| 书目名称 | The Evolution of 20th Century Architecture: A Synoptic Account | | 编辑 | Kenneth Frampton | | 视频video | http://file.papertrans.cn/910/909289/909289.mp4 | | 概述 | New approach to the history of architecture by Kenneth Frampton.Architects, styles and theories in a uniquely compact overview.Easily understandable explanations, richly illustrated | | 图书封面 |  | | 描述 | Part 1: Avant-Garde and Continuity 1887-1986 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Part 2: The Vicissitudes of the Organic 1910-1998 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Part 3" Universal Civilization and National Cultures 1935-1998 . . . . . . . . . 85 Part 4: Production, Place and Reality 1927-1990 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Acknowledgement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 ontents Introduction the limited space that l have at my disposal, it obviously impossible to give a truly global history of the evolution of twentieth century architecture. Instead I have attempted to trace diff- | | 出版日期 | Book 2007Latest edition | | 关键词 | Architecture; Avant-Garde; History; National Style; Organic-Architecture; Regionalism; The Modern; architec | | 版次 | 1 | | doi | https://doi.org/10.1007/978-3-211-69475-6 | | copyright | Springer-Verlag Vienna 2007 |
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Front Matter |
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Abstract
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,Introduction, |
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Abstract
In the limited space that l have at my disposal, it is obviously impossible to give a truly global history of the evolution of twentieth century architecture. Instead I have attempted to trace different ideological trajectories as these have crossed and re-crossed each other in the course of the century. Hence, I have tried to compile a genealogy rather than a history, and for this reason it is an account which has a markedly fragmentary character due in large measure to what one can only call conceptual fluctuations; that is to say the way in which certain ideas rise to the surface at a given moment, are elaborated and after a while abandoned, only to re-emerge later in a different form. Because of this waxing and waning of these ideas over time, this account will often depart from a strict chronological sequence. To this end, the material is treated under four different headings; .. The aim of each section is to trace the evolution of different paradigms and to show how a particular theme or cultural trope manifests itself in various ways under different historical circumstances.
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,Avant-Garde and Continuity 1887–1986, |
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Abstract
ĥ Wherever urban culture blossoms and bears fruits, . appears as its indispensable organ. The rural people know little of it. On the other hand, all praise of rural life has pointed out that the . among people is stronger there and more alive; it is the lasting and genuine form of living together. In contrast to ., . is transitory and superficial. Accordingly, . should be understood as a living organism, . as a mechanical aggregate and artifact. Ferdinand Tönnies,
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,The Vicissitudes of the Organic 1910–1998, |
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Abstract
The interest which organic architecture (unlike the academic and the stylistic) manifests in man and his life, goes far beyond reproducing physical sensations either directly or indirectly. If for example organic architecture has a feeling of movement and a dynamic quality, this is not achieved through the walls being covered in the Art Nouveau manner with neurotic linear patterns which evoke recollections of movement, not through the composition being such as to necessitate ocular movement before it is intelligible ∖h. The reason is that the spatial arrangement corresponds fundamentally to the actual movements of the man who inhabits it; organic architecture is not abstractly utilitarian but, in the integral sense of the word, functional. We are still too much in the habit of looking at a house as though it were a picture, and even the best critics are often better at analysing plans and sections and elevations than the total structure and the spatial conception of a building. The organic architect concentrates upon the structure, and he regards it not merely from a technical point of view but as the complex of all the human activities and feelings of the people who will use it.
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,Universal Civilization and National Cultures 1935–1998, |
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Abstract
Opposed to the Regionalism of Restriction is another type of regionalism, the Regionalism of Liberation. This is the manifestation of a region that is especially in tune with the emerging thought of the time. We call such a manifestation “regional” only because it has not yet emerged elsewhere ∖h. A region may develop ideas. A region may accept ideas. In California in the late Twenties and Thirties modern European ideas met a stilldeveloping regionalism. In New England, on the other hand, European Modernism met a rigid and restrictive regionalism that at first resisted and then surrendered. New England accepted European Modernism whole because its own regionalism had been reduced to a collection of restrictions.
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,Production, Place and Reality 1927–1990, |
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Abstract
Building, which in the last analysis is a material struggle against the destructive forces of nature, obliges us to face the consequences of advances in science and the discoveries and inventions of technology, in order to identify with every available aid and technique, the new laws of harmony between mass and space. As the conditions were very different from those applying to a house built by craftsmen and it was therefore impossible to predict the effect of the new, previously unknown cause, or even to realize the new laws of building within the canon of classical ornamentation, only resolute decisions, based firmly on materials, methods and technology, could establish the true way ahead. Konrad Wachsmann, ., 1961
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Back Matter |
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Abstract
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