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About the book
  • Published: 1 November 2013
  • ISBN: 9781590176887
  • Imprint: NY Review Books
  • Format: Hardback
  • Pages: 358
  • RRP: $49.99

Makers Of Modern Architecture, Volume II


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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.

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.

  • Pub date: 1 November 2013
  • ISBN: 9781590176887
  • Imprint: NY Review Books
  • Format: Hardback
  • Pages: 358
  • RRP: $49.99

About the Author

Martin Filler

Martin Filler is the architecture critic of House & Garden and a frequent contributor to The New York Review of Books and The New Republic. He is the co-author, with Olivier Bossi’re, of The Vitra Design Museum: Frank Gehry, Architect.

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Praise for Makers Of Modern Architecture, Volume II

“Praise for Makers of Modern Architecture, Volume I: There is only one regular critic in the American press who writes consistently well about architecture and whose pieces are a guaranteed pleasure to revisit - or to read for the first time. He is Martin Filler, whose collection of essays is entitled Makers of Modern Architecture...by far the most intelligent and shapely writing on architecture done in recent years. Filler’s opinions are direct, subtle, written with clarity and intense feeling, and (not least in importance) clean of hidden interests: in a field often disfigured and muddied by undeclared allegiances, he is a highly trustworthy critic -Robert Hughes, The New York Review of Books This work is a wonderful introduction to 20th-century architecture.... The result is magnificent from start to finish. Filler writes elegant prose that captures the feeling of these buildings in a way that makes illustrations almost unnecessary. He also discusses architecture in a way that will be satisfying both to specialists or practitioners and accessible to nonspecialists. No matter the level of previous experience with architecture, anyone with an interest in the subject will find Filler's work rewarding. -Publishers Weekly Filler's assessments in The New York Review stand apart, eschewing fashion and offering polished, carefully edited and backed-up, though highly personal, assertions.... Filler's razor-sharp mind and sharper tongue set him apart. We gobble up what he thinks, as well as how he serves it up. - Robert Ivy, Architectural Record Martin Filler's book is liberating.... For those seeking a brilliant if potted guide to modern architecture, Filler fits the bill. His book bristles with bracing insights, incisive judgments, and wicked lines.& -Robert Zaretsky, Houston Chronicle Martin Filler is held in high regard by fellow professionals, and his newly published Makers of Modern Architecture justifies that esteem -Franz Schulze, Art in America Martin Filler's writing demonstrates his lucidity and independence of mind.... Filler is an elegant writer, clearly committed to thinking about his subjects, and working hard to engage his audience. He seeks to place architecture in a wider cultural context rather than leave it trapped in the self-regarding discourse of criticism. He is not afraid to express his opinions -Deyan Sudjic, The Architect's Newspaper ”


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