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Modern Architecture: A Critical History (Fourth Edition) (World of Art), by Kenneth Frampton
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"One of the most important works on modern architecture we have today."―Architectural Design
This acclaimed survey of modern architecture and its origins has become a classic since it first appeared in 1980. For the fourth edition Kenneth Frampton has added a major new section that explores the effects of globalization on architecture in recent years and examines the phenomenon of international celebrity architects who are increasingly active all over the world. The bibliography has been updated and expanded, making this volume more complete and indispensable than ever. 420 illustrations- Sales Rank: #252546 in Books
- Published on: 2007-09-30
- Original language: English
- Number of items: 1
- Dimensions: 8.30" h x 1.20" w x 6.00" l, 1.90 pounds
- Binding: Paperback
- 424 pages
Review
“A useful and wide-ranging work of superior architectural scholarship, this ambitious publication contains many chapters that stand on their own as perceptive essays; it is marked throughout by a consistently mature critical intelligence.” (New York Review of Books)
About the Author
Kenneth Frampton is a historian and theorist, and a professor at the Graduate School of Architecture, Planning, and Preservation at Columbia University, New York. His many books include Modern Architecture: A Critical History, Le Corbusier, and Kengo Kuma: Complete Works.
Most helpful customer reviews
0 of 0 people found the following review helpful.
One Star
By Westin T.
incredibly dense book, even my teacher hates it
7 of 7 people found the following review helpful.
3rd edition_ Casey Lee
By casey lee
In Modern Architecture: A Critical History, Kenneth Frampton presents a dense and detailed survey of modern architecture. Frampton divides his book into three parts; the history behind modern architecture, a critical history of modern architecture from 1836-1967, and a critical assessment and extension into the present day. The majority of the book focuses on the critical history of modern architecture from 1836-1967. In this section, Frampton explores modern architecture around the globe. He divides this section, and the other two as well, into short chapters that introduce and explore particular architects or movements. Overall, Frampton’s work is a good introductory survey of canonical architects and movements within Modern architecture, but the book lacks cohesion, is quote heavy, would be benefited with a better selection of and larger pictures, and lacks detail on specific buildings.
In the first section of the book, Frampton introduces the historical influence on the modern period of architecture. These influences fall into three main categories; the abstraction and simplification of classical features through Neoclassicism, urban planning, and technical transformations and advances. While the section that explores modern architecture from 1836-1967 continuously brings up these themes, Frampton never directly relates his chapters back into their historical context. His chapters also have no cohesive narrative. They are arranged in a rough chronology with seemingly no guiding theme throughout. This is made even more abundantly clear by his separation of sections dealing with the same architect. Frampton has three chapters devoted to Le Corbusier, two to Frank Lloyd Wright, and two to Mies van der Rohe, however these chapters never follow one another. Perhaps a better way to organize his critical history of modern architecture would have been to take the historical influences and make them themes, and then show the progression within these fields. For instance, he would show the progression of urban planning, the abstraction of classical features, and technical advancements and influences. This would give the narrative a cohesion that it presently lacks as it now reads more of a survey of the traditional cannon of modern architecture instead of any sort of critical history.
The book would have been made better with larger and better selected photographs, less quotes, and more detail on specific buildings. The photographs are small and often grainy, making detail hard to see. However, the reader is not necessarily looking for specific detail because Frampton does not give much architectural detail about the buildings. Instead, Frampton gives a brief overview of specific architects and movements that are prominent within the traditional cannon of modern architecture. Frampton’s writing is also obscured by his heavy use of quotations throughout the book. Frampton would have been better situated to lessen the amount of quotes and replace them with more specific architectural detail. Overall, Frampton has written a succinct survey of modern architecture that would serve as a nice introduction to aspects of the cannon of modern architecture as long as the readers could connect the themes and influences themselves.
0 of 0 people found the following review helpful.
Did Frampton disrespect Frank Lloyd Wright? Was Bauhaus a style or band?
By IndIa Clamp
Did Frampton disrespect Frank Lloyd Wright? Was Bauhaus a style or band? Zunkunftskathedrale had something to do with a cathedral and zoo? Absolute requirement--- touch, read and tote---for those students pursuing knowledge, beauty coupled with criticism!
All elevated or lowly undertakings some would argue start with curiosity, the questions presents itself like a hungry belly grumbling with a question of why, how or more appropriately “how idiotic, why?” Three chapters into “Modern Architecture,” authored by Kenneth Frampton you encounter an author who does not give much concern for Frank Lloyd Wright— and he is presented in brief thus if pages where love then its denied to Frank Lloyd Wright and maybe it is given in chapter thirteen. This chapter is long, tedious and a most seductive rant on The Glass Chain: European Architectural Expressionism 1910-25.
Some phrases that linger are--inscribed on the glass dome by Scheerbart--- "Light wants crystal, glass brings a new era and building in brick only does us harm” is literary silver on the page (Frampton 116) and inspirational to the reader. This chapter delineates the reverence for the delta from darkness to light in Modern Architecture.
Chapters are rampant and this text is the equivalent of the student bible in Art, Design and Architecture though birthed in 1980 it still has sway, gives lengthy consideration to globalization and remains a testament to Modern Architecture. This text is a stupendous read and survived many clandestine sessions in my black Tony Burch tote, I strongly recommend this text.
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