Although the modernist architectural approach may, at times, be groundbreaking, its proliferation has interesting meaning. In 1950s, a shift in form over function occurred in the United States. This was marked initially by the construction of the Lake Shore apartments in 1951 and Lever house in 1952. In 1969, Lundy’s modernist manifestation of the U.S. Tax Court, followed by the Federal Courthouse in Pennsylvania in 1975. Perhaps the most representative piece of architecture cementing this new preference of aesthetic was the Twin Towers. The tallest skyscraper upon its completion, its main utility was seen as a landmark holding cultural significance of America’s apex, yet offering limited functional purpose.
“Once civilization reaches its zenith, it has already begun its decline” (Gimpel, 1956, my translation). In the years and decades following the construction of the Twin Towers, America saw eight economic recessions, an inversion of artistic expression where the extreme of form over function reaches its logical end (e.g., selling invisible artwork), crumbling infrastructure, dwindling investment in human capital, and generalized cultural degradation. This loss in form, cohesion, and structure sees a sharp turn from the mindset of early American pioneers, who escaped European aristocracy in an attempt to find meaning through the Protestant Work Ethic, temperance, and diligence. The European aristocrat, through years of comfort, became decrepit, preferring leisure and privilege over work and form, and although the Prussian and Anglo aristocrat may have attempted to reform government and build a better society, inevitably their children adopted the same European principles that led to decline (e.g., Barry Lyndon).
With the rise in modern consumerism, work and disciple no longer became the highest virtues, they were replaced with comfort and delectation.
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