{"product_id":"architectural-theory-volume-2-9781405102599","title":"Architectural Theory Volume 2","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eThis second volume of the landmark \u003ci\u003eArchitectural Theory\u003c\/i\u003e anthology surveys the development of architectural theory from the Franco-Prussian war of 1871 until the end of the twentieth century.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe entire two volume anthology follows the full range of architectural literature from classical times to present transformations.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eAn ambitious anthology bringing together over 300 classic and contemporary essays that survey the key developments and trends in architecture\u003c\/li\u003e \u003cli\u003eSpans the period from 1871 to 2005, from John Ruskin and the arts and crafts movement in Great Britain through to the development of Lingang New City, and the creation of a metropolis in the East China sea\u003c\/li\u003e \u003cli\u003eOrganized thematically, featuring general and section introductions and headnotes to each essay written by a renowned expert on architectural theory\u003c\/li\u003e \u003cli\u003ePlaces the work of starchitects like Koolhaas, Eisenman, and Lyn alongside the work of prominent architectural criti\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“An invaluable resource \u003ci\u003eand\u003c\/i\u003e a great read. The different voices of many generations of modernists come alive in their struggles to shape themselves and their times. Rich, inclusive, and surprising.” \u003ci\u003eProfessor Detlef Mertins,\u003c\/i\u003e \u003ci\u003eChair of the Architecture Program, University of Pennsylvania.\u003c\/i\u003e \u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\"This book is a collection of extraordinary readings for those with an interest in Architectural Theory. It is a critically conceived resource of great value, an indispensable source to professors and students of architecture and professionals interested in architectural theory.\" \u003ci\u003eMarco Frascari, Director, Azrieli School of Architecture, Carleton University\u003c\/i\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgements. \u003cp\u003eGeneral Introduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Early Modernism.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. The Arts and Crafts Movement in Great Britain.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1. John Ruskin from \u003ci\u003eFors Clavigera\u003c\/i\u003e (1871).\u003c\/p\u003e \u003cp\u003e2. Christopher Dresser from \u003ci\u003eStudies in Design\u003c\/i\u003e (1874-76).\u003c\/p\u003e \u003cp\u003e3. Richard Redgrave from \u003ci\u003eManual of Design\u003c\/i\u003e (1876).\u003c\/p\u003e \u003cp\u003e4. William Morris from \u003ci\u003eThe Prospects of Architecture in Civilization\u003c\/i\u003e (1881).\u003c\/p\u003e \u003cp\u003e5. Christopher Dresser from \u003ci\u003eJapan: Its Architecture, Art, and Art Manufacturers\u003c\/i\u003e (1882).\u003c\/p\u003e \u003cp\u003e6. Oscar Wilde from \u003ci\u003eArt and the Handicraftsman\u003c\/i\u003e (1882).\u003c\/p\u003e \u003cp\u003e7. Arthur H. Mackmurdo from \u003ci\u003eArbitrary Conditions of Art\u003c\/i\u003e (1884).\u003c\/p\u003e \u003cp\u003e8. William Morris from \u003ci\u003eThe Revival of Architecture\u003c\/i\u003e (1888).\u003c\/p\u003e \u003cp\u003e9. Walter Crane from \u003ci\u003eThe Claims of Decorative Art\u003c\/i\u003e (1892).\u003c\/p\u003e \u003cp\u003e10. John D. Sedding from \u003ci\u003eDesign\u003c\/i\u003e (1891?).\u003c\/p\u003e \u003cp\u003e11. Charles Rennie Mackintosh from \u003ci\u003eArchitecture\u003c\/i\u003e (1893).\u003c\/p\u003e \u003cp\u003e12. C. Robert Ashbee from \u003ci\u003eA Few Chapters in Workshop Re-Construction and Citizenship\u003c\/i\u003e (1894).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. Continental Reforms\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e13. Jakob Falke from \u003ci\u003eArt in the House\u003c\/i\u003e (1871).\u003c\/p\u003e \u003cp\u003e14. George Hirth from \u003ci\u003eThe German Renaissance Room\u003c\/i\u003e (1880).\u003c\/p\u003e \u003cp\u003e15. Robert Dohme from \u003ci\u003eThe English House\u003c\/i\u003e (1888).\u003c\/p\u003e \u003cp\u003e16. Cornelius Gurlitt from \u003ci\u003eInside the Middle-Class House\u003c\/i\u003e (1888).\u003c\/p\u003e \u003cp\u003e17. Louis-Charles Boileau from \u003ci\u003eShops of the Bon Marché in Paris—Grand Staircase\u003c\/i\u003e (1876).\u003c\/p\u003e \u003cp\u003e18. Charles Blanc from \u003ci\u003eThe Fine Arts at the Universal Exposition of 1878\u003c\/i\u003e (1878).\u003c\/p\u003e \u003cp\u003e19. Eugène-Emmanuel Viollet-le-Duc from \u003ci\u003eThe Buildings of the Universal Exposition of 1878\u003c\/i\u003e (1878).\u003c\/p\u003e \u003cp\u003e20. Émile Zola from \u003ci\u003eAu Bonheur des Dames\u003c\/i\u003e (1883).\u003c\/p\u003e \u003cp\u003e21. Joris-Karl Huysmans from \u003ci\u003eAgainst Nature\u003c\/i\u003e (1884).\u003c\/p\u003e \u003cp\u003e22. Samuel Bing from \u003ci\u003eArtistic Japan\u003c\/i\u003e (1888).\u003c\/p\u003e \u003cp\u003e23. Joseph Eugene Anatole de Baudot from \u003ci\u003eThe Architecture of the Universal Exposition of 1889\u003c\/i\u003e (1889).\u003c\/p\u003e \u003cp\u003e24. Louis Gonse from \u003ci\u003eThe Architecture of the Universal Exposition of 1889\u003c\/i\u003e (1889).\u003c\/p\u003e \u003cp\u003e25. Edmond de Goncourt from \u003ci\u003eJournal, mémoires de la vie littéraire\u003c\/i\u003e (1895).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. Reforms in the United States\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e26. Henry Hudson Holly from \u003ci\u003eModern Dwellings: Their Construction, Decoration, and Furniture\u003c\/i\u003e (1876).