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Understanding Modern: The Modern Home as it Was and is Today [Paperback]

Andrew Weaving , Graham Atkins Hughes


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Book Description

5 Sep 2003
Written for those who want to live in a modern way but not necessarily in a modern home, this book explains the concepts behind the modern movement. It aims to bring classic buildings to life and, by identifying the "trademarks" of the great Modern designers, demonstrates how modern can be achieved in contemporary interiors. The book analyses the work of the great early radicals and their world-wide influence and discusses influential designers and architects such as Frank Lloyd Wright, Alvar Aalto, Charles and Ray Eames, Arne Jacobsen, Le Corbusier and Marcel Breue. It includes photo-stories which reveal classic Modern houses in their original state, demonstrating the innovative vision of form and lifestyle behind the Modern philosophy and specially-commissioned case studies featuring contemporary interiors and how the ideals can be applied in contemporary living spaces. Also included in the book is an appendix of classic Modern houses to visit and a list of suppliers of Modern furniture and fittings.

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Amazon.com: 3.0 out of 5 stars  1 review
0 of 2 people found the following review helpful
3.0 out of 5 stars Strong beginning, weak ending 19 Oct 2006
By Michael S. McGill - Published on Amazon.com
Format:Hardcover
This is overall a good book. The author provides a succinct, cogent summary of the revolution that occurred in architecture in the twentieth century with the advent of the Modern movement and gives brief descriptions of the major architects in the field with examples of their work. He also provides a helpful guide to each of the architects, listing books about them and a small selection of sites they have designed that are accessible to the public. My only real complaint about the book is that the last section, providing examples of current projects by less well known architects that are in the spirit of the Modern movement, seems rather arbitrary. The author gives no explanation of how he made his selections. Even worse, the very last example he presents in this section appears to be inconsistent with and contradictory to his entire thesis about what Modern means. It is a house that Elvis would have loved if he decided to convert Graceland to a caricature of Modern architecture.
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