In Miami, Arquitectonica took up these newfound freedoms with gusto, and did it differently than almost anyone else, deploying architectural elements in evocative, surreal, and highly charismatic ways that might have had little to do with the threadbare functionalist arguments of late Modernism, but functioned brilliantly upon the imagination of the press, Miamians, and clients alike. — citylab.com
Adam Nathaniel Furman takes a closer look at the meteoric rise of Laurinda Spear and Bernardo Fort-Brescia's firm Arquitectonica and the undeniable influence it has had on Miami's architecture since the late 1970s. Although the founders rejected the 'Postmodern' label, "these buildings came to represent an ebullient, hopeful, confident, and creative version of a Postmodernism that was coming to seem suspiciously reactionary—regressive, classicizing, and gloomy in many of its more northerly manifestations," Furman writes.
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Not as elegant as I recall it from decades past, but one of my first architectural loves when I was a student. It's very obvious in many ways, but this made it useful for a youngster to study site and building, plan and section, fenestration, color, you name it.
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