The Revolution Of Modernism And The Mesopotamian Architecture

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A building is designed for functionality. This principle has served as the cornerstone of architecture in the United States and throughout the world since the first hut of the Mesopotamian civilization. As the centuries go by, this principle started to deviate. With a series of political debris left over from the World War II, the Cold War and the revitalizing economic policies of the Reagan Era, Canadian-American architect Frank Gehry was able to shatter the established architectural norm of the modern era and pen an iconoclastic style called deconstructivism in the postmodern 1980s, leaving a resounding legacy in the architecture industry.
The social and political debris remaining by the end of World War II and the Cold War stifled the possibility of a new architectural movement. The revolution of modernism, a form of architecture in which function dictated form, in the postwar decades turned into a routinized corporation that headed towards unpromising directions as it instigated the diminishment of architectural meaning and artistic expression.
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Even after completing in 1978, the house still appeared to be under construction, wrapped in materials out of an industrial catalogue. The house retained its essence as a perpetual construction site, exemplifying Gehry's contradictory mixture of the ordinary and the avant-garde. Combining modernist form-making with common materials, he had the courage to exploit the implicit freedom of the American middle-class neighborhood. This method became a first in the United States and caught the attention of critics. In spite of the first evidence of an imminent prominence, Gehry had to hone the power of architecture to counter the forces of capital; otherwise, its capacity to sustain any critical role could be largely

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