Between the differences of architecture remain the clues to the bends of civilization, and a classic example of that can be found in the architectural movements that took place between the 18th and 19th century America and Europe, where several styles within a span of around 200 years tried to portray the changing ethos of time. Significantly, Asia mostly remained a distant third in that period, occasionally receiving one or two gems of western architecture in its colonial parts.
How it all Started
Baroque architecture, which emerged from 17th century Italy and dominated through 18th century, aimed to act like a spokesperson of the counter-reformation movement initiated by the Catholic Church to counter the Protestant Reformation movement. Baroque culture not only influenced architecture, sculpture and painting, but also combined them to stamp the emergence of a new period, which started shifting from the dignified and serious image of the Renaissance period.
Starting its journey from the dawn of the 17th century (1600) it covered 150 years to dominate the architectural scene, before the new era gradually took over, when the hallmark of baroque architecture the elaborate symmetrical ornamentation, the little details of the decorative art gave way to that Georgian era, that preferred a different adage - Simplicity is the hallmark of elegance, as by that time the social mood started turning against ostentatious exhibition of opulence and the hedonistic tendency of self-indulgence.
The Shift
The last phase of Baroque took oxygen from Rococo Style that concentrated more on designing the interior. On the other hand, shift in social psyche generated Palladianism in England, a style of presenting architecture through clear-cut classical lines, invented by Venetian architect Palladio (1508-1580) and augmented by Inigo Jones, which caught the fancy of British aristocrats and gained momentum for quite sometime, till Neoclassicism took over from there, mostly due to the renewed interests on Greek architecture after the archaeological discovery of the architecture of Pompeii, thereby generating a mood that reflected the adage
Old is gold
Georgian Style acquired its name from King George I who ascended the throne in 1711, until the American Revolution (King George III). Architecture during this period mostly followed the European style that made its know-how available through printed books and in their growing years, America accepted Georgian simplicity across the region from Maine through the southern states.
Shift Again
From mid-18th century, Neoclassicism started its journey to present four variations of it in course of time, beginning with the Federalist style, followed by the Idealist and Rationalist Style, and ending up with Greek Revival, which eventually became the first national style of architecture in America due to its strong associational values.
While Federalist Style flourished in New England around 1795-1806 with its traditional approach to classicism that was influenced by the British models, propagator of the Idealist Style (1770-1809), Thomas Jefferson infused an impression of intellectualism and morality in classicism that initially followed Roman models, before adopting more expressive style that would speak for itself.
Rationalists spearheaded by Latrobe wanted to be different with their emphasis on structure and classical building techniques like stone vaulting and domes, which served as the precursor of Greek Revival period, as it inspired the then socialites to incorporate Greek themes of architecture the porticos and colonnades started gracing public buildings and the refined tastes of Greeks stirred enough passions in neoclassicists. Emotions worked among architects to bring out new versions of the Parthenon, which was reflected in many places of America and Europe. The Custom House in New York (1833-42), Ohio State Capitol (1838-61) Washington Treasure Building (1839-69), or for that matter the church of La Madeleine in Paris (1806), in the unfinished memorial to the Scots (1822) and the new British Museum, (1823), all carried the ethos of Greek era.
On a New High
In the process, the civilization entered into the 19th century with conventional architectural style as one of its elements, till the Gothic revival, the counterpart of neoclassicism that was making advances at about the same time when Greek revival enchanted the society, became the new flag-bearer of European architecture. Both Neoclassicism and Gothic revival could be considered as the memoir architecture, as both took their inspiration from the past. However, there was a difference. Gothic revival gained momentum with the advent of Romanticism, a movement that shunned the framed world of rationalism and promoted a culture of openness. The second half of the 18th century saw an emergence of intellectualism in all spheres of art and literature, which started influencing architecture too. This phase was earmarked as the Age of Enlightenment, which rebelled against scientific rationalization of nature, a new openness pervaded in the psyche of the society that started promoting naturalism in every possible way of expression.
Therefore, backed by this new thought wave, Gothic revival opened its journey with Horace s Gothic novel Castle of Otranto (1764), and his Gothic house at Strawberry Hill (1776), before dominating the American architectural world in the period between 1818 and 1850.
