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Albert Speer: Architecture 1932-1942 (Anglais) Relié – 26 mars 2013

5.0 étoiles sur 5 1 commentaire client

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Description du produit

Revue de presse

“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


Présentation de l'éditeur

Architect Léon Krier asks, “Can a war criminal be a great artist?” Speer, Adolf Hitler's architect of choice, happens to be responsible for one of the boldest architectural and urban oeuvres of modern times.

First published in 1985 to an acute and critical reception, Albert Speer: Architecture 1932-1942 is a lucid, wide-ranging study of an important neoclassical architect. Yet is is simultaneously much more: a philosophical rumination on art and politics, good and evil. With aid from a new introduction by influential American architect Robert A. M. Stern, Krier candidly confronts the great difficulty of disentangling the architecture and urbanism of Albert Speer from its political intentions.

Krier bases his study on interviews with Speer just before his death. The projects presented center on his plan for Berlin, an unprecedented modernization of the city intended to be the capital of Europe.

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Format: Relié Achat vérifié
J'ai - enfin !- entre les mains le livre de référence sur les projets architecturaux d'Albert Speer. Réédition de l'exemplaire bilingue (anglais-français) sorti au début des années 1980 (et hors de prix à l'occasion), ce livre bien complet est extraordinaire ! Papier de très bonne qualité, illustrations très agréables, et surtout présence du triptyque central sur l'axe Nord - Sud. C'est un vrai plaisir d'avoir cette réédition entre les mains !
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Commentaires client les plus utiles sur Amazon.com (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards)

Amazon.com: 4.3 étoiles sur 5 17 commentaires
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 I cannot help it 4 septembre 2013
Par Alfonso Llana - Publié sur Amazon.com
Format: Relié Achat vérifié
I have admired Albert Speer for many years. Perhaps I am a little old bastard that has to hide his personal troubles in evil figures like this nazi architect. Perhaps it is so. I leave it to you to think what you want.

This said, this book is fantastic. It is the kind of book that HAS to be printed on paper. No amount of digital wizardry will give you the pleasure to have such a beautiful volume in your hands.

