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Many of that movement’s most iconic U.S. buildings would eventually be designed by the last Bauhaus director, Mies van der Rohe, who joined the Illinois Institute of Technology after leaving Germany. His steel-and-glass residential towers on Chicago’s Lake Shore Drive became an instant reference point for high-rise housing, while his Seagram Building in New York inspired countless knockoffs in business districts.
“Mies reimagined downtowns,” said Timothy Welch, director of the University of Auckland’s Urban Planning Program. “His tower-in-a-park model created a new urban typology — open plazas surrounding minimalist skyscrapers.”
But the impact wasn’t just on urban areas, it also seeped into America’s sprawl, cementing the aesthetic of the standardized suburban single-family home.
Many who made their way to the U.S. had been involved in the progressive city-building projects of 1920’s “Red Vienna,” and their socially minded outlook helped shape California’s postwar suburbs, explained architectural historian Volker M. Welter. Leopold Fischer’s well-known Los Angeles neighborhood of detached houses, for example, were a “translation” of the social housing estates he built with Gropius in 1920’s Dessau — a reflection of the European vision of “architectural modernism as a social commitment.”
But the exiled European architect who perhaps had the most profound impact on U.S. cities was Austria’s relatively unknown Victor Gruen. Both Jewish and a committed socialist, he was forced to flee after the Anschluss and eventually settled in California, where he was repulsed by the period’s car-centric culture.
“Gruen internalized a vision of urbanism centered on human-scaled, socially integrated spaces,” Welch said. And in a bid to recreate “Vienna’s café culture and walkable streets,” he invented the shopping mall — a space meant to shield consumers from traffic by combining housing, civic facilities, public amenities and shops.
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