ISTORIA ARHITECTURII MODERNE / BIBLIOGRAFIE GENERAL

Aalto Alvar, COMPLETE WORKS, Ed t o! G r"#$r%$r, &'r () *+,A()$!#a() S $%.r $d, ERICH MENDELSOHN, IDEEN BAUTEN PRO/EKTE, B$rl ! *+01 All$! G2, CHARLES MOORE, Ed t o! Wat"o!3G45t l, N$6 7or8 *+09 A!d$r"o!, Sta!.ord, O6$!, PETER BEHRENS AND THE NEW ARCHITECTURE OF GERMAN7 *+99/*+*1, N$6 7or8 *+,0 ARCHITEKTUR *+--3*+:;2 Do(4<$!tat o! o. S5$$r=" 6or8 $""a>" #> G2F2Ko() a!d L2O2Lar""o!, B$rl ! *+10 Ar%a! G 4l o Carlo, IL PENSIERO CRITICO DI ANTONIO SANT=ELLIA, Do5o Sa!t=Ella, M la!o l+-? Ar%a! G 4l o Carlo, L=ARTE MODERNA *119/*+19, Ed @ o! C2A2Sa!"o! S252A2 Flor$!Aa *+1? ARHITECTURA ARMENIEI SOBIETICE *+;93*+?9, Mo"(ova *+?* ARHITECTURA SOBIETIC, A!4ar IB/*+?;, Mo"(ova *+?? ARTA RUS CI SOBIETIC, A(ad$< a d$ ArtD a URSS *+*13*+?9, Mo"(ova *+?: Ba#$!( 8ov M2B2, ARTA ERNEASC DECORATIB DIN TRANSCAUCA&IA CI MAECTRII EI, Ed t4ra Tr4dr$@$rv @da<, Mo"(ova *+:0 Ballo G4 do, Dor$ A")to!, ANTONIO SANT=ELIA, Ar!oldo Mo!dador Ed tor$, M la!o *+0, Ba!)a< R$>!$r, THEOR7 AND DESIGN IN THE FIRST MACHINE AGE, MlT Pr$"", Ca<#r d%$ l+09 Bar# $r U<#$rto, /OHANNES /ACOBUS PIETER OUD, &a! ()$ll Ed tor$ S52A, Bolo%!a l+0, Bard$"() M2D2, GIOBANNI MICHELUCCI, Al !$a Ed tr ($, Flor$!Aa l+00 Ba>$r H2, /OHS RUSSEL POPE AND THE CREATION OF A SEPARATE AMERICAN CLASSICISM, B ($!@a, l++l B$d.ord St$v$!, /OHN RUSSEL POPE AND THE CREATION OF A SEPARATE AMERICAN CLASSICISM, B ($!@a, *++* B$ll4@@ A<$d$o F Co!.ort Cla4d a, GIOBANNI MICHELUCCI, Ed2 El$(ta, M la!o l+0, B$!$volo L$o!ardo, GESCHICHTE DER ARCHITEKTUR, M'!()$! l+,: B$!$volo L$o!ardo, HISTOR7 OF MODERN ARCHITECTURE, MIT Pr$"", Ca<#r d%$ l+1l B$!$volo L$o!ardo, STORIA DELL= ARCHITETTURA MODERNA, Ed tor Lat$r@a F F %l , Bar l+01 B$!Ga< ! W2, DAS PASSAGEENWERK, Fra!8.4rt l+0; B$rd ! Paolo, WALTER GROPIUS, &a! ()$ll Ed tor$ S5A, Bolo%!a l+0B$r% MaH, DIE /AHRHUNDERTHALLE UND DAS NEU&E AUSSTELLUNGSGEIUDE DER STADT BRESLAU, D$4t"()$ Ba4@$ t4!% ?l/l+lB$rla%$ H$!dr 8 P$tr4", DISEGNI / TEKENINGEN , JB $!!al$ d B$!$@ aK Ar"$!al$ Ed tr ($ *+0, B$rla%$ H$!dr 8 P$tr4", NEUE AMERIKANISCHE ARCHITEKTUR S()6$ @$r "()$ Ba4@$ t4!% l+l; B$rt)old H2, ART IN THE THIRD REICH, Pa!t)$o! Boo8", N$6 7or8 *+10 Bla"$r W2, MIES BAN DER ROHE, &a! ()$ll Ed tor$ S5A, Bolo%!a l+11 Boa%a G or% o, RICCARDO MORANDI, &a! ()$ll Ed tor$ S5A, Bolo%!a l+0: Bo$" %$r W ll , LE CORBUSIER $t PIERRE /EANNERET, OEUBRE COMPLETE, Ed2G r"#$r%$r, &'r () l+-?, l+,? Bo$" %$r W ll , LE CORBUSIER, &a! ()$ll Ed tor$ S5A, Bolo%!a l+11 Bo!dar($!8o I2A2, PIATA ROCIE DIN MOSCOBA, Mo"(ova *++* Bordo%!a E!r (o, GUIDO CANELLA, El$(ta Ed tr ($, M la!o l+01 Bor$G"@a L$r@> W2, IL FASCISMO E L=EUROPA ORIENTALE Ed tor Lat$r@a F F %l S5A, Bar *+0* Bor" Fra!(o, L=ORDRE MONUMENTALE, F$r!a!d Ha@a!, Par " *+0, Bo""a%l a Ro""a!a, IL ART DLCO ITALIANO, R @oll Ed tor$, M la!o *+1? Bra%) $r G a!! , ALDO ROSSI, &a! ()$ll Ed tor$ S5A, Bolo%!a l+0l Bro8! H2A2, THE PRAIRIE SCHOOL, U! v$r" t> o. Toro!to Pr$"", Toro!to l+1; Bro6! T2M2, THE WORK OF GERRIT RIETBELT, Ed t o! A2W2Br4!a, Utr$()tt l+?0 BRUNO TAUT l+093l+-0, A8ad$< $ d$r K'!"t$ B$rl !, B$rl ! l+09 B4()a!a! W ll a<, MACKINTISH=S MASTERWORK, T)$ Gla"%o6 S(ool o. Art, Gla"%o6 l+0+ B4()$r Lot)ar, KULTURHISTORISCHE SKI&&EN AUS DER INDUSTRIEAUSSTELLUNG ALLER BMLKER, Lo!dra l0?l B4dd$!" $% T l<a!, INDUSTRIEKULTUR, PETER BEHRENS UND DIE AEG l+91, l+l:, B$rl ! l+1+ B'rd$8 B$r!)ard E2, DESIGN, Ar!oldo Mo!dador Ed tor$, B$ro!a l++; B4")3Bro6! Al#$rt, LOUIS HOBSON SULLIBAN, N$6 7or8 l+,9 Cald$!#> C2, H4lt ! Olo., ASPLUND, Sto(8)ol< l+0?

