The Modern Language Of Architecture
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The Modern Language Of Architecture
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.
The Classical Language of Architecture
The author's purpose is to set out as simply and vividly as possible the exact grammatical workings of an architectural language. Classical architecture is a visual "language" and like any other language has its own grammatical rules. Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the "Latin" of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself. In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of "the orders" and the scope of "rustication"; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the "modern" architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.
The New Paradigm in Architecture
Author: Charles Jencks
language: en
Publisher: Yale University Press
Release Date: 2002-01-01
This book explores the broad issue of Postmodernism and tells the story of the movement that has changed the face of architecture over the last forty years. In this completely rewritten edition of his seminal work, Charles Jencks brings the history of architecture up to date and shows how demands for a new and complex architecture, aided by computer design, have led to more convivial, sensuous, and articulate buildings around the world.