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Ａｒｃｈｉｔｅｃｔｕｒｅ ｍａｎｉｆｅｓｔｓ ａｓ ａｎ ｅｘｐｒｅｓｓｉｏｎ ｏｆ ｃｒｅａｔｉｖｉｔｙ ａｎｄ ｃｕｌｔｕｒｅ. Ｉｔ ｐｒｏｖｉｄｅｓ ａ ｍａｐ ｏｎ ｔｈｅ ｅａｒｔｈ ｏｆ ａｒｔｉｓｔｉｃ ｓｔｙｌｅｓ ｗｈｉｃｈ ｈａｖｅ ａｒｉｓｅｎ ａｎｄ ｈｏｗ ｔｈｅｙ ｈａｖｅ ｅｖｏｌｖｅｄ ｏｖｅｒ ｔｉｍｅ. Ｐｅｒｍａｎｅｎｔ ｓｔｒｕｃｔｕｒｅｓ ｓｅｒｖｅ ａｓ ｒｅｍｉｎｄｅｒｓ ｏｆ ｈｉｓｔｏｒｉｃａｌ ｅｖｅｎｔｓ, ａｌｌｏｗｉｎｇ ｕｓ ｔｏ ｒｅｆｌｅｃｔ ｏｎ ｔｈｅ ｐａｓｔ ａｎｄ ｍａｋｅ ｃｏｎｎｅｃｔｉｏｎｓ ｗｉｔｈ ａ ｃｕｌｔｕｒｅ ｔｈａｔ ｗｅ ｍａｙ ｈａｖｅ ｎｅｖｅｒ ｅｘｐｅｒｉｅｎｃｅｄ. Ｆｒｏｍ ａｐｐｒｅｃｉａｔｉｎｇ ａｒｃｈｉｔｅｃｔｕｒｅ ｗｅ ｃａｎ ｇａｉｎ ｉｎｓｉｇｈｔｓ ｉｎｔｏ ｔｈｅ ｎｅｅｄｓ ａｎｄ ｉｄｅａｌｓ ｏｆ ａ ｓｏｃｉｅｔｙ ａｎｄ ｈｏｗ ｔｈｅ ｅｑｕｉｌｉｂｒｉｕｍ ｂｅｔｗｅｅｎ ａｅｓｔｈｅｔｉｃｓ ａｎｄ ｅｃｏｎｏｍｉｃｓ ｉｓ ｓｈｉｆｔｅｄ. Ａｎ ａｎａｌｙｓｉｓ ｏｆ ｈｉｓｔｏｒｉｃａｌ ａｒｃｈｉｔｅｃｔｕｒｅ ｃａｎ ｔｅｌｌ ｕｓ ａｂｏｕｔ ｔｈｅ ｅｖｏｌｕｔｉｏｎ ｏｆ ｈｕｍａｎｉｔｙ, ｉｎｃｌｕｄｉｎｇ ｕｎｄｅｒｓｔａｎｄｉｎｇ ｔｏｄａｙ'ｓ ｃｕｌｔｕｒｅ ａｓ ｗｅｌｌ ａｓ ｍａｋｉｎｇ ｐｒｅｄｉｃｔｉｏｎｓ ａｂｏｕｔ ｔｈｅ ｆｕｔｕｒｅ ｆｏｒ ｏｕｒ ｃｕｌｔｕｒｅ. Ｉｎ ａｄｄｉｔｉｏｎ ｔｏ ｒｅｓｐｏｎｄｉｎｇ ｔｏ ｔｈｅ ｒｅｑｕｉｒｅｍｅｎｔｓ ｏｆ ａ ｓｏｃｉｅｔｙ, ａｒｃｈｉｔｅｃｔｕｒｅ ｃｏｕｌｄ ａｌｓｏ ｈａｖｅ ｔｈｅ ｐｏｔｅｎｔｉａｌ ｔｏ ｉｎｆｌｕｅｎｃｅ ｔｈｅ ｄｉｒｅｃｔｉｏｎ ｏｆ ｃｕｌｔｕｒａｌ ｐｒｏｇｒｅｓｓｉｏｎ. Ｔｈｅｒｅｆｏｒｅ ｔｈｅ ｃｈｏｉｃｅ ｏｆ ａｒｃｈｉｔｅｃｔｕｒａｌ ｓｔｙｌｅ ｔｏｄａｙ ｍａｙ ｈａｖｅ ｃｏｎｓｅｑｕｅｎｃｅｓ ｆｏｒ ｔｈｅ ｉｄｅｎｔｉｔｙ ｗｅ ｃｈｏｏｓｅ ａｎｄ ｗｈａｔ ｔｙｐｅ ｏｆ ｆｏｃｕｓ ｓｏｃｉｅｔｙ ｗｉｌｌ ａｄｏｐｔ ｆｏｒ ｔｈｅ ｆｕｔｕｒｅ. Ｄｅｓｉｇｎｅｒｓ ａｎｄ ａｒｃｈｉｔｅｃｔｓ ｈａｖｅ ａ ｒｅｓｐｏｎｓｉｂｉｌｉｔｙ ｔｏ ｉｎｓｐｉｒｅ ａｒｔｉｓｔｉｃ ｐｒｏｄｕｃｔｉｖｉｔｙ ｉｎ ｈｕｍａｎ ｂｅｉｎｇｓ ｗｈｏ ａｒｅ ｅｓｓｅｎｔｉａｌｌｙ ｃｒｅａｔｉｖｅ ｅｖｅｎ ｉｎ ｂｕｓｉｎｅｓｓ. Ｌｉｖｉｎｇ ａｎｄ ｗｏｒｋｉｎｇ ｅｎｖｉｒｏｎｍｅｎｔｓ ｎｅｅｄ ｎｏｔ ｏｎｌｙ ｔｏ ｐｒｏｖｉｄｅ ａ ｐｒａｃｔｉｃａｌ ｆｕｎｃｔｉｏｎ ｂｕｔ ａｌｓｏ ｔｈｅ ｐｓｙｃｈｏｌｏｇｉｃａｌ ｍｏｔｉｖａｔｉｏｎ ｆｏｒ ｔｈｏｓｅ ｗｈｏ ｉｎｈａｂｉｔ ｔｈｅ ｃｏｎｓｔｒｕｃｔｉｏｎｓ ｔｏ ｐｅｒｆｏｒｍ ｏｐｔｉｍａｌｌｙ. Ｃｈａｒｌｅｓ-Ｅｄｏｕａｒｄ Ｊｅａｎｎｅｒｅｔ'ｓ (Ｌｅ Ｃｏｒｂｕｓｉｅｒ) ｎｏｗ ｆａｍｏｕｓ ｃｏｍｍｅｎｔ ｔｈａｔ "ａ ｈｏｕｓｅ ｉｓ ａ ｍａｃｈｉｎｅ ｆｏｒ ｌｉｖｉｎｇ ｉｎ" ｈａｓ ｂｅｅｎ ｃｒｉｔｉｃｉｓｅｄ ｆｏｒ ｉｔｓ ｄｉｓｃｏｎｎｅｃｔｉｏｎ ｗｉｔｈ ｈｕｍａｎｉｔｙ, ａｌｔｈｏｕｇｈ ｈｉｓ ｍａｉｎ ｃｏｎｃｅｒｎｓ ｗｅｒｅ ｆｏｒ ｔｈｅ ｈｅａｌｔｈ ａｎｄ ｃｏｍｆｏｒｔ ｏｆ ｈｕｍａｎｓ. Ｐｅｒｈａｐｓ ｉｔ ｉｓ ｔｈｅ ｃｒｅａｔｉｖｉｔｙ ｏｆ ｈｕｍａｎｉｔｙ ｔｈａｔ ｒｅｃｅｉｖｅｄ ｉｎｓｕｆｆｉｃｉｅｎｔ ｆｏｃｕｓ. Ｕｎｆｏｒｔｕｎａｔｅｌｙ ａｅｓｔｈｅｔｉｃｓ ｏｆ ｍａｎｙ ｂｕｉｌｄｉｎｇｓ ｔｈａｔ ｆｏｌｌｏｗｅｄ ｏｎ ｆｒｏｍ ｈｉｓ ｐｕｒｉｓｔ ｄｅｓｉｇｎｓ ｗｅｒｅ ｎｏｔ ｉｎ ｌｉｎｅ ｗｉｔｈ ｃｕｌｔｕｒａｌ ａｎｄ ａｅｓｔｈｅｔｉｃ ｉｄｅａｌｓ. Ｆｒｅｎｃｈ ａｒｃｈｉｔｅｃｔｕｒｅ ｗｅｎｔ ｉｎｔｏ ａｅｓｔｈｅｔｉｃ ｄｅｃｌｉｎｅ, ｄｅｐｅｎｄｉｎｇ ｏｎ ｏｎｅ'ｓ ｐｏｉｎｔ ｏｆ ｖｉｅｗ, ａｔ ｔｈｅ ｂｅｇｉｎｎｉｎｇ ｏｆ ｔｈｅ ｔｗｅｎｔｉｅｔｈ ｃｅｎｔｕｒｙ. Ｏｔｈｅｒ ｎｏｔａｂｌｅ ａｒｃｈｉｔｅｃｔｓ ｏｆ ｔｈｅ ｄａｙ ｓｕｃｈ ａｓ Ｆｒａｎｃｏｉｓ Ｈｅｎｎｅｂｉｑｕｅ, Ａｕｇｕｓｔｅ Ｐｅｒｒｅｔ ａｎｄ Ｔｏｎｙ Ｇａｒｎｉｅｒ ｌｅｆｔ ｂｅｈｉｎｄ ｔｈｅ ａｒｔｉｓａｎａｌ ｃｒｅａｔｉｖｉｔｙ ｏｆ Ｇｏｔｈｉｃ, Ｒｅｎａｉｓｓａｎｃｅ ａｎｄ Ｃｌａｓｓｉｃ ａｒｔ ｗｉｔｈ ｔｈｅｉｒ ｕｓｅ ｏｆ ｃｏｎｃｒｅｔｅ ｉｎ ｔｈｅ ｂｅｇｉｎｎｉｎｇｓ ｏｆ ｍｏｄｅｒｎ ｃｏｎｓｔｒｕｃｔｉｏｎ. Ｌｅ Ｃｏｒｂｕｓｉｅｒ'ｓ ｖｉｓｉｏｎ ｔｏ ｃｒｅａｔｅ ｒａｄｉａｎｔ ｃｉｔｉｅｓ ｌｅｄ ｔｏ ｎｅｗ ｃｌｅａｎｅｒ ｆｏｒｍｓ ａｎｄ ａｉｒｙ ａｎｄ ｂｒｉｇｈｔ ｉｎｔｅｒｉｏｒｓ ｔｈｒｏｕｇｈｏｕｔ ｔｈｅ ｔｗｅｎｔｉｅｔｈ ｃｅｎｔｕｒｙ. Ｐｒｉｎｃｉｐｌｅ'ｓ ｏｆ ｈｉｓ ｐｕｒｉｓｔ ｃｌａｓｓｉｃ ｄｅｓｉｇｎｓ ａｒｅ ｅｖｉｄｅｎｔ ｉｎ ｔｏｄａｙ'ｓ ｍｏｄｅｒｎ ａｒｃｈｉｔｅｃｔｕｒｅ. Ｃｉｔｉｅｓ ｃｏｍｐｒｉｓｅｄ ｏｆ ｔｈｅ ｒｅｃｔｉｌｉｎｅａｒ Ｉｎｔｅｒｎａｔｉｏｎａｌ Ｓｔｙｌｅ ｍａｙ ｂｅ ｐｅｒｃｅｉｖｅｄ ｂｙ ｓｏｍｅ ａｓ ｃｌｅａｎ, ｂｒｉｇｈｔ ａｎｄ ｈｅａｌｔｈｙ, ｏｒ ｓｔａｒｋ, ｓｔｅｒｉｌｅ ａｎｄ ｅｍｐｔｙ ｂｙ ｏｔｈｅｒｓ. Ｗｈｉｌｅ ｃｏｕｎｃｉｌ ｅｓｔａｔｅｓ ｓｕｃｈ ａｓ ｔｈｏｓｅ ａｔ Ｒｏｅｈａｍｐｔｏｎ ｉｎ Ｓｕｒｒｅｙ ｓｏｌｖｅｄ ｐｏｓｔ-ｗａｒ ａｃｃｏｍｍｏｄａｔｉｏｎ ｐｒｏｂｌｅｍｓ, ｔｈｅｙ ｃｒｅａｔｅｄ ａ ｓｅｎｓｅ ｏｆ ｐａｃｋａｇｉｎｇ ａｗａｙ ｈｕｍａｎｓ ａｓ ｉｆ ｆｒｏｍ ａ ｎｅｅｄ ｔｏ ｔｉｄｙ ｕｐ ｔｈｅ ｐｏｐｕｌａｔｉｏｎ ｉｎ ｓｔｏｒａｇｅ-ｌｉｋｅ ｆａｃｉｌｉｔｉｅｓ. Ｓｕｂｓｅｑｕｅｎｔｌｙ ｔｈｉｓ ｌｅｄ ｔｏ ｔｈｅ ｂｕｉｌｄｉｎｇｓ ｆｒｏｍ ｔｈｅ 1960'ｓ ｏｎｗａｒｄｓ ａｐｐｅａｒｉｎｇ ｔｏ ｅｘｉｓｔ ｄｅｓｐｉｔｅ ｎａｔｕｒｅ ａｎｄ ｅｎｖｉｒｏｎｍｅｎｔ ｒａｔｈｅｒ ｔｈａｎ ｉｎ ｈａｒｍｏｎｙ. Ｔｈｉｓ ｓｔｙｌｅ ｅｘｐａｎｄｅｄ ｇｌｏｂａｌｌｙ ｗｉｔｈｏｕｔ ａｎｙ ｒｅｇｉｏｎａｌ ｒｅｆｅｒｅｎｃｅ ｏｒ ｃｕｌｔｕｒａｌ ｃｏｎｎｅｃｔｉｏｎ. Ｉｎｄｉｖｉｄｕａｌｉｔｙ, ｕｎｉｑｕｅｎｅｓｓ ａｎｄ ｅｘｐｒｅｓｓｉｏｎ ｈａｄ ｄｉｓａｐｐｅａｒｅｄ. Ｂｙ ｃｏｎｔｒａｓｔ ｔｗｅｎｔｉｅｔｈ ｃｅｎｔｕｒｙ ａｒｃｈｉｔｅｃｔｕｒｅ ｈａｓ ｎｏｔ ｂｅｅｎ ｃｏｎｆｉｎｅｄ ｔｏ ｐｕｒｅｌｙ ｍｏｄｅｒｎ ｃｏｎｓｔｒｕｃｔｉｏｎ. Ｗｅ'ｖｅ ｓｅｅｎ ａ Ｇｏｔｈｉｃ ｒｅｖｉｖａｌ ｉｎ ｔｈｅ ｎｉｎｅｔｅｅｎｔｈ ｃｅｎｔｕｒｙ ｗｈｉｃｈ ｃｏｎｔｉｎｕｅｄ ｔｏ ｉｎｆｌｕｅｎｃｅ ｅａｒｌｙ ｔｗｅｎｔｉｅｔｈ ｃｅｎｔｕｒｙ ａｒｃｈｉｔｅｃｔｕｒｅ ｗｉｔｈ ｎｅｏ-ｇｏｔｈｉｃ ｅｘａｍｐｌｅｓ ｉｎｃｌｕｄｉｎｇ Ｒａｙｍｏｎｄ Ｈｏｏｄ ａｎｄ Ｊｏｈｎ Ｈｏｗｅｌｌ'ｓ Ｃｈｉｃａｇｏ Ｔｒｉｂｕｎｅ Ｔｏｗｅｒ ｉｎ 1924 ａｎｄ Ｃａｓｓ Ｇｉｌｂｅｒｔ'ｓ Ｗｏｏｌｗｏｒｔｈ ｂｕｉｌｄｉｎｇ ｉｎ Ｎｅｗ Ｙｏｒｋ ｉｎ 1913 (Ｃｒａｖｅｎ 2008). Ａｐａｒｔ ｆｒｏｍ ｒｅｖｉｖａｌｓ ｗｅ ｈａｖｅ ｓｅｅｎ ｎｅｗ ｄｅｃｏｒａｔｉｖｅ ｓｔｙｌｅｓ ｓｕｃｈ ａｓ ｔｈｅ Ａｒｔ Ｎｏｕｖｅａｕ ａｎｄ Ａｒｔ Ｄｅｃｏ ｍｏｖｅｍｅｎｔｓ ｗｈｉｃｈ ｂｏｒｒｏｗｅｄ ｄｅｓｉｇｎ ｆｒｏｍ ｎａｔｕｒｅ, ａｎｄ ａｒｔ ｄｅｓｉｇｎｓ ａｎｄ ｅｘｏｔｉｃ ｉｃｏｎｓ ｆｒｏｍ ａ ｖａｒｉｅｔｙ ｏｆ ｃｕｌｔｕｒｅｓ ｒｅｓｐｅｃｔｉｖｅｌｙ. Ｔｈｅｓｅ ｍｏｖｅｍｅｎｔｓ ｈａｖｅ ｇｉｖｅｎ ｕｓ ｔｈｅ ｅａｒｌｙ ｔｗｅｎｔｉｅｔｈ ｃｅｎｔｕｒｙ Ｇｌａｓｇｏｗ Ｓｃｈｏｏｌ ｏｆ Ａｒｔ ｂｙ Ｃｈａｒｌｅｓ Ｒｅｎｎｉｅ Ｍａｃｋｉｎｔｏｓｈ ｉｎ 1909, ａｎｄ ｔｈｅ Ｒａｄｉｏ Ｃｉｔｙ Ｍｕｓｉｃ Ｈａｌｌ ｉｎ Ｎｅｗ Ｙｏｒｋ ｂｙ Ｅｄｗａｒｄ Ｄｕｒｅｌｌ Ｓｔｏｎｅ ｉｎ 1932. Ａｓ ｔｈｅ ｗｏｒｌｄ ｅｃｏｎｏｍｙ ｄｅｃｌｉｎｅｄ ｓｏ ｄｉｄ ｔｈｅ ａｒｔｉｓｔｉｃ ｄｅｓｉｇｎ ｉｎ ａｒｃｈｉｔｅｃｔｕｒｅ, ａｎｄ ｔｈｅ Ｓｔｒｅａｍｌｉｎｅ Ｍｏｄｅｒｎｅ ｒｏｓｅ ｔｏ ｄｏｍｉｎａｎｃｅ ｄｕｒｉｎｇ ｔｈｅ 1930'ｓ ａｎｄ 1940'ｓ. Ｔｈｉｓ ｆｏｌｌｏｗ-ｏｎ ｓｔｙｌｅ ｆｒｏｍ Ａｒｔ Ｄｅｃｏ ｉｓ ｎｏｔｅｄ ｆｏｒ ｉｔｓ ｃｕｒｖｅｄ ｌｉｎｅｓ ａｎｄ ｄｉｍｉｎｉｓｈｉｎｇ ｄｅｃｏｒａｔｉｖｅ ｄｅｔａｉｌ ｒｅｐｒｅｓｅｎｔｅｄ ｉｎ ｅｘａｍｐｌｅｓ ｓｕｃｈ ａｓ Ｏｌｉｖｅｒ Ｈｉｌｌ'ｓ ｎｅｗ Ｍｉｄｌａｎｄ Ｈｏｔｅｌ ｉｎ Ｍｏｒｃａｍｂｅ, Ｅｎｇｌａｎｄ ｉｎ 1932, ｔｈｅ Ｖｉｃｔｏｒｉａ Ｃｏａｃｈ Ｓｔａｔｉｏｎ ｉｎ Ｌｏｎｄｏｎ, ｔｈｅ 1937 Ｂａｔｈｅｒ'ｓ Ｂｕｉｌｄｉｎｇ, ｎｏｗ ｔｈｅ Ｓａｎ Ｆｒａｎｃｉｓｃｏ Ｍａｒｉｔｉｍｅ Ｍｕｓｅｕｍ, ａｎｄ ｔｈｅ Ｓｙｄｎｅｙ Ｍｅｔｒｏ Ｔｈｅａｔｒｅ. Ｆａｓｃｉｎａｔｉｏｎ ｗｉｔｈ ｔｈｅ ｍａｃｈｉｎｅ ａｇｅ ｌｅｄ ｔｏ ｔｒａｎｓｐｏｒｔ, ｎｏｔａｂｌｙ ｍａｒｉｎｅ, ｂｅｉｎｇ ａ ｃｏｍｍｏｎ ｔｈｅｍｅ ｉｎ ｔｈｉｓ ａｒｃｈｉｔｅｃｔｕｒａｌ ｆｏｒｍ. Ａｆｔｅｒ ｔｈｅ ｗａｒ ｔｈｉｓ ｓｔｙｌｅ ｅｖｏｌｖｅｄ ｔｏ Ｉｎｔｅｒｎａｔｉｏｎａｌ Ｓｔｙｌｅ ａｓ ｔｈｅ ｐｒｅｃｕｒｓｏｒ ｔｏ Ｍｏｄｅｒｎ ａｒｃｈｉｔｅｃｔｕｒｅ. Ｉｓ ｔｈｉｓ ａｒｔｉｓｔｉｃ ｄｅｃｌｉｎｅ ｓｉｍｐｌｙ ａ ｆｕｎｃｔｉｏｎ ｏｆ ｅｃｏｎｏｍｉｃ ｈａｒｄｓｈｉｐ ａｎｄ ｒｅｑｕｉｒｅｍｅｎｔ ｆｏｒ ｒａｐｉｄ ｅｘｐａｎｓｉｏｎ, ｏｒ ｉｓ ｉｔ ｍｏｒｅ ａ ｓｉｇｎ ｏｆ ｔｈｅ ａｓｓｏｃｉａｔｅｄ ｓｐｉｒｉｔｕａｌ ａｎｄ ｍｏｒａｌ ｄｅｃｌｉｎｅ? Ｏｕｒ ｖａｌｕｉｎｇ ｏｆ ａｒｔ ｈａｓ ｇｉｖｅｎ ｗａｙ ｔｏ ｔｈｅ ｇｒｅａｔｅｒ ｖａｌｕｅ ｔｈａｔ ｗｅ ｎｏｗ ｐｌａｃｅ ｏｎ ｆｉｎａｎｃｅ ａｎｄ ｅｃｏｎｏｍｉｃｓ. Ｗｅ ｃａｎ ｈａｒｄｌｙ ｂｌａｍｅ ａｌｌ ｔｈｉｓ ｏｎ ｔｈｅ ｗａｒ ｓｉｎｃｅ ｔｈｅ ｗｏｒｌｄ ｗａｒｓ ｏｆ ｔｈｅ ｔｗｅｎｔｉｅｔｈ ｃｅｎｔｕｒｙ ｗｅｒｅ ｃｅｒｔａｉｎｌｙ ｎｏｔ ｔｈｅ ｆｉｒｓｔ ｉｎ ｈｉｓｔｏｒｙ. Ｄｉｆｆｉｃｕｌｔ ｔｉｍｅｓ ｈａｖｅ ｂｅｅｎ ｅｘｐｅｒｉｅｎｃｅｄ ｔｈｒｏｕｇｈｏｕｔ ｔｈｅ ｃｅｎｔｕｒｉｅｓ; ｉｔ ｉｓ ｐｅｒｈａｐｓ ｏｕｒ ｐｒｉｏｒｉｔｉｅｓ ａｎｄ ｒｅｓｐｏｎｓｅ ｔｏ ｄｉｆｆｉｃｕｌｔｉｅｓ ｔｈａｔ ｈａｓ ｃｈａｎｇｅｄ. Ｍｏｄｅｒｎ ｂｕｉｌｄｉｎｇｓ ａｒｅ ｃｈｅａｐｅｒ ｔｏ ｄｅｓｉｇｎ ａｎｄ ｂｕｉｌｄ, ａｎｄ ｆａｓｔｅｒ ｔｏ ｅｒｅｃｔ ｌｅａｄｉｎｇ ｔｏ ｇｒｅａｔｅｒ ｐｒｏｆｉｔｓ ａｎｄ ｈｉｇｈｅｒ ｔｕｒｎｏｖｅｒ; ｂｕｔ ａｔ ａ ｈｉｇｈ ｃｏｓｔ ｔｏ ｈｕｍａｎｉｔｙ. Ｗｏｕｌｄ ｗｅ, ｆｏｒ ｅｘａｍｐｌｅ, ｐｕｔ ａ ｖａｌｕｅ ｏｎ ｔｈｅ Ｌｏｕｖｒｅ ｔｈｅｎ ｌａｍｅｎｔ ｔｈａｔ ｗｅ ｃｏｕｌｄ ｈａｖｅ ｂｕｉｌｔ ｔｈｒｅｅ ｈｕｎｄｒｅｄ ｍｏｄｅｒｎ ａｐａｒｔｍｅｎｔｓ ｆｏｒ ｌｅｓｓ ｃｏｓｔ ａｎｄ ｉｎ ａ ｓｈｏｒｔｅｒ ｔｉｍｅ ｐｅｒｉｏｄ? Ｔｈｅ ｍｏｓｔ ｅｃｏｎｏｍｉｃａｌ ｗａｙ ｉｓｎ'ｔ ｎｅｃｅｓｓａｒｉｌｙ ｔｈｅ ｐｒｅｆｅｒｒｅｄ ｗａｙ. Ｗｈａｔ ｍａｒｋ ｄｏ ｔｏｄａｙ'ｓ ａｒｔｉｓｔｓ, ｉｎｃｌｕｄｉｎｇ ａｒｃｈｉｔｅｃｔｓ, ｈｏｐｅ ｔｏ ｌｅａｖｅ ｂｅｈｉｎｄ ａｓ ｔｈｅｉｒ ｌｅｇａｃｙ ｆｏｒ ｆｕｔｕｒｅ ｇｅｎｅｒａｔｉｏｎｓ? Ｍｏｄｅｒｎｉｓｔｓ ｃｌａｉｍ ｔｏ ｐｕｒｓｕｅ ｔｉｍｅｌｅｓｓｎｅｓｓ ａｎｄ ｐｅｒｆｅｃｔｉｏｎ. Ｈｏｗｅｖｅｒ ｔｈｅ ｃｏｎｓｔｒｕｃｔｉｏｎｓ ａｌｍｏｓｔ ｓｅｅｍ ｔｏ ｈａｖｅ ｂｅｅｎ ｃｒｅａｔｅｄ ａｓ ｄｉｓｐｏｓａｂｌｅ ｉｔｅｍｓ, ｗｉｔｈ ｔｈｅ ｋｉｎｄ ｏｆ ｎｏｔｈｉｎｇｎｅｓｓ ｉｎ ｔｈｅ ｄｅｓｉｇｎ ｔｈａｔ ｗｉｌｌ ｌｉｍｉｔ ｓｏｃｉｅｔｙ'ｓ ａｔｔｅｎｔｉｏｎ ａｎｄ ａｐｐｒｅｃｉａｔｉｏｎ. Ｌｉｎｅｓ ｓｏ ｐｅｒｆｅｃｔ, ｉｔ ｉｓ ｄｅｖｏｉｄ ｏｆ ａｒｔ. Ｓｏ ｔｉｍｅｌｅｓｓ, ｉｔ ｒｅｆｌｅｃｔｓ ｎｏｔｈｉｎｇ ａｂｏｕｔ ｏｕｒ ｃｕｌｔｕｒｅ ｏｒ ｅｐｏｃｈ, ｅｘｃｅｐｔ ｏｕｒ ｌｏｓｓ ｏｆ ｉｎｔｅｒｅｓｔ ｉｎ ｄｅｔａｉｌ ａｎｄ ｐｒａｇｍａｔｉｃ ａｐｐｒｏａｃｈ ｔｏ ｐｒｏｇｒｅｓｓ. Ｅｖｅｒｙｔｈｉｎｇ ｃｈａｎｇｅｓ ｏｖｅｒ ｔｉｍｅ ｔｈｅｒｅｆｏｒｅ ｄｅｓｉｇｎ ｓｈｏｕｌｄ ｂｅ ｅｎｃｏｕｒａｇｅｄ ｔｏ ｒｅｆｌｅｃｔ ｃｈａｎｇｅ ｏｖｅｒ ｔｉｍｅ. Ｔｈｅｒｅ ｉｓ ｌｉｔｔｌｅ ｐｏｉｎｔ ｉｎ ｃｒｅａｔｉｎｇ ｓｏｍｅｔｈｉｎｇ 'ｔｉｍｅｌｅｓｓ', ｕｎｌｅｓｓ ｔｈｅ ａｓｓｕｍｐｔｉｏｎ ｉｓ ｔｈａｔ ｉｔ ｗｉｌｌ ｂｅ ｄｅｍｏｌｉｓｈｅｄ ｂｅｆｏｒｅ ｔｉｍｅ ｃｈａｎｇｅｓ ａｇａｉｎ. Ｐｌａｎｎｉｎｇ ｔｏ ａｖｏｉｄ ｔｉｍｅ ｉｓ ａ ｆｕｔｉｌｅ ｅｘｅｒｃｉｓｅ. Ｉｔ ｄｅｍｏｎｓｔｒａｔｅｓ ａ ｌａｃｋ ｏｆ ｃｏｎｎｅｃｔｉｖｉｔｙ ｔｏ ｎａｔｕｒｅ ａｎｄ ｔｈｅ ｗｏｒｌｄ ｉｎ ｗｈｉｃｈ ｗｅ ｌｉｖｅ. Ａ ｒｅａｃｔｉｏｎ ｔｏ ｔｈｅ ｂｌａｎｄｎｅｓｓ ｏｆ ｍｏｄｅｒｎｉｓｍ ｏｃｃｕｒｒｅｄ ｗｉｔｈ ｔｈｅ ｒｉｓｉｎｇ ｏｆ ｐｏｓｔｍｏｄｅｒｎｉｓｍ. Ｔｈｅ ｎｅｗ ａｇｅ ｉｎｃｌｉｎａｔｉｏｎｓ ｏｆ ｏｕｒ ｃｕｌｔｕｒｅ ｔｏ ｉｎｄｕｌｇｅ ｉｎ ｎａｖｅｌ-ｇａｚｉｎｇ ａｎｄ ｓｙｍｂｏｌｉｓｍ ｒｅｓｕｌｔｅｄ ｉｎ ａ ｄｉｖｅｒｓｅ ａｒｒａｙ ｏｆ ａｒｃｈｉｔｅｃｔｕｒａｌ ｓｔｙｌｅｓ. Ｍａｋｉｎｇ ａ ｓｔａｔｅｍｅｎｔ ｓｕｄｄｅｎｌｙ ｂｅｃａｍｅ ｍｏｒｅ ｉｍｐｏｒｔａｎｔ ｔｈａｎ ａｅｓｔｈｅｔｉｃｓ, ａｎｄ ｔｈｉｓ ｉｓ ｅｖｉｄｅｎｔ ｉｎ ｔｈｅ ｐｏｐｕｌｉｓｔ ｗｏｒｋｓ ｏｆ Ｖｅｎｔｕｒｉ ａｎｄ Ｓｃｏｔｔ Ｂｒｏｗｎ. Ｗｈｉｌｅ ｗａｎｔｉｎｇ ｔｏ ｐｕｔ ｉｎｄｉｖｉｄｕａｌｉｔｙ ｂａｃｋ ｉｎｔｏ ａｒｃｈｉｔｅｃｔｕｒｅ ｉｔ ｗａｓ ａｓ ｉｆ ｔｈｅｙ ｄｉｓｒｅｇａｒｄｅｄ ｔｈｅ ｄｅｃｏｒａｔｉｖｅ ａｒｔｓ, ｗｈｉｃｈ ｔｈｅｙ ｖｉｅｗｅｄ ａｓ ｓｕｐｅｒｆｉｃｉａｌ, ｉｎ ｆａｖｏｕｒ ｏｆ ｂａｎａｌ ｄｅｓｉｇｎ ｔｈａｔ ｓｅｅｋｓ ｉｎｔｅｒｐｒｅｔａｔｉｏｎ ｉｎ ｗｈａｔ ｉｓ ｎｏｔ ｐｒｅｓｅｎｔ, ｏｒ ｈｉｄｄｅｎ, ｒａｔｈｅｒ ｔｈａｎ ｗｈａｔ ｉｓ ｖｉｓｕａｌｌｙ ｅｖｉｄｅｎｔ. Ｐｅｒｃｅｉｖｉｎｇ ｄｅｃｏｒａｔｉｖｅ ａｒｃｈｉｔｅｃｔｕｒｅ ａｓ ｓｕｐｅｒｆｉｃｉａｌ ｃｏｕｌｄ ｂｅ ｓｅｅｎ ａｓ ｓｏｍｅｗｈａｔ ｏｆ ａ ｃｏｎｔｒａｄｉｃｔｉｏｎ ｓｉｎｃｅ ｄｅｃｏｒａｔｉｖｅ ｄｅｓｉｇｎ ｒｅｑｕｉｒｅｓ ａ ｃｒｅａｔｉｖｅ ｓｏｕｌ. Ｉｔ ｉｓ ｃｕｒｉｏｕｓ ｔｈａｔ ｔｈｉｓ ｍｏｖｅｍｅｎｔ ｗａｓ ｕｎａｂｌｅ ｏｒ ｕｎｗｉｌｌｉｎｇ ｔｏ ａｐｐｒｅｃｉａｔｅ ｔｈｅ ｐｏｓｓｉｂｉｌｉｔｙ ｏｆ ｉｎｔｅｒｐｒｅｔａｔｉｏｎ ｕｓｉｎｇ ｄｅｃｏｒａｔｉｖｅ ｄｅｓｉｇｎｓ ｏｒ ｅｖｅｎ ｔｈｅ ｐｏｔｅｎｔｉａｌ ｆｏｒ ｒｅｉｎｔｅｒｐｒｅｔａｔｉｏｎ, ｉｎｓｔｅａｄ ｆｏｃｕｓｉｎｇ ｏｎ ｔｈｅ 'ｕｇｌｙ ａｎｄ ｏｒｄｉｎａｒｙ'. Ａｆｔｅｒ ａｌｌ, ｆｒｏｍ ｔｈｅ 1960'ｓ ｗｅ ｈａｖｅ ｈａｄ ｔｈｉｓ ａｗａｒｅｎｅｓｓ ｏｆ ｒｅｉｎｔｅｒｐｒｅｔａｔｉｏｎ ｆｒｏｍ ｔｈｅ ｗｒｉｔｉｎｇｓ ｏｆ Ｒｏｌａｎｄ Ｂａｒｔｈｅｓ ａｎｄ ｏｔｈｅｒｓ. Ｐｅｒｈａｐｓ ｗｅ ｈａｖｅ ｂｅｅｎ ｉｎｔｅｒｐｒｅｔｉｎｇ ｈｕｍａｎｉｔｙ ｆｒｏｍ ａ ｍｕｎｄａｎｅ ａｎｄ ｎｅｇａｔｉｖｅ ｐｅｒｓｐｅｃｔｉｖｅ. Ｓｏｃｉｅｔｙ ｈａｓ ｒｅａｃｔｅｄ ｔｏ ｔｈｅ ｌａｃｋ ｏｆ ａｅｓｔｈｅｔｉｃ ａｐｐｅａｌ ｏｆ ｐｏｓｔｍｏｄｅｒｎ ｃｏｎｓｔｒｕｃｔｉｏｎ ｂｙ ｒｅｖｅｒｔｉｎｇ ｔｏ ｔｈｅ ｐｒｉｎｃｉｐｌｅｓ ｏｆ ｍｏｄｅｒｎｉｓｍ. Ｐｅｒｈａｐｓ ｉｔ ｉｓ ａ ｒｅａｃｔｉｏｎａｒｙ ｒｅｓｐｏｎｓｅ ｔｏ ｔｈｅ ｈｉｄｅｏｕｓ ａｒｃｈｉｔｅｃｔｕｒｅ ｏｆ ｔｈｅ 1970'ｓ ｔｈａｔ ｓｅｅｍｓ ｔｏ ｈａｖｅ ａｌｒｅａｄｙ ｐａｓｓｅｄ ｉｔｓ ｕｓｅ-ｂｙ ｄａｔｅ. Ｈｏｗｅｖｅｒ, ｔｈｅ ａｂｓｅｎｃｅ ｏｆ ｕｇｌｉｎｅｓｓ ｉｓ ｓｔｉｌｌ ｓｅｅｎ ａｓ ｐｒｅｆｅｒａｂｌｅ ｔｏ ｔｈｅ ｐｒｅｓｅｎｃｅ ｏｆ ｂｅａｕｔｙ. Ｓｕｃｈ ａ ｒｅｖｅｒｓｉｏｎ ｔｏ ａ ｆｏｒｍｕｌａ ｌａｃｋｉｎｇ ｉｎ ａｒｔｉｓｔｉｃ ｃｒｅａｔｉｖｉｔｙ ｉｓ ｐｅｒｈａｐｓ ａ ｓｉｇｎ ｏｆ ｃｒｅａｔｉｖｅ ｅｘｈａｕｓｔｉｏｎ ｉｎ ｏｕｒ ｃｕｌｔｕｒｅ, ａｎ ｕｎｃｅｒｔａｉｎｔｙ ｏｆ ｏｕｒ ｉｄｅｎｔｉｔｙ ａｎｄ ａｐｐｒｅｈｅｎｓｉｏｎ ｏｆ ｔｈｅ ｆｕｔｕｒｅ. Ｗｈａｔｅｖｅｒ ｗｅ ｃｒｅａｔｅ ｗｉｌｌ ｉｎ ｓｏｍｅ ｗａｙ ｂｅ ａ ｒｅｆｌｅｃｔｉｏｎ ｏｆ ｏｕｒ ｔｉｍｅ ａｎｄ ｗｉｌｌ ｔｈｅｒｅｆｏｒｅ 'ｄａｔｅ', ｓｏ ｗｅ ｗｏｕｌｄ ｄｏ ｂｅｔｔｅｒ ｔｏ ｃｒｅａｔｅ ｓｏｍｅｔｈｉｎｇ ｗｏｒｔｈ ｌｏｏｋｉｎｇ ａｔ ｗｉｔｈ ｐｒｉｄｅ. Ｇｏｔｈｉｃ, Ｒｅｎａｉｓｓａｎｃｅ, Ｃｌａｓｓｉｃ, Ａｒｔ Ｎｏｕｖｅａｕ ａｎｄ Ａｒｔ Ｄｅｃｏ ｓｔｙｌｅｓ ａｒｅ ａｌｌ ｄａｔｅｄ ｙｅｔ ｔｈｅｙ ａｒｅ ｓｔｉｌｌ ａｄｍｉｒｅｄ ｂｅｃａｕｓｅ ｔｈｅｙ ｉｎｃｌｕｄｅ ｂｅａｕｔｉｆｕｌ ａｒｔ ｆｏｒｍｓ ｅａｃｈ ｗｉｔｈ ｔｈｅｉｒ ｏｗｎ ｕｎｉｑｕｅ ｆｏｒｍ ｏｆ ｅｘｐｒｅｓｓｉｏｎ. Ｅｘｔｅｒｎａｌｉｓｉｎｇ ｃｒｅａｔｉｖｉｔｙ ａｎｄ ｃｕｌｔｕｒｅ ｗａｓ ｓｕｃｈ ａ ｇｒｅａｔ ｆｏｒｍｕｌａ ｉｎ ｔｈｅ ｐａｓｔ ｓｏ ｔｈｅ ｄｅｓｉｒｅ ｔｏ ｂｒｅａｋ ａｗａｙ ｉｓ ｃｕｒｉｏｕｓ. Ｐｏｓｓｉｂｌｅ ｍｏｔｉｖａｔｉｏｎｓ ｉｎｃｌｕｄｅ ｌａｚｉｎｅｓｓ, ｇｒｅｅｄ, ｄｅｐｒｅｓｓｉｏｎ, ｄｉｓｃｏｎｎｅｃｔｉｖｉｔｙ, ｏｒ ｏｐｅｎ ｄｉｓｒｅｇａｒｄ ｆｏｒ ｏｒ ｌａｃｋ ｏｆ ｕｎｄｅｒｓｔａｎｄｉｎｇ ｏｆ ｏｕｒ ｍｏｄｅｒｎ ｃｕｌｔｕｒｅ. Ｉｔ ｓｅｅｍｓ ｗｅ ａｒｅ ｆｏｃｕｓｉｎｇ ｏｎ ｔｈｅ ｓｕｐｅｒｆｉｃｉａｌ ｗｈｉｍｓ ｏｆ ｏｕｒ ｃｕｌｔｕｒｅ ｒａｔｈｅｒ ｔｈａｎ ｏｎ ｔｈｏｓｅ ｔｈａｔ ｃｏｎｆｅｒ ｍｅａｎｉｎｇ ａｎｄ ｉｄｅｎｔｉｔｙ. Ｍｏｄｅｒｎ ｄｅｓｉｇｎｅｒｓ ｏｆｔｅｎ ｌｅａｖｅ ｔｈｅ ｉｍｐｒｅｓｓｉｏｎ ｔｈａｔ ｔｈｅ ｍｏｔｉｖａｔｉｏｎ ｉｓ ｐｕｒｅｌｙ ａｎ ｅｇｏ ｄｒｉｖｅｎ ｄｅｓｉｒｅ ｔｏ ｂｅ ｓｅｅｎ ａｓ ｄｉｆｆｅｒｅｎｔ, ｒａｔｈｅｒ ｔｈａｎ ｔｏ ｃｒｅａｔｅ ｓｏｍｅｔｈｉｎｇ ｔｏ ｗｈｉｃｈ ｐｅｏｐｌｅ ｃａｎ ｒｅｌａｔｅ. Ｗｅｓｔｅｒｎ ｃｕｌｔｕｒｅ ｅｎｃｏｕｒａｇｅｓ ｉｎｄｉｖｉｄｕａｌｉｔｙ ｔｈｒｏｕｇｈ ｏｕｒ ｃａｐｉｔａｌｉｓｔ ｉｄｅｏｌｏｇｙ. Ｉｎ ａ ｗａｙ ｔｈｉｓ ｈａｓ ｂｅｅｎ ｔｏ ｔｈｅ ｄｅｔｒｉｍｅｎｔ ｏｆ ａ ｓｈａｒｅｄ ｃｕｌｔｕｒａｌ ｉｄｅｎｔｉｔｙ. Ｒｅｌｉｇｉｏｎ ｈａｓ ｄｉｍｉｎｉｓｈｅｄ ｉｎ ｉｍｐｏｒｔａｎｃｅ ｂｕｔ ｔｈａｔ ｄｏｅｓ ｎｏｔ ｎｅｃｅｓｓａｒｉｌｙ ｍｅａｎ ｔｈａｔ ｗｅ ｈａｖｅ ｌｏｓｔ ｏｕｒ ｓｐｉｒｉｔｕａｌｉｔｙ, ｍｅｒｅｌｙ ｔｈａｔ ｉｔ ｈａｓ ｂｅｃｏｍｅ ｌｅｓｓ ｄｅｆｉｎｅｄ. Ｏｕｒ ｖａｌｕｅｓ ｈａｖｅ ａｌｔｅｒｅｄ ｔｏ ｆａｖｏｕｒ ｎｏｎ-ｄｉｓｃｒｉｍｉｎａｔｉｏｎ ａｎｄ ｓｕｐｐｏｒｔ ｏｆ ｏｔｈｅｒ ｃｕｌｔｕｒｅｓ ａｎｄ ｔｈｉｓ ｈａｓ ｂｅｅｎ ｒｅｆｌｅｃｔｅｄ ｉｎ ｐｏｓｔｍｏｄｅｒｎ ａｒｃｈｉｔｅｃｔｕｒｅ ｗｉｔｈ ｉｔｓ ｕｓｅ ｏｆ ｄｉｖｅｒｓｅ ｃｕｌｔｕｒａｌ ｍｏｔｉｆｓ ａｎｄ ｓｙｍｂｏｌｉｓｍ. Ｈｏｗｅｖｅｒ ｗｅｓｔｅｒｎ ｃｕｌｔｕｒｅ ｍａｙ ｂｅ ｂｅｃｏｍｉｎｇ ｓｏ ｈｏｍｏｇｅｎｉｓｅｄ ｔｈａｔ ｗｅ ａｒｅ ｌｏｓｉｎｇ ｓｉｇｈｔ ｏｆ ｏｕｒ ｈｉｓｔｏｒｙ ａｎｄ ｉｔｓ ｌｉｎｋｓ ｔｏ ｏｕｒ ｐｒｅｓｅｎｔ ｉｄｅｎｔｉｔｙ ｔｏ ａｎ ｅｘｔｅｎｔ ｗｈｅｒｅ ｗｅ ｎｅｅｄ ｔｏ ｒｅｄｅｆｉｎｅ ｏｕｒｓｅｌｖｅｓ. Ｔｏ ｒｅｇａｉｎ ａ ｕｎｉｑｕｅ ｓｅｎｓｅ ｏｆ ｏｕｒｓｅｌｖｅｓ ａｓ ａ ｃｕｌｔｕｒａｌ ｇｒｏｕｐ ｗｅ ｃｏｕｌｄ ｉｄｅｎｔｉｆｙ ｔｈｅｍｅｓ ｐｒｅｓｅｎｔ ｉｎ ｔｏｄａｙ'ｓ ｓｏｃｉｅｔｙ. Ｃａｐｉｔａｌｉｓｍ ｈａｓ ｐｒｏｄｕｃｅｄ ａ ｇｌｏｂａｌ ｅｃｏｎｏｍｙ ａｎｄ ａ ｇｌｏｂａｌ ｃｕｌｔｕｒｅ ｔｏ ａ ｃｅｒｔａｉｎ ｅｘｔｅｎｔ. Ｗｅ ｃｏｕｌｄ ａｌｓｏ ｖｉｅｗ ｔｈｉｓ ａｓ ａ ｎｅｗ ｓｏｌｉｄａｒｉｔｙ ｏｆ ｈｕｍａｎｉｔｙ ｗｉｔｈ ｓｈａｒｅｄ ａｓｐｉｒａｔｉｏｎｓ. Ｉｎｎｏｖａｔｉｏｎ ａｎｄ ｓｃｉｅｎｃｅ ａｒｅ ｔｗｏ ｍａｊｏｒ ｔｈｅｍｅｓ ｉｎ ｃｏｎｔｅｍｐｏｒａｒｙ ｗｅｓｔｅｒｎ ｃｕｌｔｕｒｅ. Ａｓ ａ ｒｅｓｕｌｔ ｏｆ ａｄｖａｎｃｅｓ ｉｎ ｔｈｅｓｅ ａｒｅａｓ ｗｅ ｈａｖｅ ｄｅｖｅｌｏｐｅｄ ａｎ ｅｘｔｅｒｎａｌ ａｗａｒｅｎｅｓｓ ｏｆ ｏｕｒ ｅｎｖｉｒｏｎｍｅｎｔ ａｎｄ ａｎ ｉｎｎｅｒ ｎｅｅｄ ｔｏ ｒｅｃｏｎｎｅｃｔ ｗｉｔｈ ｎａｔｕｒｅ. Ａ ｃｏｎｎｅｃｔｉｏｎ ｔｏ ｔｈｅ ｉｎｎｅｒ ｓｐｉｒｉｔ ｍａｙ ａｌｓｏ ｂｅ ｌａｃｋｉｎｇ ｉｎ ｍｏｄｅｒｎ ｓｏｃｉｅｔｙ. Ｍｏｄｅｒｎ ｌｉｆｅ ｓｅｅｍｓ ｔｏ ｈａｖｅ ｍａｄｅ ｈｕｍａｎｉｔｙ ｌｅｓｓ ｓｐｏｎｔａｎｅｏｕｓ ｉｎ ｅｘｐｒｅｓｓｉｏｎ, ｅｖｅｒｙｔｈｉｎｇ ｈａｓ ｔｏ ｂｅ ａｎａｌｙｓｅｄ ｃａｒｅｆｕｌｌｙ ｂｅｆｏｒｅ ｗｅ ｅｘｔｅｒｎａｌｉｓｅ ｏｕｒ ｒｅａｃｔｉｏｎｓ ｔｏ ｌｉｖｉｎｇ. Ｌａｃｋ ｏｆ ｅｘｐｒｅｓｓｉｏｎ ｉｎ ａｒｃｈｉｔｅｃｔｕｒｅ ｉｓ ｒｅｆｌｅｃｔｉｎｇ ｂａｃｋ ａｔ ｕｓ ｏｕｒ ｅｍｐｔｉｎｅｓｓ ｏｆ ｓｐｉｒｉｔ. Ｔｈｅ ｈｕｍａｎｉｔｙ ｏｆ ｈｉｓｔｏｒｙ ｗａｓ ｂｅｔｔｅｒ ｅｑｕｉｐｐｅｄ ｔｏ ａｐｐｒｅｃｉａｔｅ ｌｉｆｅ ａｔ ａ ｌｅｓｓ ｃｏｍｐｌｅｘ ｌｅｖｅｌ. Ｏｕｒ ｌｅｓｓｏｎ ｉｎ ｓｔｕｄｙｉｎｇ ｈｉｓｔｏｒｉｃａｌ ａｒｔ ａｎｄ ａｒｃｈｉｔｅｃｔｕｒｅ ｉｓ ｎｏｔ ｔｏ ｒｅｐｒｏｄｕｃｅ ｔｈａｔ ｗｈｉｃｈ ｈａｓ ａｌｒｅａｄｙ ｂｅｅｎ ｃｒｅａｔｅｄ ｉｎ ｔｈｅ ｆｏｒｍ ｏｆ ａ 'ｒｅｖｉｖａｌ' ｂｕｔ ｔｏ ｒｅｇａｉｎ ｔｈｅ ｕｎｄｅｒｓｔａｎｄｉｎｇ ｏｆ ｔｈｅ ｈｕｍａｎ ｐｒｏｃｅｓｓｅｓ ｔｈａｔ ｌｅｄ ｔｈｅ ｏｌｄ ｍａｓｔｅｒｓ ｔｏ ｐｒｏｄｕｃｅ ｔｈｅｉｒ ｉｎｓｐｉｒｉｎｇ ｗｏｒｋｓ. Ｆｉｒｓｔ ｗｅ ｎｅｅｄ ａ ｗａｙ ｏｆ ｐｅｎｅｔｒａｔｉｎｇ ｔｈｒｏｕｇｈ ｔｈｅ ｌａｙｅｒｓ ｏｆ ｍｏｄｅｒｎ ｌｏｇｉｃ ａｎｄ ｓｕｐｅｒｆｉｃｉａｌｉｔｙ ｔｈａｔ ｈａｖｅ ａｃｃｕｍｕｌａｔｅｄ. Ｇｅｎｅｒａｌｌｙ, ｔｏ ａｃｈｉｅｖｅ ｔｈｉｓ ｔｙｐｅ ｏｆ 'ｗｉｎｄ ｄｏｗｎ' ｗｅ ｅｎｇａｇｅ ｗｉｔｈ ｏｔｈｅｒ ａｒｔｓ ｓｕｃｈ ａｓ ｍｕｓｉｃ, ｌｉｔｅｒａｔｕｒｅ ａｎｄ ｐａｉｎｔｉｎｇ, ｉｎ ａ ｗａｙ ｓｉｍｉｌａｒ ｔｈａｔ ｔｈｅ ｒｅｎａｉｓｓａｎｃｅ ａｒｔｉｓｔｓ ｇａｉｎｅｄ ｔｈｅｉｒ ｉｎｓｐｉｒａｔｉｏｎ ｆｏｒ ｎｅｗ ｉｎｖｅｎｔｉｖｅｎｅｓｓ. Ｆｉｎｄｉｎｇ ｔｈｅ ｔｉｍｅ ｉｎ ｏｕｒ ｗｏｒｋ ａｎｄ ｃａｒｅｅｒ ｄｒｉｖｅｎ ｌｉｖｅｓ ｔｏ ｒｅｃｏｎｎｅｃｔ ｗｉｔｈ ｏｕｒ ｃｒｅａｔｉｖｉｔｙ ａｎｄ ｐｌａｃｅ ｍｏｒｅ ｉｍｐｏｒｔａｎｃｅ ｏｎ ａｅｓｔｈｅｔｉｃｓ ｉｓ ａ ｍａｊｏｒ ｐｒｏｂｌｅｍ ｉｎ ｔｏｄａｙ'ｓ ｓｏｃｉｅｔｙ. Ｈｏｗｅｖｅｒ ｔｈｅｒｅ ｈａｓ ａｌｗａｙｓ ｂｅｅｎ ｍｏｒｅ ｉｎｓｐｉｒａｔｉｏｎ ｄｅｒｉｖｅｄ ｆｒｏｍ ｔｈｅ ａｒｔｓ ａｎｄ ｈｕｍａｎｉｔｉｅｓ ｔｈａｎ ｆｒｏｍ ｔｅｃｈｎｏｌｏｇｙ. Ｏｕｒ ｃｕｒｒｅｎｔ ｃｏｎｃｅｒｎｓ ｒｅｇａｒｄｉｎｇ ｅｎｖｉｒｏｎｍｅｎｔａｌ ｉｓｓｕｅｓ ｆｏｒ ｅｘａｍｐｌｅ ｃｏｕｌｄ ｌｅａｄ ｕｓ ｔｏ ｄｅｖｅｌｏｐ ａ ｇｒｅａｔｅｒ ａｐｐｒｅｃｉａｔｉｏｎ ｆｏｒ ｔｈｅ ｂｅａｕｔｙ ｏｆ ｔｈｅ ｎａｔｕｒｅ ｔｈａｔ ｗｅ ｗｉｓｈ ｔｏ ｐｒｅｓｅｒｖｅ ｒａｔｈｅｒ ｔｈａｎ ｆｏｃｕｓ ｓｏｌｅｌｙ ｏｎ ｔｈｅ ｄａｍａｇｅ ｈｕｍａｎｓ ａｒｅ ｉｎｆｌｉｃｔｉｎｇ ｕｐｏｎ ｔｈｅ ｅａｒｔｈ ａｎｄ ｔｈｅ ｔｅｃｈｎｏｌｏｇｙ ｗｅ ｎｅｅｄ ｔｏ ｌｉｍｉｔ ｔｈｅ ｐｒｏｂｌｅｍｓ. Ｃｏｎｔｅｍｐｏｒａｒｙ ａｒｃｈｉｔｅｃｔｕｒｅ ｉｓ ｓｈｏｗｉｎｇ ｓｏｍｅ ｓｉｇｎｓ ｏｆ ｒｅｃｏｖｅｒｙ ｏｆ ｈｕｍａｎ ｃｒｅａｔｉｖｉｔｙ ａｎｄ ｃｏｎｎｅｃｔｉｖｉｔｙ ｔｏ ｏｕｒ ｃｕｌｔｕｒｅ ａｎｄ ｅｎｖｉｒｏｎｍｅｎｔ. Ｆｒｅｎｃｈ ａｒｃｈｉｔｅｃｔ Ｊｅａｎ Ｎｏｕｖｅｌ ｅｎｇａｇｅｓ ｉｎ ｄｉａｌｏｇｕｅ ｗｉｔｈ ｈｉｓ ｓｕｒｒｏｕｎｄｉｎｇｓ ｔｏ ｃｒｅａｔｅ ｖｉｓｕａｌ ｃｏｍｐｏｓｉｔｉｏｎｓ ｔｈａｔ ｒｅｆｌｅｃｔ ｔｈｅ ｐｅｏｐｌｅ, ｃｕｌｔｕｒｅ ａｎｄ ｅｎｖｉｒｏｎｍｅｎｔ ａｎｄ ｃｏｕｌｄ ｂｅ ｃｌａｓｓｉｆｉｅｄ ａｓ Ｃｒｉｔｉｃａｌ Ｒｅｇｉｏｎａｌｉｓｍ ｗｉｔｈ ｒｅｇａｒｄｓ ｔｏ ｈｉｓ ｆｏｃｕｓ ｏｎ ｃｏｎｔｅｘｔ. Ｉｎ ａ ｑｕｏｔｅ ｆｒｏｍ ｔｈｅ Ｎｅｗ Ｙｏｒｋ Ｔｉｍｅｓ ｈｅ ｓａｙｓ "Ｉ ｎｅｅｄ ａｎａｌｙｓｉｓ," ｎｏｔｉｎｇ ｔｈａｔ ｅｖｅｒｙ ｐｅｒｓｏｎ "ｉｓ ａ ｐｒｏｄｕｃｔ ｏｆ ａ ｃｉｖｉｌｉｚａｔｉｏｎ, ｏｆ ａ ｃｕｌｔｕｒｅ (Ｐｏｇｒｅｂｉｎ 2008)." Ａ ｍａｊｏｒ ｉｎｆｌｕｅｎｃｅ ｉｎ ｈｉｓ ｗｏｒｋ ｉｓ ｔｈｅ ａｒｃｈｉｔｅｃｔｕｒｅ ｏｆ ｌｉｇｈｔ. Ｈｉｓ ｃｒｅａｔｉｖｉｔｙ ｉｓ ｅｖｉｄｅｎｔ ａｎｄ ｒｅｆｌｅｃｔｅｄ ｉｎ ｔｈｅ ｃｏｎｔｒａｃｔｓ ｈｅ ｗｉｎｓ ｉｎ ｄｅｓｉｇｎｉｎｇ ｂｕｉｌｄｉｎｇｓ ｄｅｄｉｃａｔｅｄ ｔｏ ｔｈｅ ａｒｔｓ ｓｕｃｈ ａｓ ｔｈｅ Ｍｕｓｅｅ ｄｕ Ｑｕａｉ Ｂｒａｎｌｙ, Ｃｏｎｃｅｒｔ Ｈａｌｌｓ ｉｎ Ｐａｒｉｓ ａｎｄ Ｃｏｐｅｎｈａｇｅｎ, ａ Ｌｏｕｖｒｅ ｉｎ Ａｂｕ Ｄｈａｂｉ, ｔｈｅ Ａｒａｂ Ｗｏｒｌｄ Ｉｎｓｔｉｔｕｔｅ ｉｎ Ｐａｒｉｓ, ａ Ｎａｔｉｏｎａｌ Ｍｕｓｅｕｍ ｉｎ Ｑａｔａｒ ａｎｄ ｔｈｅ Ｇｕｔｈｒｉｅ Ｔｈｅａｔｒｅ ｉｎ Ｍｉｎｎｅａｐｏｌｉｓ. Ｉｆ ｔｏｄａｙ'ｓ ｃｏｎｔｅｍｐｏｒａｒｙ ａｒｃｈｉｔｅｃｔｕｒｅ ｉｓ ｔｒｕｌｙ ｒｅｌｅｖａｎｔ ｔｏ ｉｔｓ ｔｉｍｅ ｂｙ ｄｅｆｉｎｉｔｉｏｎ, ｔｈｅｎ ｗｅ ｗｏｕｌｄ ｅｘｐｅｃｔ ｔｏ ｓｅｅ ｏｕｒ ｍｏｓｔ ｉｍｐｏｒｔａｎｔ ｃｕｌｔｕｒａｌ ｔｈｅｍｅｓ ｒｅｐｒｅｓｅｎｔｅｄ ｉｎ ｄｅｓｉｇｎ ａｎｄ ｃｏｎｓｔｒｕｃｔｉｏｎ. Ｉｎ ｗｅｓｔｅｒｎ ｓｏｃｉｅｔｙ ｗｅ ａｒｅ ｄｅｖｅｌｏｐｉｎｇ ａ ｈｅｉｇｈｔｅｎｅｄ ａｗａｒｅｎｅｓｓ ｏｆ ｔｈｅ ｖａｌｕｅ ｉｎ ｈｕｍａｎ ｒｉｇｈｔｓ ａｎｄ ｅｑｕａｌｉｔｙ, ｅｃｏｌｏｇｉｃａｌ ｃｏｎｓｅｒｖａｔｉｏｎ ａｎｄ ａ ｄｅｓｉｒｅ ｔｏ ｒｅｇａｉｎ ａ ｃｏｎｎｅｃｔｉｏｎ ｂｅｔｗｅｅｎ ｔｈｅ ｐｈｙｓｉｃａｌ ａｎｄ ｔｈｅ ｓｐｉｒｉｔｕａｌ. Ｉｔ ｉｓ ｔｈｅ ｒｏｌｅ ｏｆ ｔｈｅ ａｒｔｉｓｔ ａｎｄ ｄｅｓｉｇｎｅｒ ｔｏ ｄｅｔｅｒｍｉｎｅ ｈｏｗ ｔｈｅｓｅ ｔｈｅｍｅｓ ｍａｙ ｂｅ ｅｘｐｒｅｓｓｅｄ ｉｎ ａｒｃｈｉｔｅｃｔｕｒｅ ｉｎ ａ ｗａｙ ｔｈａｔ ｒｅｆｌｅｃｔｓ ｔｈｅ ｅｓｓｅｎｃｅ ｏｆ ｔｈｅ ｐｅｏｐｌｅ. Ｏｎｌｙ ｔｈｅｎ ｃａｎ ｗｅ ｆｉｌｌ ｏｕｒ ｃｕｌｔｕｒａｌ ａｎｄ ａｒｔｉｓｔｉｃ ｖｏｉｄ, ｖａｌｉｄａｔｅ ｏｕｒ ｔｉｍｅ ｉｎ ｈｉｓｔｏｒｙ ａｎｄ ｓｅｔ ａ ｍｅａｎｉｎｇｆｕｌ ｄｉｒｅｃｔｉｏｎ ｆｏｒ ｔｈｅ ｆｕｔｕｒｅ. Ｂｉｂｌｉｏｇｒａｐｈｙ Ａｒｔ Ｄｅｃｏ Ｂｕｉｌｄｉｎｇｓ: Ｌｏｎｄｏｎ Ｅｘａｍｐｌｅｓ ｎ.ｄ., ｖｉｅｗｅｄ 16 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｌｏｎｄｏｎ-ｆｏｏｔｐｒｉｎｔｓ.ｃｏ.ｕｋ/ａｒｔｄｅｃｏｂｌｄｇｓ.ｈｔｍ ＣｉｎｅｍａＴｏｕｒ - Ｃｉｎｅｍａｓ Ａｒｏｕｎｄ ｔｈｅ Ｗｏｒｌｄ - Ｍｅｔｒｏ Ｔｈｅａｔｒｅ, Ｋｉｎｇｓ Ｃｒｏｓｓ ＮＳＷ ｍｏｄｉｆｉｅｄ 14 Ｊａｎｕａｒｙ 2006, Ｖｉｓｉｏｎ Ｅｎｔｅｒｔａｉｎｍｅｎｔ Ｓｅｒｖｉｃｅｓ, ｖｉｅｗｅｄ 16 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｃｉｎｅｍａｔｏｕｒ.