These are the meandering thoughts of Douglas Murphy. They focus on the 1960s, particularly on the metaphorical pavilions of Expo67 in Montreal. They seem to show that architecture can lead, follow, or get out of the way, but it really doesn’t matter. For all the hype of the ultramodern, mainstream buildings have not taken on those hues. There are still glaring exceptions, of course. There will always be trophy buildings from superstar architects, paid for by CEOs with too damn much money, but they continue to be far from common. Or even remarkable.

Murphy ranges far and wide, at least in the Western canon, drawing on controversial authors, tv series and films of the 60s, to somehow demonstrate the readiness of Western society to be in thrall to the ultramodern. But it seems they were only in it for the entertainment value. They like ultramodern faucets, lighting, windows and insulation, but they still prefer the comforts of simple architecture. So all the ruminating, symbolism and shocking revelations of the destructive force known as Man, have given us little or nothing in terms of architecture. There are architects who understand this, and architects who dream of city-enveloping buildings, giant spheres, domes and tents. It hasn’t changed our lives. Or architecture.

David Wineberg ( )