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THERE was a time when architects thought they had found the key to creating Oz.
At a time when architects were still in thrall to blank-slate urban renewal, Ms. Huxtable championed preservation — not because old buildings were quaint, or even necessarily historical landmarks, but because they contributed vitally to the cityscape.
At a time when architects are radically rethinking the urban landscape of Europe, it is a commentary on the marginal influence of fashion that no designer has attempted to produce a similar sense of excitement in clothes.
If Shulman and Stoller's glorifying of pure form was an ideal match for the purist Modern architecture of their era, Mr. Baan's conjuring of real life may be ideally suited to a time when architects like Mr. Koolhaas are creating buildings meant to absorb and reflect the messiness of 21st-century cities.
What had seemed like a disaster turned into a blessing; not only did the rebuilding provide a boost to the Norwegian construction industry during a depression, but it left a legacy of carved figures, intricate mouldings and inspired furniture – and of a time when architects and town planners passionately believed in a life less ordinary.
The previous home of the Mets, Shea Stadium, opened in 1964, at a time when architects seemed to think that their mission was to purge baseball fields of asymmetry, idiosyncrasy, and anything that seemed remotely related to a park's surroundings, and to offer up instead gigantic doughnuts of concrete that looked like highway interchanges.
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A time when most architects worked in the public sector, designing a world of public space and collective aspiration, a world of affordable housing with statutory space standards.
There was a time when the architects behind Lincoln Center's $1.2 billion redevelopment, Diller, Scofidio & Renfro, toyed with the idea of an even more radical fountain transformation.
A round house was no departure for Mr. Foster, whose buildings with Mr. Johnson were full of curves at a time when many architects thought in right angles.
At a time when signature architects are attended by publicists, Dr. Soleri plays the role of enigmatic elder statesman, a desert Obi-Wan Kenobie who defies easy categorization.
At a time when most architects were still under the lash of the Prince of Wales, camouflaging their work with a constipated brick and tile skin, or decorating their facades with fragments of postmodern confectionery, Hadid was not building anything.
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