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Since its first publication in 1982, Modern Architecture Since 1900 has become established as a contemporary classic. Worldwide in scope, it combines a clear historical outline with masterly analysis and interpretation. Technical, economic, social and intellectual developments are brought together in a comprehensive narrative which provides a setting for the detailed examination of buildings. Throughout the book the author's focus is on the individual architect, and on the qualities that give outstanding buildings their lasting value.
For the third edition, the text has been radically revised and expanded, incorporating much new material and a fresh appreciation of regional identity and variety. Seven chapters are entirely new, including expanded coverage of recent world architecture.
Described by James Ackerman of Harvard University as "immeasurably the finest work covering this field in existence", this book presents a penetrating analysis of the modern tradition and its origins, tracing the creative interaction between old and new that has generated such an astonishing richness of architectural forms across the world and throughout the century."
The book is excellent value." – Architects’ Journal"
As close to a definitive guide to the architecture of our century as we yet have." – Sunday Times"
A book of this length and depth is an unimaginable achievement. . ." – Building Design"
Comprehensive, up—to—date and very readable." – Sunday Telegraph"
This should be a standard volume in all architecture collections." – Library Journal"
The clearest and most authentic survey to appear in English. . . Essential reading, indeed breathtaking reading" – Architecture New Zealand"
|1||The Idea of a Modern Architecture in the Nineteenth Century||21|
|2||Industrialization and the City: The Skyscraper as Type and Symbol||33|
|3||The Search for New Forms and the Problem of Ornament||53|
|4||Rationalism, the Engineering Tradition and Reinforced Concrete||73|
|5||Arts and Crafts Ideals in Britain and the U.S.A.||87|
|6||Responses to Mechanization: The Deutscher Werkbund and Futurism||99|
|7||The Architectural System of Frank Lloyd Wright||113|
|8||National Myths and Classical Transformations||131|
|9||Cubism, De Stijl and New Conceptions of Space||149|
|10||Le Corbusier's Quest for Ideal Form||163|
|11||Walter Gropius, German Expressionism and the Bauhaus||183|
|12||Architecture and Revolution in Russia||201|
|13||Skyscraper and Suburb: The U.S.A. Between the Wars||217|
|14||The Ideal Community: Alternatives to the Industrial City||241|
|15||The International Style, the Individual Talent and the Myth of Functionalism||257|
|16||The Image and Idea of Le Corbusier's Villa Savoye at Poissy||275|
|17||The Continuity of Older Traditions||289|
|18||Nature and the Machine: Mies Van Der Rohe, Wright and Le Corbusier in the 1930S||305|
|19||The Spread of Modern Architecture to Britain and Scandinavia||329|
|20||Totalitarian Critiques of the Modern Movement||351|
|21||International, National, Regional: The Diversity of a New Tradition||371|
|22||Modern Architecture in the U.S.A.: Immigration and Consolidation||395|
|23||Form and Meaning in the Late Works of Le Corbusier||417|
|24||The Unite D'habitation at Marseilles as a Collective Housing Prototype||437|
|25||Alvar Aalto and Scandinavian Developments||453|
|26||Disjunctions and Continuities in the Europe of the 1950S||471|
|27||The Process of Absorption: Latin America, Australia, Japan||491|
|28||On Monuments and Monumentality: Louis I. Kahn||513|
|29||Architecture and Anti-Architecture in Britain||529|
|30||Extension and Critique in the 1960S||547|
|31||Modernity, Tradition and Identity in the Developing World||567|
|32||Pluralism in the 1970S||589|
|33||Modern Architecture and Memory: New Perceptions of the Past||617|
|34||The Universal and the Local: Landscape, Climate and Culture||635|
|35||Technology, Abstraction and Ideas of Nature||657|
|Conclusion: Modernity, Tradition, Authenticity||685|
Posted November 19, 2004