Bernd and Hilla Becher have profoundly influenced the international photography world over the past several decades. Their unique genre, which falls somewhere between topological documentation and conceptual art, is in line with the aesthetics of such early-twentieth-century masters of German photography as Karl Blossfeldt, Germaine Krull, Albert Renger-Patzsch, and August Sander.
CIAM (Congres Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth century, such as Le Corbusier, Walter Gropius, and Richard Neutra, but also hundreds of others who looked to it for doctrines on how to shape the urban environment in a rapidly changing world.
Most histories of twentieth-century architecture cite Peter Behrens' influence on three of his protégés—Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier—and mention the turbine factory and arc lamp he designed for the German electrical firm AEG. Now Behrens' full contribution to the history of twentieth-century architecture is finally told, in Stanford Anderson's indispensable guide to one of the great designers of our century.
Karel Teige (1900-1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His Minimum Dwelling, originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the twentieth century.The Minimum Dwelling is not just a book on architecture, but also a blueprint for a new way of living.
Although both are central to architecture, siting and construction are often treated as separate domains. In Uncommon Ground, David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture.
A fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief.
In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing—the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match.
Kenneth Frampton's long-awaited follow-up to his classic A Critical History of Modern Architecture is certain to influence any future debate on the evolution of modern architecture. Studies in Tectonic Culture is nothing less than a rethinking of the entire modern architectural tradition. The notion of tectonics as employed by Frampton—the focus on architecture as a constructional craft—constitutes a direct challenge to current mainstream thinking on the artistic limits of postmodernism, and suggests a convincing alternative.
"Resurfacing Modernism" Founded in 1950, Perspecta is the oldest and most distinguished of student-edited American architectural journals. Perspecta 32 examines contemporary "resurfacings" represented by the return of many forms and values associated with mid-twentieth-century modernism. By 1950, a plethora of architectural practices were adapting earlier modernist experimentation to the changing times. Numerous buildings of this period employed sleek surfaces of glass, metal, and stone to provide primary stylistic unity.