The Complete Arts & Architecture 1945–1954
Introduction by David Travers
Page [1] [2] [3]
A&A's covers and layout were touched by Dada during the 1940s and 1950s—graphic designer Herbert Matter had more in common with Kurt Schwitters than the doublet's in his name. But there was no Dada or Surrealism in its content. The avowed purpose was to present good, contemporary design to the magazine's largely lay audience and nudge its professional and architectural student subscribers into a truer path. The results were remarkable and A&A's readers, who held architecture and art close to their hearts, would curl up with a cup of hot chocolate for an hour or so to read the latest issue of the magazine. It was the policy of A&A to present projects without any accompanying critical analysis. The buildings were allowed to speak for themselves and any explanatory text was limited to a brief statement, usually based on a description of the program and the structure supplied by the architect. The reasons behind the policy were simple enough and did not include fear of offending an advertiser or architect, as has been suggested from time to time. To be selected for presentation, a project had to be one of exceptional merit and interest. Not free of faults, but the good qualities had to heavily outweigh any bad ones.Where the reverse was true, we did not publish the building. It was dismissed rather than criticized.
Page [1] [2] [3]
Page [1] [2] [3]
A&A's covers and layout were touched by Dada during the 1940s and 1950s—graphic designer Herbert Matter had more in common with Kurt Schwitters than the doublet's in his name. But there was no Dada or Surrealism in its content. The avowed purpose was to present good, contemporary design to the magazine's largely lay audience and nudge its professional and architectural student subscribers into a truer path. The results were remarkable and A&A's readers, who held architecture and art close to their hearts, would curl up with a cup of hot chocolate for an hour or so to read the latest issue of the magazine. It was the policy of A&A to present projects without any accompanying critical analysis. The buildings were allowed to speak for themselves and any explanatory text was limited to a brief statement, usually based on a description of the program and the structure supplied by the architect. The reasons behind the policy were simple enough and did not include fear of offending an advertiser or architect, as has been suggested from time to time. To be selected for presentation, a project had to be one of exceptional merit and interest. Not free of faults, but the good qualities had to heavily outweigh any bad ones.Where the reverse was true, we did not publish the building. It was dismissed rather than criticized.
Page [1] [2] [3]
Arts & Architecture 1945-54: The Complete Reprint
118 Magazines in 10 Boxes, 25.2 x 32.2 cm (9.9 x 12.7 in.), 6156 pages
$ 700.00
$ 700.00
The first part (1945-1954) of our facsimile edition of John Entenza's groundbreaking magazine, which launched the Case Study House Program; in ten boxes, each containing one year's worth of magazines. Limited to 5,000 copies.
A presentation of the plans for an office building by Thornton Abell, January 1949
A feature on Charles Eames' molded plywood furniture, September 1946