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Notes -
This would have been my hypothesis too if not for two things:
1: There are modern architects and artists, particularly very popular and in-demand ones with the most power to set taste, who actually seem to fail to give the client what they want. See Eisenman's House VI again as an example - he certainly felt comfortable depriving the client of much of what they found important. Again, there's also this comment from an architect under Scott's post on the traditional/modern divide in aesthetics, stating that architects do have some power to impose taste due to the fact that they possess skills the client needs, and that the client does not dictate everything. In Tom Wolfe's book on modern architecture, he notes "I once saw the owners of such a place driven to the edge of sensory deprivation by the whiteness & lightness & leanness & cleanness & bareness & spareness of it all. They became desperate for an antidote, such as coziness & color. They tried to bury the obligatory white sofas under Thai-silk throw pillows of every rebellious, iridescent shade of magenta, pink, and tropical green imaginable. But the architect returned, as he always does, like the conscience of a Calvinist, and he lectured them and hectored them and chucked the shimmering little sweet things out."
2: Most people, including the upper class who have the power and financial wherewithal to commission these buildings, seem to prefer the style of traditional buildings as opposed to modern ones. See the studies linked in Part 1 of my original post, as well as the price premiums that traditional housing commands despite apparently similar construction costs (in part 3 of my original post); it doesn't seem to be the case that this proliferation of modern architecture is primarily a bottom-up, demand-driven phenomenon.
It's a copout, but I don't have a definitive answer for you as to why the public and the art world shifted so heavily out of phase, and how this situation continues to propagate itself. The bulk of my post tries to answer the question of what's happened, why there is such a persistent bifurcation between what is actually being produced and people's stated preferences, and I can't really come to a firm conclusion. I can only guess it's partly down to the maintenance of a strict academic/architectural hegemony and partly down to the influence of city-planning councils which are a nonrepresentative and generally trained group of people that have the power to approve or veto developments. Perhaps there's also some fashionability in there - academic opinion is high status and has the ability to dictate the choices of the public, not just the other way around, and once academic consensus regarding modern art was established it caused some segment of the elite to be willing to forfeit designs they personally enjoy for an attempt at signalling status. For some people, getting a house built by Frank Gehry in what is perceived as forward-thinking styling is more important than actually living somewhere they would most enjoy, and there are also many patrons like governmental institutions who don't actually live in the buildings they commission and may not actually like them but want to project an air of modernity, which isn't inherent to the style but is rather an aesthetic signal academics created once they deemed it the New Style, fit for the Age of Machine. In other words, academics dictate demand just as much as they respond to it.
There's a very simple solution that I'm honestly surprised no one has voiced. I confess I have neither the knowledge nor rhetoric to conclusively prove this theorem beyond my passionate and amateur interest in house design and architecture, but it basically boils down thusly;
Architecture is heavily invested in Academics. Academics are very political. Therefor, it's reasonable to assume that Architecture is also heavily political and driven by politics.
When you trace 'Modern'(I use capital M for a reason) Architecture back to the Bauhaus movement and the entire reasoning behind it, I feel it becomes very obvious.
Then again, I am clearly biased, as I absolutely loathe Bauhaus and nearly everything it's influenced.
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