A Critical History of Contemporary Architecture, 1960-2010. Edited by Elie G. Haddad with David Rifkind PDF
Preview A Critical History of Contemporary Architecture, 1960-2010. Edited by Elie G. Haddad with David Rifkind
A Critical History of Contemporary Architecture 1960–2010 Edited by Elie G. Haddad and David Rifkind A CritiCAl History of ContemporAry ArCHiteCture This page has been left blank intentionally A Critical History of Contemporary Architecture 1960–2010 edited by elie G. Haddad and David rifkind © elie G. Haddad and David rifkind 2014 All rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. elie G. Haddad and David rifkind have asserted their rights under the Copyright, Designs and patents Act, 1988, to be identified as the editors of this work. published by Ashgate publishing limited Ashgate publishing Company Wey Court east 110 Cherry street union road suite 3-1 farnham Burlington, Vt 05401-3818 surrey, Gu9 7pt usA england www.ashgate.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British library Library of Congress Cataloging-in-Publication Data A critical history of contemporary architecture : 1960-2010 / [edited] by elie G. Haddad and David rifkind. pages cm includes bibliographical references and index. isBn 978-1-4724-2937-7 (hardback) -- isBn 978-1-4094-3981-3 (pbk.) -- isBn 978- 1-4724-2938-4 (ebook) -- isBn (invalid) 978-1-4724-2939-1 (epub) 1. Architecture, modern--20th century. 2. Architecture, modern--21st century. i. Haddad, elie, editor of compilation. ii. rifkind, David, 1968- editor of compilation. iii. laurence, peter l., 1936- modern (or Contemporary) Architecture circa 1959. nA680.C745 2014 724’.6--dc23 2013033625 isBn: 978-1-4724-2937-7 (hbk) 978-1-4094-3981-3 (pbk) 978-1-4724-2938-4 (ebk – pDf) 978-1-4724-2939-1 (ebk – epuB) III Contents List of Illustrations ix Introduction: Modernism and Beyond: The Plurality of Contemporary Architectures 1 Elie G. Haddad and David Rifkind PART I MAjoR DeveloPMenTs AfTeR MoDeRnIsM 1 Modern (or Contemporary) Architecture circa 1959 9 Peter L. Laurence 2 Post-Modernism: Critique and Reaction 31 David Rifkind 3 High-Tech: Modernism Redux 51 Sarah Deyong 4 Deconstruction: The Project of Radical self-Criticism 69 Elie G. Haddad 5 Greening Architecture: The Impact of sustainability 91 Phillip Tabb 6 Postcolonial Theories in Architecture 115 Esra Akcan PART II ARCHITeCTuRAl DeveloPMenTs ARounD THe WoRlD 7 Architecture in north America since 1960 139 Brendan Moran 8 Architectural Developments in latin America: 1960–2010 163 Zeuler R.M. de A. Lima vi A CRITICAl HIsToRy of ConTeMPoRAR y ARCHITeCTuRe 9 The Place of Commonplace: The ordinary as Alternative Architectural lens in Western europe 189 Tom Avermaete 10 Dutch Modern Architecture: from an Architecture of Consensus to the Culture of Congestion 207 Frances Hsu 11 Metaphorical Peripheries: Architecture in spain and Portugal 225 Xavier Costa 12 Architecture in switzerland: A natural History 239 Laurent Stalder 13 Architecture in eastern europe and the former soviet union since 1960 255 Kimberly Elman Zarecor 14 finland: Architecture and Cultural Identity 275 Taisto H. Mäkelä 15 Architecture in Africa: situated Modern and the Production of locality 291 Iain Low 16 Global Conflict and Global Glitter: Architecture of West Asia (1960–2010) 311 Esra Akcan 17 old sites, new frontiers: Modern and Contemporary Architecture in Iran 339 Pamela Karimi 18 Beyond Tropical Regionalism: The Architecture of southeast Asia 359 Kelly Shannon 19 Internationalism and Architecture in India after nehru 379 Amit Srivastava and Peter Scriver 20 Architecture in China in the Reform era: 1978–2010 401 Tao Zhu 21 Architecture in Post-World War II japan 419 Ken Tadashi Oshima ConTenTs vii 22 edge of Centre: Architecture in Australia and new Zealand after 1965 437 Philip Goad Index 461 This page has been left blank intentionally List of Illustrations 1 Modern (or Contemporary) Architecture circa 1959 1.1 “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. Image courtesy of Adam Voelcker 1.2 The demolition of the Pruitt-Igoe housing project in St. Louis was not “the death of modern architecture,” as some claimed, but a testament to the accuracy of urban design critiques made decades earlier. Image courtesy of Getty Images 1.3 According to some of the Generation of ’56, Le Corbusier’s Chapelle Nôtre-Dame-du- Haut at Ronchamp (1950–55) represented a “crisis of rationalism” for modern architecture. Image courtesy of Peik Li Pang 1.4 In contrast with Le Corbusier’s Ronchamp, Mies van der Rohe’s post-war work, such as Carr Chapel at Illinois Institute of Technology (1949–52), represented a static, and obsolete, definition of functionalism. Image courtesy of Mike Schwartz 1.5 and 1.6 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. Images courtesy of Getty Images and Library of Congress, respectively 1.7 The last CIAM meeting in Otterlo, Holland, 1959. José Antonio Coderch, standing behind Aldo van Eyck and Giancarlo De Carlo (seated at the center), speaks into the microphone. Among the group are Ernesto Rogers, seated far left; Peter Smithson, standing third from left; Jacob Bakema (obscured) and Alison Smithson, both seated. On the far right, John Voelcker stands behind Kenzo Tange. The meeting’s organizing committee included Bakema (as chair), John Voelcker, Rogers, Alfred Roth, and André Wogenscky. Image courtesy of NAi 1.8 Selected projects from CIAM ’59 in Otterlo represented the diversity of approaches that emerged at CIAM’s end. Aldo van Eyck’s Children’s Home (1955–60); detail of Kenzo Tange’s Kagawa Prefectural Office (1955–58); Kiyonori Kikutake’s Tokyo Bay project (1959); passive cooling strategies for Jerzy Soltan’s Polish Exhibition Pavilion (Damascus, 1956). Images courtesy of Oscar Newman, CIAM ’59 in Otterlo (Stuttgart: Karl Krämer Verlag, 1961)
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