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Frank Lloyd Wright called Bruno Zevi ”the most penetrating architectural critic of our time,” and one could ask for no better proof than Zevi’s masterpiece, The Modern Language of Architecture. In it, Zevi sets forth seven principles, or ”antirules,” to codify the new language of architecture created by Le Corbusier, Gropius, Mies van der Rohe, and Wright. In place of the classical language of the Beaux Art school, with its focus on abstract principles of order, proportion, and symmetry, he presents an alternative system of communication characterized by a free interpretation of contents and function, an emphasis on difference and dissonance, a dynamic of multidimensional vision, and independent interplay of elements, an organic marriage of engineering and design, a concept of living spaces that are designed for use, and an integration of buildings into their surroundings. Anticipating the innovations of postmodern architecture, Zevi argues forcefully for complexity and against unity, for decomposition dialogue between architecture and historiography, finding elements of the modern language of architecture throughout history, and discussing the process of architectural innovation. Sumptuously illustrated, and written in a clear, accessible manner, The Modern Language of Architecture will long remain one of the classics of architectural criticism and history.

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A Guide to the Anticlassical Code; Listing as Design Methodology; Asymmetry and Dissonance; Antiperspective Three-Dimensionality; The Syntax of Four-dimensional Decomposition; Cantilever, Shell, and Membrane Structures; Space in Time; Reintegration of Building, City, and Landscape; Conclusion: Unfinished Architecture and Kitch; Afterthoughts; Architecture versus Architectural History; Introduction: Anticlassicism and Le Corbusier; Medievalist Culture, Arts and Crafts, and NeoRomanesque: Functional Listing as Design Methodology; Gothic Historiography, Nineteenth-Century Engineering, Art Nouveau, Garden Cities: Asymmetry and the Dissonance; Cantilever, Shell, and Membrane Structures; Renaissance and Rationalism: Antiperspective Three-Dimensionality, Syntax of Four-Dimensional Decomposition; Mannerism and Baroque, Organic Architecture: Space in Time; Reintegration of Building, City, and Landscape; Conclusion: Prehistory and the Zero Degree of Architectural Culture.