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Makers of Modern Architecture, Volume II:…
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Makers of Modern Architecture, Volume II: From Le Corbusier to Rem Koolhaas (New York Review Collections) (2013. Auflage)

von Martin Filler (Autor)

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In the first volume of Makers of Modern Architecture(2007), Martin Filler examined the emergence of that revolutionary new form of building and explored its aesthetic, social, and spiritual aspirations through illuminating studies of some of its most important practitioners, from Louis Sullivan and Frank Lloyd Wright to, in our own time, Renzo Piano and Santiago Calatrava. Now, in Makers of Modern Architecture, Volume II, Filler continues his investigations into the building art, beginning with the historical eclecticism of McKim, Mead, and White, best remembered today for New York City's demolished Pennsylvania Station. He surveys the seemingly inexhaustible flow of new books about Wright and Le Corbusier, and continues his commentaries on Piano's museum buildings with a essay focused on the new Broad Contemporary Art Museum in Los Angeles. There are less well known subjects here too, from the Frankfurt urban planner Ernst May to Buckminster Fuller, inventor of the geodesic dome. Filler judges Edward Durell Stone--the architect of the U.S. embassy in New Delhi, the Huntington Hartford Museum in New York City, and the Kennedy Center in Washington - to have been a middling product of his times, however personally interesting he may have been. And he looks back at James Stirling, who in the 1970s and 1980s was a veritable rock star of the profession," responsible for what Filler considers some of the very few worthwhile postmodernist buildings. The essays collected here are not entirely historical, however. Filler also focuses on some of the most recent projects to have attracted critical and popular attention both in the United States and abroad, including Rem Koolhaas's CCTV building in Beijing and Bernard Tschumi's Acropolis Museum in Athens. He argues that Kazuyo Sejima and Ryue Nishizawa's New Museum in New York City is one of those rare, clarifying works of architecture that makes most recent buildings of the same sort look suddenly ridiculous. He calls Tod Williams and Billie Tsien's brilliant reimagining of the Barnes Collection in Philadelphia a latter-day miracle...a virtually unimprovable setting for its art. He finds Michael Arad's September 11 Memorial at Ground Zero a sobering, disturbing, heartbreaking, and overwhelming masterpiece. And he argues that Diller Scofidio + Renfro's Institute of Contemporary Art in Boston and their work revitalizing the High Line and Lincoln Center in New York make them today's shrewdest yet most sympathetic enhancers of the American metropolis Filler remains, in these seventeen essays, a shrewd observer of the pressures on architects and their projects - money, politics, social expectations, even the weight of their own reputations. But his focus is alwayson the buildings themselves, on their sincerity and directness, on their form and their function, on their capacity to bring delight to the human landscape.… (mehr)
Mitglied:jcbrunner
Titel:Makers of Modern Architecture, Volume II: From Le Corbusier to Rem Koolhaas (New York Review Collections)
Autoren:Martin Filler (Autor)
Info:New York Review Books (2013), Hardcover, 336 pages
Sammlungen:Deine Bibliothek, Architecture, Lese gerade
Bewertung:***
Tags:architecture, architects, essays, New York, 20th century

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Makers of Modern Architecture, Volume II: From Le Corbusier to Rem Koolhaas (New York Review Collections) von Martin Filler

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Out of the three volumes, I think this one is probably the best--I learned more than from the first volume, and by the third volume, things start to get a bit predictable. ( )
  stillatim | Oct 23, 2020 |
Whether you'll appreciate this collection of essays about famous architects first published in the New York Review of Books depends on how much you already know about the topic. Some of the essays read like filler, like they have been phoned in: The author has been sent to report back on the new Acropolis Museum designed by Bernard Tschumi. Gathering a number of the usual suspects and clichés, a quick essay is churned out - an approach which works well for a magazine but is too light for a book.

The essay about Margarete Schütte-Lihotzky, creator of the Frankfurt kitchen, has its origin in the reviewers' accurate description that the first volume treated only dead white males. The essay, however, reads like a student's extra homework assignment. The author's knowledge about the subject is very shallow. German expressions are misspelled and translated badly, while the context of German and Austrian social housing construction is viewed from an incomplete and inaccurate Anglo-American point of view. Ultimately, every essay and topic is about New York. For New Yorkers and readers of the (well made) New York Review of Books, this might be quite ok. For a collection of essays that aspire to some form of permanence, this is lacking in intellectual nourishment. ( )
  jcbrunner | Sep 30, 2013 |
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In the first volume of Makers of Modern Architecture(2007), Martin Filler examined the emergence of that revolutionary new form of building and explored its aesthetic, social, and spiritual aspirations through illuminating studies of some of its most important practitioners, from Louis Sullivan and Frank Lloyd Wright to, in our own time, Renzo Piano and Santiago Calatrava. Now, in Makers of Modern Architecture, Volume II, Filler continues his investigations into the building art, beginning with the historical eclecticism of McKim, Mead, and White, best remembered today for New York City's demolished Pennsylvania Station. He surveys the seemingly inexhaustible flow of new books about Wright and Le Corbusier, and continues his commentaries on Piano's museum buildings with a essay focused on the new Broad Contemporary Art Museum in Los Angeles. There are less well known subjects here too, from the Frankfurt urban planner Ernst May to Buckminster Fuller, inventor of the geodesic dome. Filler judges Edward Durell Stone--the architect of the U.S. embassy in New Delhi, the Huntington Hartford Museum in New York City, and the Kennedy Center in Washington - to have been a middling product of his times, however personally interesting he may have been. And he looks back at James Stirling, who in the 1970s and 1980s was a veritable rock star of the profession," responsible for what Filler considers some of the very few worthwhile postmodernist buildings. The essays collected here are not entirely historical, however. Filler also focuses on some of the most recent projects to have attracted critical and popular attention both in the United States and abroad, including Rem Koolhaas's CCTV building in Beijing and Bernard Tschumi's Acropolis Museum in Athens. He argues that Kazuyo Sejima and Ryue Nishizawa's New Museum in New York City is one of those rare, clarifying works of architecture that makes most recent buildings of the same sort look suddenly ridiculous. He calls Tod Williams and Billie Tsien's brilliant reimagining of the Barnes Collection in Philadelphia a latter-day miracle...a virtually unimprovable setting for its art. He finds Michael Arad's September 11 Memorial at Ground Zero a sobering, disturbing, heartbreaking, and overwhelming masterpiece. And he argues that Diller Scofidio + Renfro's Institute of Contemporary Art in Boston and their work revitalizing the High Line and Lincoln Center in New York make them today's shrewdest yet most sympathetic enhancers of the American metropolis Filler remains, in these seventeen essays, a shrewd observer of the pressures on architects and their projects - money, politics, social expectations, even the weight of their own reputations. But his focus is alwayson the buildings themselves, on their sincerity and directness, on their form and their function, on their capacity to bring delight to the human landscape.

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