Calv$" Ma4r @ o, DER FUTURISMUS, B$!$d 8t Ta"()$! B$rla% G<#H F Co2KG2 KNl! l+0+ Calv$" Ma4r @ o, FUTURISMUS BON GIACOMO BALLA BIS GINO SEBERINI, S()4l$r B$rla%2 l+00 Ca!ta(4@ !o S)$r#a!, MODERN HOUSES OF THE WORLD, D4tta! B "ta P (t4r$#a(8, Lo!dra l+,: Car"t$! P$t$r, War!(8$, DE STI/L, B$!$d 8 Ta"()$! B$rla% G<#H F Co2KG, KNl! *++9 Ca"( ato Mar "t$lla, LA SCUOLA DI AMSTERDAM &a! ()$ll Ed tor$ S5A, Bolo%!a l+01 CATALOGO BOLLAFFI DELL=ARCHITTETURA ITALIANA, Ja4tor O R$!@o Dol($tt F G 4"$55$ L4 % Mar ! K, G 4l o Bollatt Ed tor$ S5A, *+,, C$d$r!a A!to! o, MUSSOLINI URBANISTA, Ed tor Lat$r@a F F %l S5A, l+0l C)a<5 %!$4ll$ B2, A()$ /$a!, L=ARCHITECTURE DU PP$ SIQCLE, Pr$""$" U! v$r" ta r$" d$ Fra!($, Par " l+,; C)a!3Ma%o<$dov S2O2, ILIA GOLOSOB, Ed t4ra Stro @dat, Mo"(ova l+00 C)a!3Ma%o<$dov S2O2, PIONIERE DER SOW/ETISCHEN ARCHITEKTUR, B$rla% d$r K4!"t, Dr$"da *+0C)$r!$v () El$!a, RUSSIAN GRAPHIC DESIGN, A##$v ll$ Pr$"" P4#l ")$r", N$6 7or8 *++9 C 4(( G or% o, F Fra!($"(o Dal Co, ATLANTE DELL=ARCHITETTURA ITALIANA DEL NOBECENTO, El$(ta Ed tr ($, M la!o *++* C 4(( G or% o, GLI ARCHITETTI E IL FASCISMO, G 4l o E !a4d Ed tor$, Tor !o *+0+ C 4(( G or% o, L=IDEA DI CLASSICO NELL= ARCHITETTURA DEL RA&IONALISMO, B ($!@a *++* CLASSICISMI NELL=ARCHITETTURA DEGLI ANNI TRENTA IN EUROPA E AMERICA, C$!tro I!t$r!a@ o!al$ d St4d d Ar() t$tt4ra RA!dr$a Pallad oR, B ($!@a *++* Co)$! /$a! Lo4 ", L=ACCADEMISMO SOBIETICO E IL CONTRIBUTO DEGLI ARCHITETTI EUROPEI, B ($!@a *++* Co)$! /$a! Lo4 ", Mar(o d$ M ()$l ", Ma!.r$do Ta.4r , URSS *+*1,*+10, ORASUL, ARHITECTURA, Ed tr ($ L=ES4$rr$, *+1+ Coll !" G2R2, ANTONI GAUDT, Ed t o! Bra@ ll$r, N$6 7or8 *+,9 Coll !" P2, CONCRETE, THE BISION OF A NEW ARCHITECTURE, Ed t o! Hor @o!, N$6 7or8 *+?+ Co!d t C2W2, AMERICAN BUILDING ART, OH.ord U! v$r" t> Pr$"", N$6 7or8 *+,* Co!d t Carl W2, THE CHICAGO SCHOOL OF ARCHI,TECTURE, T)$ U! v$r" t> o. C) (a%o Pr$"", C) (a%o *+,: CONTROSPA&IO, Bar , Ed2 D$dalo, !r2:,?, *+1* Co4la!dr$ Ro#$rt, DE STALIN A HITLER, *+-,,*+-+, Par " *+?9 Crott S$r% o, BITTORIO GREGOTTI, &a! ()$ll Ed tor$ S5A, Bolo%!a *+0, C4r !"() 3Boro!a G)2, INTRODUCERE UN ARHITECTURA COMPARAT, Ed2T$)! (D, B4(4r$Vt *++* C4rt " W2/2R2, MODERN ARCHITECTURE SINCE *+99, Ed t o! P)a do!, OH.ord *+0; DadaV$# S2A2, U"$! !ov M2A2, ARHITECTURA A&ERBAID/ANULUI SOBIETIC, Mo"(ova *+?9 Da%4t ! K2K2, TRSTURI ARHITECTURALE UN CONSTRUCEII SOCIALE, Mo"(ova *+?D$ F$l ($ R$!@o, MUSSOLINI IL REBOLU&IONARIO, IL FASCISTA, IL DUCE, Ed2 E !a4d , Tor !o *+,0 D$ F$l ($ R$!@o, STORIA DELL=ITALIA CONTEMPO,RANEA, Ed2 S( $!t . ()$ Ital a!$, Na5ol *+10 D$ F4"(o R$!ato, L=IDEA DI ARCHITETTURA, Ed2 Fa#r , Bo<5 a! , So!@o%!o, Eta" S5A, *+00 D$l$vo> R2L2, DIMENSIONS DU PP$ SILCLE, Ed t o!" d=Art Al#$rt S8 ra, G$!$va *+,? D$" d$r Paolo, N$rv Gr2 P $r L4 % , Po" ta!o G 4"$55$, PIER LUIGI NERBI, &a! ()$ll Ed tor$ S5A2, Bolo%!a *+1+ DICTIONNAIRE DE L=ARCHITECTURE MODERNE, F$r!a!d Ha@a!, Par " *+,: DIN ISTORIA ARHITECTURII SOBIETICE *+:*,*+:?, MATERIALE CI DOCUMENTE, Mo"(ova *+10 Do$"#4r% T)$o va!, SCRITTI DI ARTE E DI ARCHITETTURA, O.. ( !a Ed @ o! , Ro<a *+1+ Dor.l$" G llo, L=ARCHITETTURA MODERNA, Aldo Gar@a!t Ed tor$, *+1* Dr$Hl$r A2, FIBE ARCHITECTS, EISENMAN, GRABES, GWATHME7, HE/DUK, MEIER, OH.ord U! v$r" t> Pr$"", N$6 7or8 *+1; J$d2 r$v2 *+1?K Dr$Hl$r A2, LUDWIG MIES BAN DER ROHE, Ed t o! Bra@ ll$r, N$6 7or8 *+,9 Dr$Hl$r A2, TRANSFORMATION IN MODERN ARCHITECTURE, Ed t o! M4"$4< o. Mod$r! Art, N$6 7or8 *+,9 D4!(a! Ala"ta r, ART DLCO, R4"(o! Ed tor$ S252A2, M la!o *+0+ D4!"t$r Dav d, LEITBILDER DER ARCHITEKTUR IM ;92 /AHRHUNDERT, Wo)!)W4"$r *+99,*+::, M'!()$! *+0, E(ol$ Nat o!al$ S45Xr $4r$ d$" B$a4H Art", LES ARCHITECTS DE LA LIBERTL *10+,*1++ Ed2Tav$r!$, LE SIQGE DE SHELL, HOLLANDE DE /2/2P2OUD Jl+-+K, B ($!@a l++l EDILI&IA MODERNA !r209, "$5t$<#r $ *+,El%$r D $t<ar, DER EPPRESIONISMUS, EINE DEUTSCHE KUNSTREBOLUTION, B$!$d 8t Ta"()$! B$rla% G<#H F Co2KG,

KNl! *+00 E!r (o Ma!t$!$ro, IL RA&IONALISMO ITALIANO, &a! ()$ll Ed tor$ Bolo%!a S5A, Bolo%!a *+0: F$"t"()r .t @'r HAUPTBESAMMLUNG DES BEREINS DEUTSCHER INGENIEURE, B$rl ! *0+: F t() /2M2, WALTER GROPIUS, Ed t o! Bra@ ll$r, N$6 7or8 *+,9 Fl$ % Karl, ALBAR AALTO, &a! ()$ll Ed tor$ S5A2,Bolo%!a *+10 Fl$< !% /2, Ho4!o4r H2, P$v"!$r N2, THE PENGUIN DICTIONAR7 OF ARCHITECTUREY Ed t o! P !%4 !, Balt <or$ *+,, Fl$t()$r B2, A HISTOR7 OF ARCHITECTURE, Ed t o! S(r #!$r, N$6 7or8 *+1? Fl $dl Gott.r $d, GUSTAB KLIMT, B$!$d 8t Ta"()$! B$rla% G<#H F Co2KG, KNl! *+0+ For"<a! Er (, KARL FRIEDRICH SCHINKEL, L$ 5@ % *+;0 Fo""at Paolo, L=INTEGRA&IONE DELLE ARTI E LA PITTURA MURALE, B ($!@a *++* Fra<5to! K$!$t), A NEW WABE OF /APANESE ARCHITECTURE, IAUS Catalo%4$, N$6 7or8 *+10 Fra<5to! K$!$t), MODERNE ARCHITECTURE *0;93*+:?, Glo#al Ar() t$(t4r$ Do(4<$!t S5$( al I""4$, To8>o *+0Fra<5to! K$!$t), MODERNE ARCHITECTURE *0?*3*+*+, Glo#al Ar() t$(t4r$ Do(4<$!t S5$( al I""4$, To8>o *+0* Fra<5to! K$!$t), STORIA DELL=ARCHITETTURA MODERNA, &a! ()$ll Ed tor$ S5A, Bolo%!a *+0, Fra<5to! K$!$t), HISTOIRE CRITIZUE DE L=ARCHITECTURE MODERNE, P) l 55$ S$r", Par " *+0? Fra!( "(o!o M2, WALTER GROPIUS AND THE CREATION OF THE BAUHAUS IN WEIMAR, U! v$r" t> o. Ill !o " Pr$"", Ur#a!a *+1* Fra!8 Hart<4t, IL CLASSICO COME RMODERNO MODERATOR, B ($!@a *++* Fr $d<a! M ld$rd, DE STI/L *+*13*+-*, BISION OF UTOPIA, OH.ord *+0, FUNCTIONAL ARCHITECTURE *+;?3*+:9, B$!$d 8t Ta"()$! B$rla% G<#H F Co2KG, KNl! *++9 F4ta%a6a 748 o, FRANK LLO7D WRIGHT ON ARCHITECTURE, N$6 7or8 *+:* Gallo MaH, I MANIFESTI NELLA STORIA E NEL COSTUME, A2Mo!dador Ed tor$, B$ro!a *+0+ Gar% a! Ro#$rto, PERRET E L=ESPOSI&IONE DI PARIGI DEL *+-1, B ($!@a *++* Garo.a!o F2F B$r"a! L2, ADALBERTO LIBERA, &a! ()$ll Ed tor$ S5A, Bolo%!a *+0+ GEGENWARTSARCHITEKTUR, D$4t"()$,B$rla%",a!"talt, St4tt%art *+0? G$!t l$ E< l o, LE ORIGINI DELL=IDEOLOGIA FASCISTA, Ed2 Lat$r@a F F %l S5A, Ro<a *+1? G$r$t"$%%$r H$ !@ F P$ !t$r MaH, OTTO WAGNER *0:*3*+*0, Sal@#4r% *+,: G $d o! S $%.r $d, SPA&IO, TEMPO ED ARCHITETTURA, Ulr (o Ho$5l Ed tor$, M la!o *+0* G ov$tt Paola, RUDOLF STEINER, Ed @ o! M$d t$ra!X$, Ro<a *++; G 4d ($ Ga"5ar$, MUSSOLINI, U! o!$ T 5o%ra. (o Ed tr ($ Tor !$"$, UTET, Tor !o *+11 G 4r%ola R2, M$)ta /2, LOUIS I2KHAN, &a! ()$ll Ed tor$ S5A, Bolo%!a *+1+ Golo<"to(8 I%or, L=ART TOTALITAIRE, Ed t o!" CarrX, Par " *++* GN""$l P2, L$4t)W4"$r G2, ARCHITEKTUR DES ;92/a)r)4!d$rt", B$!$d 8t Ta"()$! B$rla%, KNl! *++9 Gr$8ov A2P2, FRESCE, Mo"(ova *+01 Gr$"l$r G 4l a!o, CLASSICO E BERNACOLO NELL= ARCHITETTURA RDELL=ITALIA D=OLTREMARER, B ($!@a *++* Gro5 4" Walt$r, DIE NEUE ARCHITEKTUR UND DAS BAUHAUS, Ma !@ *+0, Gro""<a! El "a#$t), PAUL CRET, TOWARD A NEW CLASSICISM, B ($!@a *++* Gr4<#$r%$r R2, THE *;,TH 7EAR OF REICH, N$6 7or8 *+1* G4#l$r /a(S4$", L=IDEA DI CLASSICISMO NEL CONCORSO PER PALA&&O DELLA SOCIETA DELLE NA&IONI, B ($!