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Images- Search by style International Style III (Late Modern) |
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| Approximate Dates 1980-present | |||||||||||||||||||||||||||||||||||||||||
| See also the section on 30 under 30 The Watch List of Future Landmarks | |||||||||||||||||||||||||||||||||||||||||
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By the end of the 1970s it was clear that Post- Modern was a recognisable
style which was not going to go away, however much its opponents
attacked what they felt were its superficiality and obsession with
historicism. It was even suggested that modern architecture (as
represented by the International style) had died at 3.32 p.m. on 15 July
1972, when several buildings of the Pruitt-Igoe high-rise apartment
complex in St Louis, Missouri, were blown up. Designed by Minoru
Yamasaki, an impeccably credentialled modernist, Pruitt-Igoe had
undoubtedly become an uninhabitable shambles, owing to socio-economic
factors as much as to architectural style per Se. Be that as it may,
with modernism now proclaimed dead and with post-modernism starting to
gain ground, a style name was needed to identify a new breed of
buildings which seemed to owe more to the deceased modern movement than
to anything else. The label Late Modern was therefore created. Late Twentieth-Century Late Modern buildings avoided most of the allusions, irony and self- mockery of post-modernism, although they sometimes paid homage to Inter-War Functionalism. They also modified the uncomplicated, predictable matchbox shapes of the International style by slicing, chamfering or serrating them, by stressing the 45-degree angle in plan and elevation, or by relinquishing the rectangular prism in favour of pyramidal, cylindrical or free-curved shapes. Late Modern architecture was nothing if not sleek and glossy. It strove to convey the image of the formidable technology of the computer and the satellite, a technology that was not yet practical for everyday use in the building industry even though it appeared overseas in such tours de force as the HongKong and Shanghai Bank and the Lloyds of London Building. A run-of-the-mill commercial building of the 1980s was likely to wear a tinted, mirror-glass façade which—like the sunglasses of the well-groomed, ambitious Late Modern people behind it—reflected the world outside and enigmatically hid what might have been no more than an inner emptiness. |
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| see also- International Style I (for definition), International Style II | |||||||||||||||||||||||||||||||||||||||||
