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Magali Larson's comprehensive study explores how architecture "happens" and what has become of the profession in the postmodern era. Drawing from extensive interviews with pivotal architects—from Philip Johnson, who was among the first to introduce European modernism to America, to Peter Eisenman, identified with a new "deconstructionist" style—she analyzes the complex tensions that exist between economic interest, professional status, and architectural product. She investigates the symbolic awards and recognition accorded by prestigious journals and panels, exposing the inner workings of a profession in a precarious social position. Larson captures the struggles around status, place, and power as architects seek to redefine their very purpose in contemporary America. The author's novel approach in synthesizing sociological research and theory proposes nothing less than a new cultural history of architecture. This is a ground-breaking contribution to the study of culture and the sociology of knowledge, as well as to architectural and urban history. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993 with a paperback edition in 1995.
Magali Larson's comprehensive study explores how architecture "happens" and what has become of the profession in the postmodern era. Drawing from extensive interviews with pivotal architects--from Philip Johnson, who was among the first to introduce European modernism to America, to Peter Eisenman, identified with a new "deconstructionist" style--she analyzes the complex tensions that exist between economic interest, professional status, and architectural product. She investigates the symbolic awards and recognition accorded by prestigious journals and panels, exposing the inner workings of a profession in a precarious social position. Larson captures the struggles around status, place, and power as architects seek to redefine their very purpose in contemporary America. The author's novel approach in synthesizing sociological research and theory proposes nothing less than a new cultural history of architecture. This is a ground-breaking contribution to the study of culture and the sociology of knowledge, as well as to architectural and urban history. Magali Larson's comprehensive study explores how architecture "happens" and what has become of the profession in the postmodern era. Drawing from extensive interviews with pivotal architects--from Philip Johnson, who was among the first to introduce European modernism to America, to Peter Eisenman, identified with a new "deconstructionist" style--she analyzes the complex tensions that exist between economic interest, professional status, and architectural product. She investigates the symbolic awards and recognition accorded by prestigious journals and panels, exposing the inner workings of a profession in a precarious social position. Larson captures the struggles around status, place, and power as architects seek to redefine their very purpose in contemporary America. The author's novel approach in synthesizing sociological research and theory proposes nothing less than a new cultural history of architecture. This is a ground-breaking contribution to the study of culture and the sociology of knowledge, as well as to architectural and urban history.
Foreword by Arthur Drexler. Introduction by Vincent Scully.
If postmodernism is indeed 'the cultural logic of late capitalism', why did typical postmodernist themes like ornament, colour, history and identity find their application in the architecture of the socialist Second World? How do we explain the retreat into paper architecture and theoretical discussion in societies still nominally devoted to socialist modernization? Exploring the intersection of two areas of growing scholarly interest - postmodernism and the architecture of the former socialist world - this edited collection stakes out new ground in charting architecture's various transformations in the 1970s and 80s. Fourteen essays together explore the question of whether or not architectural postmodernism had a specific Second World variant. The collection demonstrates both the unique nature of Second World architectural phenomena and also assesses connections with western postmodernism. The case studies cover the vast geographical scope from Eastern Europe to China and Cuba. They address a wealth of aesthetic, discursive and practical phenomena, interpreting them in the broader socio-political context of the last decades of the Cold War. The result provides a greatly expanded map of recent architectural history, which redefines postmodernist architecture in a more theoretically comprehensive and global way.
This collection of papers addresses two questions central to design and historic preservation: what are the parameters of 'compatibility' in the design of additions to historic buildings and of new infill buildings in historic districts and landscapes. Presented at the 'Third National Forum on Historic Preservation Practice: A Critical Look at Design in Historic Preservation', held at Goucher College, the authors include practicing and academic historic preservationists, architectural historians, architects, landscape architects, and engineers. Organized under the themes of 'Melding Contemporary and Historic Design', 'Design Standards in Changing Environments', 'Modernism and Post modernism in Preservation Design', and 'Engineering and Preservation', issues of compatibility are explored through diverse projects in locations across the United States from historic Charleston, SC to downtown Los Angeles.
provides a fascinating, clear, and provocative definition of the phenomena of postmodernism, particularly in relation to the major ideas of modernism
Why some architects fail to realize their ideal buildings, and what architecture critics can learn from novelists. The usual history of architecture is a grand narrative of soaring monuments and heroic makers. But it is also a false narrative in many ways, rarely acknowledging the personal failures and disappointments of architects. In Bleak Houses, Timothy Brittain-Catlin investigates the underside of architecture, the stories of losers and unfulfillment often ignored by an architectural criticism that values novelty, fame, and virility over fallibility and rejection. As architectural criticism promotes increasingly narrow values, dismissing certain styles wholesale and subjecting buildings to a Victorian litmus test of “real” versus “fake,” Brittain-Catlin explains the effect this superficial criticality has had not only on architectural discourse but on the quality of buildings. The fact that most buildings receive no critical scrutiny at all has resulted in vast stretches of ugly modern housing and a pervasive public illiteracy about architecture.