@a *++* G'$ll Pav $r, ANTONI GAUDI, &a! ()$ll Ed tor$ S5A, Bolo%!a *+0, G4$r( o A2d$l, RUSSISCHE ABANTGARDE, Frat$ll Fa##r Ed tor , *+00 G'!"()$l G'!t$r, GROSSE KONSTRUKTEURE, Fra!8.4rt/B $!a *+,, G4t)$ < F2, FRANK LLO7D WRIGHT ON ARCHITEC,TURE, SELECTED WRITINGS, *0+:,*+:9, Ed t o! D4$ll, Sloa! a!d P $r($, N$6 7or8 *+:* Ha!l$ H2, F Str$<5l$r /2, DER SELBSTGEMACHTESTEIN, ! NKBK, B$rl ! *+0, H$r"$> G$or%$, IL CLASSICISMO AMERICANO E LA SUA DOCTRINA TEORETICA, *+-9,*+:9, B ($!@a *++* H t()(o(8 H$!r>3R4""$l, F Da!@ E2, THE ARCHITECTURE OF SKIDMORE, OWING AND MERILL, *+?9,*+,;, Ed t o! Pra$%$r, N$6 7or8 *+,H t()(o(8 H$!r>3R4""$l, F /o)!"o! P) l 5, LO STILE INTERNA&IONALE, &a! ()$ll Ed tor$ S5A, Bolo%!a *+0,

H t()(o(8 H$!r>3R4""$l, ARCHITECTURE NINETEENTH F TWENTIETH CENTURIES, Mar>la!d *+?0 H t()(o(8 H$!r>3R4""$l, IN THE NATURE OF MATERIALS, THE BUILDING OF FRANK LLO7D WRIGHT, *001,*+:*, Ed t o! D4$ll, Sloa! a!d P $r($, N$6 7or8 *+:; H t()(o(8 H$!r>3R4""$l, LATIN AMERICAN ARCHITECTURE SINCE *+:?, Ed t o! M4"$4< o. Mod$r! Art, N$6 7or8 *+?? H tl$r Adol., LIBRES PROPOS SUR LA GUERRE ET LA PAIP, Par " *+?; H tl$r Adol., MEIN KAMPF, L$" B$ll$" Ed t o!", Par " *+-0 Ho$#$r Fr t@, PETER BEHRES, M'!()$! *+*Ho.<a!! W$r!$r F K4lt$r<a!! Udo, BAUKUNST UNSERER &EIT, E""$! *+,+ H4$t B$r!ard, GUNNAR ASPLUND, B ($!@a *++* H't() Bol8$r, DER M[NCHNER GLASPALAST *0?:3*+-*, B$rl ! *+0? H'tt$r Karl3H$ !@, ARCHITEKTUR IN BERLIN *+993*+--, Dr$"d$! *+00 I8o!! 8ov A2, L=ARCHITECTURE RUSSE DE LA PERIODE SOBIETIZUE, P $rr$ Marda%a Ed t$4r, *++9 ISTORIA ARHITECTURII SOBIETICE, *+*+3*+:?, Mo"(ova *+,; /a(o#4" /2, TWENTIETH,CENTUR7 ARCHITECTURE, THE MIDDLE 7EARS *+:9,*+:?, Ed t o! Pra$%$r, N$6 7or8 *+,, /a$%$r Fal8, BAUEN IN DEUTSCLAND, St4tt%art *+0? /a!"o! H2W2, THE HISTOR7 OF ART, Ed t o! A#ra<", N$6 7or8 *+0; /$!(8" C)arl$", ARCHITEKTUR HEUTE, St4tt%art *+00 /$!(8" C)arl$", LE CORBUSIER AND THE TRAGIC BIEW OF ARCHITECTURE, Harvard U! v$r" t> Pr$"", Ca<#r d%$ *+1/$!(8" C)arl$", LE LANGAGE DE L=ARCHITECTURE POST,MODERNE, A(ad$<> Ed t o! D$!o\l, Lo!dra *+1+ /$!(8" C)arl$", POSTMODERN CLASSICISM, Ar() t$(t4ral D$" %!, Lo!dra *+09 /o$d (8$ /'r%$!, A HISTOR7 OF MODERN ARCHITECTURE, Ed t o! Pra$%$r, N$6 7or8 *+?+ /o)!"o! P) l 5, MIES BAN DER ROHE, Ed t o! M4"$4< o. Art, N$6 7or8 *+10 /oltov"8 I2B2, PROIECTE CI CONSTRUCEII, Mo"(ova *+?? /ord> W2H2, AMERICAN BUILDINGS AND THIER ARCHITECTS, Ed t o! Do4#l$da>, N$6 7or8 *+1; /ord> W2H2, THE IMPACT OF EUROPEAN MODERNISM IN THE MIDTWENTHIETH CENTUR7, Ed t o! Do4#l$da>, N$6 7or8 *+1; /ord> W ll a< H2, PROGRESSIBE AND ACADEMIC IDEALS AT THE TURN OF THE TWENTHITH CENTUR7, Ed t o! Do4#l$da>, N$6 7or8 *+1; Kar()$r Eva, OTTO DIP, B$!$d 8t Ta"()$! B$rla% G<#H F Co2KG, KNl! *+00 K$r")a6 Ia!, ZU=EST, CE ZUE LE NA&ISME ], Ed t o!" Gall <ard, Par " *++; K dd$r3S< t) G2E2, THE ARCHITECTURE OF THE UNITED STATES, A!()or Pr$"", N$6 7or8 *+0* K r !"8> C2H2, ROCKEFELLER CENTER, OH.ord U! v$r" t> Pr$"", N$6 7or8 *+10 K r"() Kar !, DIE WEISSENHOFSIEDLUNG, DIE WOHNUNG, St4tt%art *+;1 J*+01K Klaa" G$rt vo!, &EIT SPANNT SICH DER BOGEN *0,?3*+,?, O2O2 *+,? Ko55 A2, L=ARCHITECTURE DE LA PERIODE STALINIENNE, Gr$!o#l$ *+1, Ko55$l8a<< St$.a!, K[NSTLISCHE PARADIESE, B$rl ! *+00 Kor!.