\u003c\/p\u003e \u003cp\u003e27. Robert Swain Peabody from \u003ci\u003eGeorgian Homes of New England\u003c\/i\u003e (1877).\u003c\/p\u003e \u003cp\u003e28. Clarence Cook from \u003ci\u003eHouse Beautiful\u003c\/i\u003e (1877).\u003c\/p\u003e \u003cp\u003e29. Leopold Eidlitz from \u003ci\u003eThe Nature and Function of Art: More Especially of Architecture\u003c\/i\u003e (1881).\u003c\/p\u003e \u003cp\u003e30. Louis Sullivan from \u003ci\u003eCharacteristic and Tendencies of American Architecture\u003c\/i\u003e (1885).\u003c\/p\u003e \u003cp\u003e31. George William Sheldon from \u003ci\u003eArtistic Country-Seats\u003c\/i\u003e (1886).\u003c\/p\u003e \u003cp\u003e32. John Root, et al from \u003ci\u003eWhat are the Present Tendencies in Architectural Design in America\u003c\/i\u003e (1887).\u003c\/p\u003e \u003cp\u003e33. Mariana Griswold Van Rensselaer from \u003ci\u003eHenry Hobson Richardson and His Works\u003c\/i\u003e (1888).\u003c\/p\u003e \u003cp\u003e34. Friedrich Baumann from \u003ci\u003eThoughts on Architecture\u003c\/i\u003e (1889).\u003c\/p\u003e \u003cp\u003e35. Louis Sullivan from \u003ci\u003eOrnament in Architecture\u003c\/i\u003e (1892).\u003c\/p\u003e \u003cp\u003e36. Montgomery Schuler from \u003ci\u003eLast Words about the World's Fair\u003c\/i\u003e (1894).\u003c\/p\u003e \u003cp\u003e37. Louis Sullivan from \u003ci\u003eEmotion Architecture as Compared with Intellectual\u003c\/i\u003e (1894).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eD. Conceptual Underpinnings of German Modernism: Space, Form, and Realism\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e38. Richard Lucae from \u003ci\u003eOn the Aesthetic Development of Iron Construction, especially its Use in Spaces of a Significant Span\u003c\/i\u003e (1870).\u003c\/p\u003e \u003cp\u003e39. Friedrich Nietzsche from \u003ci\u003eThe Use and Abuse of History\u003c\/i\u003e (1872).\u003c\/p\u003e \u003cp\u003e40. Robert Vischer from \u003ci\u003eOn the Optical Sense of Form\u003c\/i\u003e (1872).\u003c\/p\u003e \u003cp\u003e41. Constantine Lipsius from \u003ci\u003eOn the Aesthetic Treatment of Iron in Tall Building\u003c\/i\u003e (1878).\u003c\/p\u003e \u003cp\u003e42. Conrad Fiedler from \u003ci\u003eObservations on the Nature and History of Architecture\u003c\/i\u003e (1878).\u003c\/p\u003e \u003cp\u003e43. Hans Auer from \u003ci\u003eThe Development of Space in Architecture\u003c\/i\u003e (1883).\u003c\/p\u003e \u003cp\u003e44. Josef Bayer from \u003ci\u003eStyle Crisis of our Time\u003c\/i\u003e (1886).\u003c\/p\u003e \u003cp\u003e45. Heinrich Wölfflin from \u003ci\u003eProlegomena to a Psychology of Architecture\u003c\/i\u003e (1886).\u003c\/p\u003e \u003cp\u003e46. Adolf Göller from \u003ci\u003eWhat is the Cause of Perpetual Style Change in Architecture?\u003c\/i\u003e (1887).\u003c\/p\u003e \u003cp\u003e47. Cornelius Gurlitt from \u003ci\u003eGöller's Aesthetic Theory\u003c\/i\u003e (1887).\u003c\/p\u003e \u003cp\u003e48. Ferdinand Tönnies from \u003ci\u003eCommunity and Society\u003c\/i\u003e (1887).\u003c\/p\u003e \u003cp\u003e49. Camillo Sitte from \u003ci\u003eCity Planning According to Its Artistic Principles\u003c\/i\u003e (1889).\u003c\/p\u003e \u003cp\u003e50. August Schmarsow from \u003ci\u003eThe Essence of Architectural Creation\u003c\/i\u003e (1893).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: The Formation of the Modern Movement: 1894-1914.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. The Wagner School and the German Werkbund\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e51. Otto Wagner from \u003ci\u003eInaugural Address to the Academy of Fine Arts\u003c\/i\u003e (1894).\u003c\/p\u003e \u003cp\u003e52. Max Fabiani from \u003ci\u003eOut of the Wagner School\u003c\/i\u003e (1895).\u003c\/p\u003e \u003cp\u003e53. Julius Lessing from \u003ci\u003eNew Paths\u003c\/i\u003e (1895).\u003c\/p\u003e \u003cp\u003e54. Richard Streiter from \u003ci\u003eOut of Munich\u003c\/i\u003e (1896).\u003c\/p\u003e \u003cp\u003e55. Otto Wagner from \u003ci\u003eModern Architecture\u003c\/i\u003e (1896).\u003c\/p\u003e \u003cp\u003e56. Richard Streiter from \u003ci\u003eContemporary Architectural Questions\u003c\/i\u003e (1898).\u003c\/p\u003e \u003cp\u003e57. Fritz Schumacher from \u003ci\u003eStyle and Fashion\u003c\/i\u003e (1898).\u003c\/p\u003e \u003cp\u003e58. August Endell from \u003ci\u003eOn the Possibility and Goal of a New Architecture\u003c\/i\u003e (1898).\u003c\/p\u003e \u003cp\u003e59. Adolf Loos from \u003ci\u003ePotemkin City\u003c\/i\u003e (1898).\u003c\/p\u003e \u003cp\u003e60. Hermann Muthesius from \u003ci\u003eNew Ornament and New Art\u003c\/i\u003e (1901).\u003c\/p\u003e \u003cp\u003e61. Herrmann Muthesius from \u003ci\u003eStyle-Architecture and Building Art\u003c\/i\u003e (1902).\u003c\/p\u003e \u003cp\u003e62. Fritz Schumacher from \u003ci\u003eThe Re-conquest of a Harmonious Culture\u003c\/i\u003e (1907).\u003c\/p\u003e \u003cp\u003e63. Adolf Loos from \u003ci\u003eOrnament and Crime\u003c\/i\u003e (1908).\u003c\/p\u003e \u003cp\u003e64. Joseph August Lux from \u003ci\u003eEngineer Aesthetic\u003c\/i\u003e (1910).\u003c\/p\u003e \u003cp\u003e65. Peter Behrens from \u003ci\u003eArt and Technology\u003c\/i\u003e (1910).\u003c\/p\u003e \u003cp\u003e66. Hermann Muthesius and Henry van de Velde from \u003ci\u003eThe Debate at the Cologne Werkbund Congress\u003c\/i\u003e (1914).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. European Modernism Elsewhere\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e67. Camillo Boito from \u003ci\u003eOn the Future Style of Italian Architecture\u003c\/i\u003e (1880).\u003c\/p\u003e \u003cp\u003e68. Hendrik P. Berlage from \u003ci\u003eArchitecture and Impressionism\u003c\/i\u003e (1894).\u003c\/p\u003e \u003cp\u003e69. Ebenezer Howard from \u003ci\u003eTo-morrow: A Peaceful Path to Real Reform\u003c\/i\u003e (1898).\u003c\/p\u003e \u003cp\u003e70. Henry van de Velde from \u003ci\u003eThe New Ornament\u003c\/i\u003e (1901).