Palazzo Grande, Livorno. Luigi Vagnetti, 1952
By the 1950s Modernism was beginning to reach full maturity. As is the wont of every new generation, young architects were becoming sensitive to and drawn towards the issues which they were precluded from exploring in their work by their elders.
Modernism in its early years had been a maelstrom of competing movements, each with its own distinct take on what it meant to be Modern, and what the visual languages were that would best represent the exciting and terrifying new age the western world was moving into.
This initial period of ferocious experimentation ...
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