Situational Influence
The first thing that influenced the architects to choose Gothic Revival was its cost-effectiveness. The stone lintels required to span a large opening in a Greek temple were expensive, while Gothic arches could be built with bricks and stone. This realization resulted into more than 2500 Anglican churches that were built between 1821-1850 that followed Gothic style, not to mention the town halls and law courts that came in that period, which made it synonymous with religion.
The socio-economic condition of a society plays a heavy role in the promotion of art, culture and architecture, and the 19th century Europe could afford to try its hand on many other styles of architecture too, such Egyptian, Byzantine, Romanesque, Venetian Gothic, Muslim Indian, and even renaissance styles that aimed to become an answer to the past styles. Egyptian Revival made its mark around 1820-1850, mostly taking place in memorials, cemeteries and prisons.
Precursor of New Time
Though the building materials of 18th and 19th century were more or less same, one new item used in the 19th century stood as the earmark of the period. With increased usage of cast iron, the demand of glass too increased as a building material, and consequently, 19th century saw a boom in the business of glass and iron as in the development of ornamental designs, which even influenced Queen Victoria to note in her diary (1842) about the stunning beauty of Joseph Paxtons 277 feet-long and 67 feet high, tent-shaped conservatory entirely built with cast iron and glass. Altogether the architecture gathered new momentum in the mid-19th century with newfound components that showed tremendous potential for the future.
What happened next can easily be underpinned as another striking difference between 18th and 19th century it was the speed of construction. The Crystal Palace, which is five times longer than Palm House in Key and almost double in height, or for that matter bigger than the palace of Versailles and higher than Westminster Abbey, took only six months for completion, after Paxton spent two weeks in planning and designing the building The inside story would sound more stunning Crystal Palace took 3300 iron columns, 2150 iron girders, 250 miles of sash bar, 293,635 panes of glass all conformed to a basic 24-foot module, yet it took only six months to assemble. Thus prefabricated architecture came to fore to add a new feather to the colorful hat of 19th century architecture.
Britain chose to extend its building materials in its colonies too, and thus some beautiful gothic buildings came up in the main cities of India, especially in Calcutta, such as the Calcutta Medical College Hospital (1848-1862), Saint Pauls Cathedral (1847), or General Post Office (1864-1868).
Summary
In all, the differences between 18th and 19th century architecture were influenced by factors like religion, emergence of peoples taste, and emergence of new techniques and elements, where one paradox played all throughout that architectures of both the periods wanted to match with the dynamism of time, and hence they differed from each other.
Essay II Discuss the origin, development, and major structural and decorative features of Modernist and Post-Modernist architecture in the Twentieth Century. 5dp
Introduction
The conflict of outlooks between generations leave clear impressions on period architecture, and an example of that never-ending cycle can be framed in the period between 1925-2000, when Modernism wanted to set aside the architectural philosophy of its predecessors in the first half (1925-1960) and Postmodernism treated it much the same way in the second half (1960-2000).
Modernism
The origin of Modernist architecture (1925-1940) could be traced in the works of the Russian architect Berthold Luberkin (1901-1990), who settled in London and later formed a group called Tecton with an aim to apply scientific and analytical methods to architectural design. Later it got momentum through the works of Le Cobusier and others who gradually developed and produced the theme of the Modernist architecture that preferred more functionality in architecture.
Over time, Modernism evolved through experimentation and in the process gave birth to several styles like structuralism, formalism, Bauhaus, The International Style, Desert Modernism, Brutalism, and finally, Minimalism.
It started its journey with Structuralism, which was backed by the idea that all things are built from a system of signs and such signs contain two exactly opposite elements like daynight, malefemale, etc. and architecture should be able to establish the correlation between them. Thus it also showed its interest in analyzing the social structures in its processes. The Berlin Holocaust Memorial designed by architect Peter Eisenman is an appropriate example of Structuralism.
Formalism wanted to manifest the above philosophy by aiming to develop its form that could establish a visual relationship between the parts of a building. The Bank of China Tower in Hong Kong stands as its example.
The economic downturn in Germany added some food for thought to the Modernists and thus Bauhaus Style came up with flat roofs, smooth facades, and cubic shapes, along with basic colors like white, gray, beige or black, coupled with furniture that are decisively functional. The monochrome home of architect Walter Gropius could be a fine example of the same. The historian and critic Henry-Russell Hitchcock and architect Philip Johnson introduced this style to U.S. as International Style through their books, and soon it made its mark in U.S. under its new avatar by becoming the favored style for public buildings and mansions of the rich, where people started considering it as a symbol of Capitalism. Le Corbusiers United Nations Secretariat building in New York could be considered a worthy representative of this style.
