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

This atlas of more than one thousand Modernist architectural masterpieces uncovers hidden gems while offering new perspectives on old favorites. In 2006, architecture and design curator Adam Stech embarked on a photographic project to document the best Modernist architecture around the globe. More than thirty countries and more than a decade later, the fruits of that monumental project are gathered in this impressive collection covering nearly a century of architectural history. Driven by a passion for rediscovering forgotten or lesser known architectural treasures of Modernism, Stech took thousands of diverse photographs of exteriors and interiors. This survey features often overlooked details and hidden projects that Stech helps bring to light. His brief commentary on each featured building reveals insights into his vast collection of images that includes treasures of Italian Modernism, American mid-century classics, South American Art Deco, Belgian organic architecture, French Brutalism, forgotten Australian modern houses, and much more. This expansive and inspiring book is the definitive guide to architecture in the 20th century in all its different forms and tendencies from its strict rationalist to flamboyant decorative styles.

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.

Fifty of the world's greatest modern buildings, from 1950 to the present, dissected and analyzed through specially commissioned freehand drawings After a period in which computation-derived architecture—driven by digital design tools, data analysis, and new formal expression—has thrived, students and their teachers have returned to age-old techniques before employing the digital tools that are a part of every architect’s studio. Tired of the perfectly rendered screen image, architects are making presentations that are clearly the work of the hand and the mind, not the computer. This ambitious publication, organized chronologically, is aimed at a new generation of architects who take technology for granted, but seek to further understand the principles of what makes a building meaningful and enduring. Each of the fifty works of architecture is presented through detailed consideration of its site, topology, and surroundings; natural light, volumes, and massing; program and circulation; details, fenestration, and ornamentation. Over 2,500 painstakingly hand-drawn images of the buildings of the past seven decades help readers return to the core values of understanding site and creating buildings: looking with the eyes, engaging through direct physical experience, and constructing by hand.

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.

This title was first published in 2003: Modernist architecture claimed to be the 'international style' but the relationship between modernism and the new dispositions of nations and nationalities which have succeeded the old European empires remains obscure. In this, the first book to examine the interactions between modern architecture, imperialism and post-imperialism, Mark Crinson looks at the architecture of the last years of the British Empire, and during its prolonged dissolution and aftermath. Taking a number of case studies from Britain, Ghana, Hong Kong, Iran, India and Malaysia, he investigates the ambitions of the people who commissioned the buildings, the training and role of architects, and the interaction of the architecture and its changing social and cultural contexts. This book raises questions about the nature of modernism and its roles that look far beyond empire and towards the post-imperial.

Widely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a celebrity in his own day. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with tattooing in an attempt to tell modern Europeans that they should know better. But the negation of ornament was supposed to reveal, not negate, good style; and an incorrigible ironist has been taken too literally in denying architecture as a fine art. Without normalizing his edgy radicality, Masheck argues that Loos' masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck reads Loos as a witty, ironic rhetorician who has all too often been taken at face value. Far from being the anti-architect of the modern era, Masheck's Loos is 'an unruly yet integrally canonical artist-architect'. He believed in culture, comfort, intimacy and privacy and advocated the evolution of artful architecture. This is a brilliantly written revisionist reading of a perennially popular architect.