Using empathy, as established by the Vienna School of Art History, complemented by insights on how the mind processes visual stimuli, as demonstrated by late 19th-century psychologists and art theorists, this book puts forward an innovative interpretative method of decoding the forms and spaces of Modern buildings. It proposes that Modern architecture is too diverse to be reduced to a few common formal or ornamental features. Instead, by relying on the viewer’s innate psycho-physiological perceptive abilities, the sensual and intuitive understandings of composition, form, and space are emphasized.

In 1896, Otto Wagner's "Modern Architecture" shocked the European architectural community with its impassioned plea for an end to eclecticism and for a "modern" style suited to contemporary needs and ideals, utilizing the nascent constructional technologies and materials. Through the combined forces of his polemical, pedagogical, and professional efforts, this determined, newly appointed professor at the Vienna Academy of Fine Arts emerged in the late 1890s - along with such contemporaries as Charles Rennie Mackintosh in Glasgow and Louis Sullivan in Chicago - as one of the leaders of the revolution soon to be identified as the "Modern Movement." Wagner's historic manifesto is now presented in a new English translation - the first in almost ninety years - based on the expanded 1902 text and noting emendations made to the 1896, 1898, and 1914 editions. In his introduction, Dr. Harry Mallgrave examines Wagner's tract against the backdrop of nineteenth-century theory, critically exploring the affinities of Wagner's revolutionary élan with the German eclectic debate of the 1840s, the materialistic tendencies of the 1870s and 1880s, and the emerging cultural ideology of modernity. Modern Architecture is one of those rare works in the literature of architecture that not only proclaimed the dawning of a new era, but also perspicaciously and cogently shaped the issues and the course of its development; it defined less the personal aspirations of one individual and more the collective hopes and dreams of a generation facing the sanguine promise of a new century

The Modern movement began in the 1920s when a small group of young architects felt all that had gone before should be rejected and that architectural design should start afresh. This fresh start, they declared, should be based on modern technology and a new, modern approach to life. Their innovations became the 20th century's dominant movement in architecture, crystallizing into the international style of the 1920s and '30s. In "Exploding the Myths of Modern Architecture, " Malcolm Millais explores the forces and factors that led to the emergence of the Modern movement, arguing that it was based on completely false premises. Millais offers a rarely heard perspective on the Modern movement, explaining its failures and how the well-meaning "revolutionaries" behind it gained and maintained power.

Using empathy, as established by the Vienna School of Art History, complemented by insights on how the mind processes visual stimuli, as demonstrated by late 19th-century psychologists and art theorists, this book puts forward an innovative interpretative method of decoding the forms and spaces of Modern buildings. This method was first developed as scholars realized that the new abstract art appearing needed to be analysed differently than the previous figurative works. Since architecture experienced a similar development in the 1920s and 30s, this book argues that the empathetic method can also be used in architectural interpretation. While most existing scholarship tends to focus on formal and functional analysis, this book proposes that Modern architecture is too diverse to be reduced to a few common formal or ornamental features. Instead, by relying on the viewer’s innate psycho-physiological perceptive abilities, sensual and intuitive understandings of composition, form, and space are emphasized. These aspects are especially significant because Modern Architecture lacks the traditional stylistic signs. Including building analyses, it shows how, by visually reducing cubical forms and spaces to linear configurations, the exteriors and interiors of Modern buildings can be interpreted via human perceptive abilities as dynamic movement systems commensurate with the new industrial transportation age. This reveals an inner necessity these buildings express about themselves and their culture, rather than just an explanation of how they are assembled and how they should be used. The case studies highlight the contrasts between buildings designed by different architects, rather than concentrating on the few features that relate them to the zeitgeist. It analyses the buildings directly as the objects of study, not indirectly, as designs filtered through a philosophical or theoretical discourse. The book demonstrates that, with technology and science affecting culture

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.

In this work, esteemed architectural historian Neil Levine investigates the complex history of representation from the 18th to the 20th century. Using the lens of a continuous theoretical argument, Levine provides a detailed survey and critical analysis of major works by a host of modern architects.

Available again, a wholly original study of the complex relationship between architecture and language that has changed and enriched the way we think and talk about architecture.The words we use when we talk and write about architecture describe more than just bricks and mortar they direct the ways we think of and live with buildings. This groundbreaking book is the first thorough examination of the complex relationship between architecture and language as intricate social practices. Six rigorously argued chapters investigate the language of modernism, language and drawing, masculine and feminine architecture, language metaphors, science in architecture, and the social properties of architecture. There follows a vocabulary of key words such as Character, Form, History and Space, locating each words modern meaning within an historical and theoretical framework, and setting out clearly its development and relevance for architects, historians, philosophers, critics and the users of the buildings themselves. Architects should be made to read Words and Buildings Architecture Today Unusually clear and accessible Students of all kinds will love this book The Architectural Review A forceful, clear and sophisticated exposition of the role of conceptual thought in architectural discourse The Architects Journal

This thoroughly illustrated classic study traces the history of the world-famous Chicago school of architecture from its beginnings with the functional innovations of William Le Baron Jenney and others to their imaginative development by Louis Sullivan and Frank Lloyd Wright. The Chicago School of Architecture places the Chicago school in its historical setting, showing it at once to be the culmination of an iron and concrete construction and the chief pioneer in the evolution of modern architecture. It also assesses the achievements of the school in terms of the economic, social, and cultural growth of Chicago at the turn of the century, and it shows the ultimate meaning of the Chicago work for contemporary architecture. "A major contribution [by] one of the world's master-historians of building technique."—Reyner Banham, Arts Magazine "A rich, organized record of the distinguished architecture with which Chicago lives and influences the world."—Ruth Moore, Chicago Sun-Times

Covering the period 1890 - 1932 this book focuses on various recognised masters explaining the detailing and construction techniques used in their buildings.