History suggests that the construction of the most ambitious architectural projects immediately precedes the deepest economic slumps. And that's exactly what we've seen in progression from the Guggenheim Bilbao to the cities from zero in the Gulf. This headline grabbing architecture has been driven by the logic of the boom. That's to say, the ideology of the global market has been the context for architecture. These projects attempted to turn the flush of cash and credit delivered by fluctuations of abstract systems into something real: a thing or a place. They sprung up in the ruins of industry or were fueled by the fleeting bounty of mineral extraction. And they were designed around the most distracted and least reliable kind of programme: tourism. Each project competing as a destination to max out vacationers credit lines. It's created an architecture of spectacular, hollow unreality: based on unreal money, housing unreal programmes.
This unreality has infused architectural production, often finding resolution in hysterical, liquid, fluid form at audacious scale - the kind of thing recently dubbed 'Parametricism'. (Note: Just as the height of building might be a warning sign of impending turmoil, the articulation of a stylistic manifesto is a sure sign of hubristic overconfidence). Displays of beyond-human formal complexity drop out of the computational design systems employed in the search for exoticism and difference - a difference that was demanded by the market pluralism of ultra capitalism. Appropriately, these projects seem to use the very same kind of tools that has maximized, magnified, and deepened our current financial crisis. If the Modern movement had the abstraction of industry as its reference, millennial architecture had the systemized abstraction of late capitalism.
This union of ideology and form has decoupled in dramatic fashion. The swift disjunction leaves a generation of architecture rendered instantly out of time - as un-possible as Gothic architecture in the Renaissance. These glistening new-ruins are adrift in the landscape of global recession, abandoned like ghost ships, doomed to unknown fates.