Sally, Habermas

A single word caught my attention while reading the essay by Habermas. The evolution of the word "modern" is a simple concept on the surface that is more complex than originally thought. Interestingly, the word originated in the late fifth century. The word "modern" was used to establish the present - to distinguish the Roman era/culture from the pagan past. So, did that mean "modern" still means the present? No, it seems that in the mid-1800's, the meaning of the word changed again whereby "Modernity ... freed itself from all specific historical ties. ...modern is "the new" which will be overcome and made obsolete through the novelty of the next style." (99) This made sense to me as I reflected upon what I had often heard described as "modern" architecture from the 60's. Those split-level houses that had the slanted roofs at non-symetrical angles, had skinny metal "columns" near the front door, and vaulted ceilings inside (I call them "Barbie & Ken" houses: plastic-like) are good examples of this "modern" referred to by Habermas. That architecture is predominant in the residential areas of Jekyll Island, as I recently observed. Apparently, zoning allowed, in this State Park, the construction of these homes in the 60's; developers went wild building on most all of the available lots. It contrasted greatly (horribly, in my opinion) with the stately historical structures on the island; in architecture alone, this island is marked by two distinct periods of time.

To me, the point that Habermas makes is this: Would that style of home be built today - anywhere, much less Jekyll Island? I feel safe to say no. Again, Habermas expresses it well: "...while that which is merely "stylish" will soon become outmoded, that which is modern preserves a secret tie to the classical....whatever can survive time has always been considered to be a classic."(99) The best example I can think of to illustrate his point in the realm of architecture are the houses designed by architect, Frank Lloyd Wright. Strikingly modern, they have become classics. Habermas writes, "a modern work becomes a classic because it has once been authentically modern." (99) Wow! We're back to authenticity as an important criterion for art....very interesting! The cookie-cutter homes of the 60's were not authentic - the "author's" signature was not to be found in their reproduction. They were simply trendy, or stylish, and, as such, have been replaced. Frank Lloyd Wright's architecture (exhibiting the same features - slant roof, split-level, vauted ceilings) has survived for this reason: his signature is to be found in his modern, but classic, work created decades ago.