On the other hand, Modernism took a new turn to exploit the climate and accordingly it reshaped the Californian skyline with newer buildings that applied a newer technique of combing landscape and building architecture to bring a new effect, and in the process used expansive glass walls and windows, dramatic rooflines, wider overhangs, etc., besides incorporating open floor plans and including outdoor living spaces in the central design. Kaufmann House in Palm Springs, California, bears the testimony of such an approach.
The next shift of Modernism reflected in Brutalism, a style depicting a rugged look that contained pre-cast concrete slabs that carried rough, unfinished surfaces, coupled with exposed steel beams. All were packed into huge sculptural shape that would radiate a rough-and-tough personality. The house of architect Paulo Mendes de Rocha at Sao Paulo, Brazil, could be one of the finest examples of Brutalism.
If Brutalism showed the tendency of Modernism to shun all ornamentation and decoration, Minimalism, the last of Modernism series provided the ultimate version of it. Bolstered by the slogan, Less is more, coined by architect Ludwig Mies van der Rohe, the Minimalist architects started stripping of all but the bare essentials of a building, and limiting their focus on outline and frame of the structure. They even discarded interior walls, and managed that change with newer kind of lighting that dramatized the lines and planes.
Where it ended
Altogether the journey of modernism clearly shows that it gradually moved towards using less components and discarding almost anything that was not physically related with the making of a building. This period could be earmarked as the pioneer of using man-made building materials like bricks, concrete, glass, and metals. It displayed a distinctively different taste of time that rejected the lavish display of opulence portrayed by the Victorian era or Art Nouveau. In the process it even left Art Deco, the contemporary international art design movement that contained essence of Neoclassicism, Constructivism, Cubism, Modernism, Art Nouveau and Futurism. Though Art Deco made its way into many buildings, such as Chrysler Building in New York (1928-1930), displaying lavish assembly aluminum, stainless steel, lacquer, and inland wood, its influence faded around 1940, with strong emergence of Modernism.
While Modernism explicitly wanted to break away from the tradition set by its predecessors, it is also true that this movement had technology by its side to invent and establish changes. Thus in a way, Modernism was the outcome of the confluence of the mood of the period as well as the resources provided by technology.
Postmodernism
The course of civilization took a new turn with the scars of World War II, which in turn fuelled a cultural, intellectual, and artistic development that refused to evolve from a central concept. This new thought wave reacted against Modernist architecture by labeling it as soulless and incapable of meeting humans needs of body and mind. From this perspective it can be said that the origin of Postmodernist architecture lies in the failure of Modernism to sustain its appeal to people of 1960s, who were by then became disillusioned with life with war experiences and the value system.
Cry for Change
So people wanted a change and architecture, as always became their medium. The old Classical Greek pillars returned back along with ornaments, Art Deco once again started making its mark in architecture, and America took a leading role in promoting this new movement with Robert Venturi spearheading it. He wrote two books to explain his stance in favor of Postmodernism, besides justifying the value proposition of ornamental and decorative elements. The famous adage of Modernist era less is more got reduced to less is a bore, as people started searching more ways of communication.
Postmodernism carried three distinctive features like usage of sculptural forms, ornaments, and newer materials that provided ways to create realistic imagery, i.e., packing more than one meaning in a single expression, for example attributing human characteristics to non-human form, or to create a non-human form in a way that reminds human form.
Ornaments too came back with newer ideas. Frank Gehrys Venice Beach House (1986) or Michael Graves Portland Public Service Building (1980) provided ample examples of them. Even the Cemetery architecture too carried symbols that could alleviate humans sorrow of losing dear ones. Carlo Scarpas Brion-Vega Cemetery (1970-72) carried such example.
Venturi, one of the leading protagonists of Postmodernism, took his own house to become an exponent of it. Vanna Venturi House (1962-64) is full of symbols. The inclusion of irony and paradox was also another trait found in Postmodernists, as Charles Moores Piazza dItalia (1978) showed, so was double-coding, explicit in the Sony Building that on one hands depicts the image of a skyscraper, and on the other puts up a link with classical antique architecture at its rooftop.
