The image-conscious high-style architecture served as justification for mass-produced commercial buildings that also lacked unfolding due to industrial procedures.

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• The images created by famous architects (Le Corbusier, Mies, etc.) formed an accepted style that embodied defects of the production system and became targets for younger architects.claim0.794
  Image propagation in architectural culture.
• The makers of image-ridden, ugly buildings did not truly please themselves; they acted out of wilfulness and a desire to conform.claim0.792
  Alexander argues that what appears to be self-pleasing in modern architecture is actually wilfulness and professional image-management.
• Professional architecture of the 20th century has paid too little attention to the complex, subtle structure that only living processes create, leading to environments that rob millions of common sense.claim0.785
  Critique of mainstream architectural practice as detrimental to human wholeness.
• In the 20th century, images became divorced from reality; photographs of buildings in magazines became more important than the actual buildings themselves.claim0.783
  Role of media images.
• The architecture of the past century served the inherently machine-like production process that is incapable of creating life.claim0.773
  General historical verdict.
• The dream of a universal style can be found at last in the results of living process, in buildings that in ultra-modern form resemble the most ancient buildings in inward essence.claim0.772
• After 1900, a variety of modern building processes came into use that are not structure-preserving—some accidentally structure-destroying, others actively promoting ugliness for profit.claim0.772
  Historical shift.
• The great majority of modern buildings are awkward assemblies of unrelated components, lacking the coherence necessary to be living designs.claim0.772
  Aesthetic judgment on modern buildings.