$ld I2A2, LAUREAEII PREMIILOR STALIN DE ARHITECTUR, *+:*3*+?9, Mo"(ova *+?Ko"to. S2, HISTOR7 OF ARCHITECTURE, OH.ord U! v$r" t> Pr$"", N$6 7or8 *+0? Ko"to. S2, THE ARCHITEKT, OH.ord U! v$r" t> Pr$"", N$6 7or8 *+11 Ko"to. S2, THE THIRD ROME *019,*+?9, TRAFFIC AND GLOR7, B$r8$l$> *+1LA CONSTRUCTION MODERNE, Par ", R$v4$ )$#do<ada r$ d=ar() t$(t4r$, *+-9,*+:9 La()<a!! M2G2, NA&I CULTURE, INTELLECTUAL, CULTURAL AND SOCIAL LIFE IN THE THIRD REICH, S()o(8$! Boo8", N$6 7or8 *+0* La<54%!a! B ttor o Ma%!a! , LEPIKON DER ARCHITEKTUR DES ;9, /a)r)4!d$rt", St4tt%art *+0La<54%!a! B ttor o Ma%!a! , BISIONAR7 ARCHI,TECTURE OF THE ;9t) CENTUR7, T)a<$" a!d H4d"o!, Lo!dra *+0; La!$ B2M ll$r, ARCHITECTURE AND POLITICS IN GERMAN7, *+*03*+:?, Ca<#r d%$, Ma""2 *+,0 L=ARCHITECTURE D=AU/OURD=HUI, Par " *+-93*+:9 Lar""o! L2O2, DIE NEUGESTALTUNG DER REICHS,HAUPTSTADT, ALBERT SPEER=S GENERAL BE,BAUNGSPLAN F[R BERLIN, Al<S "t F W 8"$ll I!t$r!at o!al, Sto(8)ol< *+10 Lato4r Al$""a!dra, MOSCA, *0+9,*++*, &a! ()$ll Ed tor$ S5A, Bolo%!a *++;

L$ Cor#4" $r, TOWARDS A NEW ARCHITECTURE, OH.ord U! v$r" t> Pr$"", N$6 7or8 *+1L$#$l, Sa!o4 ll$t, Wald#$r%, DER SURREALISMUS, B$!$d 8t Ta"()$! B$rla% G<#H, KNl! *+01 L ">a8 Wald$<ar, FRANK LLO7D WRIGHT, H$!"()$lv$rla%, B$rl ! *+0LIUBOB SERGHEEBNA POPOBA *00+,*+;:, Catalo% al %al$r $ Tr$t a8ov, Mo"(ova *++9 L4( a!a F !$ll , LUIGI MORETTI, LA PROMESSA E IL DEBITO, O.. ( !a Ed @ o! , Ro<a *+0+ L4( $3S< t) Ed6ard, HISTOIRE DU MOBILIER, Ed t o! T)a<$" FH4d"o!, Tol$do *++9 Tra()t$!#$r% M2, H><a! I2, ARCHITECTURE FROM PREHISTOR7 TO POST3MODERNISM/THE WESTERN TRADITION, Harr> N2A#ra<", !(2 P4#l ")$r", *+0, Ma !"to!$ R2, DEBELOPEMENTS IN STRUCTURAL FORM, MIT Pr$"", Ca<#r d%$ *+1? Mall$t Ro#$rt, THE RECORD OF THE INTERNATIONAL EPHIBITION *0,;, Lo!dra *0,; Mar(adX /$a!3Cla4d$, LE FUTURISME RUSSE *+913*+*1, Ed t o! D$""a ! $t Tolra, Par " *+0+ Mar() W$r!$r, BAUWERK REICHSSPORTFELD, B$rl ! *+-, Mar( a!o Ada Fra!($"(a, GIUSEPPE TERRAGNI, OPERA COMPLETA *+;?,*+:-, O.. ( !a Ed @ o! , Ro<a *+01 Mar( a!o E!r (o, CARLO SCARPA, &a! ()$ll Ed tor$ S5A, Bolo%!a *+0: M$ $r Al.r$d Gott)old, EISENBAUTEN, IHRE GESCHICHTE UND ISTHETIK, E""l !%$! *+91 M$!!a F l #$rto, LA LINEA ANALITICA DELL=ARTE MODERNA, Ed2 G 4l o E !a4d S5A, Tor !o *+1? M ()$l " Mar(o d$, TRADI&IONE E CLASSICITA FRA TESSENOW E SCHMITTHENNER, B ($!@a *++* M ()$l " Mar o d$, ABANGARDA ARTISTIC A SECOLULUI PP, Ed t4ra M$r d a!$, B4(4r$Vt *+,0 M %!ot Cla4d$, ARCHITEKTURE DES *+2 /a)r)4!d$rt", St4tt%art *+0MODERNE BAUFORMEN, Mo!at")$.t$ .'r Ar) t$8t4r 4!d Ra4<84!"t, /4l 4" Ho..<a!! B$rla%, St4tt%art *+-?,*+:Mo)r Cr "to5) F M'll$r M ()a$l, FUNKTIONALITIT UND MODERNE, DAS NOE FRANKFURT UND SEINE BAUTEN *+;?,*+--, Fra!8.4rt *+0: Mor$tt B2, TEATRI, Ed2 Ulr (o Ho$5l , M la!o *+-, Morr "o! H$!r>, LOUIS HOBBSON SULLIBAN, Ed t o! P$t$r S< t), N$6 7or8 *+?; MOSCOBA CAPITALA UTOPIEI, Ed t4ra A2Mo!dador Art$ *++* M'll$r3W4l(8o6 Walt$r, ARCHITEKTUR DER &WAN&IGER /AHRE IN DEUTSCHLAND, DIE DEUTSCHE WOHNUNG, KN! %"t$ ! < Ta4!4" *+1? M4!to! Al$""a!dra, LA BICENDA DELL=E:;, B ($!@a *++* N$rd !%$r W !.r $d, WALTER GROPIUS, B$rl ! *+0? NXr$t G ll$", L=ART DES ANNLES ;9, Ed t o! S$4 l, O.. ($ d4 L vr$ S2A2, Fr #o4r% *+0, No#l$t /o($l>! d$, DESIGN, LE GEST ET LE COMPAS, Ed t o!" A <$r> So<o%>, Par " *+00 No!$ll /4a! Ba""$%oda, L=ARCHITETTURA DI GAUDI, I"t t4to G$o%ra. (o d$ A%o"t ! , Novara *+0; Oa8l$> Dav d, THE PHENOMENON OF ARCHITEC,TURE IN CULTURES IN CHANGE, P$r%a<o! Pr$"" ltd, *+19 Pa%a!o G 4"$55$, ARCHITETTURA E CITT^ DURANTE IL FASCISMO, Ed tor Lat$r@a *++9 P$)!t Wol.%a!