Alan Hess (1) (1952–)
Auteur van Frank Lloyd Wright: The Houses
Voor andere auteurs genaamd Alan Hess, zie de verduidelijkingspagina.
Over de Auteur
Alan Hess is an architecture critic for the San Jose Mercury News and the author of numerous architecture and design books
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Tagged
Algemene kennis
- Gangbare naam
- Hess, Alan
- Geboortedatum
- 1952
- Geslacht
- male
- Nationaliteit
- USA
- Woonplaatsen
- Irvine, California, USA
- Opleiding
- University of California, Los Angeles (M.Arch)
Principia College (BA) - Beroepen
- architect
journalist
architecture critic - Organisaties
- San Jose Mercury News
- Prijzen en onderscheidingen
- Los Angeles Conservancy President's Award (2015)
- Korte biografie
- Alan Hess is an architect, architectre critic for the San Jose Mercury News, and author of books that explore new facets of twentieth century architecture. He resides in Irvine, California. [from Organic Architecture (2006)]
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Statistieken
- Werken
- 20
- Leden
- 928
- Populariteit
- #27,659
- Waardering
- 4.2
- Besprekingen
- 7
- ISBNs
- 78
- Talen
- 5
In linking the ’30s with the styles of the ’50s, Hess writes, “Wright and Goff choreographed a flow of movement that carried you along, making you aware of each space and transition. Uninterrupted by conventional doors, walls, corners, or windows, space flows continuously around the next corner and outside. This is the final destruction of the box originally called for by Frank Lloyd Wright. It is also the three-dimensional architecture historian Sigfried Giedion identified with Modernism: buildings perceived as a totality only as one moved through and around them” (pg. 85). He features extensive photographs to demonstrate how these styles opened up and blended both the liminal space of outside/inside as well as merging Earth with sky and linking the roadway to the parking lot.
Writing in the 1980s, when fashions began changing again and moving further away from Googie, Hess described how it was subject to criticism even in its own time. He writes, “The one certain difference between high art and commercial vernacular architecture was the quality of the rhetoric surrounding it. The high art establishment used talented critics and the established journals to let people know what their buildings were about” (pg. 94). Googie, for all its visual language, served primarily commercial and advertising interests and did not appeal to critics. Redevelopment in the 1980s lead to the demolition or repurposing of much of the surviving examples.
Hess’s book will appeal to all those interested in the styles of the postwar era and how the architectural arts blended with advertising and commercialism. Hess’s book thematically follows Roland Marchand’s work, Advertising the American Dream: Making Way for Modernity, 1920-1940. Hess blends analysis with images, though several of the images that appear behind text are often too dark and make the text difficult to read. Otherwise, this is a good early study of ’50s architecture.… (meer)