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Alan Powers, Modern: the Modern Movement in Britain, Merrell Publishers, isbn 1-85894-255-1, £35. (Figure 12.1) In Stone Voices, Neal Ascherson contends that a âmellow nostalgia and the sigh for what has gone are all too easy in Scotland.â He sees this trait as â⦠a refusal to engage with Scotlandâs modern historyâ but argues that such recidivist attitudes are generated by an underlying sense of trauma, due to the nationâs rapid transformation over the past two centuries. Certainly a seismic shift occurred in the early twentieth century, when âModernismâ burst upon us in the 1920s heralding an heroic period in architecture, and foreshadowing Huxleyâs promise of a âBrave New Worldâ (1932), studded with skyscrapers and â⦠squat grey buildings of only thirty-four storiesâ. One of Modernismâs foremost protagonists, Mies van der Rohe, pronounced that: âArchitecture is the will of the age conceived in spatial terms.â The promise of Modernism was to meld aesthetic and technical advances with a dynamic social agenda but, sadly, given such vaulting ambition, its demise was inevitable and (at times) ignominious. As a polemical movement, however, it calciï¬ed rapidly and slipped into tired cliché and formulaic leitmotifs. Inevitably pure Modernism soon morphed into Jazz
Architectural Heritage – Edinburgh University Press
Published: Nov 1, 2006
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