Making Dystopia : The Strange Rise and Survival of Architectural Barbarism

In Making Dystopia , distinguished architectural historian James Stevens Curl tells the story of the advent of architectural Modernism in the aftermath of the First World War, its protagonists, and its astonishing, almost global acceptance after 1945. He argues forcefully that the triumph of architectural Modernism in the second half of the twentieth century led to massive destruction, the creation of alien urban landscapes, and a huge waste of resources. Moreover, the coming of Modernism was not an inevitable, seamless evolution, as many have insisted, but a massive, unparalled disruption that demanded a clean slate and the elimination of all ornament, decoration, and choice. Tracing the effects of the Modernist revolution in architecture to the present, Stevens Curl argues that, with each passing year, so-called "iconic" architecture by supposed "star" architects has become more and more bizarre, unsettling, and expensive, ignoring established contexts and proving to be stratospherically remote from the aspirations and needs of humanity. In the elite world of contemporary architecture, form increasingly follows finance, and in a society in which the 'haves' have more and more, and the "have-nots"are ever more marginalized, he warns that contemporary architecture continues to stack up huge potential problems for the future, as housing costs spiral out of control, resources are squandered on architectural bling, and society fractures. This courageous, passionate, deeply researched, and profoundly argued book should be read by everyone concerned with what is around us. Its combative critique of the entire Modernist architectural project and its apologists will be highly controversial to many. But it contains salutary warnings that we ignore at our peril. And it asks awkward questions to which answers are long overdue. Cover 1 Making Dystopia: The Strange Rise and Survival of Architectural Barbarism 4 Copyright 5 Dedication 6 Contents 8 Prolegomenon 10 Advance praise for Making Dystopia 14 List of Plates 16 List of Figures 20 Preface & Acknowledgements 22 Essence of the Argument 22 Afterword & Acknowledgements 35 I. Origins of a Catastrophe 40 Introduction: A Few Definitions 40 The Modern Movement 47 A Strange Aberration 51 Pugin, the Ruskin Problem, Perils of Uncritical Acceptance, & Some Perceptive Critics 56 Hermann Muthesius 64 Harry Kessler, van de Velde, & Weimar 68 The Deutscher Werkbund 73 The Werkbund Exhibition, Cologne, 1914 78 Epilogue 81 II. Makers of Mythologies & False Analogies 88 Introduction 88 Voysey as a Pevsnerian ‘Pioneer’ 96 Further Objections to the Pevsnerian Position 109 Baillie Scott 111 The Religious Factor 118 Unfortunate Treatment of Berlage, Comper, & Dykes Bower 121 III. Modernism in Germany in the Aftermath of the1914:–18:War 126 Introduction: Expressionist Interlude 126 The Bauhaus at Weimar 131 The Bauhaus at Dessau 148 A Department of Architecture at Dessau 154 Epilogue 156 IV. The International Style1920:s &1930:s 160 Introduction: The Transformation of Ludwig Mies 161 The Weißenhofsiedlung, Stuttgart 168 The Strange Case of Erich Mendelsohn 176 Later History of the Bauhaus at Dessau & Berlin 196 Epilogue 207 V. The International Style Truly International 210 Impresarios of the International Style 211 The Style Becomes Widely Accepted Outside Germany 222 Czechoslovakia 222 The Soviet Union 223 Hungary 225 Poland 225 Belgium 226 Brasil 227 Scandinavia 227 United States of America 228 Switzerland 229 The Netherlands 229 Austria 230 France & ‘Le Corbusier’ 232 Fascist Italy & The International Style: A Problem for Apologists 244 Early Modernism in England 248 VI. Universal Acceptance of the International Style 256 The Style Established 257 Not All Were Convinced 265 The Situation from 1945 267 A Curious Shift 271 Transformation & Acceptance 278 VII. Descent to Deformity 286 Revolution in Architecture & Planning 286 Destructive & Unwholesome Events in Britain from 1945 300 Philip Johnson: ‘Sourcerer’ & Tastemaker 322 VIII. Dangerous Signals 332 Alleged Demise of Modern Architecture 332 Imposition, Packaging, Deformation, & Rejection 335 Deconstructivism & After 344 Cults, Compounds, & the Grand Narrative 349 A Religious Dimension 352 9/11 & Other Uncomfortable Matters 355 Epilogue 360 IX. Some Further Reflections 366 Something Was Missing 366 Measurable & Unmeasurable Aspects 368 High & Mass Culture 376 A Pessimistic Future? 