By Elie Haddad
1960, following because it did the final CIAM assembly, signalled a turning aspect for the fashionable move. From then on, structure used to be motivated through seminal texts through Aldo Rossi and Robert Venturi, and gave upward thrust to the 1st revisionary circulate following Modernism. Bringing jointly top specialists within the box, this booklet presents a accomplished, serious evaluate of the advancements in structure from 1960 to 2010. It comprises components: the 1st part supplying a presentation of significant events in structure after 1960, and the second one, a geographic survey that covers quite a lot of territories world wide. This booklet not just displays the several views of its quite a few authors, but additionally charts a center direction among the 'aesthetic' histories that learn structure exclusively by way of its formal features, 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
56 Ernesto Rogers, “Preexisting Conditions and Issues of Contemporary Building Practice,” Architecture Culture 1943–1968, J. ) (New York: Columbia Books of Architecture, Rizzoli, 1993), 200–201. 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).
Architecture culture of the 1950s has also become better appreciated with greater distance from the 1960s and the “postmodern” period that followed it. While Charles Jencks famously dated “the death of modern architecture” to the demolition of the Pruitt-Igoe housing project on July 15, 1972, historians have since then explored the complexities and contradictions within architecture culture of the decades preceding Jencks’s declaration. 3 The very title of William Curtis’s Modern Architecture Since 1900 emphasized the continuity of modern architecture into the present.
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.