German Postwar Modern

Focus on Postwar Modern Architecture (and occasionally Design and Art) in Germany, its neighbouring countries and the world

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Office Building of “KFR Vastgoedadviseurs” (1974) in Amstelveen, the Netherlands. Architect unknown. Photo by Waldo van Suchtelen.

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Interior of the Jeruzalemkerk (1966) in Utrecht, the Netherlands. Architect unknown.

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My prayers have finally been answered: a handy version of Taschen’s monumental book about Gio Ponti (1891-1979) has just been published. Although one of Italy’s most significant architects and designers deserves nothing less than a behemoth of a monograph, a smaller and more accessible version is very welcome.

The book still contains a chronological catalogue of works, ranging from Ponti’s early houses over the foundation of Domus magazine and first design works to his late churches and the Denver Art Museum. Each project is documented in photo spreads, drawings and plans that have been reduced compared to the original edition. The former are preceded by a number of essays that address various aspects of Gio Ponti’s career, e.g. his design philosophy or his criticism of industrial design but they also shed light on the unique climate of 1950s Milan. The essays provide additional and necessary context to Ponti’s overabundant creativity and also trace the origins of his approach towards architecture, design, lifestyle and spatial experience, an approach best described as Gesamtkunstwerk.

This approach is also what continues to resound from reading and browsing the book: Gio Ponti ingeniously combined and adjusted all aspects of a building, an interior or just a room to make it an experience of joy and beauty.

The present volume surely is one of the most comprehensive books about Gio Ponti and even in its present downsized version still a showcase of his ingenious oeuvre. In view of the excellent price-content ratio a true must-have!

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Berufsschule V (1952-54) in Hannover, Germany, by Werner Dierschke & Sigrid Kleine

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Neue Pinakothek (1975-81) in Munich, Germany, by Alexander von Branca

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A Side Chair designed by Frank Lloyd Wright for the Donald Loveness House in Stillwater, MN, USA, around 1956. 

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Hoffnungskirche (1964-66) in Koblenz, Germany, by Wolfgang Schumacher

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Church St Johannes (1968-70) in Erbringen, Germany, by Peter von Stipelen

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In recent years the work of Catalan architect Ricardo Bofill (1939-2022) has seen something of a renaissance: (re)discovered in social media and consecutively by the fashion industry and tourists, his architecture today is widely revered for its boldness and timelessness. Against this background it is actually quite surprising that Bofill's work needed rediscovery and also has received little attention in the past, especially in the context of critical regionalism of which it surely is a major exponent.

In 2019 publisher gestalten published the first comprehensive monograph devoted to the output of Ricardo Bofill Taller de Arquitectura, an acclaimed volume that in mid-2025 was published in the present new edition: „Ricardo Bofill: Visions of Architecture“ brings together stunning illustrations and expert essays that contextualize as well as situate Bofill’s architecture within 20th century architectural history. Douglas Murphy e.g. points out that Bofill very much rejected Le Corbusier’s urbanism and embraced what the social sciences found out about and recommended for sustainable and user-oriented architecture and urbanism. In keeping with this, Bofill’s firm’s housing developments were designed to accommodate existing ways of life while at the same time enriching them. The result were colorful and formally exalted complexes that were appropriate of their times but didn’t force their newness on the residents.

But Bofill’s probably best known project is „La Fabrica“, a former concrete factory near Barcelona that Bofill transformed into his home and studio between 1973 and 1975: including offices, a model-making workshop, archives and a library, the complex is hailed for its beautiful spaces and lofty character. Extensively featured in photographs and plans, „La Fabrica“ also is one of the highlights of the book.

„Ricardo Bofill: Visions of Architecture“ is a must-have publication on a fascinating Catalan architect whose approach to architecture seems surprisingly fresh and contemporary. Highly recommended!

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Church “De Hoeksteen” (1956) in Voorburg, the Netherlands, by Hornstra & Gerbracht. Demolished in 2007.

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Hill House (1903-04) in Helensburgh, Scotland, by Charles Rennie Mackintosh

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An Executive Desk designed by Mario Gottardi in 1947 for Egidio Roncoroni, Cantù, Italy

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Westhope House (1929-31) in Tulsa, OK, USA, by Frank Lloyd Wright

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Paaskerk (1961-63) in Amstelveen, the Netherlands, by J.B. Baron van Asbeck

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One of the earliest appreciations of Mies van der Rohe’s work was written by no other than Max Bill, the former Bauhaus student and at times harsh critic of his contemporaries: already in 1948 Bill started putting together a little book about the master’s life and work which unfortunately took seven years to finally be published in the series „architetti del movimento modern“ by „Il Balcone“ in Milan in 1955. The small volume is profusely illustrated with plans and photographs specifically provided by Mies’ office in Chicago and proves Bill’s admiration for his architectural oeuvre: even though he didn’t withhold his criticism, Bill acknowledged Mies as a real master builder whose buildings are the formidable results of a strict philosophy.

70 years after its initial publication Max Bill’s homage to Mies has been reissued by Form + Zweck in collaboration with the Mies van der Rohe Haus in Berlin. In keeping with the document character of the book, the editors decided to leave Bill’s text unredacted and thus offer an authentic experience of the author’s personal account of Mies’ life and work. Unfortunately, for technical reasons, the editors at Mies van der Rohe Haus couldn’t use the original illustrations included in the book and had to make a new selection based on the original publication. This is ultimately negligible since the new selection also consists of historic drawings, montages and photographs that underscore what Max Bill admired about Mies’ architecture: the clarity, rigidity (that he himself applied in his architecture) and purity and overall beauty of his designs. 

Although, of course, Bill’s little book doesn’t include new insights into Mies’ oeuvre it is nonetheless a very interesting historic document that shows how Bill saw Mies. A nice addition to the Mies section of my library.

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Cultural Center (1958-62) in Wolfsburg, Germany, by Alvar Aalto

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Extension (1975-78) of the Volkstheater in Rostock, Germany. Architect unknown.