%, EPPRESSIONIST ARCHITECTURE, T)a<$" a!d H4d"o!, Lo!do! *+1P$r8 !" G2C2, EPPRESIONISMUS, &'r () *+1* P$rr4()ot H$!r , L=ART MODERNE A TRABERS LE MONDE, L #ra r $ Ha()$tt$, Par " *+,P$t$r" To< F2, TIME IS MONE72 DIE ENTWICKLUNG DES MODERNEN BAUWESENS, St4tt%art *+0* P$v"!$r N2, Fl$< !% /2, Ho!o4r H2, DI&IONARIO DI ARCHITETTURA, E !a4d Ed tor$ S5A, Tor !o *+0* P$v"!$r N 8ola4", A HISTOR7 OF BUILDING T7PES, Pr !($to6! U! v$r" t>, Pr !($to6! *+1, P$v"!$r N 8ola4", AN OUTLINE OF EUROPEAN ARCHITECTURE, Ed t o! P$!%4 !, Har<o!d"6ort) *+:; P$v"!$r N 8ola4", GENIE DE L=ARCHITECTURE EUROPLENNE, Ed t o!" C)_!$, Par " *+10 P ! G or% o F S4"<$l D4l o, MUSSOLINI L=UOMO E L=OPERA, Ed @ o! La F$! ($, F r$!@$ *+1Pla(@$8 Adol. K2, MACMILLAN ENC7CLOPEDIA OF ARCHITECTS, Fr$$ Pr$"", N$6 7or8 *+0; Plat@ G4"tav Adol., DIE BAUKUNST DER NEUESTEN &EIT, I< Pro5>lW$! B$rla%, B$rl ! *+;1 Pola!o S$r% o, GUIDA ALL`ARCHITETTURA ITALIANA DEL NOBECENTO, El$(ta M la!o *++* Po!t G o, AMATE L=ARCHITETTURA, So( $ta Ed tr ($ B tal $ G) a!da, G$!ova *+?1 Porto%)$" Paolo, DI&IONARIO ENCICLOPEDICO D=ARCHITETTURA E URBANISTICA, I"t t4to Ed tor al$, Ro<a *+,0 Porto%)$" Paolo, LA PRESEN&A DEL PASSATO, Ed @ o!$ RLa B $!!al$ d B$!$@ aR, B$!$@ a *+09 Po"$!$r /4l 4", BERLIN AUF DEM WEGE &U EINER NEUEN ARCHITEKTUR JDa" &$ talt$r W l)$l< IIK, M'!()$! *+1+

Po@$tto M2, MAP FABIANI, EIN ARCHITEKT DER MONARCHIE, B $!a *+0Pr or G a!(alo, PAOLO PORTOGHESI, &a! ()$ll Ed tor$ S5A, Bolo%!a *+1+ PROBLEMI DI ARCHITETTURA DELL=AMBIENTE, Ed tr ($ C2I2P2I2A2 S5A, Bolo%!a *+1+ Z4 l ( B2, MOSCOBA, CAPITALA UTOPIEI, Ed2 A2Mo!dador Art$ *++* Ra# !a() A2G2, THE AESTHETICS OF PRODUCTION IN THE THIRD REICH, /o4r!al o. Co!t$<5orar> H "tor>, **2*+1,, :-,1: Ra$#4r! M ()a$l, STORIA DELL=ARCHITETTURA IN OCCIDENTE, D$ A%o"t ! S5A, Novara *+0* Ra%o! M ()$l, HISTOIRE MONDIALE DE L`ARCHI,TECTURE ET DE L`URBANISME MODERNES, Ca"t$r<a!, *+1* Ra""$%!a, PROBLEMI DI ARCHITETTURA DELL=AMBIENTE, Ed tr ($ C2I2P2I2A2 S5A ,Bolo%!a *+1+ Ra4"()! !d H$r<a!!, HITLER M=A DIT, Ed t o!" So<o%>, Par " l+:? R$$d H2Ho5$, THE NEED FOR MONUMEN7TALIT7 ], P$r"5$(ta l2 l+?9 R$!ato STORIA DEL DESIGN, Ed tor Lat$r@a F F %l S5A, Bar *++; R$!ato STORIA DELL= ARCHITETTURA CONTEMPORANEA, Ed tor Lat$r@a, Bar *+0? R ()ard" /2M2, Bla8$ P2, D$ Carlo G a!(arlo, L=ARCHITETTURA DEGLI ANNI SETTANTA, Sa%% ator$, M la!o l+1R <5l H2, EIN DEUTSCHES FLUG&EUGWERK, D $ H$ !8$l,W$r8$ Ora! $!#4r%, B$rl !, *+-+ R "$#$ro B l, MODERN ARCHITECTURE AND DESIGN, MIT Pr$"" Ed t o!, Ca<#r d%$ l+0R tt () W$r!$r, ARCHITEKTUR UND BAUPLASTIK DER GEGENWART, R$<#ra!dt B$rla% G<BH, B$rl ! l+-0 Ro#$rt Mall$t,St$v$!", ARCHIBES D=ARCHITECTURE MODERNE, Par " *+1* Ro# !"o! C2, Bl$tt$r R2H2, SK7SCRAPER ST7LE, ART DECO NEW 7ORK, OH.ord U! v$r" t> Pr$"", N$6 7or8 l+1? Ro "$((o G 4l o, SPA&IO, EBOLU&IONE DEL CONCERTTO IN ARCHITETTURA, Mar o B4l@o! Ed tor$, Ro<a l+19 Ro!!$r H2, LOUIS I2KAHN,COMPLETE WORKS, l+-?,l+1:, W$"tv $6 Pr$"", Bo4ld$r l+11 Ro"" P $ro O"t l , ROMA, GUIDA ALL=ARCHITETTURA MODERNA l+9+3l+0:, Ed tor Lat$r@a F F %l Ro<a V Bar l+0: R4do."8> B2, ARCHITECTURE WITHOUT ARCHITECTS, A(ad$<> Ed t o!", Lo!dra l+1R48"() o B2, S()a()$l R2, ADOLF LOOS, Sal@#4r%, B $!a l+0; R4""$ll Fra!8, ARCHITEKTUR DER /UGENDSTILS, St4tt%art l+0; Sa!d> P $rr$, HENRI LABROUSTE , Ca ""$ Nat o!al$ d$" Mo!4<$!t" H "tor S4$" $t d$" S t$", Par " l+11 Sartor " Al#$rto, L=ARCHITTETURA ITALIANA FRA TRAGEDIA E FORMA, Ed @ o! Ka55a, *+10 S()a()$ W2, NA&I ARCHITECTURE AND ITS APPROACH TO ANTIZUIT7, A2D2 !r2 0*,00, *+0S()a()$ W2, NA&I ARCHITECTURE AND ITS APPROACHTO ANTIZUIT7, A2D2 !r20l,00/l+0S()l$l() M2E2, PIMPLHUBER IN DER INDUSSTRIEAUSSTELLUNG, M'!