The history of modern architecture as constructed by historians and key texts. Writing, according to Panayotis Tournikiotis, has always exerted a powerful influence on architecture. Indeed, the study of modern architecture cannot be separated from a fascination with the texts that have tried to explain the idea of a new architecture in a new society. During the last forty years, the question of the relationship of architecture to its history—of buildings to books—has been one of the most important themes in debates about the course of modern architecture. Tournikiotis argues that the history of modern architecture tends to be written from the present, projecting back onto the past our current concerns, so that the "beginning" of the story really functions as a "representation" of its end. In this book the buildings are the quotations, while the texts are the structure. Tournikiotis focuses on a group of books by major historians of the twentieth century: Nikolaus Pevsner, Emil Kaufmann, Sigfried Giedion, Bruno Zevi, Leonardo Benevolo, Henry-Russell Hitchcock, Reyner Banham, Peter Collins, and Manfredo Tafuri. In examining these writers' thoughts, he draws on concepts from critical theory, relating architecture to broader historical models.

A serious and original study of the beginnings and development of modernism in which the pictorial aspects are designed to aid in the communication of the author's closely reasoned formulations. Let it be said at once that the format of this work is richly handsome: it is a two-volume boxed set comprising 844 pages and well over 1,000 high-quality illustrations, and it reflects throughout its publisher's conviction that good design is an essential, not superficial, part of bookmaking. Beyond that, it should be emphasized that this work is not another facile cultural tour of modern architecture. It is a serious and original study of the beginnings and development of modernism in which the pictorial aspects are designed to aid in the communication of the author's closely reasoned formulations, rather than to gloss over a lack of substantive content. The book is a translation of the third Italian edition, published in 1966. Benevolo, who is on the faculty of architecture in Venice, has earned an international reputation as a historian of architecture and town planning, and his publications embrace the span of time from the Renaissance to the foreseeable future. One such publication, The Origins of Modern Town Planning (The MIT Press, 1967), may be read as a prelude to the present work as well as an independent contribution. Perhaps more than any other architectural historian in our time, Benevolo has made a determined effort to place developments in design and planning in their proper social and political settings. Indeed, the author argues that the development of the modern movement in architecture was determined, not by aesthetic formalisms, but largely by the social changes that have occurred since about 1760: "After the middle of the eighteenth century, without the continuity of formal activity being in any way broken, indeed while architectural language seems to be acquiring a particular coherence, the relations between architect and society began to change radically.... New material and spiritual needs, new ideas and modes of procedure arise both within and beyond the traditional limits, and finally they run together to form a new architectural synthesis that is completely different from the old one. In this way it is possible to explain the birth of modern architecture, which otherwise would seem completely incomprehensible...." This second volume is concerned with the modern movement proper, from 1914 to 1966. The author emphasizes the unity of the movement, rejecting the usual treatment that allots to the individual architects separate and unconnected biographical accounts.Benevolo remarks at one point, "When one talks about modern architecture one must bear in mind the fact that it implies not only a new range of forms, but also a new way of thinking, whose consequences have not yet all been calculated." His main concern is to provide a more exact calculation of those consequences.

Photographs, plans, diagrams, and historical and critical commentaries review the architectural developments, styles, and monuments of India and Ceylon, Indochina and Indonesia, the Himalayan region, Central Asia, China, Korea, and Japan.

This new account of international modernism explores the complex motivations behind this revolutionary movement and assesses its triumphs and failures. The work of the main architects of the movement such as Frank Lloyd Wright, Adolf Loos, Le Corbusier, and Mies van der Rohe is re-examined shedding new light on their roles as acknowledged masters. Alan Colquhoun explores the evolution of the movement fron Art Nouveau in the 1890s to the megastructures of the 1960s, revealing the often contradictory demands of form, function, social engagement, modernity and tradition.

This acclaimed survey of modern architecture and its origins has become a classic since it first appeared in 1980. For this fourth edition Kenneth Frampton has added a major new chapter that explores the effects of globalization on architecture in recent years, the rise annd rise of the celebrity architect, and the way in which practices worldwide have addressed such issues as sustainability and habitat. The bibliography has also been updated and expanded, making this volume more complete and indispensable than ever.

A place of astonishing contrasts, India is home to some of the world’s most ancient architectures as well as some of its most modern. It was the focus of some of the most important works created by Le Corbusier and Louis Kahn, among other lesser-known masters, and it is regarded by many as one of the key sites of mid-twentieth century architectural design. As Peter Scriver and Amit Srivastava show in this book, however, India’s history of modern architecture began long before the nation’s independence as a modern state in 1947. Going back to the nineteenth century, Scriver and Srivastava look at the beginnings of modernism in colonial India and the ways that public works and patronage fostered new design practices that directly challenged the social order and values invested in the building traditions of the past. They then trace how India’s architecture embodies the dramatic shifts in Indian society and culture during the last century. Making sense of a broad range of sources, from private papers and photographic collections to the extensive records of the Indian Public Works Department, they provide the most rounded account of modern architecture in India that has yet been available.

In Lucid Language That Speaks To Laymen And Architects Alike, This Book Provides A History Of Twentieth Century Architecture In India. It Examines In Detail The Early Influences On Indian Architecture Both Of Movements Like The Bauhaus As Well As Prominent Individuals Like Habib Rehman, Jawaharlal Nehru, Frank Lloyd Wright And Le Corbusier.

Gwendolyn Wright’s USA is an engaging account the evolution of American architecture, from the late nineteenth century to the twenty-first.

Combining a fascinating, thought-provoking and – above all – readable text with over 800 photographs, plans, and sections, this exciting new reading of modern architecture is a must for students and architecture enthusiasts alike. Organized largely as a chronology, chapters necessarily overlap to allow for the discrete examination of key themes including typologies, movements, and biographical studies, as well as the impact of evolving technology and country-specific influences.

Rather than subscribing to a single position, this collection informs the reader about the current state of the discipline looking at changes across the broad field of methodological, theoretical and geographical plurality. Divided into three sections, Rethinking Architectural Historiography begins by renegotiating foundational and contemporary boundaries of architectural history in relation to other fields, such as art history and archaeology. It then goes on to critically engage with past and present histories, disclosing assumptions, biases and absences in architectural historiography. It concludes by exploring the possibilities provided by new perspectives, reframing the discipline in the light of new parameters and problematics. This timely and illustrated title reflects upon the current changes in historiographical practice, exploring potential openings that may contribute further transformation of the disciplines and theories on architectural historiography and addresses the current question of the disciplinary particularity of architectural history.