Summary of 20th Century ArchitectureA Genealogy of Modern Architecture is a written text that critically analyzes and compares minds between the architecture of the modern era. A Genealogy of Modern Architecture is created by Kenneth Frampton, edited by Ashley Simone, and published by the Lars Muller Company. As we continue to learn more about the different types and ways in which a building and the people behind those buildings grow and compete, we quickly arrive at a very recent moment in our 20th century societal history, just a little behind where we are now. . I chose this written text to summarize because not only do mankind's most recent architectural advances make more sense in my current mind due to the shorter temporal distance, but this is the period in which many spectacular creations and ideas sprouted from previous centuries. work and knowledge that we were lucky enough to still have in our databases to use with a simple click. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay At the launch of A Genealogy of Modern Architecture at the Center for Architecture in New York, creator Kenneth Frampton admitted to the crowd that, although he had spent a lot of time finishing this book, he had not personally visited many of the buildings and structures in his book and may not be one hundred percent accurate in the more statistical part of his text. This may have caused a small problem with the community, however his text was still a success despite the other types of depth it contained. A Genealogy of Modern Architecture begins with Frampton explaining the three main factors that he believes play a huge role. part in the evolution of the modern architectural movement being the classical tradition with its abstract, technological and vernacular tendency. All three of these categories are present here, but in varying quantities as we travel through Europe, as Le Corbusier noted in the annotated map of his Voyage d'Orient in 1912 and published in L'art decorationatif d'aujourd'hui in 1925. Frampton says the difference between the hidden classism of Le Corbusier's Patterns in his design for the Société des Nations competition was to achieve a more rational solution than that of Hannes Meyer who insisted on always using the same egg-shaped hall , leading to the unresolved contrast between the sloping supports of the auditorium envelope and its surrounding orthogonal structure. However, Frampton concludes her introduction by returning to Arendt's “space of public appearance.” Today we can still take an ideological approach to postmodern architecture through sensitive responses to topography, context, climate and materials. Comparing Louis Kahn's Kimbell Museum and Aalvar Aalto's Nordjyllands Kunstmuseum, Frampton talks about Aalto's organic infrastructure within the orthogonal reinforced concrete structure that allows him to provide the best-sized auxiliary spaces located in the classrooms. in contrast to Kahn's need for one-time width, neglecting function. The comparative difference that indicates the limits of Kahn's unreasonable demands regarding the vault and at the same time shows how creating structures such as large curved beams, not vaults, allowed Kahn to unlock a free plane. Frampton claims that architecture is a unique material culture that, thanks to the characteristics of what makes it what it is, has the opportunity to resist the latest push to commodify the entire world. Please note: this is just an example. Get a custom paper now from our expert writers. Get an essay.