Through the work of the Italian architect, theorist and historian Paolo Portoghesi (1931-2023), this book offers a new perspective on postmodern architecture, showing the agency of other spheres of knowledge – history, politics and media – in the making of postmodern architectural discourse. It explores how Portoghesi's personal “postmodern project” was based on the triangulation of a renewed interest in historical architectural language, unprecedented use of media and intertwined links between architecture and politics. Organized in a sequence of critical chapters supported by the analysis of Portoghesi's most significant architectural projects – including Casa Baldi (1959), The Mosque in Rome (1975–95) and his Strada Novissima exhibition (1980) – and publications, the book unfolds around the three main themes of history, politics and media. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, the study features previously-unpublished archival material, interviews by the authors and articles from professional and mainstream press to present Portoghesi in his multifaceted role of mediator, politician, historian and designer.

This well-illustrated text is the result of a research project begun in the 1950s, which relates forms of architecture - and even more, the rules and ideas that have charcterized architectural production down the centuries - with the forms of nature.

Architecture on Display is a research initiative by Aaron Levy and William Menking that consists of interviews with each of the living directors of the Venice Biennale for Architecture.

In these illustrated essays Portoghesi offers a critical profile of the postmodern movement and explains why it constitutes a decisive turning point in the history of architecture. He reconstructs the theoretical intentions of postmodern architects, analyzes the important projects by Philip Johnson, Michael Graves, Thomas Beeby, Stanley Tigerman, Helmut Jahn, Ricardo Bofill, Massimo Scolari and others.

Today, nearly a century after the National Fascist Party came to power in Italy, questions about the built legacy of the regime provoke polemics among architects and scholars. Mussolini’s government constructed thousands of new buildings across the Italian Peninsula and islands and in colonial territories. From hospitals, post offices and stadia to housing, summer camps, Fascist Party Headquarters, ceremonial spaces, roads, railways and bridges, the physical traces of the regime have a presence in nearly every Italian town. The Routledge Companion to Italian Fascist Architecture investigates what has become of the architectural and urban projects of Italian fascism, how sites have been transformed or adapted and what constitutes the meaning of these buildings and cities today. The essays include a rich array of new arguments by both senior and early career scholars from Italy and beyond. They examine the reception of fascist architecture through studies of destruction and adaptation, debates over reuse, artistic interventions and even routine daily practices, which may slowly alter collective understandings of such places. Paolo Portoghesi sheds light on the subject from his internal perspective, while Harald Bodenschatz situates Italy among period totalitarian authorities and their symbols across Europe. Section editors frame, synthesize and moderate essays that explore fascism’s afterlife; how the physical legacy of the regime has been altered and preserved and what it means now. This critical history of interpretations of fascist-era architecture and urban projects broadens our understanding of the relationships among politics, identity, memory and place. This companion will be of interest to students and scholars in a range of fields, including Italian history, architectural history, cultural studies, visual sociology, political science and art history.

Presents a collection of the architect's drawings, which were done between 1990 and his death in 1997.

An expertly written and exquisitely photographed study of the buildings of Victor Horta, a central figure of Art Nouveau whose work was fundamental to modernist architecture In the decade following the success of his design for the Hôtel Tassel in Brussels in 1893, Victor Horta, the creator of Art Nouveau architecture, produced more than forty buildings—and a movement. Prepared in close collaboration with the Horta Museum, Brussels, Victor Horta: The Architect of Art Nouveau discusses the many influences on Horta’s designs and his legacy. The richly ornamental style of Art Nouveau, characterized by fluid lines based on natural forms, expressed a desire to abandon the historical styles of the nineteenth century and to develop a language that was beautifully crafted and thoroughly contemporary, laying the foundations for the development of modernism in architecture and interior design. Detailed descriptions of nineteen projects representing the full range of Horta’s work—including Edicule Lambeaux, Hôtel Autrique, Hôtel Max Hallet, and the Brugmann Hospital, are illustrated with Horta’s original drawings and specially commissioned photographs by award- winning photographer Alastair Carew-Cox. Extensive photographs of Hôtel Solvay—to which access had been denied for twenty years before Carew-Cox was granted special access, in recognition of his and David Dernie’s significant contribution to the study of Horta—are also included.

Through the work of the Italian architect, theorist and historian Paolo Portoghesi (1931-2023), this book offers a new perspective on postmodern architecture, showing the agency of other spheres of knowledge – history, politics and media – in the making of postmodern architectural discourse. It explores how Portoghesi's personal “postmodern project” was based on the triangulation of a renewed interest in historical architectural language, unprecedented use of media and intertwined links between architecture and politics. Organized in a sequence of critical chapters supported by the analysis of Portoghesi's most significant architectural projects – including Casa Baldi (1959), The Mosque in Rome (1975–95) and his Strada Novissima exhibition (1980) – and publications, the book unfolds around the three main themes of history, politics and media. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, the study features previously-unpublished archival material, interviews by the authors and articles from professional and mainstream press to present Portoghesi in his multifaceted role of mediator, politician, historian and designer.

Louis I. Kahn was one of the most influential architects, thinkers and teachers of his time. This book examines the important relationship between his work and the city of Rome, whose ancient ruins inspired in him a new design methodology. Structured into two main parts, the first includes personal essays and contributions from the architect’s children, writers and other designers on the experience and impact of his work. The second part takes a detailed look at Kahn’s residency in Rome, its effects on his thinking, and how his influence spread throughout Italy. It analyses themes directly linked to his architecture, through interviews with teachers and designers such as Franco Purini, Paolo Portoghesi, Giorgio Ciucci, Lucio Valerio Barbera and the architects of the Rome Group of Architects and City Planners (GRAU). Rome and the Legacy of Louis I. Kahn expands the current discourse on this celebrated twentieth-century architect, ideal for students and researchers interested in Kahn’s work, architectural history, theory and criticism.