The Death of the Moderns (II)

Von Eckardt, Wolf
August 1977
New Republic;8/20/77, Vol. 177 Issue 8/9, p26
Comments on works of the members of the Modern movement. Height of the building designed by architect Le Corbusier; View that high-rise apartments are unsuitable for families with children; Limitations of high-rise apartment projects; Need for expensive protection in order to avoid incidence of muggings, burglary, rape and other crimes.


Related Articles

  • THE MODERNIST SAFEHOUSE. Looby, Marissa; Holt, Michael // Architecture Australia;Jan/Feb2012, Vol. 101 Issue 1, p88 

    The article examines the concept of "newness" in Australian architecture. It proposes that what Modernism implies is a striving to be new while being anxious of leaving the safe or traditional style. It notes the concept of the Modernist safehouse as a symbolism of a paradox produced by the...

  • EDITOR'S NOTE. Dotson, Bernard // Art Papers;Jul/Aug87, Vol. 11 Issue 4, p2 

    The article discusses the concept of modern architecture. It suggests that modernism is not a style but the breaking away from style and it was not a change but a collapse of the existing order in an effort to find something new. With this, modern architects have their individual stylistic...

  • The Silent Architecture of Zagreb. Mahečić, Darla Radović // Docomomo Journal;1996 Conference Proceedings - 4th C, p233 

    The article provides information on the condition of modern movement architectural structures and housing estates in Zagreb, Croatia. It mentions that several of these architectural structures in the city remained intact and well preserved due the efforts of the Croatian architects who studied...

  • MoMo Industrial Architecture in Buenos Aires: Between Universality and Heterogeneity. Casal, Stella Mans // Docomomo Journal;1996 Conference Proceedings - 4th C, p240 

    The article provides information on the modern movement industrial architectural structures in Buenos Aires, Argentina. It mentions that several industrial buildings were constructed in the city between 1930-1940 and cites that these industrial architectures were introduced in the country as...

  • In the shadow of the Glass House: New Canaan's other modern houses. Reiss, Gwen North // Docomomo Journal;Jul2001, Issue 25, p48 

    Beginning in the late 1940s, New Canaan, Connecticut, a small town northeast of New York City, became home to a group of modernist architects, all of whom had recently taught or studied at the Harvard Graduate School of Design. Marcel Breuer, Landis Gores, John Johansen, Philip Johnson, and...

  • EDMONTON'S CAPITAL. Kaba, Shafraaz // Canadian Architect;Nov2007, Vol. 52 Issue 11, p55 

    The article offers a look at several modern buildings in Edmonton, Alberta. The modern movement in Edmonton began after World War II. The discovery of oil in Leduc in 1974 fueled the building boom that created some of Edmonton's most progressive buildings. The Massey-Harris Building housed the...

  • Chapter 3: The houses of Patrick Gwynne. Bingham, Neil // Twentieth Century Architecture 4: Post War Houses;2000, p29 

    Chapter 3 of the book "Twentieth Century Architecture: Post War Houses," Volume 4, is presented. It focuses on houses designed by British modernist architect Patrick Gwynne. The houses include The Homewood which Gwynne designed for his parents at Esher in Surrey, England. It also mentions the...

  • Learning from Modernism. Margalith, Moshe // Docomomo Journal;Mar2009, Issue 40, p89 

    A hundred years after the beginning of modernism, at a time when lessons from the modernists are relevant for today's changing urban communities and environments, many of its manifestations in architecture across the world are at risk. To assess its relevance, modernism will first be redefined...

  • La réception du Palais de l'UNESCO: la modernité internationale sur la scéne française. Loupiac, Claude // Docomomo Journal;2005 Conference Proceedings - 7th C, p113 

    Claude Loupiac analyses reasons for and consequences of the wide and diverse reception of the UNESCO Headquarters in Paris between 1952-1960, largely due to its international character, politico-symbolic presence in the capital, and emblematic, yet ambivalent position within the French Modern...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics