![]() The research draws from archival work, literature study, on-site visits and interviews. ![]() ![]() This article will engage these broader questions through a specific focus on homes designed by Juliaan Lampens. They take us beyond formal analyses and into the praxis of art, where we must rely on sociology and psychology as much as aesthetics. But how can the modern family make their everyday lives in a space that is itself a work of art? How are inhabitants making homes in these complex, concrete structures? How did the family unit grow and evolve in them? To answer the questions, the most proscriptive designs are the most interesting to study. Of particular note are homes built in the 1960s, when a series of architects used the booming trade in concrete to create buildings of the most imaginary shapes and forms. Nevertheless, many modernist homes still exist, and many are strikingly beautiful, with unique aesthetic and sculptural qualities. The now nearly universal judgment is that they inhibited the very thing they promised because their ideals failed to understand that living is a continual process of growth and adaptation. They have learned from the mistakes of Modernism, when architects sought to construct the ideal home for the family. Almost all architects today have abandoned making prescriptions for how people should live.
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