386 Royal Intervention 391 Coda 395 X. Epilogue 400 Loss of Meaning 400 The Failure of Architectural Education 403 Suggested Reforms of Architectural Education 412 Hubris: The End of Architecture? 418 Afterword: Nemesis 423 Notes 428 Prolegomenon, Preface, & Acknowledgements i-xxxviii 428 Chapter 1: Origins of a Catastrophe 1–48 430 Chapter II: Makers of Mythologies & False Analogies 49–86 435 Chapter III: Modernism in GermanY in the Aftermath of the 1914–18 War 87–120 442 Chapter IV: The International Style 1920s & 1930s 121–70 445 Chapter V: The International Style Truly International 171–216 452 Chapter VI: Universal Acceptance of the International Style 217–46 459 Chapter VII: Descent to Deformity 247–92 464 Chapter VIII: Dangerous Signals 293–326 471 Chapter IX: Some Further Reflections 327–60 476 Chapter X: Epilogue 361–88 482 Select Glossary 488 Bibliography 504 Index 550 In__Making Dystopia__, distinguished architectural historian James Stevens Curl tells the story of the advent of architectural Modernism in the aftermath of the First World War, its protagonists, and its astonishing, almost global acceptance after 1945. He argues forcefully that the triumph of architectural Modernism in the second half of the twentieth century led to massive destruction, the creation of alien urban landscapes, and a huge waste of resources. Moreover, the coming of Modernism was not an inevitable, seamless evolution, as many have insisted, but a massive, unparalled disruption that demanded a clean slate and the elimination of all ornament, decoration, and choice.Tracing the effects of the Modernist revolution in architecture to the present, Stevens Curl argues that, with each passing year, so-called "iconic" architecture by supposed "star" architects has become more and more bizarre, unsettling, and expensive, ignoring established contexts and proving to be stratospherically remote from the aspirations and needs of humanity. In the elite world of contemporary architecture, form increasingly follows finance, and in a society in which the 'haves' have more and more, and the "have-nots"are ever more marginalized, he warns that contemporary architecture continues to stack up huge potential problems for the future, as housing costs spiral out of control, resources are squandered on architectural bling, and society fractures.This courageous, passionate, deeply researched, and profoundly argued book should be read by everyone concerned with what is around us. Its combative critique of the entire Modernist architectural project and its apologists will be highly controversial to many. But it contains salutary warnings that we ignore at our peril. And it asks awkward questions to which answers are long overdue. James Stevens Curl Tells The Story Of The Advent Of Architectural Modernism In The Aftermath Of The First World War, Its Protagonists, And Its Astonishing, Almost Global Acceptance After 1945. He Argues Forcefully That The Triumph Of Architectural Modernism In The Second Half Of The Twentieth Century Led To Massive Destruction, The Creation Of Alien Urban Landscapes, And A Huge Waste Of Resources. Moreover, The Coming Of Modernism Was Not An Inevitable, Seamless Evolution, As Many Have Insisted, But A Massive, Unparalled Disruption That Demanded A Clean Slate And The Elimination Of All Ornament, Decoration, And Choice. James Stevens Curl With A Prolegomenon By Timothy Brittain-catlin. Includes Bibliography And Index. A devastating critique of the Modernist Movement: from the Bauhaus and Le Corbusier, through destructive Modernism-inspired urban planning of the post-war years, it questions how increasingly unequal and dysfunctional societies have been affected by self-serving, self-appointed elites hell-bent on creating an alienating, empathy-less Dystopia.