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Essay / Research Paper Abstract
This 12 page paper explores 'new' modernty in architecture, through first examining historical precedents, and then present examples in Canada, Yemen, and Australa. New modernity encompasses hgh technology with design which and nurture and sustain the human community, and requires assimilation and re-thinking of the past rather than simply discarding it. Bibliography lists sources.
NOTE: sources attached.
Page Count:
12 pages (~225 words per page)
File: D0_BBtechmod.rtf
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Unformatted sample text from the term paper:
Introduction Although it sound like an oxymoron, in order to determine what "new" modernity
is we must first examine what preceded it. During the immediate postwar decades, the International Style of Bauhaus-inspired architecture predominated; it was the modern, theoretically acceptable mode of plan
and building. Its influence was enormous and was felt in every aspect of architectural design. Yet there were a number of established architects (Frank Lloyd Wright and Eero
Saarinen) who refused to participate in what they considered the impersonal, machine-like nature of the popular style. The cool and restrained International Style of Architecture was applied to all building
concepts no matter what there function. Although this fifties through sixties major style clearly represented architectural theory of the time, it was unable to reflect the various emotional expressions
evoked by particular building types. Rejection of this style can be seen in the bold and dramatic Art and Architectural Building at Yale (1963) by Paul Rudolph; as
well as in Le Corbusiers sweeping lines of Notre-Dame-Du-Haut (1954). Throughout time we have discovered that the only thing "constant" in the world is change. Consequently, by the 1970s
architecture, as well as the visual arts were rejecting the emotionless nature of the International Style. In succeeding at separating form from function demanded by the Bauhaus, and seeking
"newness," a style was developed which did not impact the society it wished to change. This extreme style moved away from the notion that design could nurture and sustain,
and required assimilation and re-thinking of the past rather than simply discarding it, and thus the birth of the "new" modernity (Cole 321). How does it look?
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