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Behind the Postmodern Facade
Architectural Change in Late Twentieth-Century America
Magali Sarfatti Larson
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University of California Press
Berkeley and Los Angeles, California
University of California Press, Ltd.
London, England
© 1993 by
The Regents of the University of California
First Paperback Printing 1995
Library of Congress Cataloging-in-Publication Data
Larson, Magali Sarfatti.
Behind the postmodern facade : architectural change in late twentieth-century
America / Magali Sarfatti Larson.
p. cm.
Includes bibliographical references and index.
ISBN 0-520-20161-2
1. Architectural practiceUnited States. 2. Architectural services marketing
United States. 3. ArchitectureUnited StatesTechnological
innovations. 4. ArchitectsUnited StatesPsychology. I. Title.
NA1996.L37 1993
720'.68dc20 92-25694
CIP
Printed in the United States of America
9 8 7 6 5 4 3 2 1
The paper used in this publication meets the minimum requirements of American National Standard for Information
SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.481984.
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For Charlie, who has read it
and Tony, who someday might
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CONTENTS
List of Illustrations ix
Foreword
by Joe Esherick
xi
Acknowledgments xv
Part One: The Background of Architectural Change
1. Architecture as Art and Profession 3
2. Architectural Change in the Twentieth Century 21
Part Two: The Postindustrial Matrix of American Architecture
3. Architecture in the Political Economy of Cities 67
4. The Perception of Structure: Firms, Clients, and Career Settings in the Design Elite 98
Part Three: The Revision of The Modern
5. Architects and Creative Work 143
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6. Design and Discourse in a Period of Change: The Protagonist's View 160
7. Mapping a Paradigm's Demise: The View from a Symbolic Reward System 182
8. The Autonomous Transformation: Paper Architecture, 196685 218
9. Conclusion 243
Appendix: The Progressive Architecture Awards, 195487 255
Notes 259
Index 309
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ILLUSTRATIONS
1. Le Corbusier, Plan Voisin for the rebuilding of Paris (model, 1925). 203
2. Maya Lin, the Vietnam Veterans Memorial, Washington, D.C. (1982). 203
3. Walter Gropius, apartments at Siemenstadt, Berlin (192931). 204
4. Bruno Taut, Hufheiser Siedlung, Britz, Berlin (192531). 204
5. Ludwig Mies van der Rohe with Philip Johnson, Seagram building, New York (195658). 205
6. Philip Johnson John Burgee, AT&T World Headquarters, New York (1984). 206
7. Venturi and Rauch, Vanna Venturi's house, Philadelphia (1962). 207
8. Joseph Esherick and Associates, Sea Ranch, Calif. (1965). 207
9. Stanley Tigerman, Daisy House, Porter, Ind. (197678). 208
10. Robert A. M. Stern, residence at Chilmark, Martha's Vineyard, Mass. (1983). 208
11. Esherick Homsey Dodge Davis, an early example of urban reuse: shops at the Cannery, San Francisco
(1966).
209
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12. Cesar Pelli, Pacific Design Center, Los Angeles (197175). 210
13. Michael Graves, Municipal Services Building, Portland, Oreg. (1980). 210
14. Kohn Pedersen Fox with Perkins Will, Procter & Gamble Headquarters, Cincinnati (1985). 211
15. Cesar Pelli and Associates, World Financial Center, New York (198187). 211
16. Venturi Rauch Scott Brown, Gordon Wu Hall, Princeton University (1980). 212
17. Kohn Pedersen Fox, 333 Wacker Drive, Chicago (197983). 212
18. Adrian Smith/SOM, Rowes Wharf, Boston (198788). 213
19. Diane Legge/SOM, race track, Arlington, Ill. (1989). 213
20. Gwathmey Siegel, Taft residence, Cincinnati (1977). 214
21. Michael Graves with Alan Lapidus, Disney World Dolphin Hotel, Lake Buena Vista, Fla. (1990). 214
22. Frank Gehry, Edgemar Center, Santa Monica, Calif. (198488). 215
23. Peter Eisenman with Richard Trott, Wexner Center for the Arts, Ohio State University, Columbus (1989). 215
24. Joan Goody, renovation of Harbor Point, Boston (1989). 216
25. König Eizenberg, affordable housing, 5th Street, Santa Monica, Calif. (1988). 216
26. Rob Quigley, Baltic Inn, San Diego, Calif. (1987). 217
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FOREWORD
In the last decade or two, contradictions and conflicts have arisen between what we architects conceive as our goals
and purposes and what we accept from project developers as their goals. These growing complexities in the
production of architecture constitute a dramatic shift that many either failed to notice or became resigned to. The
changes in the environment in which architects work (and worked for the better part of this century) have
transformed both what architects do and how they do it, in everything from architecture as idea to architecture as
built fact. That sea change in architecture as object and architecture as process is addressed with authority and
insight in this book.
No architect needs to be told that the process of producing architecture is complex. But architects rarely have time to
study the nature or causes of that complexity. Fragmentary explanations exist, but they assume that each element in
the complex task is an autonomous unit, separate and uncontaminated. In Behind the Postmodern Facade Magali
Sarfatti Larson examines both the outer complexities and the inner struggles of architecture; nothing so complete or
so penetrating has been undertaken before.
No architect can realistically believe in anything approaching complete autonomy. Even such autonomy as does
exist is being eroded by complexities and conflicts arriving from new quarters. Dealing with these largely external
changes by traditional responses or with traditional perceptions and ideas can hardly work. To begin again, to move
forward responsibly,
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will require a full understanding of the environment in which architects work as well as an understanding of our
habits of discourse, of the ways architects perceive the world and deal with it.