()$! l0?: S()!$ ld$r E2, DIE BAUTEN DER WELTAUSSTELLUNG l+00 IN PARIS, Ed2 Sta)l#a4 l;/l+0+ S()4lt@$3Na4<#4r% Pa4l, KUNST UND RASSE, M'!()$! *+;0 S()4lt@$3Na4<#4r% Pa4l, KUNST UND RASSE, M'!()$! l+;0 S()4<a()$r Fr t@, EPPRESSIONISMU" UND ARCHI,TEKTUR IN DECORATIBE KUNST, D $ K4!"t, PLII S(4ll> /r2 B !($!t, AMERICAN ARCHITECTURE AND URBANISM, N$6 7or8 l+,+ S(4ll> /r2 B !($!t, FRANK LLO7D WRIGHT, Edd t o! Bra@ ll$r, N$6 7or8 l+,O S(4ll> /r2 B !($!t, L=ARCHITECTURE MODERNE, ARCHITECTURE DE LA DEMOCRATIE, Ed t o!" D$" D$4H,Mo!d$", Par " *+,; S(4ll> /r2 B !($!t, LOUIS KAHAN, Ed t o! Bra@ ll$r, N$6 7or8 l+,; S(4ll> /r2 B !($!t, MODERN ARCHITECTURE, Edd t o! Bra@ ll$r, N$6 7or8 l+1: S(4ll> /r2 B !($!t, THE SHINGLE AND THE STICK ST7LE, 7al$ U! v$r" t> Pr$"", N$6 Hav$! l+1l S$lt@ P2, Co!"ta!t !$ M2, ART NOUBEAU, Ed2 Bra@ ll$r, N$6 7or8 l+1: S$<#a(() Kla4"3/'!%$r, HENR7 BAN DE BELDE, St4tt%art l+0+ S$<#a(), L$4t)W4"$r, GN""$l, MMBELDESIGN DER ;9, /AHRHUNDERTS, B$!$d 8t Ta"()$! B$rla% G<#H F Co2 KG, 8Nl! l++9 S$<$rrar G 4"$55$, FILOSOFIA E POTERE, D$dalo l #r , Bar l+1S$<5$r Gott.r $d, WISSENSCHAFT, INDUSTRIE UND KUNST, B$rl ! l+,, S$<"() O2F2, A HISTOR7 OF THE SINGER BULDING CONSTRUCTION, N$6 7or8 l+90 S$45)or$ M ()$l$, LA SCULPTURE DE CE SIQCLE, Par " *+?1 S)ar5 D$!! ", A BISUAL HISTOR7 OF TWENTIETH, CENTUR7 ARCHTECTURE W2H$ !$<a!! LDT/S$(8$r F War#4r%,

l+1; S <o!( ! G or% o, CITT^ E SOCIET^ NEL RINASCIMENTO, G 4l o E !a4d Ed tor$, Tor !o l+1: S ro! Mar o, IL MITO DELL= ARCHITTETURA, No4v$ Ed @ o! Ga#r $l$ Ma@@otta, M la!o l++9 So8olov N2B2, ALEPEI BIKTOROBICI SCIUSEB, MOSCOBA l+?; S5$$r A F Wolt$r" R2, NEUE DEUTSCHE BAUKUNST, B$rl ! *+:* S5$$r Al#$rt, ARCHITEKTUR, Pro5>lW$!v$rla%$, B$rl ! *+10 S5$$r Al#$rt, AU COEUR DU TROISIEME REICH, Ed t o!" Fa>ard, *+1* S5$$r Al#$rt, /OURNAL DE SPANDAU, Ed t o! Ro#$rt La.o!t, *+1? S5$$r Al#$rt, L=IMMORALITL DU POUBOIR, Ed t o! d$ La Ta#l$ Ro!d$, *+1+ Sta<< G'!t)$r, /2/2OUD2 BAUTEN UND PRO/EKT l+9, BIS l+,-, Ma !@ l+0: Sta<5 Gav !, LUT7ENS AND PROGRESSIBE CLASSICISM, B ($!@a *++* St rl !% /a<$", A2D2 PORTOFOLIO, St2Mart !" Pr$"", Lo!dra l+0; Stra""$r Otto, HITLER ET MOI, Par " l+:9 S4()ov Blad < r G2, l0?-3l+-+, DIE KUNST DER SPARSAMENT KONSTURKTION, St4tt%art l++9 S4ll va! Lo4 " H2, THE TALL OFFICE BUILDING, M$tro5ol ta! R$v $6 1,0/l+00 S4<<$r"o! /2N2, HEABENL7 MANSIONS, Ed2 S(r #!$r, N$6 7or8 l+?9 S4@48 Kat4>48 , GUIDO CANELLA, &a! ()$ll Ed tor$ S5A, Bolo%!a l+0Ta.4r F Dal Co, ARCHITETTURA CONTEMPORANEA II, El$(ta Ed tr ($ S5A, M la!o l+1+ Ea5$!8o M )a l P2, PROBLEME ALE ARHITECTURII SOBIETICE, Mo"(ova l+?; Tarra%o Salvador, GAUDT, Ed t o! E"(4do d$ oro, Bar($lo!a l+?0 Ta4t Br4!o, DIE NEUE BAUKUNST IN EUROPA UNDE AMERIKA, St4tt%art l+;+ Ta>lor R2R2, THE WORLD IN STONE THE ROLE OF ARCHITECTURE IN NATIONAL SOCIALIST IDEOLOG7,Bar8l$>, Cal .or! a l+1: Ta>lor R2R2, THE WORLD IN STONE, THE ROLE OF ARCHITECTURE IN NATIONAL SOCIALIST IDEOLOG7, B$r8l$>, Cal .or! a *+1: T$4t A2, ARCHITECTUR IM DRITTEN REICH *+--3*+:?, B$rl !, Fra!8.4rt, B $!a *+,1 THE LEGAC7 OF ALBERT KAHN, T)$ I!"t t4t$ o. Art", D$tro t *+19 Tra()t$!#$r% M2, H><a! I2, ARCHITECTURE FROM PREHISTOR7 TO POST,MODERNISM/THE WESTERN TRADITION,H2N2A#ra<"2 !(2 P4#l ")$r", l+0, Ba!!