ABSTRACT
This conclusion presents some closing thoughts on the concepts discussed in this preceding chapters of this book. The book demonstrates that it is the economically and politically disenfranchised inhabitants of the rapidly growing cities of the world who produce the architecture of the underprivileged classes and dwell in it. The architecture of the underprivileged classes is a production alongside the Modern Movement. The epithets used to describe it are distractions that mask the realities of life in the economically underprivileged neighborhoods. The book interrogates the tendency to define a modernist practice that spread along a wide cultural spectrum of building production as a narrowly confined elitist architectural experience in the twentieth and the twenty-first century. When scholars proclaimed the end of the Modern Movement in the late 1950s and in the 1960s, they inadvertently overlooked the productions of underprivileged classes visually, tectonically and stylistically. Scholars who explored the connections between cubism and architecture have focused primarily on the productions of elite architects.
