By Elie Haddad
1960, following because it did the final CIAM assembly, signalled a turning aspect for the fashionable circulation. From then on, structure was once motivated by means of seminal texts through Aldo Rossi and Robert Venturi, and gave upward thrust to the 1st revisionary stream following Modernism. Bringing jointly best specialists within the box, this ebook presents a accomplished, 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 worldwide. This publication not just displays the various views of its quite a few authors, but in addition charts a center path among the 'aesthetic' histories that research structure completely when it comes to its formal elements, and the extra 'ideological' histories that topic it to a critique that regularly skirts the dialogue of its formal elements.
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Additional resources for A Critical History of Contemporary Architecture, 1960-2010. Edited by Elie G. Haddad with David Rifkind
See also Eero Saarinen, “The Six Broad Currents of Modern Architecture,” Architectural Forum 99 (Jul. ” Architectural Forum 99 (Sept. 1953), 130–33ff.. 38 Gropius, “Eight Steps toward a Solid Architecture,” 156. 39 James Stirling, “Ronchamp: Le Corbusier’s Chapel and the Crisis of Rationalism,” The Architectural Review 119 (March 1956), 160–61. See also James Stirling, “Garches to Jaoul: Le Corbusier as Domestic Architect in 1927 and 1953,” The Architectural Review 118 (Aug. 1955), 145–51. Despite critiquing Jaoul Houses (1954–56) for irrationality and other flaws similar to Ronchamp, Jaoul served as a model for Stirling and Gowan’s Ham Common (1955–58).
The period that followed the initial turmoil of the ’60s and ’70s was marked in the West by a movement towards reclaiming history as a form of contestation of “grand narratives,” while the accompanying prosperity expanded the privilege of architectural patronage to new actors with diverse tastes and aspirations, resulting in the dissemination of the notions of plurality, difference, and heterogeneity. Towards the end of the century, the sudden collapse of Communism dramatically transformed the political and economic context in a vast geographical zone, extending from Eastern Europe to all the previous Soviet republics.
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. 1 “The Death of CIAM” at the last CIAM meeting, Otterlo, Holland, 1959. Peter Smithson, Alison Smithson, John Voelcker, Jacob Bakema, Sandy van Ginkel; Aldo van Eyck and Blanche Lemco, below When the first edition of Modern Architecture Since 1900 was published, it was common to hear that “modern architecture is dead” … Despite the rhetoric about the “end of an era”, postmodernism proved to be ephemeral.
A Critical History of Contemporary Architecture, 1960-2010. Edited by Elie G. Haddad with David Rifkind by Elie Haddad