PRINT October 1976

The New Architectural Supremacists

IN THE ’60s, THE DOMINANT late International Style architecture came under attack by artists and younger architects. They found it devoid of art or imagination; it seemed to repeat mindlessly the technological, functional and social formulae of earlier decades. Artists disputed the claim of architecture to public scale and setting. Proposing his windshield-wiper monument, Oldenburg wrote: “If it proves to be impossible [to build], I ask how then will architects honor their vow of instrumenting the imagination.”1 Among architects this reaction also took Pop forms, and these encouraged commentary on the growing social concerns of the period: the best-known example is the work of Robert Venturi, such as his missile nose-cone fountain project for Fairmount Park, Philadelphia.

But by the end of the decade, still younger architects, including principally, in the U.S., Peter Eisenman, John Hejduk,

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