high detail building model with multi layer phososhop PSD file
The most important trends in early 20th-century architecture simply passed Britain by. Whilst Gropius was working on cold, hard expanses of glass, and Le Corbusier was experimenting with the use of reinforced concrete frames, we had staid establishment architects like Edwin Lutyens producing Neo-Georgian and Renaissance country houses for an outmoded landed class. In addition, there were slightly batty architect-craftsmen, the heirs of William Morris, still trying to turn the clock back to before the Industrial Revolution by making chairs and spurning new technology. Only a handful of Modern Movement buildings of any real merit were produced here during the 1920s and 1930s, and most of these were the work of foreign architects such as Serge Chermayeff, Berthold Lubetkin and Erno Goldfinger who had settled in this country.
After the Second World War, the situation began to change. The Modern Movement's belief in progress and the future struck a chord with the mood of post-war Britain and, as reconstruction began under Attlee's Labour government in 1945, there was a desperate need for cheap housing which could be produced quickly. The use of prefabricated elements, metal frames, concrete cladding and the absence of decoration all of which had been embraced by Modernists abroad and viewed with suspicion by the British were adopted to varying degrees for housing developments and schools. Local authorities, charged with the task of rebuilding city centers, became important patrons of architecture. This represented a shift away from the private individuals who had dominated the architectural scene for centuries.
Since the War, it has been corporate bodies like these local authorities, together with national and multinational companies, and large educational institutions, which have dominated British architecture. By the late 1980s the Modern Movement, unfairly blamed for the social experiments implicit in high-rise housing, had lost out to irony and spectacle in the shape of post-modernism, with its cheerful borrowings from anywhere and any period. But now, in the new Millennium, even post-modernism is showing signs of age. What comes next? Post-post-modernism.
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