\u003c\/p\u003e \u003cp\u003e71. Henry van de Velde from \u003ci\u003eClarification of Principles\u003c\/i\u003e (1902).\u003c\/p\u003e \u003cp\u003e72. Hendrik Berlage from \u003ci\u003eThoughts on Style\u003c\/i\u003e (1905).\u003c\/p\u003e \u003cp\u003e73. Hendrik Berlage from \u003ci\u003eFoundations and Development of Architecture\u003c\/i\u003e (1908).\u003c\/p\u003e \u003cp\u003e74. Charles-Edouard Jeanneret (Le Corbusier) from \u003ci\u003eStudy of the Decorative Art Movement in Germany\u003c\/i\u003e (1912).\u003c\/p\u003e \u003cp\u003e75. Antonio Sant' Elia from the \u003ci\u003eMessaggio\u003c\/i\u003e (1914).\u003c\/p\u003e \u003cp\u003e76. Tont Garnier from \u003ci\u003eAn Industrial City\u003c\/i\u003e (1917).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. The Chicago School\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e77. Louis Sullivan from \u003ci\u003eThe Tall Office Building Artistically Considered\u003c\/i\u003e (1896).\u003c\/p\u003e \u003cp\u003e78. Denkmar Adler from \u003ci\u003eFunction and Environment\u003c\/i\u003e (1896).\u003c\/p\u003e \u003cp\u003e79. Oscar Lovell Triggs from \u003ci\u003eChapters in the History of the Arts and Crafts Movement\u003c\/i\u003e (1901).\u003c\/p\u003e \u003cp\u003e80. Gustav Stickley from \u003ci\u003eThe Craftsman\u003c\/i\u003e (1901).\u003c\/p\u003e \u003cp\u003e81. Frank Lloyd Wright from \u003ci\u003eThe Art and Craft of the Machine\u003c\/i\u003e (1901).\u003c\/p\u003e \u003cp\u003e82. Louis Sullivan from \u003ci\u003eWhat is Architecture?\u003c\/i\u003e (1906).\u003c\/p\u003e \u003cp\u003e83. Frank Lloyd Wright from \u003ci\u003eIn the Cause of Architecture\u003c\/i\u003e (1908).\u003c\/p\u003e \u003cp\u003e84. Gustav Stickley from \u003ci\u003eCraftsman Homes\u003c\/i\u003e (1909).\u003c\/p\u003e \u003cp\u003e85. Daniel Burnham from \u003ci\u003ePlan for Chicago\u003c\/i\u003e (1909).\u003c\/p\u003e \u003cp\u003e86. Frank Lloyd Wright from \u003ci\u003eExecuted Buildings and Designs of Frank Lloyd Wright\u003c\/i\u003e (1911).\u003c\/p\u003e \u003cp\u003e87. Irving Gill from \u003ci\u003eThe Home of the Future: The New Architecture of the West\u003c\/i\u003e (1916).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: The 1920s.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. American Modernism\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e88. Frederick Winslow Taylor from \u003ci\u003eThe Principles of Scientific Management\u003c\/i\u003e (1911).\u003c\/p\u003e \u003cp\u003e89. Claude Bragdon from \u003ci\u003eArchitecture and Democracy\u003c\/i\u003e (1918).\u003c\/p\u003e \u003cp\u003e90. Irving K. Pond from \u003ci\u003eZoning and the Architecture of High Buildings\u003c\/i\u003e (1921).\u003c\/p\u003e \u003cp\u003e91. Hugh Ferris from \u003ci\u003eThe New Architecture\u003c\/i\u003e (1922).\u003c\/p\u003e \u003cp\u003e92. Chicago Tribune \u003ci\u003eAnnouncement of an Architectural Competition\u003c\/i\u003e (1922).\u003c\/p\u003e \u003cp\u003e93. Lewis Mumford from \u003ci\u003eSticks and Stones\u003c\/i\u003e (1924).\u003c\/p\u003e \u003cp\u003e94. Lewis Mumford from \u003ci\u003eThe Search for 'Something More'\u003c\/i\u003e (1928).\u003c\/p\u003e \u003cp\u003e95. Hugh Ferriss from \u003ci\u003eThe Metropolis of Tomorrow\u003c\/i\u003e (1929).\u003c\/p\u003e \u003cp\u003e96. Buckminster Fuller from \u003ci\u003eThe Dymaxiom House\u003c\/i\u003e (1929).\u003c\/p\u003e \u003cp\u003e97. Henry-Russell Hitchcock from \u003ci\u003eModern Architecture\u003c\/i\u003e (1929).\u003c\/p\u003e \u003cp\u003e98. Frank Lloyd Wright from \u003ci\u003eThe Cardboard House\u003c\/i\u003e (1930).\u003c\/p\u003e \u003cp\u003e99. Alfred H. Barr, Jr. from \u003ci\u003eModern Architecture: International Exhibition\u003c\/i\u003e (1932).\u003c\/p\u003e \u003cp\u003e100. Henry-Russell Hitchcock and Philip Johnson from \u003ci\u003eThe International Style\u003c\/i\u003e (1932).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. Soviet Constructivism\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e101. V. I. Lenin from \u003ci\u003eThe State and Revolution\u003c\/i\u003e (1917).\u003c\/p\u003e \u003cp\u003e102. Vladimir Tatlin et al \u003ci\u003eThe Work Ahead of Us\u003c\/i\u003e (1920).\u003c\/p\u003e \u003cp\u003e103. Alexander Rodchenko from \u003ci\u003eSlogans\u003c\/i\u003e (1921).\u003c\/p\u003e \u003cp\u003e104. Aleksei Gan from \u003ci\u003eConstructivism\u003c\/i\u003e (1922).\u003c\/p\u003e \u003cp\u003e105. Moisei Ginzburg from \u003ci\u003eStyle and Epoch\u003c\/i\u003e (1924).\u003c\/p\u003e \u003cp\u003e106. El Lissitzky from \u003ci\u003eElement and Invention\u003c\/i\u003e (1924).\u003c\/p\u003e \u003cp\u003e107. Nikolai Ladovsky and El Lissitzky from \u003ci\u003eASNOVA Review of the Association of New Architects\u003c\/i\u003e (1926).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. De Stijl and Purism\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e108. Theo van Doesburg et al from \u003ci\u003eManifesto 1\u003c\/i\u003e (1918).\u003c\/p\u003e \u003cp\u003e109. Amédée Ozenfant and Charles-Edouard Jeanneret (Le Corbusier) from \u003ci\u003ePreface to L'Esprit Nouveau\u003c\/i\u003e (1920).\u003c\/p\u003e \u003cp\u003e110. Amédée Ozenfant and Charles-Edouard Jeanneret (Le Corbusier) from \u003ci\u003ePurism\u003c\/i\u003e (1920).\u003c\/p\u003e \u003cp\u003e111. J. J. P. Oud from \u003ci\u003eOn the Future Architecture and its Architectural Possibilities\u003c\/i\u003e (1921).\u003c\/p\u003e \u003cp\u003e112. Le Corbusier from \u003ci\u003eToward an Architecture\u003c\/i\u003e (1923).\u003c\/p\u003e \u003cp\u003e113. Le Cobusier from \u003ci\u003eToward an Architecture\u003c\/i\u003e (1923).\u003c\/p\u003e \u003cp\u003e114. Theo van Doesburg from \u003ci\u003eTowards Plastic Architecture\u003c\/i\u003e (1924).