Architects take leave of their senses; Arata Isozaki takes his along.

FORTY YEARS AGO, as the vigor of early Modern architecture was subsiding into the anemia of the International Style, the historian John Summerson offered a diagnosis and a prescription still useful today. The Modern architect, Summerson wrote, has

taken a look at the scene around him and then become obsessed with the importance not of architecture, but of the relation of architecture to other things. . . . He has walked out of himself, rather like a second personality is seen to walk out of the first in a psychological film. He has . . . left the first personality at the drawing board and taken the second (the “live” personality) on a world-tour of contemporary life—scientific research, sociology, psychology, engineering, the arts and a great many other things. Returning to the drawing board he finds the first personality embarrassing and profoundly unattractive. There he stubbornly sits,

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