By Elie Haddad
1960, following because it did the final CIAM assembly, signalled a turning element for the trendy flow. From then on, structure used to be inspired through seminal texts through Aldo Rossi and Robert Venturi, and gave upward thrust to the 1st revisionary circulate following Modernism. Bringing jointly major specialists within the box, this ebook offers a complete, severe review of the advancements in structure from 1960 to 2010. It contains components: the 1st part offering 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 booklet not just displays different views of its quite a few authors, but additionally charts a center direction among the 'aesthetic' histories that study structure exclusively when it comes to its formal elements, and the extra 'ideological' histories that topic it to a critique that frequently skirts the dialogue of its formal features.
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Additional resources for A Critical History of Contemporary Architecture, 1960-2010. Edited by Elie G. Haddad with David Rifkind
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 The popularization of modern architecture in the 1950s in works such as Gordon Bunshaft/ Skidmore, Owings and Merrill’s Lever House (1950–52), above, and Morris Lapidus’s Fontainebleau Hotel (1952– 54), below, exacerbated the post-war crisis of modernism architecture by conflating it with the International Style Modern (or Contemporary) Architecture circa 1959 19 needs not to be abandoned, but better related to the essential particulars of time and place and purpose.
32. 26 Ernesto Rogers, “Program: Domus, The House of Man,” Domus (Jan. 1946), reprinted in Architecture Culture, 77. 27 Robert Woods Kennedy, “Form, Function and Expression,” Journal of the American Institute of Architects 14 (Nov. 1950), 198–204. Paul Zucker, “The Paradox of Architectural Theories at the Beginning of the Modern Movement,” Journal of the Society of Architectural Historians 10 (Oct. 1951), 8. Lewis Mumford, “Function and Expression in Architecture,” Architectural Record 110 (Nov.
57 Ibid. 58 CIAM ’59 in Otterlo, 197. 59 Ibid. 60 Ibid. 61 Represented by such works as Colin Rowe’s Collage City (1972–78), Venturi, Scott Brown, and Izenour’s Learning from Las Vegas (1972), Rossi’s “Analogical City” (1976), Bernhard Tschumi’s “Manhattan Transcripts” (1976–81), Anthony Vidler’s “Third Typology” (1977), Leon Krier’s “Reconstruction of the City” (1978), and Rem Koolhaas’s Delirious New York (1978). M. Editions, 1988). Rem Koolhaas, “Generic City,” SMLXL (New York: Monacelli Press, 1995), 1239.