The first exhibition devoted to the British Post-Modernism Movement shows it was not only about style, but about reconnecting with the past
It was A. W. N. Pugin, the great father of the Gothic Revival, who first introduced a moral tone into the debate about style in architecture, condemning those who went ‘whoring after strange styles’. A similar air of outrage drove the veterans of the Modern Movement to lambast the rise of Post-Modernism in the 1980s. ‘A violation of sanity; in short, treason’, thundered Aldo van Eyck, and for Berthold Lubetkin (of Penguin Pool fame), Post-Modernism was not only aesthetically repulsive, but also a threat to the gospel of social progress central to his vision of Modern architecture. Richard Rogers, taking up the cudgel, dismissed Post-Modern architecture as ‘the superficial aesthetic of shoddy commercial design…. obsessed with money and fashion’.
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