Until about 1974 , James Stirling's
work subverted and redefined the
Modernist canon. Michael Spens is
deeply sympathetic to Stirling and
brilliantly analyzes some of the
authentic masterpieces from that
time, particularly Olivetti
Haslemere and the St Andrews
residential accommodation (arq
5/4 ,pp 333–353). Accurately, he
identifies the unbuilt St Andrews
Arts Centre (1974) as the point
where things began to change.
After that, influenced by Werner
Kreis, Léon Krier and others (and of
course Colin Rowe), Stirling began
to explore an exciting amalgam of
the abstract and the figurative,
marrying his previously
intransigent Modernism to a
representational Neo-Classical idiom.