Summary
Altogether Postmodernism just repeated what Modernism did to its predecessors by rejecting almost everything of its architecture. What is worth pondering is that why the flow of architecture looks back into history time and again to extract its source of sustenance and in the process gives it a new meaning. From that perspective Modernism stands to be an isolated example, as if an accidental event in the tradition of architecture.
How it all Started
Baroque architecture, which emerged from 17th century Italy and dominated through 18th century, aimed to act like a spokesperson of the counter-reformation movement initiated by the Catholic Church to counter the Protestant Reformation movement. Baroque culture not only influenced architecture, sculpture and painting, but also combined them to stamp the emergence of a new period, which started shifting from the dignified and serious image of the Renaissance period.
Starting its journey from the dawn of the 17th century (1600) it covered 150 years to dominate the architectural scene, before the new era gradually took over, when the hallmark of baroque architecture the elaborate symmetrical ornamentation, the little details of the decorative art gave way to that Georgian era, that preferred a different adage - Simplicity is the hallmark of elegance, as by that time the social mood started turning against ostentatious exhibition of opulence and the hedonistic tendency of self-indulgence.
The Shift
The last phase of Baroque took oxygen from Rococo Style that concentrated more on designing the interior. On the other hand, shift in social psyche generated Palladianism in England, a style of presenting architecture through clear-cut classical lines, invented by Venetian architect Palladio (1508-1580) and augmented by Inigo Jones, which caught the fancy of British aristocrats and gained momentum for quite sometime, till Neoclassicism took over from there, mostly due to the renewed interests on Greek architecture after the archaeological discovery of the architecture of Pompeii, thereby generating a mood that reflected the adage
Old is gold
Georgian Style acquired its name from King George I who ascended the throne in 1711, until the American Revolution (King George III). Architecture during this period mostly followed the European style that made its know-how available through printed books and in their growing years, America accepted Georgian simplicity across the region from Maine through the southern states.
Shift Again
From mid-18th century, Neoclassicism started its journey to present four variations of it in course of time, beginning with the Federalist style, followed by the Idealist and Rationalist Style, and ending up with Greek Revival, which eventually became the first national style of architecture in America due to its strong associational values.
While Federalist Style flourished in New England around 1795-1806 with its traditional approach to classicism that was influenced by the British models, propagator of the Idealist Style (1770-1809), Thomas Jefferson infused an impression of intellectualism and morality in classicism that initially followed Roman models, before adopting more expressive style that would speak for itself.
Rationalists spearheaded by Latrobe wanted to be different with their emphasis on structure and classical building techniques like stone vaulting and domes, which served as the precursor of Greek Revival period, as it inspired the then socialites to incorporate Greek themes of architecture the porticos and colonnades started gracing public buildings and the refined tastes of Greeks stirred enough passions in neoclassicists. Emotions worked among architects to bring out new versions of the Parthenon, which was reflected in many places of America and Europe. The Custom House in New York (1833-42), Ohio State Capitol (1838-61) Washington Treasure Building (1839-69), or for that matter the church of La Madeleine in Paris (1806), in the unfinished memorial to the Scots (1822) and the new British Museum, (1823), all carried the ethos of Greek era.
On a New High
In the process, the civilization entered into the 19th century with conventional architectural style as one of its elements, till the Gothic revival, the counterpart of neoclassicism that was making advances at about the same time when Greek revival enchanted the society, became the new flag-bearer of European architecture. Both Neoclassicism and Gothic revival could be considered as the memoir architecture, as both took their inspiration from the past. However, there was a difference. Gothic revival gained momentum with the advent of Romanticism, a movement that shunned the framed world of rationalism and promoted a culture of openness. The second half of the 18th century saw an emergence of intellectualism in all spheres of art and literature, which started influencing architecture too. This phase was earmarked as the Age of Enlightenment, which rebelled against scientific rationalization of nature, a new openness pervaded in the psyche of the society that started promoting naturalism in every possible way of expression.
Therefore, backed by this new thought wave, Gothic revival opened its journey with Horace s Gothic novel Castle of Otranto (1764), and his Gothic house at Strawberry Hill (1776), before dominating the American architectural world in the period between 1818 and 1850.
Situational Influence
The first thing that influenced the architects to choose Gothic Revival was its cost-effectiveness. The stone lintels required to span a large opening in a Greek temple were expensive, while Gothic arches could be built with bricks and stone. This realization resulted into more than 2500 Anglican churches that were built between 1821-1850 that followed Gothic style, not to mention the town halls and law courts that came in that period, which made it synonymous with religion.
