Term
| What do “people of wealth and power” pay for and put up with? (p. 1) |
|
Definition
| Architecture that they hate. |
|
|
Term
| Who was the Silver Prince? What did he do? (p. 8) |
|
Definition
| Walter Gropius, founder of the Bauhaus School. |
|
|
Term
| What does “starting from zero” mean? (p. 11) |
|
Definition
|
|
Term
| The new architecture was being created for ______________; it was to reject all things ____________. (p. 12) |
|
Definition
|
|
Term
| What unique phenomenon came into being? (p. 21) |
|
Definition
| Famous architects who did little or no building. |
|
|
Term
| With the introduction of the International Style in the States, what did American architects have to comprehend in order to ride the wave? (p. 32) |
|
Definition
| That the client no longer counted for anything except the funding. |
|
|
Term
| Who are the White Gods? (pp. 36-38) |
|
Definition
| Gropius Bruer, Moholy-Nagy, Albers Mies, Leger, Mondrian, Modigliani, Chagall, Ernst Breton, Tanguy, and Schoenburg. |
|
|
Term
| What was one of the ironies of American life in the twentieth century? (pp. 52-53) What did the reigning architectural style become? (p. 53) |
|
Definition
| That the prosperity was such that the working class was the bourgeois and that despite the wealth it was hardly permissible for people to own houses that possessed even a hint of the lavish. Worker housing. |
|
|
Term
| What result did the compound style (with its nonbourgeois taboos) have on every building? (p. 56) |
|
Definition
| Everything looked exactly the same. |
|
|
Term
| What was Mies’ solution when he ran into fire code problems with the Seagram Building? (pp. 58-59) |
|
Definition
| Decorating the exterior with the interior to express the spirit of it. |
|
|
Term
| If it wasn’t that “craftsmanship was dying” (p. 61), what was it? What was “the critical point”? (p. 62) |
|
Definition
| The international style had finished off the demand for it. Because people would not put up with it aesthetically. |
|
|
Term
| What did Stone’s architecture do? (p. 67) What is the fate of the apostate? (p. 68) |
|
Definition
| He rejected the international style. He became an anathema. |
|
|
Term
| What was the most important sentence in Venturi’s book? What did it mean? What was the “genius” of Venturi? (p. 84) |
|
Definition
| “Including that experience which is inherent in art.” This means that regardless of what form or aesthetic was assigned to art at any given going that there is an influence and meaning that is inherent to the most basic art. This brought modernism into its Scholastic Age. |
|
|
Term
| What were the underlying assumptions of modern architecture that Venturi did not dispute? (p. 85) |
|
Definition
| That modern architecture is for the people, should be non-bourgeois, have no applied decoration, and that there is a historical inevitability to the formed used. |
|
|
Term
| What position did the Whites (or the New York Five) take in 1972? (p. 91) |
|
Definition
| To return to the vision of Le Corbusier. |
|
|
Term
| The Rationalists were similar to but different from the Whites in what ways? What romantic, proletcult notion did they have? (p. 99) |
|
Definition
| That wanted to go even farther back, to pre-industrial era. They thought the craftsmen of the Renaissance built from natural and inevitable impulses of the people. |
|
|
Term
| What impression did the term “postmodernism” tend to create? What was actually true about the Postmodernists? (p. 101) |
|
Definition
| That modernism was over, superseded by something new. It was just reworking and tweaking modernism. |
|
|
Term
| What lesson did Johnson learn well? (p. 109) |
|
Definition
| That in order to counter a new style you don’t call it ugly, you leapfrog it and say you’ve superseded it. |
|
|