\u003c\/p\u003e \u003cp\u003e115. Mart Stam from \u003ci\u003eCollective Design\u003c\/i\u003e (1924).\u003c\/p\u003e \u003cp\u003e116. Le Corbusier from \u003ci\u003eThe City of Tomorrow\u003c\/i\u003e (1925).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eD. Expressionism and the Bauhaus.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e117. Oswald Spengler from \u003ci\u003eThe Decline of the West\u003c\/i\u003e (1918).\u003c\/p\u003e \u003cp\u003e118. Hans Poelzig from \u003ci\u003eAddress to the Werkbund\u003c\/i\u003e (1919).\u003c\/p\u003e \u003cp\u003e119. Manifesto \u003ci\u003eWork Council for Art\u003c\/i\u003e (1919).\u003c\/p\u003e \u003cp\u003e120. Walter Gropius from \u003ci\u003eProgram of the Staatliche Bauhaus in Weimar\u003c\/i\u003e (1919).\u003c\/p\u003e \u003cp\u003e121. Bruno Taut from \u003ci\u003eThe Crystal Chain Letters\u003c\/i\u003e (1919).\u003c\/p\u003e \u003cp\u003e122. Mies Van der Rohe from \u003ci\u003eSkyscrapers\u003c\/i\u003e (1922).\u003c\/p\u003e \u003cp\u003e123. Ludwig Mies Van der Rohe from \u003ci\u003eOffice Building\u003c\/i\u003e (1923).\u003c\/p\u003e \u003cp\u003e124. Walter Gropius, from \u003ci\u003eThe Viability of the Bauhaus Idea\u003c\/i\u003e (1922).\u003c\/p\u003e \u003cp\u003e125. Oscar Schlemmer from \u003ci\u003eThe First Bauhaus Exhibition in Weimar\u003c\/i\u003e (1923).\u003c\/p\u003e \u003cp\u003e126. Walter Gropius from \u003ci\u003eInternational Architecture\u003c\/i\u003e (1925).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eE. European Modernism 1925-1932\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e127. Hugo Häring from \u003ci\u003ePaths to Form\u003c\/i\u003e (1925).\u003c\/p\u003e \u003cp\u003e128. Adolf Behne from \u003ci\u003eThe Modern Functional Building\u003c\/i\u003e (1926).\u003c\/p\u003e \u003cp\u003e129. Giuseppe Terragni et al \u003ci\u003eThe Group 7\u003c\/i\u003e (1926).\u003c\/p\u003e \u003cp\u003e130. Walter Curt Behrendt from \u003ci\u003eThe Victory of the New Style\u003c\/i\u003e (1927).\u003c\/p\u003e \u003cp\u003e131. Ludwig Hilberseimer from \u003ci\u003eInternational New Architecture\u003c\/i\u003e (1927).\u003c\/p\u003e \u003cp\u003e132. Le Corbusier and Pierre Jeanneret \u003ci\u003eFive Points for a New Architecture\u003c\/i\u003e (1927).\u003c\/p\u003e \u003cp\u003e133. Congrès Internationaux d'Architecture Moderne (CIAM) \u003ci\u003eThe Declaration of La Sarraz\u003c\/i\u003e (1928).\u003c\/p\u003e \u003cp\u003e134. Sigfried Giedion from \u003ci\u003eBuilding in France\u003c\/i\u003e (1928).\u003c\/p\u003e \u003cp\u003e135. Ernst May from \u003ci\u003eHousing Policy of Frankfort on the Main\u003c\/i\u003e (1928).\u003c\/p\u003e \u003cp\u003e136. Walter Gropius from \u003ci\u003eThe Sociological Foundations of the Minimum Dwelling\u003c\/i\u003e (1929).\u003c\/p\u003e \u003cp\u003e137. Sigfried Giedion from \u003ci\u003eLiberated Living\u003c\/i\u003e (1929).\u003c\/p\u003e \u003cp\u003e138. László Moholy-Nagy from \u003ci\u003eFrom Material to Architecture\u003c\/i\u003e (1929).\u003c\/p\u003e \u003cp\u003e139. Erich Mendelsohn from \u003ci\u003eRussia-Europe-America\u003c\/i\u003e (1929).\u003c\/p\u003e \u003cp\u003e140. Karel Teige from \u003ci\u003eModern Architecture in Czechoslovakia\u003c\/i\u003e (1930).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: The Politics of Modernism: 1930-1945.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. Totalitarianism in Europe\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e141. German Bestelmeyer et al \u003ci\u003eManifesto of Der Block\u003c\/i\u003e (1928).\u003c\/p\u003e \u003cp\u003e142. Hannes Meyer from \u003ci\u003eAn Open Letter to Lord Mayor Hesse of Dessau\u003c\/i\u003e (1930).\u003c\/p\u003e \u003cp\u003e143. Mies van der Rohe from \u003ci\u003eAnnouncement to the Students of the Dissolution of the Bauhaus\u003c\/i\u003e (1933).\u003c\/p\u003e \u003cp\u003e144. Albert Speer from \u003ci\u003eInside the Third Reich\u003c\/i\u003e (1969).\u003c\/p\u003e \u003cp\u003e145. Marcel Breuer from \u003ci\u003eWhere Do We Stand?\u003c\/i\u003e (1935).\u003c\/p\u003e \u003cp\u003e146. Francis Yorke from \u003ci\u003eThe Modern House\u003c\/i\u003e (1936).\u003c\/p\u003e \u003cp\u003e147. Nikolaus Pevsner from \u003ci\u003ePioneers of the Modern Movement\u003c\/i\u003e (1936).\u003c\/p\u003e \u003cp\u003e148. J. M. Richards from \u003ci\u003eAn Introduction to Modern Architecture\u003c\/i\u003e (1940).\u003c\/p\u003e \u003cp\u003e149. Sigfried Giedion from \u003ci\u003eSpace, Time and Architecture\u003c\/i\u003e (1941).\u003c\/p\u003e \u003cp\u003e150. Le Corbusier from \u003ci\u003eThe Athens Charter\u003c\/i\u003e (1943).\u003c\/p\u003e \u003cp\u003e151. Sven Backström from \u003ci\u003eA Swede Looks at Sweden\u003c\/i\u003e (1943).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. American Academic and Architectural Reforms\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e152. Joseph Hudnut from \u003ci\u003eThe Education of an Architect\u003c\/i\u003e (1931).\u003c\/p\u003e \u003cp\u003e153. Frank Lloyd Wright from \u003ci\u003eThe Disappearing City\u003c\/i\u003e (1932).\u003c\/p\u003e \u003cp\u003e154. Lewis Mumford from \u003ci\u003eTechnics and Civilization\u003c\/i\u003e (1934).\u003c\/p\u003e \u003cp\u003e155. Catherine Bauer from \u003ci\u003eModern Housing\u003c\/i\u003e (1934).\u003c\/p\u003e \u003cp\u003e156. Frank Lloyd Wright from \u003ci\u003eThe Jacobs House\u003c\/i\u003e (1938).\u003c\/p\u003e \u003cp\u003e157. Buckminster Fuller from \u003ci\u003eNine Chains to the Moon\u003c\/i\u003e (1938).\u003c\/p\u003e \u003cp\u003e158. Katherine Morrow Ford from \u003ci\u003eModern is Regional\u003c\/i\u003e (1941).\u003c\/p\u003e \u003cp\u003e159. Eliel Saarinen from \u003ci\u003eThe City: Its Growth, Its Decay, Its Future\u003c\/i\u003e (1943).\u003c\/p\u003e \u003cp\u003e160. Gyorgy Kepes from \u003ci\u003eLanguage of Vision\u003c\/i\u003e (1944).