This study, revealing as it does the extraordinary changes in the inner and outer forces central to the production of
architecture, should encourage genuine dialogue and debate about possible futures, of perhaps different
"architectures." Such a debate cannot assume a tabula rasa. In this century we have seen post-World War I European
"modern" architecture, an architecture of strong social purpose and commitment, transformed, on its arrival in this
country, to an architecture of form and style and, after World War II, to a worldwide means of aggressive
development. We need to revisit and to understand the history of these transformations of architecture.
History, good history, informs us about what happened but also about why, in all its complexity. Architectural
history, much of it growing from the traditions of German art history, has been preoccupied with the what of events
andsince events in architecture are visiblewith what things look like, often with little regard to intentions,
foreground, or background, temporal or physical. Similarly, current architectural criticism tends to be preoccupied
with the what, ignoring settings, focusing on fragments and ornamentsshells of ideasand failing to explain in any
useful way how things came to be as they are. Architectural history and much of the discourse about architecture
have become a limiting diversion, a presetting of our perceptions and expectations.
Architecture as it is practiced, taught, and talked about generally assumes an autonomy that is in conflict with the
notion of architecture as a service profession, integral to the society and culture, embedded in everyday life. There
are, indeed, responsibilities that are particularly architectural, but those responsibilities are deeply implanted in our
society and culture. Architects are fortunate to be in a profession that is inherently not isolated, not pure or
narcissistic, one that has to be integrated into the surrounding society and culture to exist. It is only in the polemics
of current discourse that architecture becomes esoteric and isolated.
Much of architectural discourse and criticism today resembles missiles fired randomly in all directions. This book
lays the foundation for a new beginning, a new debate. Architectural books are, too often, the end of the affair. This
one suggests movement and a progression of events; rather than driving for finality, it looks forward to a needed
open-endedness.
Debate would be welcome on what architects can control and what is beyond our control; that is, What are the
particular and specific responsi-
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[...]... twentiethcentury architectural history, which acquaints the nonspecialist with the substance and scope of architectural change and with the cast of characters it involved I pay special attention to architectural modernism in Weimar Germany as the tacit model (or the explicit foil) of the subsequent transformation In the second part, I examine the structural underpinnings of the recent phase of architectural change. .. glory that the Malatesta or the Medici wanted Yet architects, either in their dutiful deception of the client or in the elaboration of autonomous discourse for their own use, cannot fail to invoke and articulate the public properties of architecture Indeed, it is the public face of buildings that detaches them from the personal and private requirements of their owners' programs Significant buildings can... the latter depends on the problems they address and claim to resolve in the discursive field Since dependence on the client is inescapable, I will briefly outline how it works in relation to architectural change First, clients have the power to choose architectural innovators and thus help their reputations in the delimited field of architecture They also have the power to lift the barriers of specialized... even in the work of Le Corbusier, the apostle of modernism In public commissions, the end of the 1930s saw a return to monumental classicism, not only in the totalitarian states but even in Holland; it was prevalent in France, where the Modern Movement had never been widely accepted, as also in the United States.4 War engulfed the world at the beginning of the next decade But, even before the deluge, the. .. all the victimized artists deserved; and, two, the diaspora caused by Hitler's persecution of the Modern Movement was ultimately responsible for the belated triumph of the new aesthetics.3 In the 1930s, then, the Modern Movement was faltering under the blows of cultural policy in Nazi Germany Elsewhere, modern architecture was in retreat In the Soviet Union, the Russian constructivists, whose aesthetic... whim or trendiness, nor as indications of idealist reorientation, but as symptoms of changes in architects' conceptions of their professional role and in the conditions of their practice In postmodern discourse, the model of European modernism is related as much to practical conceptions of the architect's role and to changes in the way architects must make a living as to their formal imagination 6 Elites,... file:///E|/-=%20%CD%E0%F8%E8%20%EF%F3%E1%EB%E 0Architectural/ _42062 /files/page_5.html [11.01.2009 22:00:48] page_6 < previous page page_6 next page > Page 6 the histories of architecture locate the origins of change within the discursive field itself, in the theories and ideas of architects The first and most radical shift in the discourse of architecture culminated in the Modern Movement of the 1920s in Europe An adapted... Training in the skills and the discourse of architectural design increasingly became the hallmark of the architects for the elite and, later on, the central element of professionalization In capitalist societies, architecture emerged as a profession that possesses artistic, technical, and social dimensions The emphasis placed on each varied in different times and places However, the existence of engineering... yet my postulate about the fundamental heteronomy of architectural practice requires me to examine the connections between the elite and other sectors of the profession The importance of built exemplars in architectural discourse suggests a situation more complicated than the (increasingly blurred) dichotomy of "high" and "popular" forms in other art media 7 The expansion of a market for architectural. .. field: For, indeed, the awards are given for "paper architecture," a stage at which the client has provided only a program but no other restrictions In chapter 7, the analysis of these twenty years of debate takes one building type (the private house) as its point of departure The changes discovered by holding the type of building constant are followed in chapter 8 across the whole spectrum of the juries' . Training in the skills and the discourse of architectural design
increasingly became the hallmark of the architects for the elite and, later on, the central. Magali Sarfatti.
Behind the postmodern facade : architectural change in late twentieth-century
America / Magali Sarfatti Larson.
p. cm.
Includes bibliographical
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