And the content. I do not like the bilingual format but the written information is rich and the graphic stuff is fascinating. Albert Speer probably is burning in hell but he was a genius. This book only increased my admiration for him. I recommend this book without hesitation.
44 internautes sur 48 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 thousand-year reich? -- not! 6 avril 2013
Par jpcooper - Publié sur Amazon.com
Format: Relié Achat vérifié
It was predictable that the publication of this book might generate a measure of controversy. Being a reprint, however, much of the expected furor will have likely dissipated. I think Monacelli provided a valuable service (and an exhibition of backbone) in the reprinting of this work. On several levels this book has merit and elevating Albert Speer's stature as a Nazi operative does not appear to be among them. The existence of the Third Reich is an historical reality and pretending otherwise is just delusional. Maybe ripping out the autobahn will erase its origins from our collective memories as well? It's rather curious that the same sensitivities are not evoked when the old Soviet Union is examined.
This work offers an important insight into both Speer's mind and that of his notorious client. There is no question Speer was a very talented architect and he was given the heady and challenging assignment to redesign one of Europe's greatest cities. Wether or not his plan ever had the remotest chance of realization the vision is none the less intriguing. Considering these two factors, alone, the book deserves to be in print.
Given the atrocities of the Third Reich, that the Allied powers would wish to destroy any and all vestiges of that regime is certainly understandable. From the luxury of a seventy-year interval architects and historians might view it otherwise. The Coliseum in Rome was the venue for the feeding of the Christians to the lions. The Aztec pyramids in Mexico provided the altars for hundreds of thousand of human sacrifices. And one can only imagine the treatment of those employed in the construction of the Great Pyramids of Egypt or the Great Wall of China. Should these structures have been destroyed for their association with evil? I'm not suggesting that the Reich Chancellery or any other Third Reich edifice had the same significance or merit as those notable ancient sites, but I do believe the principle is the same. There are even those who view the world's skyscrapers as symbols of capitalist exploitation and would gladly see them razed. To appreciate the historical or aesthetic merits of a given society's artifacts should not suggest an endorsement of that group's actions or philosophy. Again, it doesn't seem as though this standard is very evenly applied by the critics.
I found this book very interesting - a noteworthy example of classical government architecture and a peak into the megalomania of Adolf Hitler. The book is well produced and with Amazon's generous discounts, well priced. My only complaint, and it may not be justifiable, is that some of the photography is a bit grainy. I don't know if these old images could have been improved upon - but with a little photoshop magic - who knows? A worthwhile purchase for any college library or for the collector of architectural monographs.
15 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Man is Inferior to the Reich. 3 août 2013
Par Lord Branham - Publié sur Amazon.com
Format: Relié Achat vérifié
Over the course of my life I have adored the marble buildings of Rome and Constantinople due to the power they seem to invoke. This book illustrates the power Adolf Hitler wanted to impose on the world. From the monumental dome of the Great Hall to the fields of Nuremberg this book has it all.
Though I have always known about the plans for Hitlers new Germania, I had no idea of the size and proportions of this new behemoth. This book is a must buy for all of students and adults fascinated by the Third Reich and the symbolism they wanted their subjects to discover. Overall I highly recommend this book to all!
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great pictures and lot info about the new Berlin 6 décembre 2013
Par kraken - Publié sur Amazon.com
Format: Relié Achat vérifié
Awesome book. Great detail and amazing pictures. You can find here a speer best constructions. I miss more pictures about the reich chancellery but still a good book.
13 internautes sur 15 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Can a war criminal be a great artist? 19 avril 2013
Par Robert Ashton - Publié sur Amazon.com
Format: Relié Achat vérifié
It is convenient for us to believe that people like Hitler and other leaders of the Nazi party were mad or evil and misled or forced regular people into following them. When faced with the excesses carried out by apparently civilized people it is an easy answer to blame a malevolent force that once defeated must be expunged from the world. This Manichean view of life makes it hard to accept that things of value or beauty can be produced while these dark forces rule.
In 1985 Léon Krier produced "Albert Speer: Architecture 1932-1942", based on a series of conversations with and documentation provided by Albert Speer, the convicted war criminal, who served as Hitler's chief architect until in 1942 he became Reichsminister of war production. This attempt to assess the design skills of Speer as part of the history of 20th century architecture was severely attacked. A facsimile of the book, with a new preface by the author and foreword by Robert Stern, Dean of the Yale School of Architecture, has just been published by The Monacelli Press.
Speer was from an architectural family and had made a reputation prior to tying his fortunes to Hitler. His first major work was the construction of the Zeppelin-Feld Grandstand at Nuremberg in 1935. This huge stadium allowed for 90,000 parading people and with seating for over 60,000. At a party rally in 1937, 130 huge beams of light shot into the sky and created a huge space of light about which the British ambassador said "The effect was both solemn and beautiful, it was like being in a cathedral of ice" (p175). It continued the very effective use of space and light that was captured in Leni Riefenstahl's movie on the rally of 1934, "Triumph of the Will".
However, what was more stunning was the plan for the modernization of Berlin, to create a new capital that would be the focus for the European continent under the New Germany. The overall plan focused on mass transport and the organization of the city into mixed use zones (heavy industry would be outside the city) built around a "super Champs Elysée", the North-South avenue. This "display piece of the Reich's ambitions and achievements" would have been 5 kilometers in length featuring a giant triumphal arch, designed by Hitler, at one end and the "Grosse Halle" at the end that was planned to hold 180,000 spectators with a cupola bigger than St. Peter's or the Pantheon. Some of this was completed but much was not as the war effort became the priority. After the war much of Speer's work was destroyed, his Chancellery by the Russians and other works by the Germans themselves.
'To the question "Can a war criminal be a great artist?" my answer is undeniably yes." (Author's preface, page ix) and Speer was no political naïf. In his foreword to the original work he states, "my buildings were not solely intended to express the essence of the National-Socialist movement. They were an integral part of that movement." Unlike the Renaissance Popes who considered buildings as a pastime, "(f)or Hitler, it was part of the political will of the .. movement" (p213).
Krier puts Speer's work in the context of its purpose but tries to clear away the connection of the classical style to Nazism, which he believes has successfully been used by the Modernist school of architecture to decry the classical style of design. He is particularly concerned that so much opprobrium has fallen on architecture as a symbol of tyranny whereas other products of the time, the autobahn, Volkswagen etc., have emerged unscathed. Krier is clearly impassioned about his beliefs and makes a lot of important and thought provoking points if sometimes going a little too far.
There is a great deal of fascinating information in this book. The fact that it is a facsimile does produce a few issues in a fairly expensive book. The typeface fades sometimes on parts of the page and some of the photographs are grainy. Not surprisingly, most of the work is in black and white but the few color exceptions stand out, particularly one example showing the red marble around on the ornate doors in the Chancellery. The book was originally both in French and English and you get the essays and text in both languages. The new foreword is very thoughtful and there is an edited version of the author's original essay "An Architecture of Desire" along with the original. Apart from a few updates, I didn't really see the value of this "editing". It varies from the original in odd ways and is often not as coherent or as "colorful".
This is a fascinating book for anyone trying to understand the role that architecture played in the minds of key Nazis like Hitler and Speer and also the Classical design history of the 20th century. It does however force the reader to face the question of whether something as bad as the Nazi worldview can produce good things. It is a question that the equally murderous regime of the Soviet Union has been largely able to avoid by winning the war and only slowly revealing its true excesses. By avoiding these difficult questions or giving simplistic answers we run the risk of failing to understand how these 20th century tyrannies arose and how they might again.
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