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This classic work (first published in Italian in 1948, translated in 1957, and revised in 1974) examines the history of architecture in light of its essence as space, animating and illuminating architectural creations so that their beauty—or indifference—is exposed. Along with commercial and dwelling units, temples, palaces, and cathedrals, Zevi treats structures such as fountains, columns, and monuments, subjecting them all to aesthetic, cultural, and functional criteria and explaining them in easily understood terms. Beautifully illustrated with examples from the entire history of the art, this is one of the most stimulating and provocative books ever written on the history and purpose of architecture.
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.
Frank Lloyd Wright called Bruno Zevi ”the most penetrating architectural critic of our time,” and one could ask for no better proof than Zevi's masterpiece, The Modern Language of Architecture . In it, Zevi sets forth seven principles, or ”antirules,” to codify the new language of architecture created by Le Corbusier, Gropius, Mies van der Rohe, and Wright. In place of the classical language of the Beaux Art school, with its focus on abstract principles of order, proportion, and symmetry, he presents an alternative system of communication characterized by a free interpretation of contents and function, an emphasis on difference and dissonance, a dynamic of multidimensional vision, and independent interplay of elements, an organic marriage of engineering and design, a concept of living spaces that are designed for use, and an integration of buildings into their surroundings. Anticipating the innovations of postmodern architecture, Zevi argues forcefully for complexity and against unity, for decomposition dialogue between architecture and historiography, finding elements of the modern language of architecture throughout history, and discussing the process of architectural innovation. Sumptuously illustrated, and written in a clear, accessible manner, The Modern Language of Architecture will long remain one of the classics of architectural criticism and history.
Writing Architecture in Modern Italy tells the history of an intellectual group connected to the small but influential Italian Einaudi publishing house between the 1930s and the 1950s. It concentrates on a diverse group of individuals, including Bruno Zevi, an architectural historian and politician; Giulio Carlo Argan, an art historian; Italo Calvino, a fiction writer; Giulio Einaudi, a publisher; and Elio Vittorini and Cesare Pavese, both writers and translators. Linking architectural history and historiography within a broader history of ideas, this book proposes four different methods of writing history, defining historiographical genres, modes, and tones of writing that can be applied to history writing to analyze political and social moments in time. It identifies four writing genres: myths, chronicles, history, and fiction, which became accepted as forms of multiple postmodern historical stories after 1957. An important contribution to the architectural debate, Writing Architecture in Modern Italy will appeal to those interested in the history of architecture, history of ideas, and architectural education.
In this exceptional book on the London based studio 6a architects, architecture critic Irenee Scalbert looks at the role of narrative, history, appropriation and craft in the work of Tom Emerson and Stephanie Macdonald. The book traces an architectural approach avoiding style, signature, theory and even concept in favour of metis, an ancient form of intelligence combining 'flair, wisdom, forethought, subtlety of mind, deception, resourcefulness, vigilance, opportunism, varied skills, and experience.' Structured around notions of situation, intervention, making, comedy, bricolage, chance and anthropology, the text is mirrored in a visual essay of archive photographs, artworks, film stills and recent projects by the practice.
Reclaiming the humanistic role of architecture in the age of technology: an examination of architecture's indispensable role as a cultural force throughout history.
Bridges the gap between the history and theory of twentieth-century architecture and cultural theories of modernity. In this exploration of the relationship between modernity, dwelling, and architecture, Hilde Heynen attempts to bridge the gap between the discourse of the modern movement and cultural theories of modernity. On one hand, she discusses architecture from the perspective of critical theory, and on the other, she modifies positions within critical theory by linking them with architecture. She assesses architecture as a cultural field that structures daily life and that embodies major contradictions inherent in modernity, arguing that architecture nonetheless has a certain capacity to adopt a critical stance vis-à-vis modernity. Besides presenting a theoretical discussion of the relation between architecture, modernity, and dwelling, the book provides architectural students with an introduction to the discourse of critical theory. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice School (Tafuri, Dal Co, Cacciari) can be studied independently for this purpose.