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Nineteenth- and early-twentieth-century exponents of prefabrication were certain it would supplant age-old traditions of individualized design and handcrafted construction. The building art would be revolutionized by freeing designers and construction workers from repetitive tasks, and democratized by making high-style architecture more affordable.

Martin Filler

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Martin Filler
Age: 76
Born: 1948
Born: September 17
Journalist
Colorado Springs
Colorado
Martin Myles Filler
Century
Architecture
Repetitive
High
Tasks
Nineteenth
Handcrafted
Age
Workers
Twentieth
Democratized
Making
Tradition
Designers
Supplant
Art
Early
Affordable
Individualized
Certain
Design
Traditions
Revolutionized
Would
Building
Construction
Exponents
Style
Designer
Freeing

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Elevated locations imply elevated purposes, even in American cities departing as radically as Los Angeles does from the traditional planning patterns of the Eastern Seaboard.
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When Oscar Niemeyer died on December 5, 2012, ten days before his 105th birthday, he was universally regarded as the very last of the twentieth century's major architectural masters, an astonishing survivor whose most famous accomplishment, Brasilia, was the climactic episode of utopian High Modern urbanism.
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From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
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By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades.
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Winning the Pritzker assures a flood of work in one's seventies and eighties, jobs necessarily carried out by assistants as the demands of modern-day cultural stardom and the inevitable waning of physical capacities prevent many architects from attaining the transcendent final phase more easily achieved by artists in other mediums.
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Any set of decisions about design is inevitably influenced by cultural prejudice, no matter how intent an architect might be to avoid it.
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Renzo Piano and Richard Rogers's Centre Georges Pompidou of 1971-1977 - the true prototype of the modern museum as popular architectural spectacle - wound up costing so much more than planned that the French government solved the shortfall by cutting support for several regional museums.
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During the modern period, the vanguard architect has usually relied on small residential jobs both to supply a steady income and to serve as 'sketches' for ideas that are often later translated to the larger scale of public commissions.
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Truly great architecture always transcends its stated function, sometimes in unanticipated ways.
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Avant-garde architects have never been able to depend on the support of the establishment, since the customary patrons of this most conservative and slowly moving art form have historically been resistant to innovation and experiment.
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The tall building, concentrating man in one place more densely than ever before, similarly concentrates the dilemma of our public architecture at the end of the twentieth century: whether the new forms made possible by technology are doomed by the low calculations of modern patrons and their architects.
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Despite the persistent image of the architect as a heroic loner erecting monumental edifices through sheer force of will, the building art has always been a highly cooperative enterprise.
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A turning point in the public's perception of the building art came with the publication of Frank Lloyd Wright's 'An Autobiography' of 1932, a picaresque narrative that captivated many who hadn't the slightest inkling of what architects actually did.
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One of the stated goals of the postmodern movement in architecture was a greater sensitivity to the people who live in or use newly designed buildings.
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The skyscraper style first advocated by Louis Sullivan - a tower of strongly vertical character with clear definitions among base, shaft, and crown - has remained remarkably consistent throughout the history of this building type.
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Before the professionalization of architecture in the nineteenth century, it was standard for an aspiring mason or carpenter to begin his apprenticeship at fourteen and to become a master builder by his early twenties.
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The popular mythology of creative genius depends on beloved stereotypes of the artist in youth and old age: the misunderstood upstart who forces us to see the world afresh and the revered sage who shows us depths of insight attainable only through a lifetime of hard-won experience.
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One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.
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The first half of the 1960s was the apogee of what might be termed the Age of Cool - as defined by that quality of being simultaneously with-it and disengaged, in control but nonchalant, knowing but ironically self-aware, and above all inscrutably undemonstrative.
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High among the unpredictable variables that endanger the survival of worthy buildings are the vagaries of taste.
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