\u003c\/p\u003e \u003cp\u003e161. Konrad Wachsmann from \u003ci\u003eA Tubular Steel Design\u003c\/i\u003e (1944).\u003c\/p\u003e \u003cp\u003e162. John Estenza from \u003ci\u003eCase Study Program\u003c\/i\u003e (1945).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: High Modernism in the Postwar Years.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. Postwar Theory in the United States\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e163. Philip Johnson from \u003ci\u003eMies van der Rohe\u003c\/i\u003e (1947).\u003c\/p\u003e \u003cp\u003e164. T. H. Robsjohn-Gibbings from \u003ci\u003eMona Lisa's Mustache\u003c\/i\u003e (1947).\u003c\/p\u003e \u003cp\u003e165. Lewis Mumford from \u003ci\u003eStatus Quo\u003c\/i\u003e (1947).\u003c\/p\u003e \u003cp\u003e166. Alfred Barr, Jr. from \u003ci\u003eWhat is Happening to Modern Architecture\u003c\/i\u003e (1948).\u003c\/p\u003e \u003cp\u003e167. Philip Johnson from \u003ci\u003eThe Glass House\u003c\/i\u003e (1950).\u003c\/p\u003e \u003cp\u003e168. Matthew Norwicki from \u003ci\u003eOrigin and Trends of Modern Architecture\u003c\/i\u003e (1951).\u003c\/p\u003e \u003cp\u003e169. Elizabeth Gordon from \u003ci\u003eThe Threat to the Next America\u003c\/i\u003e (1953).\u003c\/p\u003e \u003cp\u003e170. Harwell Hamilton Harris from \u003ci\u003eRegionalism and Nationalism\u003c\/i\u003e (1954).\u003c\/p\u003e \u003cp\u003e171. Richard Neutra from \u003ci\u003eSurvival for Design\u003c\/i\u003e (1954).\u003c\/p\u003e \u003cp\u003e172. Louis I. Kahn \u003ci\u003eOrder and Form\u003c\/i\u003e (1955).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. Postwar Theory in Europe\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e173. Bruno Zevi from \u003ci\u003eTowards an Organic Architecture\u003c\/i\u003e (1945).\u003c\/p\u003e \u003cp\u003e174. J. M. Richards from \u003ci\u003eNew Empiricism\u003c\/i\u003e (1947).\u003c\/p\u003e \u003cp\u003e175. Colin Rowe from \u003ci\u003eThe Mathematics of the Ideal Villa\u003c\/i\u003e (1947).\u003c\/p\u003e \u003cp\u003e176. Bruno Zevi from \u003ci\u003eArchitecture as Space\u003c\/i\u003e (1948).\u003c\/p\u003e \u003cp\u003e177. Rudolf Wittkower from \u003ci\u003eArchitectural Principles in the Age of Humanism\u003c\/i\u003e (1949).\u003c\/p\u003e \u003cp\u003e178. Le Corbusier from \u003ci\u003eLe Modular\u003c\/i\u003e (1950).\u003c\/p\u003e \u003cp\u003e179. Alison and Peter Smithson, from \u003ci\u003eHouse in Soho, London\u003c\/i\u003e (1953).\u003c\/p\u003e \u003cp\u003e180. Sigfried Giedion, from \u003ci\u003eThe State of Contemporary Architecture\u003c\/i\u003e (1954).\u003c\/p\u003e \u003cp\u003e181. Ernesto Nathan Rogers \u003ci\u003eInaugural Editorial in Casabella-Continuità\u003c\/i\u003e (1954).\u003c\/p\u003e \u003cp\u003e182. Reyner Banham from \u003ci\u003eThe New Brutalism\u003c\/i\u003e (1955).\u003c\/p\u003e \u003cp\u003e183. Steen Eiler Rasmussen from \u003ci\u003eExperiencing Architecture\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003e184. Peter Nuigi Nervi from \u003ci\u003eThe Foreseeable Future and the Training of Architects\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. The Rise and Fall of CIAM\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e185. J. H. Forshaw \u0026amp; Patrick Abercrombie from \u003ci\u003eCounty of London Plan\u003c\/i\u003e (1944).\u003c\/p\u003e \u003cp\u003e186. Sigfried Giedion from \u003ci\u003eReaffirmation of the Aims of CIAM: Bridgewater 1947\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003e187. J. M. Richards from \u003ci\u003eContemporary Architecture and the Common Man\u003c\/i\u003e (1947).\u003c\/p\u003e \u003cp\u003e188. Bruno Zevi from \u003ci\u003eA Message to the International Congress of Modern Architecture\u003c\/i\u003e (1949).\u003c\/p\u003e \u003cp\u003e189. Alison and Peter Smithson, Gillian and William Howell, John Voelcker from '\u003ci\u003eUrban Reidentification\u003c\/i\u003e' \u003ci\u003eGrid, CIAM, Aix-en-Provence\u003c\/i\u003e (1953).\u003c\/p\u003e \u003cp\u003e190. Jacob Bakema, Aldo van Eyck, H. P. Daniel van Ginkel, Hans Hovens-Greve, Peter and Alison Smithson, John Voelcker, \u003ci\u003eStatement on Habitat\u003c\/i\u003e (Doorn Manifesto, 1954).\u003c\/p\u003e \u003cp\u003e191. Alison and Peter Smithson from \u003ci\u003eOpen Letter to Sert and Team 10\u003c\/i\u003e (1956).\u003c\/p\u003e \u003cp\u003e192. Le Corbusier from \u003ci\u003eMessage of Le Corbusier to the X Congress CIAM at Dubrovnik\u003c\/i\u003e (1956).\u003c\/p\u003e \u003cp\u003e193. Ernesto Rogers, Peter Smithson, Jacob Bakema, \u003ci\u003eRemarks on the design of the Torre Velasca, Milan\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003e194. Team 10 \u003ci\u003eThe Aim of Team 10\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Critiques of Modernism: 1958-1969.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. Death of the American City\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e195. Lewis Mumford from \u003ci\u003ePrefabricated Blight\u003c\/i\u003e (1948.\u003c\/p\u003e \u003cp\u003e196. Kevin Lynch from \u003ci\u003eThe Image of the City\u003c\/i\u003e (1960).\u003c\/p\u003e \u003cp\u003e197. Jane Jacobs from \u003ci\u003eThe Life and Death of the American City\u003c\/i\u003e (1961).\u003c\/p\u003e \u003cp\u003e198. Lewis Mumford from \u003ci\u003eMother Jacobs' Home Remedies\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e199. Herbert J. Gans from \u003ci\u003eThe Urban Villagers\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e200. Peter Blake from \u003ci\u003eGod's Own Junkyard\u003c\/i\u003e (1964).\u003c\/p\u003e \u003cp\u003e201. Martin Anderson from \u003ci\u003eThe Federal Bulldozer\u003c\/i\u003e (1964).\u003c\/p\u003e \u003cp\u003e202. Melvin M. Webber from \u003ci\u003eThe Urban Place and the Nonplace Urban Realm\u003c\/i\u003e (1964).