New Forms Taschen 005
Introduction
New Geometries
Setting the Scene: From Post-Modernism to Deconstructivism
For economic, technological and historical reasons the period between 1985 and 1995 will be remembered as one of fundamental change in art and architecture. The 1980s were of course a time of economic excess, when "Golden Boys" ruled the fi-nancial markets, and record prices were paid even for insignificant works of art. "Easy money" and uncritical demand went hand in hand to boost construction and to encourage a closer link between a certain consciousness of fashion, and artistic and architectural creativity. This was all to end for reasons linked to such events as the October 1987 collapse of the New York stock market, or the fali of the Berlin Wall in 1989. In a new climate of doubt and economic restrictions, architecture would be obliged to take new forms. The fact that this shift occurred just when the Computer began to offer new design possibilities has demonstrably accentuated the emergence of a whole gamut of architectural Solutions and shapes that could not have been imagined earlier.
Set loose from the rigorous constraints of rectilinear Modernist geometry as early as 1966, the datę of Robert Venturi's seminal essay "Complexity and Contradiction in Architecture," many architectshadsearchedthroughout the 1970s for a valid equation between the demands of modern society and the siren-call of history. The resulting Post-Modernism, though largely superficial in its references to the past, did succeed in breaking down the intellectual barrier that existed between the contemporary and the pre-modern. Essentially a question of facades in its heyday, Post-Modernism led clearly to a morę profound examination of the links that could be established with history. When Richard Meier, a leading figurę of contemporary Modernist design, describes the Getty Center, his massive complex now under construction in Los Angeles, he says, "In my mind I keep returning to the Romans - to Hadrian's Villa, to Caprarola for their sequence of spaces, their thick-walled presence, their sense of order, the way in which building and landscape be-long to each other." In this project, an architecture that could not be classified as Post-Modern, despite the use of an unusual cleft travertine cladding for the lower facades, is laid out in a complex pattern that certainly recalls Hadrian's Villa.
Although most criticism of architecture does not link it specifically to trends in the arts and to larger factors of the economy or even history, it seems obvious that, at the very least, intriguing coincidences do occur. It is almost always difficult to establish a one-to-one relationship between a given historical or economic event and a development in the arts, if only because the creative process is not oriented to such specific inspiration. Rather, a mood or a climate is established, and its influence may be so pervasive as to give rise to an esthetic response that is almost involuntary on the part of the creator. This is nothing other than the spirit of the times.
Though it might not be fruitful to attempt to establish any direct link, it is inter-esting to notę that the October 1987 fali of the stock markets was followed in June 1988 by the "Deconstructivist Architecture" exhibition at the Museum of Modern
Introduction 7
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