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History of Modern Architecture, Vol. 1: The Tradition of Modern Architecture
Let it be said at once that the format of this work is richly it is a two-volume boxed set comprising 844 pages and well over 1,000 high-quality illustrations, and it reflects throughout its publisher's conviction that good design is an essential, not superficial, part of bookmaking.
Beyond that, it should be emphasized that this work is not another facile cultural tour of modern architecture. It is a serious and original study of the beginnings and development of modernism in which the pictorial aspects are designed to aid in the communication of the author's closely reasoned formulations, rather than to gloss over a lack of substantive content.
The book is a translation of the third Italian edition, published in 1966. Benevolo, who is on the faculty of architecture in Venice, has earned an international reputation as a historian of architecture and town planning, and his publications embrace the span of time from the Renaissance to the foreseeable future. One such publication, The Origins of Modern Town Planning (The MIT Press, 1967), may be read as a prelude to the present work as well as an independent contribution. Perhaps more than any other architectural historian in our time, Benevolo has made a determined effort to place developments in design and planning in their proper social and political settings.
Indeed, the author argues that the development of the modern movement in architecture was determined, not by aesthetic formalisms, but largely by the social changes that have occurred since about 1760: "After the middle of the eighteenth century, without the continuity of formal activity being in any way broken, indeed while architectural language seems to be acquiring a particular coherence, the relations between architect and society began to change radically.... New material and spiritual needs, new ideas and modes of procedure arise both within and beyond the traditional limits, and finally they run together to form a new architectural synthesis that is completely different from the old one. In this way it is possible to explain the birth of modern architecture, which otherwise would seem completely incomprehensible...."
This first volume provides the work with its solid historical roots. It describes the component parts of modern architectural thought, discovers their origins in the various fields in which they arose, and follows their convergence from 1760 to 1914. The author traces the physical events that gave birth to the modern European city through 1890 and discusses in particular the influences that led to the thought of Owen, Ruskin, and Morris. He next explains why certain urban experiments took place in America earlier than in Europe, and he ends the volume with a discussion of European avant-garde movements between 1890 and 1914.
Benevolo remarks at one point, "When one talks about modern architecture one must bear in mind the fact that it implies not only a new range of forms, but also a new way of thinking, whose consequences have not yet all been calculated." His main concern is to provide a more exact calculation of those consequences.
Beyond that, it should be emphasized that this work is not another facile cultural tour of modern architecture. It is a serious and original study of the beginnings and development of modernism in which the pictorial aspects are designed to aid in the communication of the author's closely reasoned formulations, rather than to gloss over a lack of substantive content.
The book is a translation of the third Italian edition, published in 1966. Benevolo, who is on the faculty of architecture in Venice, has earned an international reputation as a historian of architecture and town planning, and his publications embrace the span of time from the Renaissance to the foreseeable future. One such publication, The Origins of Modern Town Planning (The MIT Press, 1967), may be read as a prelude to the present work as well as an independent contribution. Perhaps more than any other architectural historian in our time, Benevolo has made a determined effort to place developments in design and planning in their proper social and political settings.
Indeed, the author argues that the development of the modern movement in architecture was determined, not by aesthetic formalisms, but largely by the social changes that have occurred since about 1760: "After the middle of the eighteenth century, without the continuity of formal activity being in any way broken, indeed while architectural language seems to be acquiring a particular coherence, the relations between architect and society began to change radically.... New material and spiritual needs, new ideas and modes of procedure arise both within and beyond the traditional limits, and finally they run together to form a new architectural synthesis that is completely different from the old one. In this way it is possible to explain the birth of modern architecture, which otherwise would seem completely incomprehensible...."
This first volume provides the work with its solid historical roots. It describes the component parts of modern architectural thought, discovers their origins in the various fields in which they arose, and follows their convergence from 1760 to 1914. The author traces the physical events that gave birth to the modern European city through 1890 and discusses in particular the influences that led to the thought of Owen, Ruskin, and Morris. He next explains why certain urban experiments took place in America earlier than in Europe, and he ends the volume with a discussion of European avant-garde movements between 1890 and 1914.
