Abstract
The first historians to question the propaganda of modern architecture directed their critiques against its claim to objectivity, or Sachlichkeit. Instead of accepting the work as the embodiment of modern structure and function, the generation of historians after World War II looked back upon the architecture of the 1920s as, in the words of William Jordy, the “symbolic essence” of the mundane facts. In his now standard text, Theory and Design in the First Machine Age, Reyner Banham contended that the architecture of the modernists was at best the image or symbol of engineering, without its substance.
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