By Elie Haddad
1960, following because it did the final CIAM assembly, signalled a turning element for the trendy circulate. From then on, structure was once stimulated by means of seminal texts by way of Aldo Rossi and Robert Venturi, and gave upward push to the 1st revisionary circulate following Modernism. Bringing jointly prime specialists within the box, this publication offers a accomplished, severe assessment of the advancements in structure from 1960 to 2010. It involves components: the 1st part delivering a presentation of significant events in structure after 1960, and the second one, a geographic survey that covers quite a lot of territories around the globe. This publication not just displays the various views of its a variety of authors, but additionally charts a center path among the 'aesthetic' histories that research structure completely by way of its formal points, and the extra 'ideological' histories that topic it to a critique that frequently skirts the dialogue of its formal facets.
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Extra info for A Critical History of Contemporary Architecture, 1960-2010. Edited by Elie G. Haddad with David Rifkind
2 The demolition of the Pruitt-Igoe housing project in St. Louis was not “the death of modern architecture,” as some claimed, but a testament to the accuracy of urban design critiques made decades earlier in the following pages, modern architecture was already in crisis in 1950, and by 1959 a new generation of modern architects had already come to reject “modern” architecture in favor of “contemporary” architecture, a term used to distinguish their work from CIAM modernism and favored in the later decades of the century.
41 Modern architecture had produced an overabundance of “glass cubes” in the model of Mies van der Rohe’s Farnsworth House (1951) and Seagram Building (1954–58), buildings Boyd believed had done little to extend design thinking beyond that of the 1920s. ”42 It would take at least a few decades, and another generation, for this feeling to pass. The Next Step: Toward a Functionalism of the Particular In the 1950 essay in which J. M. Richards described the crisis of modern architecture, he also took a prescient look forward into the architecture culture of the next half-century.
6 In retrospect, we can see that the cultural lag between modern architecture’s avant-garde experimentation in the 1930s and the popular acceptance of modern architecture in the following decades was followed by a subsequent lag between internal critiques of modern architecture in the late 1940s and 1950s and a corresponding popular rejection of it in the 1960s, ’70s, and ’80s. 2 The demolition of the Pruitt-Igoe housing project in St. Louis was not “the death of modern architecture,” as some claimed, but a testament to the accuracy of urban design critiques made decades earlier in the following pages, modern architecture was already in crisis in 1950, and by 1959 a new generation of modern architects had already come to reject “modern” architecture in favor of “contemporary” architecture, a term used to distinguish their work from CIAM modernism and favored in the later decades of the century.