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Complex Resonance: Complementary Contrast in the Works of Mitchell/Giurgola and Venturi Scott Brown and Associates
Berg, Russell
Berg, Russell
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2024
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http://dx.doi.org/10.34944/dspace/10113
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Precursors to the Modern movement in the vein of styles such as Neo-Classicism arguably set conventions, or at least assimilated standards, for which architecture was designed in much of the western world prior to the industrial revolution. Despite these developments, the implications of industrialization and the scientific-technological advancements made in the 19th and early 20th centuries ultimately culminated in an unprecedented wave of homogeneity in architecture. The epitome of canonical Modernism—the International style—characterized by stripped, light-weight, planar forms which promoted the interior free-plan, was envisioned and promoted most famously in the likes of designers such as Le Corbusier, Walter Gropius, and Mies van der Rohe. This style rose to prominence precisely because such practitioners looked to these developments as capable of liberating architecture from the hindrances of tradition. The universality of this kind of architecture was evident in the sense that aspects of the movement had spread beyond Europe and America in one way or another before the outbreak of World War II.
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