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Modern architecture is not a new branch of an old tree: it is an altogether new shoot rising beside the old roots. Thus Walter Gropius, one of the pioneers of modern architecture, on the radical departures of the 20th century. In the 1930s, the term International Style came into use to describe a new form of architecture evolved from Bauhaus and its conviction that ""form follows function."" Until the 1980s, International Style set the standard in modern building, with its rational solutions to construction problems. Combining steel, glass and concrete, it established an aesthetic founded on the sheer thrill of pushing to the limits of technical and economic viability. Hence the exhilarating skylines of metropolises worldwide; but also the desolate anonymity of modern suburban environments. This book traces the exciting evolution of a style while examining the individual and regional forms it took, and analyses the ideals and realities of architectural visions of utopia.

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Library Journal Review

These titles are part of the new 40-volume "World Architecture" series to be completed over the next five years. Each volume covers a country or period; chief features of the series are the fine illustrations and the clear, concise texts that cover the material in style. A very good value, the books are printed in a large format with many illustrations in sumptuous color, even the maps and plans. Stierlin is best known for his 16-volume Architecture Universelle, published between 1964 and 1972. His text, together with his wife's photographs, brings alive the world of Turkish architecture, centered on the great architect Sinan (1489-1588). Kahn (architecture, MIT) gives a balanced survey of the dominant new styles of 20th-century architecture up to the advent of Postmodernism. For all architecture collections.ÄPeter S. Kaufman, Boston Architectural Ctr. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Essentially a popular and superbly illustrated review of the most celebrated, and notorious, figures of the modernist movement, Khan's handsome volume is a useful addition to the literature on its design. However, the title indicates the dependence on conventional problematizations of modernism in architecture, uncritically accepting the terminology initiated by the 1932 Museum of Modern Art exhibition prolonging a stylistic interpretation of the modern movement castigated by its chief protagonists. Consequently, the definition of those much-abused words--modern, modernity, modernism/modernist--remains rather imprecise. And the arrangement of the text is less persuasive than its generally interesting commentary. For example, the chapter on the skyscraper could as well have opened the critical enterprise and thereby acknowledged the importance of US architectural engineering plus commercial practice and organization theory in establishing the theoretical and design agenda of the movement in post-WW I Europe. The section on its global manifestation omits the diverse and notable modernist architecture completed in Africa, Australia, Britain, Canada, New Zealand, and Scandinavia. Further, the analysis of postmodernism (or revisionist modernism) is cursory. Nevertheless, an enlightening work. General graders; upper-division undergraduates; graduates; professionals. R. W. Liscombe; University of British Columbia