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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.
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.
With new research on building programs in political, religious, and
domestic settings in the United States and Europe, this collection
of essays offers a fresh look at postwar modernism and the role
that architecture played in constructing modern identities. In the
decades following World War II, modern architecture spread around
the globe alongside increased modernization, urbanization, and
postwar reconstruction—and it eventually won widespread
acceptance. But as the limitations of conventional conceptions of
modernism became apparent, modern architecture has come under
increasing criticism. In this collection of essays, experienced and
emerging scholars take a fresh look at postwar modern architecture
by asking what it meant to be “modern,” what role modern
architecture played in constructing modern identities, and who
sanctioned (or was sanctioned by) modernism in architecture. This
volume presents focused case studies of modern architecture in
three realms—political, religious, and domestic—that address
our very essence as human beings. Several essays explore
developments in Czechoslovakia, Romania, and Yugoslavia and
document a modernist design culture that crossed political
barriers, such as the Iron Curtain, more readily than previously
imagined. Other essays investigate various efforts to reconcile the
concerns of modernist architects with the traditions of the Roman
Catholic Church and other Christian institutions. And a final group
of essays looks at postwar homebuilding in the United States and
demonstrates how malleable and contested the image of the American
home was in the mid-twentieth century. These inquiries show the
limits of canonical views of modern architecture and reveal instead
how civic institutions, ecclesiastical traditions, individual
consumers, and others sought to sanction the forms and ideas of
modern architecture in the service of their respective claims or
desires to be modern.
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