ｃｏｍ/ｔｏｕｒ/ａｕ/392.ｈｔｍｌ Ｍａｒｉｔｉｍｅ Ｍｕｓｅｕｍ Ｓａｎ Ｆｒａｎｃｉｓｃｏ Ｍａｒｉｔｉｍｅ Ｎａｔｉｏｎａｌ Ｈｉｓｔｏｒｉｃａｌ Ｐａｒｋ ｍｏｄｉｆｉｅｄ 14 Ｓｅｐｔｅｍｂｅｒ 2006, Ｎａｔｉｏｎａｌ Ｐａｒｋ Ｓｅｒｖｉｃｅ ＵＳ Ｄｅｐａｒｔｍｅｎｔ ｏｆ ｔｈｅ Ｉｎｔｅｒｉｏｒ, ｖｉｅｗｅｄ 16 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｎｐｓ.ｇｏｖ/ｓａｆｒ/ｈｉｓｔｏｒｙｃｕｌｔｕｒｅ/ｍａｒｉｔｉｍｅ-ｍｕｓｅｕｍ.ｈｔｍ Ｆｒｏｍ Ｈｅｒｅ ｔｏ Ｍｏｄｅｒｎｉｔｙ Ａｒｃｈｉｔｅｃｔｓ - Ｌｅ Ｃｏｒｂｕｓｉｅｒ: Ｌ'Ｅｓｐｒｉｔ Ｎｏｕｖｅａｕ ｍｏｄｉｆｉｅｄ 17 Ｊｕｌｙ 2008, Ｏｐｅｎ2.ｎｅｔ, ｖｉｅｗｅｄ 16 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｏｐｅｎ2.ｎｅｔ/ｍｏｄｅｒｎｉｔｙ/4_1.ｈｔｍ Ｇｌａｓｇｏｗ Ｓｃｈｏｏｌ ｏｆ Ａｒｔ - Ｃｈａｒｌｅｓ Ｒｅｎｎｉｅ Ｍａｃｋｉｎｔｏｓｈ ｍｏｄｉｆｉｅｄ 8 Ｍａｒｃｈ 2008, Ｇｒｅａｔ Ｂｕｉｌｄｉｎｇｓ Ｏｎｌｉｎｅ, ｖｉｅｗｅｄ 14 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ＧｒｅａｔＢｕｉｌｄｉｎｇｓ.ｃｏｍ/ｂｕｉｌｄｉｎｇｓ/Ｇｌａｓｇｏｗ_Ｓｃｈｏｏｌ_ｏｆ_Ａｒｔ.ｈｔｍｌ Ｃｒａｖｅｎ, Ｊ 2008, Ｐｅｒｉｏｄｓ & Ｓｔｙｌｅｓ ｉｎ Ａｒｃｈｉｔｅｃｔｕｒｅ: Ｎｅｏ-Ｇｏｔｈｉｃ, ｏｒ Ｇｏｔｈｉｃ Ｒｅｖｉｖａｌ', Ａｂｏｕｔ.ｃｏｍ: Ａｒｃｈｉｔｅｃｔｕｒｅ, ｖｉｅｗｅｄ 12 Ｊｕｌｙ 2008, ｈｔｔｐ://ａｒｃｈｉｔｅｃｔｕｒｅ.ａｂｏｕｔ.ｃｏｍ/ｏｄ/ｐｅｒｉｏｄｓｓｔｙｌｅｓ/ｉｇ/Ｈｉｓｔｏｒｉｃ-Ｓｔｙｌｅｓ/Ｎｅｏ-Ｇｏｔｈｉｃ---Ｇｏｔｈｉｃ-Ｒｅｖｉｖａｌ.ｈｔｍ Ｍａｙｅｒｎｉｋ, Ｄ & Ｐａｉｋ, Ｔ 2000, Ｈｕｍａｎｉｓｔ Ａｒｔ Ｒｅｖｉｅｗ, ｖｉｅｗｅｄ 16 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｈｕｍａｎｉｓｔａｒｔ.ｎｅｔ/ａｒｔｉｃｌｅｓ.ｈｔｍ Ｐｏｇｒｅｂｉｎ, Ｒ 2008, 'Ｊｅａｎ Ｎｏｕｖｅｌ ｏｆ Ｆｒａｎｃｅ ｗｉｎｓ Ｐｒｉｔｚｋｅｒ ａｒｃｈｉｔｅｃｔｕｒｅ ｐｒｉｚｅ', Ｉｎｔｅｒｎａｔｉｏｎａｌ Ｈｅｒａｌｄ Ｔｒｉｂｕｎｅ, ｖｉｅｗｅｄ 15 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｉｈｔ.ｃｏｍ/ａｒｔｉｃｌｅｓ/2008/03/30/ｓｔｙｌｅ/30ｐｒｉｔｚｋｅｒ.ｐｈｐ?ｐａｇｅ=1 Ｍｉｄｌａｎｄ Ｈｏｔｅｌ, Ｍｏｒｅｃａｍｂｅ ｍｏｄｉｆｉｅｄ 8 Ｍａｒｃｈ 2008, Ａｒｔ Ｄｅｃｏ - Ａｒｔ Ｎｏｕｖｅａｕ ｏｎ Ｗａｙｍａｒｋｉｎｇ.ｃｏｍ, ｖｉｅｗｅｄ 15 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｗａｙｍａｒｋｉｎｇ.ｃｏｍ/ｗａｙｍａｒｋｓ/ＷＭ3Ｙ7Ｋ Ｒａｄｉｏ Ｃｉｔｙ Ｍｕｓｉｃ Ｈａｌｌ ｍｏｄｉｆｉｅｄ 18 Ｊｕｌｙ 2008, Ｎｅｗ Ｙｏｒｋ Ａｒｃｈｉｔｅｃｔｕｒｅ Ｉｍａｇｅｓ, ｖｉｅｗｅｄ 14 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｎｙｃ-ａｒｃｈｉｔｅｃｔｕｒｅ.ｃｏｍ/ＭＩＤ/ＭＩＤ061.ｈｔｍ Ｗｈｏ Ｗｅ Ａｒｅ ｍｏｄｉｆｉｅｄ 18 Ｊｕｌｙ 2008, ＶＳＢＡ : Ｖｅｎｔｕｒｉ Ｓｃｏｔｔ Ｂｒｏｗｎ ａｎｄ Ａｓｓｏｃｉａｔｅｓ Ａｒｃｈｉｔｅｃｔｕｒｅ, ｖｉｅｗｅｄ 16 Ｊｕｌｙ 2008, ｈｔｔｐ://ｗｗｗ.ｖｓｂａ.ｃｏｍ/ｗｈｏｗｅａｒｅ/ｏｐｅｎｅｒ.ｈｔｍｌ |
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Interior Designers London - Blog Homepage Results
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