\u003c\/p\u003e \u003cp\u003e203. Charles Abrams from \u003ci\u003eThe City is the Frontier\u003c\/i\u003e (1965).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. Retreats and Utopianism\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e204. Yona Friedman from \u003ci\u003eMobile Architecture\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003e205. Kiyonori Kikutake et al from \u003ci\u003eMetabolism: The Proposals for New urbanism\u003c\/i\u003e (1960).\u003c\/p\u003e \u003cp\u003e206. Reyner Banham from \u003ci\u003eTheory and Design in the First Machine Age\u003c\/i\u003e (1960).\u003c\/p\u003e \u003cp\u003e207. Archigram \u003ci\u003eManifesto\u003c\/i\u003e (1961).\u003c\/p\u003e \u003cp\u003e208. Rachel Carson from \u003ci\u003eSilent Spring\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e209. Constantinos Doxiadis et al \u003ci\u003eThe Declaration of Delos\u003c\/i\u003e (1963).\u003c\/p\u003e \u003cp\u003e210. R. Buckminster Fuller from \u003ci\u003eWorld Design Initiative: Mexico Lecture\u003c\/i\u003e (1963).\u003c\/p\u003e \u003cp\u003e211. Kenneth E. Boulding from \u003ci\u003eEarth as a Space Ship\u003c\/i\u003e (1965).\u003c\/p\u003e \u003cp\u003e212. Ian McHarg from \u003ci\u003eDesign with Nature\u003c\/i\u003e (1969).\u003c\/p\u003e \u003cp\u003e213. R. Buckminster Fuller from \u003ci\u003eUtopia or Oblivion\u003c\/i\u003e (1969).\u003c\/p\u003e \u003cp\u003e214. John McConnell from \u003ci\u003eEarth Day Proclamation\u003c\/i\u003e (1970).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. Critiques of Modernism\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e215. Reyner Banham from \u003ci\u003eThe Italian Retreat from Modern Architecture\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003e216. Ernesto Nathan Rogers from \u003ci\u003eThe Evolution of Architecture: An Answer to the Caretaker of Frigidaires\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003e217. Aldo van Eyck from \u003ci\u003eIs Architecture Going to Reconcile Basic Values?\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003e218. Joseph Rykwert from \u003ci\u003eMeaning and Building\u003c\/i\u003e (1960).\u003c\/p\u003e \u003cp\u003e219. Tomás Maldonado from \u003ci\u003eNotes on Communication\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e220. Colin Rowe and Robert Slutzky from \u003ci\u003eTransparency: Literal and Phenomenal\u003c\/i\u003e (1963).\u003c\/p\u003e \u003cp\u003e221. Christian Norberg-Schulz from \u003ci\u003eIntentions in Architecture\u003c\/i\u003e (1963).\u003c\/p\u003e \u003cp\u003e222. Christopher Alexander from \u003ci\u003eNotes on a Synthesis of Form\u003c\/i\u003e (1964).\u003c\/p\u003e \u003cp\u003e223. Stanford Anderson from \u003ci\u003eArchitecture and Tradition That Isn't 'Trad, Dad'\u003c\/i\u003e (1964).\u003c\/p\u003e \u003cp\u003e224. Robert Venturi from \u003ci\u003eComplexity and Contradiction in Architecture\u003c\/i\u003e (1966).\u003c\/p\u003e \u003cp\u003e225. Aldo Rossi from \u003ci\u003eThe Architecture of the City\u003c\/i\u003e (1966).\u003c\/p\u003e \u003cp\u003e226. Charles Moore from \u003ci\u003ePlug It in, Rameses, and See If It Lights Up\u003c\/i\u003e (1967).\u003c\/p\u003e \u003cp\u003e227. Denise Scott Brown and Robert Venturi from \u003ci\u003eOn Ducks and Decoration\u003c\/i\u003e (1968).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII: The Prospect of a Postmodern Theory: 1969-1979.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. Neorationalism and the IAUS\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e228. Manfredo Tafuri from \u003ci\u003eToward a Theory of Critical Ideology\u003c\/i\u003e (1969).\u003c\/p\u003e \u003cp\u003e229. Peter Eisenman from \u003ci\u003eNotes on Conceptual Architecture: Toward a Definition\u003c\/i\u003e (1970).\u003c\/p\u003e \u003cp\u003e230. Colin Rowe from \u003ci\u003eIntroduction to Five Architects\u003c\/i\u003e (1972).\u003c\/p\u003e \u003cp\u003e231. Robert A. M. Stern and Jaquelin Robertson from \u003ci\u003eFive on Five\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e232. Peter Eisenman, Kenneth Frampton, Mario Gandelsonas \u003ci\u003eEditorial Statement of Oppositions 1\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e233. Massimo Scolari from \u003ci\u003eAvant Garde and the New Architecture\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e234. Joseph Rykwert from \u003ci\u003e15a Triennale\u003c\/i\u003e (1974).\u003c\/p\u003e \u003cp\u003e235. Manfredo Tafuri from \u003ci\u003eL'Architecture dans le boudoir\u003c\/i\u003e (1974).\u003c\/p\u003e \u003cp\u003e236. Mario Gandelsonas from \u003ci\u003eNeo Functionalism\u003c\/i\u003e (1976).\u003c\/p\u003e \u003cp\u003e237. Peter Eisenman from \u003ci\u003ePost Functionalism\u003c\/i\u003e (1976).\u003c\/p\u003e \u003cp\u003e238. Anthony Vidler from \u003ci\u003eThe Third Typology\u003c\/i\u003e (1976).\u003c\/p\u003e \u003cp\u003e239. Maurice Culot and Leon Krier from \u003ci\u003eThe Only Path for Architecture\u003c\/i\u003e (1978).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. Semiotics and Phenomenology\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e240. Charles Jencks from \u003ci\u003eSemiology and Architecture\u003c\/i\u003e (1969).\u003c\/p\u003e \u003cp\u003e241. George Baird from \u003ci\u003eLa 'Dimension Amoureuse' in Architecture\u003c\/i\u003e (1969).\u003c\/p\u003e \u003cp\u003e242. Christian Norberg-Schulz from \u003ci\u003eExistence, Space \u0026amp; Architecture\u003c\/i\u003e (1971).\u003c\/p\u003e \u003cp\u003e243. Alan Colquhoun \u003ci\u003eHistoricism and the Limits of Semiology\u003c\/i\u003e (1972).\u003c\/p\u003e \u003cp\u003e244. Kenneth Frampton from \u003ci\u003eOn Reading Heidegger\u003c\/i\u003e (1974).\u003c\/p\u003e \u003cp\u003e245. Charles Jencks from \u003ci\u003eThe Language of Postmodern Architecture\u003c\/i\u003e (1977).\u003c\/p\u003e \u003cp\u003e246. Juan Pablo Bonta from \u003ci\u003eArchitecture and its Interpretation\u003c\/i\u003e (1979).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. Alternative Strategies and Debates\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e247. Denise Scott Brown from \u003ci\u003eLearning from Pop\u003c\/i\u003e (1971).\u003c\/p\u003e \u003cp\u003e248. Kenneth Frampton from \u003ci\u003eAmerica 1960-1970: Notes on Urban Images and Theory\u003c\/i\u003e (1971).\u003c\/p\u003e \u003cp\u003e249. Herman Hertzberger from \u003ci\u003eHomework for more Hospitable Form\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e250. Hassan Fathy from \u003ci\u003eArchitecture for the Poor\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e251. Colin Rowe and Fred Koetter from \u003ci\u003eCollage City\u003c\/i\u003e (1975).\u003c\/p\u003e \u003cp\u003e252. Arthur Drexler from \u003ci\u003eExhibition Catalogue to The Architecture of the Ecole des Beaux-Arts\u003c\/i\u003e (1975).\u003c\/p\u003e \u003cp\u003e253. Bernard Tschumi from \u003ci\u003eArchitecture and Transgression\u003c\/i\u003e (1976).\u003c\/p\u003e \u003cp\u003e254. Christopher Alexander from \u003ci\u003eA Pattern Language\u003c\/i\u003e (1979).\u003c\/p\u003e \u003cp\u003e255. Robert A. M. Stern from \u003ci\u003eNew Directions in Modern American Architecture: Postscript: At the Edge of Modernism\u003c\/i\u003e (1977).\u003c\/p\u003e \u003cp\u003e256. Rem Koolhaas from \u003ci\u003eDelirious New York\u003c\/i\u003e (1978).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VIII: The 1980s.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. Poststructuralism and Deconstruction\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e257. Jean-François Lyotard from \u003ci\u003eThe Postmodern Condition: A Report on Knowledge\u003c\/i\u003e (1979).\u003c\/p\u003e \u003cp\u003e258. Coop Himmelblau \u003ci\u003eArchitecture Must Blaze\u003c\/i\u003e (1980).\u003c\/p\u003e \u003cp\u003e259. Bernard Tschumi from \u003ci\u003eThe Manhattan Transcripts\u003c\/i\u003e (1981).\u003c\/p\u003e \u003cp\u003e260. Daniel Libeskind from \u003ci\u003eSymbol and Interpretation\u003c\/i\u003e (1981).\u003c\/p\u003e \u003cp\u003e261. Jürgen Habermas from \u003ci\u003eModern and Postmodern Architecture\u003c\/i\u003e (1981).\u003c\/p\u003e \u003cp\u003e262. Andreas Huyssen from \u003ci\u003eModernity and Postmodernity\u003c\/i\u003e (1984).\u003c\/p\u003e \u003cp\u003e263. K. Michael Hays from \u003ci\u003eCritical Architecture: Between Culture and Form\u003c\/i\u003e (1984).\u003c\/p\u003e \u003cp\u003e264. Peter Eisenman \u003ci\u003eThe End of the Classical: The End of the Beginning, the End of the End\u003c\/i\u003e (1984).\u003c\/p\u003e \u003cp\u003e265. Sanford Kwinter from \u003ci\u003eLa Cittá Nuova: Modernity and Continuity\u003c\/i\u003e (1986).\u003c\/p\u003e \u003cp\u003e266. Ignasi de Solà-Morales from \u003ci\u003eWeak Architecture\u003c\/i\u003e (1987).\u003c\/p\u003e \u003cp\u003e267. Mark Wigley from \u003ci\u003eDeconstructivist Architecture\u003c\/i\u003e (1988).\u003c\/p\u003e \u003cp\u003e268. Ingraham, Catherine from \u003ci\u003eMilking Deconstruction, or Cow Was The Show?\u003c\/i\u003e (1988).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. Postmodern Historicism.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e269. Harvard Architectural Review from the inaugural editorial \u003ci\u003eBeyond the Modern Movement\u003c\/i\u003e (Spring 1980).\u003c\/p\u003e \u003cp\u003e270. Robert A. M. Stern from \u003ci\u003eThe Doubles of Post-Modern\u003c\/i\u003e (1980).\u003c\/p\u003e \u003cp\u003e271. Maurice Culot \u003ci\u003eNostalgia, Soul of the Revolution\u003c\/i\u003e (1980).\u003c\/p\u003e \u003cp\u003e272. Aldo van Eyck from \u003ci\u003eRats, Posts and Pests\u003c\/i\u003e (1981).\u003c\/p\u003e \u003cp\u003e273. Geoffrey Broadbent from \u003ci\u003eThe Pests Strike Back!\u003c\/i\u003e (1981).\u003c\/p\u003e \u003cp\u003e274. Rob Krier \u003ci\u003e10 Theses on Architecture\u003c\/i\u003e (1982).\u003c\/p\u003e \u003cp\u003e275. Michael Graves from \u003ci\u003eA Case for Figurative Architecture\u003c\/i\u003e (1982).\u003c\/p\u003e \u003cp\u003e276. Josef-Paul Kleihues \u003ci\u003e1984: The Berlin Exhibition, Architectural Dream or Reality?\u003c\/i\u003e (1982).\u003c\/p\u003e \u003cp\u003e277. Charles Jencks from \u003ci\u003eWhat is Postmodernism?\u003c\/i\u003e (1984).\u003c\/p\u003e \u003cp\u003e278. Heinrich Klotz from \u003ci\u003ePostscript: Since 1980\u003c\/i\u003e (1987).\u003c\/p\u003e \u003cp\u003e279. Colin Davies from \u003ci\u003eHigh Tech Architecture\u003c\/i\u003e (1987).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. Regionalism and Traditionalism\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e280. Bruno Reichlin from \u003ci\u003eReflections–Interpretations between Concept, Representation and Built Architecture\u003c\/i\u003e (1981).\u003c\/p\u003e \u003cp\u003e281. Alexander Tzonis \u0026amp; Liane Lefaivre from \u003ci\u003eThe Grid and the Pathway\u003c\/i\u003e (1981).\u003c\/p\u003e \u003cp\u003e282. Demetri Porphyrios from \u003ci\u003eClassicism is not a Style\u003c\/i\u003e (1982).\u003c\/p\u003e \u003cp\u003e283. Vittorio Gregotti \u003ci\u003eThe Obsession with History\u003c\/i\u003e (1982).\u003c\/p\u003e \u003cp\u003e284. Alberto Pérez-Gómez \u003ci\u003eArchitecture and the Crisis of Modern Science\u003c\/i\u003e (1983).\u003c\/p\u003e \u003cp\u003e285. Kenneth Frampton from \u003ci\u003eTowards a Critical Regionalism: Six Points for an Architecture of Resistance\u003c\/i\u003e (1983).\u003c\/p\u003e \u003cp\u003e286. Marco Frascari from \u003ci\u003eThe Tell-the-Tale Detail\u003c\/i\u003e (1984).\u003c\/p\u003e \u003cp\u003e287. Rafael Moneo from \u003ci\u003eThe Idea of Lasting\u003c\/i\u003e (1988).