Walter Gropius, Marcel Breuer, and László Moholy-Nagy re-assembled in Britain during the mid 1930s to live and work in the Isokon project before the war caught up with them. Both Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph, among many others.
Paul Marvin Rudolph was an American architect and the dean of the Yale School of Architecture for six years, known for use of concrete and highly complex floor plans. Wikipedia
Gallery | Modernist Masterpieces, In Their Twilight Years
October 22, 2013
In 2007, the New York-based photographer Chris Mottalini was asked by the Paul Rudolph Foundation to document one of Rudolph’s houses in Westport, Conn. Soon afterward, the house, which was in poor condition, was demolished, a fate that has befallen a number of Rudolph’s projects in recent years. But Mottalini was hooked, and has since shot around 30 buildings along the East Coast by the architect, whose uncompromising forms and rugged materials earned him a place in the international 20th century design canon, but not popular acceptance.
Mottalini’s photos of the Westport house, and two others that were torn down the same year (one in Watch Hill, R.I., and the other in Siesta Key, Fla.), are the subject of “After You Left / They Took It Apart (Demolished Paul Rudolph Homes).” The book ($50, Columbia College Chicago Press) offers an unsparing look at these once-elegant dwellings, capturing peeling paint and broken windows (including one that was smashed while the photographer was on a lunch break). Mottalini’s images are the antithesis of traditional architectural photographs, which make buildings look as glamorous as possible. “I didn’t want to romanticize anything,” he explained. The book also speaks to the problems facing advocates of preserving Modernist houses, which cost just as much to restore as older structures, but which appeal to a much smaller segment of the real estate market, making them easy prey for buyers who want to replace them with something considered more salable. Mottalini’s photographs reveal both a deep affection for their subjects and a sense of resignation about their demise. “Everything has an expiration date,” he said.
莫塔里尼拍摄的韦斯特波特市的那所房子的 照片以及其他两个在同一年被拆除的房子（一个在罗得岛的观山，另一个位于佛罗里达州的西斯塔凯市）的照片是《你离去之后/他们拆除了它（被拆除的保罗·鲁 道夫设计的房子）》(After You Left/They Took It Apart [Demolished Paul Rudolph Homes])的主题。这本书（50美元，芝加哥哥伦比亚学院出版社出版）非常仔细地审视了这些曾经非常优雅、如今油漆脱落、窗户破碎的住所（其中一扇窗 户是在摄影师去用午餐时被打碎的）。莫塔里尼的图片是传统建筑照片的对立面——传统照片总是尽力使建筑物看起来迷人。“我不想让任何事物浪漫化，”他解释 说。这本书也探讨了保护现代主义房屋的支持者们面临的一些问题——修复这些建筑的花费和修复更古老的建筑差不多，但是它们在地产市场上的吸引力比更老的建 筑要小得多，买家们想用更畅销的房子来代替它们，所以它们很容易就成了牺牲品。莫塔里尼的照片既展示出他对这些房子深深的喜爱，也流露出对它们消亡命运的 接受。“任何事物都会消亡的，”他说。
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