$ll Balt$r, ECONOMIA DELL= ARCHITETTURA IN ROMA FASCISTA, Ed @ o! B$rla% G,#H F Co2 KG, KNl< l+01 Bar!$do$ K r8, WIEN l+99, KUNST, ARCHITEKTUR F DESIGN, B$!$d 8t Ta"()$! B$rla% G<#H F Co2 KG, KNlN l+01 Ba" l$"(4 Sor !, DICEIONARUL ARHITECEILOR MODERNI CI CONTEMPORANI, Ed2 I!"t t4t4l d$ Ar) t$(t4rD RIo! M !(4R, B4(4r$Vt l++9 Ba" l$"(4 Sor !, ISTORIA ARHITECTURII MODERNE, Ed2 I!"t t4t4l d$ Ar) t$(t4rD RIo! M !(4R, B4(4r$Vt l+0+ B$!t4r R2, S(ott Bro6! D2, I@$!a4r S2, LEARNING FROM LAS BEGAS, MIT Pr$"", Ca<#r d%$ l+1;, r$v2 l+11 B$!t4r Ro#$rt, COMPLESSIT^ E CONTRADI&IONI NELL=ARCHITECTTURA, Ed @ o! D$dalo, Bar l+09 B ol$t3l$3D4(, ENTRETIENS SUR L=ARCHITECTURE, Ed t o! Atla", Par " l0,: B oll$t3l$3D4(, DISCOURSES ON ARCHITECTURE, Grov$ Pr$"", N$6 7or8 l+?+ Bo%t Adol. MaH, BOULLEES NEWTON, DENKMAL SAKRALBAU UND KUGELIDEE, Ba"$l 4!d St4tt%art l+,+ Wa%!$r Otto, EINIGE SKI&&EN, PRO/EKTE UBD AUSGEF[HRTE BAUWERKE, B $!a l+;; Wat8 ! Dav d, ST7LE AND POLITICS IN BRITISH ARCHITECTURE IN THE l+-9", B ($!@a l++l Wat8 ! Dav d, THE RISE OF ARCHITECTURAL HISTOR7, Ar() t$(t4ral Pr$"", Lo!dra l+09 WattG$" /o!!$" G$r)ard4", MODERNE ARCHITECTUR, A<"t$rda< l+;1 WattG$" /o!!$" G$r)ard4", NIEUW,NEDERLAN,DISCHE BOUWKUNST, A<"t$rda< l+;: W$#$r H$l<4t, WALTER GROPIUS UND DAS FAGUS, WERK, M'!()$! l+,l W$r!$r F2, KLASSI&ISMEN UND KLASSIKER EURO, PIISCHE TENDEN&EN W$"t5)al Carl /2H2, FRIT& HMEGER, DER NIEDERDEUSTACHE BACKSTEI, BAUMEISTER, Wol.")a%$!,S()ar#$4t@, l+-0 W)$$l$r K2, MICHAEL GRABES, BUILDING AND PRO/ECTS, l+,,3l+0l, Ed2 R @@ol , N$6 7or8 l+0; W) tt (8 A2, EUROPEAN ARCHITECTURE IN ;9t) CENTUR7, A#$lard,S()4<a!, N$6 7or8 l+1: W ()<a!! S $%.r $d, HERMANN OBRIST WEGBEREITER DER MODERNE, Catalo%4$ o. a! $H) # t o! at t)$ St4(8 B lla,

M'!()$! l+0, W $!$r Al.r$d, DAS WARENHAUS2 KAUF, GESCHIFTS, B[ROHAUS, B$rl ! *+*; W l)$l< Kar !, GROPIUS WALTER, INDUSTRIAL3ARCHITEKT, Bra4!"()6$ % 4!d W $"#ad$! *+0W ll$t /o)!, EPPRESIONISM, Lo!dra *+19 W lt W < d$, EPPRESSIONISMUS IN HOLLAND 3 ARCHITEKTUR DER AMSTERDAMER SCHULLE, St4tt%art *+0, W !%l$r Ha!" M2, DAS BAUHAUS, B$rla% Ra"() F Co2 Bra<"()$ *+,; Worr !%$r W l)$l<, ABSTRAKTION UND EINF[HLUNG, M'!()$! *+90 Worr !%$r W l)$l<, K[NSTLERISCHE &EITFRAGEN, M'!()$! *+;* Wr %)t Fra!8 Llo>d, AN AUTOBIOGRAPH7, N$6 7or8 *+-; Wr %)t Fra!8 Llo>d, IL FUTURO DELL=ARCHITETTURA, &a! ()$ll Ed tor$, Bolo%!a *+0+ &$r#"t R$ !$r, ANTONI GAUDT *0?;,*+;,, EIN LEBEN IN DER ARCHITEKTUR, KNl! *+01 &$v Br4!o, CRONACHE DI ARCHITETTURA, Lat$r@a F F %l S5a, Ro<a,Bar *+10 &$v Br4!o, ERICH MENDELSOHN, &a! ()$ll Ed tor$ S5A, Bolo%!a *+0; &$v Br4!o, FRANK LLO7D WRIGHT, &a! ()$ll Ed tor$ S5A, Bolo%!a *+1+ &$v Br4!o, GIUSEPPE TERRAGNI, &a! ()$ll Ed tor$ S5A, Bolo%!a *+09 &$v Br4!o, IL LINGUAGGIO MODERNO DELL= ARCHITETTURA, GUIDA AL CODICE ANTICLASSICO,G 4l o E !a4d Ed tor$ S5A, Tor !o *+1&$v Br4!o, POETICA DELL=ARCHITETTURA NEOPLASTICA, G 4l o E!a4d Ed tor$, Tor !o *+1: &$v Br4!o, SAPER BEDERE L=ARCHITETTURA, G 4l o E !a4d Ed tor$ S5A, Tor !o *+:0 &$v Br4!o, STORIA DELL=ARCHITETTURA MODERNA, G 4l o E !a4d Ed tor$ S5A, Tor !o *+1? &$v Br4!o,, SAPER BEDERE L=URBANISTICA, G 4l o E !a4d Ed tor$ S5A, Tor !o *+1* & %l$r L$o5old, BOLK, STADT UND PERSMNLICHKEIT, B$rl ! *+*1 & <<$r Er (), DER BAUGEDANKE BON MALSCH, M$!"() 4!d Ba484!"t, !r2-/*+,+ & <<$r Er (), RUDOLF STEINER UND LICHTSPIELHIUSER,B$rl ! *+;, &4(8$r Pa4l F St !dt G$or% Otto, LICHTSPIELHIUSER, TONFILMTHEATER, B$rl ! *+-*