ABSTRACT
This chapter examines the American reception of the modern movement in the worst year of the Depression when Fuller promoted the Dymaxion House by aligning himself with new editors at Architectural Record,--C. Theodore Larson, Lönberg-Holm, Albert Frey and A. Lawrence Kocher --who joined him in the SSA. When they took over Shelter, from the architect and curators George Howe, Henry-Russell Hitchcock and Philip Johnson, they lampooned the formalist agenda of the seminal international style exhibition at the Museum of Modern Art in New York, by promoting the aesthetic potentials of tension, advanced lightweight technologies and environmental controls.
