Eine Folge für die Verwirklichung des neuen Baugedankens. [Comprising:] Herbst 1921; Winter 1921/22; 1922 / Frühling; 1922 / Sommer.Magdeburg: Karl Peters, 1921-22 Stock Code: 146678
The complete runFirst separate editions, first printings, of these four numbers (all published issues) of the Utopian Weimar architecture and civil planning magazine, Frühlicht, the mouthpiece for a group of Utopian architects and artists, headed by the Taut brothers Bruno and Max, and including Hans Scharoun, Max Bruckmann, and Carl Krayl among others.
The renown German architect and urban planner Bruno Taut (1880-1938), active during the Weimar period, became a committed follower of the Garden City movement, which inspired his design for the Berlin housing estate Gartenstadt Falkenberg (nicknamed the "Paint Box Estates" due to Taut's commitment to lively, clashing colours). He worked for the city architect of Berlin, Martin Wagner, on some of Berlin's Modernist Housing Estates, featuring controversial modern flat roofs, access to sunlight, air, and gardens. Some of his buildings are now recognized as UNESCO World Heritage Sites.
Frühlicht started off in Berlin, where it was published as a supplement to the first 14 issues of Städtbaukunst alter und neuer Zeit, before Bruno Taut (1880-1938) and his group fell out with the publishers, bringing the collaboration to a halt. Frühlicht was then relaunched as a separate journal, from Magdeburg where Taut had moved and been appointed as the city's chief architect and planner. The magazine showcases a number of Taut's own projects for Magdeburg, as well as the work of other architects, including the Russian architect and designer Vladimir Tatlin (1885-1953), with his tower for the Third International Congress appearing in volume 3, and the German-American architect Ludwig Mies van der Rohe (1886-1969), with his glass skyscraper illustrated in volume 4.
4 volumes, quarto, approx. pp. 30 per volume. Original blue, purple, red, and cream wire-stitched wrappers, printed in colour; continuous pagination from first to last volume.
Monochrome photographic and line-drawing illustrations throughout, several unpaginated leaves of advertisements in each volume.
Slight peripheral sunning, mostly to vol. 2, covers of vol. 4 foxed, the wrappers otherwise sound and fresh, occasional light foxing to contents, else internally bright; a very good set.
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