{"title":"现代主义的色彩:颜料，颜料和20世纪20年代德国现代建筑的转变","authors":"Kathleen James-Chakraborty","doi":"10.1080/10331867.2022.2154429","DOIUrl":null,"url":null,"abstract":"regionalism. Despite the above open questions, this densely argued and elaborate reading of A Critical History is a veritable tour de force by an author who is well versed both in Frampton’s oeuvre and in the critical theory that sustains his analysis. Reading Gevork Hartoonian reading Kenneth Frampton will both challenge and satisfy more than one generation of aficionados of architectural historiography and critical praxis.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"528 - 530"},"PeriodicalIF":0.2000,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Color of Modernism: Paints, Pigments, and the Transformation of Modern Architecture in 1920s Germany\",\"authors\":\"Kathleen James-Chakraborty\",\"doi\":\"10.1080/10331867.2022.2154429\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"regionalism. Despite the above open questions, this densely argued and elaborate reading of A Critical History is a veritable tour de force by an author who is well versed both in Frampton’s oeuvre and in the critical theory that sustains his analysis. Reading Gevork Hartoonian reading Kenneth Frampton will both challenge and satisfy more than one generation of aficionados of architectural historiography and critical praxis.\",\"PeriodicalId\":42105,\"journal\":{\"name\":\"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand\",\"volume\":\"32 1\",\"pages\":\"528 - 530\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-09-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/10331867.2022.2154429\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHITECTURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10331867.2022.2154429","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHITECTURE","Score":null,"Total":0}
The Color of Modernism: Paints, Pigments, and the Transformation of Modern Architecture in 1920s Germany
regionalism. Despite the above open questions, this densely argued and elaborate reading of A Critical History is a veritable tour de force by an author who is well versed both in Frampton’s oeuvre and in the critical theory that sustains his analysis. Reading Gevork Hartoonian reading Kenneth Frampton will both challenge and satisfy more than one generation of aficionados of architectural historiography and critical praxis.
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