Benevolo remarks at one point, "When one talks about modern architecture one must bear in mind the fact that it implies not only a new range of forms, but also a new way of thinking, whose consequences have not yet all been calculated." His main concern is to provide a more exact calculation of those consequences.
- GenresArchitectureHistory
408 pages, Paperback
First published December 15, 1977
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Displaying 1 - 2 of 2 reviews
November 14, 2020
Un libro fascinante para entender los problemas que surgen en el XIX alrededor del urbanismo, la arquitectura y en general el arte, debidos a la industrialización y el aumento de la población .
Lo he leído en el marco de una asignatura de arte del XIX y me ha encantado la mezcla de manual, divulgación y ensayo que tan bien maneja el autor.
Muy ameno, y nada técnico, indaga en multitud de cuestiones sociales -la mayoría vigentes aún- y su relación con las soluciones ofrecidas, y no cae en un formalismo excesivo, relacionando arquitectura y urbanismo con los problemas de los que se ocupan éstas: la vida humana.
Se le ha caído una estrella porque la brillantez de sus 400 páginas decae un poco al tratar el "art noveau", acercándose más al manual académico en esa parte, y perdiendo por tanto la frescura reflexiva del resto. Pero son sólo 40 páginas.
Probablemente no descubra nada nuevo a nadie mínimamente interesado en arquitectura o urbanismo y este autor sea un referente, pero dentro del limitado y acartonado mundo de los manuales de Hª del Arte en la Uned encontrarte con un libro que se acerca a un ensayo y te trata como un adulto, y no como un bachiller, me ha causado una gratísima sorpresa.
Obviamente, a partir de febrero leeré su segunda parte, la del XX.
Lo he leído en el marco de una asignatura de arte del XIX y me ha encantado la mezcla de manual, divulgación y ensayo que tan bien maneja el autor.
Muy ameno, y nada técnico, indaga en multitud de cuestiones sociales -la mayoría vigentes aún- y su relación con las soluciones ofrecidas, y no cae en un formalismo excesivo, relacionando arquitectura y urbanismo con los problemas de los que se ocupan éstas: la vida humana.
Se le ha caído una estrella porque la brillantez de sus 400 páginas decae un poco al tratar el "art noveau", acercándose más al manual académico en esa parte, y perdiendo por tanto la frescura reflexiva del resto. Pero son sólo 40 páginas.
Probablemente no descubra nada nuevo a nadie mínimamente interesado en arquitectura o urbanismo y este autor sea un referente, pero dentro del limitado y acartonado mundo de los manuales de Hª del Arte en la Uned encontrarte con un libro que se acerca a un ensayo y te trata como un adulto, y no como un bachiller, me ha causado una gratísima sorpresa.
Obviamente, a partir de febrero leeré su segunda parte, la del XX.
March 14, 2012
In most other architecture history books, modernism arises with Le Baron Jenny, Adler, Sullivan, Loos, Corbu and Gropius as if these men just picked it out of thin air. This was the first book on Modern Architecture [that I've read, at least] which actually starts in the right time period - circa 1650.
The amount of detail and name-dropping in Benevolo's narrative is a bit overwhelming; an attempt to be thorough becomes distracting to the average reader. Still, he successfully ties architectural history in with progressions in arts and engineering, political upheaval, and trends in philisophical thought.
It is not an easy read, but puts modern architecture into a historical context and elucidates some of the "whys" and "hows" of modernism.
The amount of detail and name-dropping in Benevolo's narrative is a bit overwhelming; an attempt to be thorough becomes distracting to the average reader. Still, he successfully ties architectural history in with progressions in arts and engineering, political upheaval, and trends in philisophical thought.
It is not an easy read, but puts modern architecture into a historical context and elucidates some of the "whys" and "hows" of modernism.
Displaying 1 - 2 of 2 reviews