Modernist architecture aggressively repudiated the old city while postmodern buildings complacently coexist with it

Evidence

But this disjunction from the surrounding city is different from that of the monuments of the International Style, in which the act of disjunction was violent, visible, and had a very real symbolic significance — as in Le Corbusier’s great pilotis, whose gesture radically separates the new Utopian space of the modern from the degraded and fallen city fabric which it thereby explicitly repudiates (although the gamble of the modern was that this new Utopian space, in the virulence of its novum, would fan out and eventually transform its surroundings by the very power of its new spatial language). The Bonaventure, however, is content to “let the fallen city fabric continue to be in its being” (to parody Heidegger); no further effects, no larger protopolitical Utopian transformation, is either expected or desired. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 139

Categorization

• XREF: This reads as a spatial analogue of the parody-vs-pastiche distinction: modernist disjunction is serious and transformative (parody), postmodern coexistence is blank (pastiche). — connects to: Late modern and postmodern architecture differ on allusion to the past — Perry Anderson, The Origins of Postmodernity, 61; Industrial modernity rendered the city aesthetically unrepresentable. — Perry Anderson, The Origins of Postmodernity, 95; Postmodern architecture of spectacle displaced austere modernism for urban redevelopment. — David Harvey, The Condition of Postmodernity: An…, 563 (+2 more)