The two decades after the Second World War are typically viewed as an inchoate interregnum between an expiring modernism and an incipient post-modernism. Yet this tidy narrative tells only half the story, leaving out a second development, an evolving and powerful modernism. The essays here reveal that a wide range of postwar architects and theorists -- including Saarinen and Rudofsky in the United States; ATBAT-Afrique in Morocco; Price and the Smithsons in England; Bakema in Holland; and the Metabolists in Japan -- were determined to renew rather than abandon the legacy of modernism.<br /> <br /> Presenting new research, these essays analyze an individual or movement that grappled with modernism in response to developments within and outside the architectural profession. They reveal a nexus of pre-occupations that dominated discourse of the postwar era, including authenticity, place, individual freedom, and popular culture. In addition, the introduction and coda discuss the critical themes of postwar architecture and propose a framework for conceptualizing architectural modernism and its evolution after the war. Together, the book's essays remap the emerging field of postwar architectural studies, refocusing attention on modernist ideas and work that have had a critical, ongoing impact on architectural culture.<br /> <br /> Copublished with the Canadian Centre for Architecture
具體描述
讀後感
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用戶評價
主要是看Sarah Williams Goldhagen寫的總結，Coda: Reconceptualizing the Modern，關於戰前戰後三種不同的現代主義派彆（及定義）的生與死
评分對戰後諸多建築流派源流的論文集，參考文獻比較有用
评分對戰後諸多建築流派源流的論文集，參考文獻比較有用
评分主要是看Sarah Williams Goldhagen寫的總結，Coda: Reconceptualizing the Modern，關於戰前戰後三種不同的現代主義派彆（及定義）的生與死
评分主要是看Sarah Williams Goldhagen寫的總結，Coda: Reconceptualizing the Modern，關於戰前戰後三種不同的現代主義派彆（及定義）的生與死
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