Word: critics
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Dates: during 1970-1979
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...Johnson's most fervent admirer among critics, Paul Goldberger of the New York Times, who called it "the most provocative and daring skyscraper proposed for New York since the Chrysler Building" and "the first major monument of Post-Modernism." Hogwash, retorted another critic, Michael Sorkin, in the Village Voice: A T & T will be "the architecture of appliqué ... the Seagram building with ears...
...very phrase recognizes the end of a tradition. Its main definer, if not exactly its inventor (it is one of those phrases that crept out of the woodwork in the art world in the middle '70s and attached itself to buildings), is the English architecture critic Charles Jencks. In his latest book, The Language of Post-Modern Architecture (1977), Jencks complains that "any building with funny kinks in it, or sensuous imagery" has come to be labeled Post-Modern, and suggests that the term should be restricted to hybrid, "impure" buildings that are designed around historical memory, local context, metaphor...
...nearest man Post-Modernism has to a senior partner is, in fact, the leading American architect of his generation: Philip Cortelyou Johnson. The firm of Johnson-Burgee has become to American architecture what McKim, Mead & White was 80 years before: the voice of authority, flavored with luxury. Johnson's critics see him as a brilliant opportunist capable of adapting to any regime of taste: in effect, the Anastas Mikoyan of architectural ideology. Certainly Johnson has, with dazzling skill, traversed the whole range of 20th century manners: from the idealistic severities of the International Style (whose name, as an architecture critic...
...exalting the density and plurality of "everyday" architecture above the singleness of the Modernist ideal, Venturi's ideas joined up with the Pop movement, which by 1966 had already peaked in America. Venturi was roundly damned for this by Modernist critics, as Pop painting had been damned by formalist critics seeking to preserve the "purity" of canonical, Greenberg-style color abstraction. But young architects and architecture students thought otherwise; by the early 1970s Venturi, who had built very few buildings, had attracted a considerable following as a theorist and critic...
...such high colloquial slickness is that since the walls do not even have the visible grid of columns, lintels and glass to lend them scale, they take on an even more remote and intimidating look than those done in the International Style. They are "abstract shimmering things," as one critic, Robert Jensen, wrote, "sealed from all memory...