-in-chief during Ponti s interregnum between 1941 and 1948.The pages from this period record reports and features on modern industrial design and furniture, <strong>new prefabricated houses, American academic architecture</strong>, the building projects of <strong>Carlo Mollino, Gian Luigi Banfi, Franco Albini, and Giuseppe Terragni</strong>, as well as the postwar flowering of <strong>Organic Design</strong>.<strong>domus distilled</strong> Seven volumes spanning 1928 to 1999 Over 6,000 pages featuring influential projects by the most important designers and architects Original layouts and all covers, with captions providing navigation and context New introductory essays by renowned architects and designers Each edition comes with an appendix featuring texts translated into English, many of which were previously only available in Italian A comprehensive index in each volume listing both designers and manufacturers names <strong>About the series: </strong> <strong><em>Bibliotheca Universalis</em> Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price</strong>!Since we started our work as cultural archaeologists in 1980, the name TASCHEN has become synonymous with accessible, open-minded publishing. <em>Bibliotheca Universalis</em> brings together nearly 100 of our all-time favorite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.<strong>Bookworm s delight never bore, always excite</strong>!Text in English, French, German, and Italian".
(source: Nielsen Book Data)

Founded in 1928 as a "living diary" by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world's most influential architecture and design journal. With both style and rigor, it has offered consistent coverage of major themes and stylistic movements in product, structure, interior, and industrial design. In this fresh reprint of all 1960s issues, the magazine documents the daring, practical, and beautiful projects of a decade of futuristic thrill and booming pop culture. Synthetics and plastics hit the stage, leading to radical new design, while conventional notions of elegance give way to fresh, exploratory forms. For work to be featured in the magazine it had to offer function, spatial clarity, intellectual persuasion, relevant originality, and / or grace. Those projects and practitioners that made the grade include the Anti and Radical Design movements, Ray and Charles Eames, Gae Aulenti, Kenzo Tange, Verner Panton, Achille and Pier Giacomo Castiglioni, Ettore Sottsass, Carlo Scarpa, Angelo Mangiarotti, James Stirling, and Eero Saarinen.
(source: Nielsen Book Data)