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One might expect that regional and vernacular building would by now be the subject of serious critical evaluation. Instead, it has been largely ignored even in those countries where its vitality is most obvious. Surveys of modern architecture in Japan, for example, pay scant attention to the continuing development of a tradition which used to be cited as one of the sources of Western modernism, and to which even today's modernist ideologues occasionally return for nourishment. In England, where the modern movement has incurred the most outspoken hostility, the available alternatives have not yet been the subject of sustained critical examination.
This inability to come to grips with a substantial part of modern practice is all the more remarkable in that those historians who might have been expected to do so, by virtue of their sympathy for indigenous building, apparently respond to such work only when the cultures that produce it are poverty-stricken, archaic, or dead.
By the end of the seventies, a self-conscious sort of picking at the past had begun to appear as a fresh possibility, intellectually respectable and perhaps even avant-garde. Yet historicizing work of the late fifties is still dismissed as frivolous, despite or perhaps because of its serious intent. Certain buildings of this kind may continue to seem inherently trivial. But many architects tried to deal with the problem of historical associations before criticism recognized its existence and the developments it implied. It was the reappearance of this problem during the fifties that clearly reflected the impoverishment of abstract, reductionist form.
Thus the United States Air Force Academy, designed by Walter Netsch of Skidmore, Owings, and Merrill, began as a demonstration of Miesian structural design and technical sophistication. Those characteristics were considered more appropriate to the client than allusions to a spurious history, although some members of Congress urged a Gothic-style Air Academy.
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