INSCRIBED ASSOCIATION COPY

SPACE, TIME AND ARCHITECTURE
THE GROWTH OF A NEW TRADITION
Sigfried Giedion

7.25 x 10 hardcover book with 600 pages with 321 b/w photographs, floorplans, diagrams, charts, etc. This book is based The Charles Eliot Norton Lectures for 1938-1939 that Giedion gave at Harvard 1938-39. One of the key books on modern architecture. Nicely printed, with typography and classic cover design by Herbert Bayer.

This book was often used in the training of architects all over the western world. The subtitle refers to Giedion's conviction that the modern movement was the logical outcome of what he saw as a linear historical development. To make his case he gives his version of the history of architecture, and a big portion deals with the industrial era and how new technologies changed architecture and society as a whole. In addition to expounding on architecture's history, he addresses key architects and their notable achievements.

First published in 1941, this monumental work has been a milestone in architectural theory. After surveying the modern age's European heritage, Giedion hones in on the demand for morality in Architecture', American developments , space-time in art (cubism , futurism), architecture (the Bauhaus, Le Corbusier, Mies van der Rohe & Aalto) and construction and city planning.

Contains work by the following architects, designers, artists and assorted forward-thinkers: Le Corbusier, Theo van Doesburg, Otto Wagner, August Perret, Richard neutra, H. H. Richardson, Mies van der Rohe, Louis Sullivan, Frank Lloyd Wright, Kasmir Malevich, Walter Gropius, Laszlo Moholy-Nagy, Alvar Aalto, Marcel Breuer, Pierre Jeanneret, W. Van Tijen and many others.

Charles Niedringhaus graduated as one of 5 students in the first graduating class of the Institute of Design in 1942. As a student, he served as Institute Director Lįszló Moholy-Nagy¹s asssitant in the Basic and Product Design Workshop, as well as assisting the Director in two seminars on Contemporary Art and Design problems. The student Niedringhaus designed and built a prototype machine dubbed the ³Smell-O-Meter.² This device proved less useful than the machine he co-developed with Nathan Lerner for forming plywood that was used in making most of the school's furniture.

After graduation, Niedringhaus¹ skills in furniture design and production quickly came to the attention of Hans Knoll -- always on the lookout for designers to work for what was then Knoll Associates. Niedringhaus began his long and fruitful career with Knoll when he assisted Herbert Matter with the production of the KNOLL INDEX OF DESIGNS in 1950. Then Niedringhaus and Florence Knoll were granted a patent on July 21, 1953 for their design of a sofa/daybed on angular steel frame.

Throughout his long career with Knoll, Niedringhaus often acted as an artistic liaison linking the inspired visions of designers such as Isamu Noguchi with Knoll's engineers, draughtsmen, and marketing departments. This confluence of art and business was fundamental to Knoll's identity and success. That same confluence of art and business first encountered as Moholy-Nagy¹s student in Chicago helped Charles Niedringhaus secure his rightful spot in the pantheon of American Modernism.

REFERENCES: Laszlo Moholy-Nagy: THE NEW VISION and ABSTRACT OF AN ARTIST. NYC: Wittenborn, 1946. pgs. 24-5: figs. 2 a.-b.; Laszlo Moholy-Nagy: VISION IN MOTION. Chicago: Theobald 1947. pg. 46: fig. 20; pgs. 88-9: figs. 86-92; Herbert Matter (designer), Knoll Associates: KNOLL INDEX OF DESIGNS. NYC: Knoll Associates, Inc., with Hockaday Associates, 1950; David Travis, Elizabeth Siegel (editors): TAKEN BY DESIGN: PHOTOGRAPHS FROM THE INSTITUTE OF DESIGN, 1937-1971. Chicago: University of Chicago Press, 2002.

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