By Andrew M. Shanken

ISBN-10: 0816653658

ISBN-13: 9780816653652

During the second one international battle, American structure used to be in a nation of obstacle. The rationing of establishing fabrics and regulations on nonmilitary development persisted the privations that the career had persisted throughout the nice melancholy. while, the dramatic occasions of the Nineteen Thirties and Nineteen Forties led many architects to think that their profession—and society itself—would suffer a profound shift as soon as the battle ended, with deepest commissions giving solution to centrally deliberate initiatives. The journal Architectural Forum coined the time period “194X” to encapsulate this wartime imaginative and prescient of postwar structure and urbanism.

In a huge learn of yankee structure in the course of global warfare II, Andrew M. Shanken makes a speciality of the tradition of anticipation that arose during this interval, as out-of-work architects grew to become their energies from the equipped to the unbuilt, redefining themselves as planners and growing unique designs to excite the general public approximately postwar structure. Shanken recasts the wartime period as a crucible for the intermingling of modernist structure and buyer culture.

tough the pervasive concept that company capitalism corrupted the idealism of modernist structure within the postwar period, 194X indicates as an alternative that architecture’s wartime partnership with company American was once based on shared anxieties and beliefs. company and structure have been introduced jointly in leading edge methods, as proven via Shanken’s persuasive analyzing of journal ads for Revere Copper and Brass, U.S. Gypsum, basic electrical, and different businesses that prominently featured the paintings of major revolutionary architects, together with Louis I. Kahn, Eero Saarinen, and Walter Gropius.

even supposing the unforeseen prosperity of the postwar period made the structure of 194X out of date sooner than it can be equipped and ended in its exclusion from the tale of twentieth-century American structure, Shanken makes transparent that its anticipatory rhetoric and designs performed a vital function within the frequent acceptance

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Extra resources for 194X: Architecture, Planning, and Consumer Culture on the American Home Front

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93 Like the NRPB diagrams, these images reached beyond literal description to touch people on the plane of aesthetics, providing an image for anticipation and for planning. In using the plan, Greer clearly sought a visual language for planning that could compete with the lavish visual experience of the rest of Fortune. Luce made the article the cover The Culture of Planning 37 story that month, for which Peter Vardo created an abstract collage with the simple caption “City Planning” (see Plate 6).

87 He used history to Americanize planning, representing it as a tradition threatened by laissez-faire capitalism and the poverty of imagination of “realistic” planners like Moses. Greer thus condensed a history of modern planning, capped by the work of the NRPB, into a pithy essay for Fortune readers. In January 1944, Greer called the very idea of private property into question: If the cities are to solve their problems within a period of years rather than generations, they will be obliged to re-examine some time-honored notions of property rights and privileges.

With the high tide of immigration over, the mission shifted from providing safe methods of birth control and abortion to immigrants to a more comprehensive agenda of educating families. It was resources planning for the family unit, an NRPB for the home, or the social equivalent to Kahn’s house planning. Giving family planning a patriotic gloss, the subtitle directly yoked family planning to larger realms of planning. The shift had socioeconomic underpinnings, as well. 105 A static population made for static consumption and a flat market with little chance of intensive development.

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194X: Architecture, Planning, and Consumer Culture on the American Home Front by Andrew M. Shanken

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