La desintegración estilística de la arquitectura contemporánea - María Teresa Muñoz

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Actually, there was indeed a moment in which it was possible to present modern architecture in its totality, a moment in which it might have appeared as the style that would surely be the last one in the history of architecture: the International Style. This style, although it was only something that appeared and then vanished immediately after, has left without a doubt a deep mark in architecture. Through its instantaneousness, its fleeting vision, we can entirely see, now and in the past, how modern architecture and its buildings remain as evidence of an order which, rather than develop and perpetuate itself, as it happened to other architectural orders, can be observed at once.

The bitter conclusion of Henry Hitchock in his introduction of The International Style in 1966, admitting the inexistence of the style as a reality rather than its death, remains as the recognition of that specially brilliant moment in modern architecture which, being above any particular work, would overrun all. Only thus it can be explained that all architectonic activity during the first decades of the twentieth century –without a doubt diversified to the point we all recognise today, has been, to some extent, bathed by the same light and indissolubly related to that instant in which, for the last time, was possible to talk about the existence of one style only in architecture.

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