INSTRUCTIONS: Answer each question separately and number them according to the question number. Each answer must be roughly between 200 to 400 words. 1. 1959 was a year that changed everything according - historic events included the launching of Soviet spacecraft, the approval of the birth control pill, the start of racial desegregation, the sale of the first IBM computer. In architecture, by 1959 a new generation, called Team X, had come to reject modern architecture in favor of contemporary architecture - a term that was used to distinguish their work from CIAM modernism. How did Team X distinguish their work and what was their critique of CIAM in the late 1950s and 60s? Describe using specific building examples. 2. Functionalism is traditionally associated with WWII and mechanization. Debates on functionalism dated back to the 1920s and continued to the 1970s. The Functionalists were critiqued for denying the role of aesthetics and for failing to fulfill the real utility of function (ie. buildings that deteriorated after just 5 years, etc). These debates were characterized by a reconciliation and integration of functionalism with more humanistic concerns - symbolic representation, organicism, aesthetic expressiveness, contextual relationships, and social, anthropological, and psychological subject matter. Describe how neglected topics such as history, popular culture, regional traditions, and the city were reconsidered in the 1960s. 3. “Everybody, everywhere, seems to express the desire to be “modern.” There is no longer a war between the old and the new - the old, it seems, has ceased to exist. The present is a moment of crisis, not any longer because we need modern architecture, but because we have got it.” - J.M. Richards. What does Richards mean by this remark from the early 1960s? Why was modern architecture suddenly a problem? 4. Philip Johnson’s crutches articulate aspects of architecture that we lean on to “help us walk upright.” Explain, in your own words, the following two crutches: “The most important crutch in recent times is not valid now: the Crutch of History. In the old days, you could always rely on books. You could say “what do you mean you don't like my tower? There it is in Wren.” Or, “They did that on the Subtreasury building - what can’t I do it?” History doesn’t bother us very much now. The Crutch of the Pretty Drawing still is with us today (or the cult of the pretty plan). It’s a wonderful crutch because you can give yourself the illusion that you are creating architecture while you’re making pretty drawings. Architecture is too hard. Pretty pictures are easier.” 5. According to Reyner Banham, what is the “New Brutalism”? Why was he critical of all the new “- isms”? Use evidence from the Banham essay. 6. According to Reyner Banham, “the architect who proposes to run with technology knows that he will be in fast company, and that, in .

1. INSTRUCTIONS: Answer each question separately and number
them according to the question number.
Each answer must be roughly between 200 to 400 words.
1. 1959 was a year that changed everything according - historic
events included the launching of Soviet
spacecraft, the approval of the birth control pill, the start of
racial desegregation, the sale of the first
IBM computer. In architecture, by 1959 a new generation,
called Team X, had come to reject modern
architecture in favor of contemporary architecture - a term that
was used to distinguish their work from
CIAM modernism. How did Team X distinguish their work and
what was their critique of CIAM in the late
1950s and 60s? Describe using specific building examples.
2. Functionalism is traditionally associated with WWII and
mechanization. Debates on functionalism
dated back to the 1920s and continued to the 1970s. The
Functionalists were critiqued for denying the
role of aesthetics and for failing to fulfill the real utility of

2. function (ie. buildings that deteriorated after
just 5 years, etc). These debates were characterized by a
reconciliation and integration of functionalism
with more humanistic concerns - symbolic representation,
organicism, aesthetic expressiveness,
contextual relationships, and social, anthropological, and
psychological subject matter. Describe how
neglected topics such as history, popular culture, regional
traditions, and the city were reconsidered in
the 1960s.
3. “Everybody, everywhere, seems to express the desire to be
“modern.” There is no longer a war
between the old and the new - the old, it seems, has ceased to
exist. The present is a moment of crisis,
not any longer because we need modern architecture, but
because we have got it.” - J.M. Richards.
What does Richards mean by this remark from the early 1960s?
Why was modern architecture suddenly
a problem?
4. Philip Johnson’s crutches articulate aspects of architecture
that we lean on to “help us walk upright.”

3. Explain, in your own words, the following two crutches: “The
most important crutch in recent times is
not valid now: the Crutch of History. In the old days, you could
always rely on books. You could say
“what do you mean you don't like my tower? There it is in
Wren.” Or, “They did that on the Subtreasury
building - what can’t I do it?” History doesn’t bother us very
much now. The Crutch of the Pretty
Drawing still is with us today (or the cult of the pretty plan).
It’s a wonderful crutch because you can give
yourself the illusion that you are creating architecture while
you’re making pretty drawings. Architecture
is too hard. Pretty pictures are easier.”
5. According to Reyner Banham, what is the “New Brutalism”?
Why was he critical of all the new “-
isms”? Use evidence from the Banham essay.
6. According to Reyner Banham, “the architect who proposes to
run with technology knows that he will

4. be in fast company, and that, in order to keep up, he may have
to emulate the Futurists and discard his
whole cultural load, including the professional garments by
which he is recognized as an architect.” One
of his primary examples was Archigram, a group of young
architects who returned to the modernist idea
of the “machine for living in,” this time assembled from
postwar technologies transferred from the
chemicals, electronics, and aeronautic industries. Archigram’s
embrace of modernity - the actual stuff of
the contemporary world, from advertising to the space race,
made it difficult to write off their work as
divorced from reality. Explain two of their projects in terms of
the postwar technologies and in light of
Banham’s warning.
7. Bernard Rudofsky states the following: "Every society has
the architecture it deserves. If we are
sometime less than happy about ours, it is because technology
and wealth alone do not necessarily
produce the best results. Architecture Without Architects drives
home this point by comparing, if only
by implication, the serenity of architecture in the so-called

5. underdeveloped countries with the
progressive chaos and blight of our urbs and suburbs. The
exhibition, the first of its kind, approaches
architecture not with a historian's mind but with a naturalist’s
sense of wonder. By offering a global,
albeit incomplete, picture of human shelter it makes us realize
the shortcomings of our own
architecture. The wisdom to be derived goes beyond economic
and esthetic considerations, for it
touches the far tougher and increasingly troublesome problem of
how to live and let live, how to keep
peace with one's neighbors, both in the Parochial and universal
sense." Using examples from both the
first-world and third-world, explain Rudofsky’s polemical
position and its impact on the world of
European and American architecture in the 1960s.