The socio-economic condition of a society plays a heavy role in the promotion of art, culture and architecture, and the 19th century Europe could afford to try its hand on many other styles of architecture too, such Egyptian, Byzantine, Romanesque, Venetian Gothic, Muslim Indian, and even renaissance styles that aimed to become an answer to the past styles. Egyptian Revival made its mark around 1820-1850, mostly taking place in memorials, cemeteries and prisons.
Precursor of New Time
Though the building materials of 18th and 19th century were more or less same, one new item used in the 19th century stood as the earmark of the period. With increased usage of cast iron, the demand of glass too increased as a building material, and consequently, 19th century saw a boom in the business of glass and iron as in the development of ornamental designs, which even influenced Queen Victoria to note in her diary (1842) about the stunning beauty of Joseph Paxtons 277 feet-long and 67 feet high, tent-shaped conservatory entirely built with cast iron and glass. Altogether the architecture gathered new momentum in the mid-19th century with newfound components that showed tremendous potential for the future.
What happened next can easily be underpinned as another striking difference between 18th and 19th century it was the speed of construction. The Crystal Palace, which is five times longer than Palm House in Key and almost double in height, or for that matter bigger than the palace of Versailles and higher than Westminster Abbey, took only six months for completion, after Paxton spent two weeks in planning and designing the building The inside story would sound more stunning Crystal Palace took 3300 iron columns, 2150 iron girders, 250 miles of sash bar, 293,635 panes of glass all conformed to a basic 24-foot module, yet it took only six months to assemble. Thus prefabricated architecture came to fore to add a new feather to the colorful hat of 19th century architecture.
Britain chose to extend its building materials in its colonies too, and thus some beautiful gothic buildings came up in the main cities of India, especially in Calcutta, such as the Calcutta Medical College Hospital (1848-1862), Saint Pauls Cathedral (1847), or General Post Office (1864-1868).
Summary
In all, the differences between 18th and 19th century architecture were influenced by factors like religion, emergence of peoples taste, and emergence of new techniques and elements, where one paradox played all throughout that architectures of both the periods wanted to match with the dynamism of time, and hence they differed from each other.
Essay II Discuss the origin, development, and major structural and decorative features of Modernist and Post-Modernist architecture in the Twentieth Century. 5dp
Introduction
The conflict of outlooks between generations leave clear impressions on period architecture, and an example of that never-ending cycle can be framed in the period between 1925-2000, when Modernism wanted to set aside the architectural philosophy of its predecessors in the first half (1925-1960) and Postmodernism treated it much the same way in the second half (1960-2000).
Modernism
The origin of Modernist architecture (1925-1940) could be traced in the works of the Russian architect Berthold Luberkin (1901-1990), who settled in London and later formed a group called Tecton with an aim to apply scientific and analytical methods to architectural design. Later it got momentum through the works of Le Cobusier and others who gradually developed and produced the theme of the Modernist architecture that preferred more functionality in architecture.
Over time, Modernism evolved through experimentation and in the process gave birth to several styles like structuralism, formalism, Bauhaus, The International Style, Desert Modernism, Brutalism, and finally, Minimalism.
It started its journey with Structuralism, which was backed by the idea that all things are built from a system of signs and such signs contain two exactly opposite elements like daynight, malefemale, etc. and architecture should be able to establish the correlation between them. Thus it also showed its interest in analyzing the social structures in its processes. The Berlin Holocaust Memorial designed by architect Peter Eisenman is an appropriate example of Structuralism.
Formalism wanted to manifest the above philosophy by aiming to develop its form that could establish a visual relationship between the parts of a building. The Bank of China Tower in Hong Kong stands as its example.
The economic downturn in Germany added some food for thought to the Modernists and thus Bauhaus Style came up with flat roofs, smooth facades, and cubic shapes, along with basic colors like white, gray, beige or black, coupled with furniture that are decisively functional. The monochrome home of architect Walter Gropius could be a fine example of the same. The historian and critic Henry-Russell Hitchcock and architect Philip Johnson introduced this style to U.S. as International Style through their books, and soon it made its mark in U.S. under its new avatar by becoming the favored style for public buildings and mansions of the rich, where people started considering it as a symbol of Capitalism. Le Corbusiers United Nations Secretariat building in New York could be considered a worthy representative of this style.