\u003c\/p\u003e \u003cp\u003e288. Juhani Pallasmaa from \u003ci\u003eTradition \u0026amp; Modernity: The Feasibility of Regional Architecture in Post-Modern Society\u003c\/i\u003e (1988).\u003c\/p\u003e \u003cp\u003e289. Charles, Prince of Wales \u003ci\u003eThe Ten Commandments of Architecture\u003c\/i\u003e (1989).\u003c\/p\u003e \u003cp\u003e290. Andres Duany, Elizabeth Plater-Zyberk, Chester E. Chellman from \u003ci\u003eNew Town Ordinances \u0026amp; Codes\u003c\/i\u003e (1989).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IX: Millennial Tensions.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA. Tectonics and Geometry\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e291. Kenneth Frampton from \u003ci\u003eRappel a l'ordre: The Case for the Tectonic\u003c\/i\u003e (1990).\u003c\/p\u003e \u003cp\u003e292. Toyo Ito from \u003ci\u003eVortex and Current: On Architecture as Phenomenalism\u003c\/i\u003e (1992).\u003c\/p\u003e \u003cp\u003e293. Moshen Mostarfavi and David Leatherbarrow from \u003ci\u003eOn Weathering\u003c\/i\u003e (1993).\u003c\/p\u003e \u003cp\u003e294. Gilles Deleuze from \u003ci\u003eThe Fold: Leibniz and the Baroque\u003c\/i\u003e (1993).\u003c\/p\u003e \u003cp\u003e295. Greg Lynn from \u003ci\u003eArchitectural Curvilinearity: The Folded, the Pliant and the Supple\u003c\/i\u003e (1993).\u003c\/p\u003e \u003cp\u003e296. Peter Eisenman from \u003ci\u003eFolding in Time: The Singularity of Rebstock\u003c\/i\u003e (1993).\u003c\/p\u003e \u003cp\u003e297. Jeffrey Kipnis from \u003ci\u003eTowards a New Architecture\u003c\/i\u003e (1993).\u003c\/p\u003e \u003cp\u003e298. Mark C. Taylor from \u003ci\u003eSeaming\u003c\/i\u003e (1993).\u003c\/p\u003e \u003cp\u003e299. Gevork Hartoonian from \u003ci\u003eOntology of Construction\u003c\/i\u003e (1994).\u003c\/p\u003e \u003cp\u003e300. Mitchell Schwarzer from \u003ci\u003eTectonics of the Unforeseen\u003c\/i\u003e (1996).\u003c\/p\u003e \u003cp\u003e301. Lindy Roy from \u003ci\u003eGeometry as a Nervous System\u003c\/i\u003e (1997).\u003c\/p\u003e \u003cp\u003e302. Stan Allen from \u003ci\u003eFrom Object to Field\u003c\/i\u003e (1997).\u003c\/p\u003e \u003cp\u003e303. Cecil Balmond from \u003ci\u003eNew Structure and the Informal\u003c\/i\u003e (1998).\u003c\/p\u003e \u003cp\u003e304. Bernard Cache from \u003ci\u003eDigital Semper\u003c\/i\u003e (1999).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB. The End of Theory\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e305. Sylvia Lavin from \u003ci\u003eEssay: The Uses and Abuses of Theory\u003c\/i\u003e (1990).\u003c\/p\u003e \u003cp\u003e306. Jeffrey Kipnis from \u003ci\u003eRebuttal: Theory Used and Abused\u003c\/i\u003e (1990).\u003c\/p\u003e \u003cp\u003e307. OMA, Rem Koolhaas, \u0026amp; Bruce Mau from \u003ci\u003eBigness\u003c\/i\u003e (1994).\u003c\/p\u003e \u003cp\u003e308. Winy Maas from \u003ci\u003eDatascape\u003c\/i\u003e (1994).\u003c\/p\u003e \u003cp\u003e309. Juhani Pallasmaa from \u003ci\u003eAn Architecture of the Seven Senses\u003c\/i\u003e (1994).\u003c\/p\u003e \u003cp\u003e310. Michael Speaks from \u003ci\u003eIt's out there . . . the Formal Limits of the American Avant-Garde\u003c\/i\u003e (1997).\u003c\/p\u003e \u003cp\u003e311. John Rajchman from \u003ci\u003eA New Pragmatism?\u003c\/i\u003e (1997).\u003c\/p\u003e \u003cp\u003e312. Cynthia C. Davidson from \u003ci\u003eArchitecture between Theory and Ideology\u003c\/i\u003e (1998).\u003c\/p\u003e \u003cp\u003e313. K. Michael Hays from \u003ci\u003eIntroduction to Architecture Theory since 1968\u003c\/i\u003e (1998).\u003c\/p\u003e \u003cp\u003e314. Sanford Kwinter from \u003ci\u003eFFE: Le Trahison des Clercs (and other Travesties of the Modern)\u003c\/i\u003e (1999).\u003c\/p\u003e \u003cp\u003e315. William J. Mitchell from e-topia: \u003ci\u003eUrban Life, Jim—But Not As We Know It\u003c\/i\u003e (1999).\u003c\/p\u003e \u003cp\u003e316. Ben van Berkel \u0026amp; Caroline Bos \u003ci\u003eThe New Concept of the Architect\u003c\/i\u003e (1999).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC. Beyond the New Millennium\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e317. James Wines from \u003ci\u003eGreen Dreams\u003c\/i\u003e (1991).\u003c\/p\u003e \u003cp\u003e318. William McDonough \u003ci\u003eHannover Principles\u003c\/i\u003e (1992).\u003c\/p\u003e \u003cp\u003e319. Bernard Cache from \u003ci\u003eEarth Moves\u003c\/i\u003e (1995).\u003c\/p\u003e \u003cp\u003e320. Ken Yeang from \u003ci\u003eDesigning with Nature\u003c\/i\u003e (1995).\u003c\/p\u003e \u003cp\u003e321. Vicotr Papanek from \u003ci\u003eThe Green Imperative\u003c\/i\u003e (1995).\u003c\/p\u003e \u003cp\u003e322. James Corner from \u003ci\u003eEidetic Operations and New Landscape\u003c\/i\u003e (1999).\u003c\/p\u003e \u003cp\u003e323. Kenneth Frampton from \u003ci\u003eSeven Points for the Millennium: An Untimely Manifesto\u003c\/i\u003e (1999).\u003c\/p\u003e \u003cp\u003e324. John Beardsley from \u003ci\u003eA Word for Landscape Architecture\u003c\/i\u003e (2000).\u003c\/p\u003e \u003cp\u003e325. Antoine Picon from \u003ci\u003eAnxious Landscapes: From the Ruin to Rust\u003c\/i\u003e (2000).\u003c\/p\u003e \u003cp\u003e326. William McDonough \u0026amp; Michael Braungart from \u003ci\u003eCradle to Cradle\u003c\/i\u003e (2002).\u003c\/p\u003e \u003cp\u003e327. Michael Braungart from \u003ci\u003eBeyond the Limits of Sustainable Architecture\u003c\/i\u003e (2002).\u003c\/p\u003e \u003cp\u003e328. Meinhard von Gerkan from \u003ci\u003eLingang New City—A Metropolis in the East China Sea\u003c\/i\u003e (2005)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49407838290263,"sku":"9781405102599","price":110.15,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781405102599.jpg?v=1730500696","url":"https:\/\/bookcurl.com\/products\/architectural-theory-volume-2-9781405102599","provider":"Book Curl","version":"1.0","type":"link"}