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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 a*** 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, *** this volume more complete and indispensable than ever.

Introduction

PART I – Cultural Developments and Predisposing Techniques 1750 – 1939

Cultural transformati***: Neo-Classical Architecture 1750 – 1900

Territorial transformati***: urban developments 1800 – 1909

Technical transformati***: structural engineering 1775 – 1939

PART II – A Critical History 1836 – 1967

News from Nowhere: England 1836 – 1924

Adler and Sullivan: the Auditorium and the high rise 1886 – 95

Frank Lloyd Wright and the myth of the Prairie 1890 – 1916

Structural Rationalism and the influence of Viollet-le-Duc; Gaudí, Horta, Guimard and Berlage 1880-1910

Charles Rennie Mackinstosh and the Glasgow School 1896 – 1916

The Sacred Spring: Wagner, Olbrich and Hoffman 1886 – 1912

Antonio Sant‘Elia and Futurist Architecture 1909 – 14

Adolf Loos and the crisis of culture 1896 – 1931

Henry van de Velde and the abstraction of empathy 1895 – 1914

Tony Garnier and the Industrial City 1899 – 1918

Auguste Perret: the evolution of Classical Rationalism 1899 – 1925

The Deutsche Werkbund 1898 – 1927

The Glass Chain: European architectural Expressionism 1910 – 25

The Bauhaus: the evolution of an idea 1919 – 32

The New Objectivity: Germany, Holland and Switzerland 1923 – 33

De Stijl: the evolution and dissolution of Neo-Plasticism 1917 – 31

Le Corbusier and the Esprit Nouveau 1907 – 31

Mies van der Rohe and the significance of fact 1921 – 33

The New Collectivity: art and architecture in the Soviet Union 1918 - 32

Le Corbusier and the Ville Radieuse 1928 – 46

Frank Lloyd Wright and the Disappearing City 1929 – 63

Alvar Aalto and the Nordic tradition: National Romanticism and the Doricist sensibility 1895 – 1957

Giuseppe Terragni and the architecture of Italian rationalism 1926 – 43

Architecture and the State: ideology and representation 1914 – 43

Le Corbusier and the monumentalization of the vernacular 1930 - 60

Mies van der Rohe and the monumentalization of technique 1933 – 67

The Eclipse of the New Deal: Buckminster Fuller, Philip Johnson and Louis Kahn 1934 – 64

PART III – Critical assessment and extension into the present 1925 - 91

The International Style: theme and variati*** 1925 – 65

New Brutalism and the architecture of the Welfare State: England 1949 – 59

The vicissitudes of ideology: CIAM and Team X, critique and counter-critique 1928 – 68

Place, Production and Scenography: international theory and practice since 1962

Critical Regionalism: modern architecture and cultural identity

World architecture and reflective practice

NEW: Architecture in the Age of Globalization: topography, morphology, sustainability, materiality, habitat and civic form 1975 - 2007

Select Bibliography

Acknowledgments

Index

肯尼斯・弗兰姆普敦，1930年生，建筑师、建筑史家及评论家，曾作为一名建筑师在伦敦AA（建筑协会）建筑学院接受培训，现为美国哥伦比亚大学建筑规划研究生院威尔讲席教授。他曾任教于本学科内许多一流的院校，其中包括伦敦皇家艺术学院，苏黎世ETH学院，阿姆斯特丹伯拉杰学院（Berlage Institute），洛桑EPFL及维吉尼亚大学。他写有大量关于现当代建筑的论著，并从1986－1990年担任由密斯・凡・德・罗基金会赞助的位于巴塞罗那的EEC欧洲建筑奖评委会主席。

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最困难的建筑处理问题之一是建筑环境适宜人的尺度。在现代建筑中，结构框架与建筑体量的合理性与处于支配地位的危险，从而尝尝在场地的剩余部分存在一中行建筑的真空。例如把这种真空用装饰性的庭院填充就大有好处，他将使人的有机运动成功地融合在场地的形成中，以增加人与建筑的密切联系。在巴黎芬兰馆，这一问题幸而由此得到圆满解决。

One of the most difficult architectural problems is the shaping of the building’s surroundings to the human scale. In modern architecture where the rationality of the structural frame and the building masses threaten to dominate, there is often an architectural vacuum in the left-over porti*** of the site. It would be good if, instead of filling up this vacuum with decorative gardens, the ***anic movement of people could be incorporated in the shaping of the site in order to create an intimate relati***hip between man and architecture. In the case of the Paris pavilion, this problem fortunately could be solved.

城市越来越处于一种连续不断发展的消费者经济的控制之下，已经失去了维持其本身完整意义的能力。

Around the same time Terragni produced the most metaphysical work of his entire career, his Danteum, projected in 1938 as a monumental embellishment to the Via Del Impero cut by Mussolini through the ancient city. This project, comprising progressively less dense blocks of rectangular space arranged as labyrinth and symbolizing the stages of Inferno, Purgatory and Paradise, was in many respects an abstraction of the parti used for the EUR building.

Terragni's obsession with a 'transparent' architecture---a sublimation of the Futurist programme of projecting the street into the house---was first advanced in his Case del Fascio.Thereafter it reappeared as a c***tant drive throughout all his public work, from the Sarfatti Monument,built at Col d'Echele in 1934 to the final design for the EUR...

在建筑中，有两种做到忠实的必要途径。一是必须忠于建设纲领；二是必须忠实于建造手法。忠于纲领，指的是必须精确和简单地满足由需要提出的条件。忠于建造方法，指的是必须按照材料的质量和性能去应用它们。.......对称性和外观形式等纯艺术问题在这些主要原则面前只是次要的。

最困难的建筑处理问题之一是使建筑环境适宜人的尺度。在现代建筑中，结构框架与建筑体量的合理性有处于支配地位的危险，从而常常在场地的剩余部分存在一种建筑的真空。假如把这种真空用装饰性的庭院填充就有很大好处，它将使人的有机运动成功地融合在场地的形成中，以增加人与建筑的密切关系。

除了在所有可能场合都插入了“未来派”这个词，以及在结束处提出了若干挑战性的提议，包括对任何永久性的矛盾的反对，和诸如“我们的房屋将不能向我们现在那样耐久，每一代子孙都将只盖自己一代的房屋”……荒唐的浮夸在最初的宣言中就有预示……但这并不是未来派“文化”在1931年前后堕落的全部原因。1919年以后，是革命俄国的构成主义派成员而不是意大利人，接受了马里内蒂、波丘尼和圣伊里亚早期的战斗性现代主义。意大利的理性主义运动要过一段时间才开始对“新城市”的形象做出反应，即使到那个时候，它也只是在把现代价值和意大利建筑的古典传统结合起来的气氛下实现的。

书籍介绍

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 a*** 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, *** this volume more complete and indispensable than ever.