On the other hand, Modernism took a new turn to exploit the climate and accordingly it reshaped the Californian skyline with newer buildings that applied a newer technique of combing landscape and building architecture to bring a new effect, and in the process used expansive glass walls and windows, dramatic rooflines, wider overhangs, etc., besides incorporating open floor plans and including outdoor living spaces in the central design. Kaufmann House in Palm Springs, California, bears the testimony of such an approach.
The next shift of Modernism reflected in Brutalism, a style depicting a rugged look that contained pre-cast concrete slabs that carried rough, unfinished surfaces, coupled with exposed steel beams. All were packed into huge sculptural shape that would radiate a rough-and-tough personality. The house of architect Paulo Mendes de Rocha at Sao Paulo, Brazil, could be one of the finest examples of Brutalism.
If Brutalism showed the tendency of Modernism to shun all ornamentation and decoration, Minimalism, the last of Modernism series provided the ultimate version of it. Bolstered by the slogan, Less is more, coined by architect Ludwig Mies van der Rohe, the Minimalist architects started stripping of all but the bare essentials of a building, and limiting their focus on outline and frame of the structure. They even discarded interior walls, and managed that change with newer kind of lighting that dramatized the lines and planes.
Where it ended
Altogether the journey of modernism clearly shows that it gradually moved towards using less components and discarding almost anything that was not physically related with the making of a building. This period could be earmarked as the pioneer of using man-made building materials like bricks, concrete, glass, and metals. It displayed a distinctively different taste of time that rejected the lavish display of opulence portrayed by the Victorian era or Art Nouveau. In the process it even left Art Deco, the contemporary international art design movement that contained essence of Neoclassicism, Constructivism, Cubism, Modernism, Art Nouveau and Futurism. Though Art Deco made its way into many buildings, such as Chrysler Building in New York (1928-1930), displaying lavish assembly aluminum, stainless steel, lacquer, and inland wood, its influence faded around 1940, with strong emergence of Modernism.
While Modernism explicitly wanted to break away from the tradition set by its predecessors, it is also true that this movement had technology by its side to invent and establish changes. Thus in a way, Modernism was the outcome of the confluence of the mood of the period as well as the resources provided by technology.
Postmodernism
The course of civilization took a new turn with the scars of World War II, which in turn fuelled a cultural, intellectual, and artistic development that refused to evolve from a central concept. This new thought wave reacted against Modernist architecture by labeling it as soulless and incapable of meeting humans needs of body and mind. From this perspective it can be said that the origin of Postmodernist architecture lies in the failure of Modernism to sustain its appeal to people of 1960s, who were by then became disillusioned with life with war experiences and the value system.
Cry for Change
So people wanted a change and architecture, as always became their medium. The old Classical Greek pillars returned back along with ornaments, Art Deco once again started making its mark in architecture, and America took a leading role in promoting this new movement with Robert Venturi spearheading it. He wrote two books to explain his stance in favor of Postmodernism, besides justifying the value proposition of ornamental and decorative elements. The famous adage of Modernist era less is more got reduced to less is a bore, as people started searching more ways of communication.
Postmodernism carried three distinctive features like usage of sculptural forms, ornaments, and newer materials that provided ways to create realistic imagery, i.e., packing more than one meaning in a single expression, for example attributing human characteristics to non-human form, or to create a non-human form in a way that reminds human form.
Ornaments too came back with newer ideas. Frank Gehrys Venice Beach House (1986) or Michael Graves Portland Public Service Building (1980) provided ample examples of them. Even the Cemetery architecture too carried symbols that could alleviate humans sorrow of losing dear ones. Carlo Scarpas Brion-Vega Cemetery (1970-72) carried such example.
Venturi, one of the leading protagonists of Postmodernism, took his own house to become an exponent of it. Vanna Venturi House (1962-64) is full of symbols. The inclusion of irony and paradox was also another trait found in Postmodernists, as Charles Moores Piazza dItalia (1978) showed, so was double-coding, explicit in the Sony Building that on one hands depicts the image of a skyscraper, and on the other puts up a link with classical antique architecture at its rooftop.
Summary
Altogether Postmodernism just repeated what Modernism did to its predecessors by rejecting almost everything of its architecture. What is worth pondering is that why the flow of architecture looks back into history time and again to extract its source of sustenance and in the process gives it a new meaning. From that perspective Modernism stands to be an isolated example, as if an accidental event in the tradition of architecture.
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