Modernism and Its Answers: Eleven Styles from the Vienna Secession to New Classical

The Secession formed in 1897 when painters, sculptors and architects including Otto Wagner resigned from the Association of Austrian Artists in protest at its conservative taste, and Joseph Maria Olbrich's domed Secession Building, completed in 1897 and 1898, became its symbol.

Frank Lloyd Wright coined the term and defined it as architecture that develops from within outward, so the entry is a philosophy of site and purpose rather than a fixed look, and natural materials are only a frequent result.

German-speaking Europe of the 1920s and 1930s answered the postwar housing shortage with flat roofs, geometric massing and glass, as in Gropius's Bauhaus building in Dessau and Ernst May's New Frankfurt housing.

The Nordic branch of functionalism took off after the 1930 Stockholm Exhibition, and Denmark alone built more than one hundred thousand single-family funkis houses between 1925 and 1945.

Maxwell Fry and Jane Drew adapted modernism to the hot, humid climate of West Africa in the 1940s, and newly independent Ghana and India later embraced it, with Le Corbusier's plan for Chandigarh as the best-known Indian example.

From 1945 to 1970 clean lines, floor to ceiling windows and open plans, drawn from the International Style and Bauhaus through Gropius and Mies van der Rohe, carried modernism into ordinary middle class homes.

Known as MiMo, this South Florida style of 1945 to 1960 grew from tourism and car ownership, and Morris Lapidus designed its best known landmarks, the Fontainebleau Hotel and the Eden Roc.

The long, low, single-story ranch house appeared in the 1920s but spread only with the postwar middle class of the 1940s through the 1970s, blending modernist ideas with the imagery of the American West in tract housing.

Aldo van Eyck and Jaap Bakema of Team 10 reacted against impersonal functionalism, and van Eyck's Municipal Orphanage in Amsterdam, completed in 1960, builds from repeated elements that can be enlarged or adapted.

Hans Ibelings coined the term in 1998 for smooth, neutral, often glass-clad buildings that avoid regional reference, which he linked to Marc Auge's non-places such as airports and hotel chains.

The movement revives genuine classical building methods and orders in reaction to both modernist abstraction and postmodern irony, and the Driehaus Architecture Prize, established in 2003, honors it in contrast to the Pritzker Prize.