Modern architecture
From Wikipedia, the free encyclopedia.
Modern architecture is a broad term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament, that first arose around 1900. By the 1940s these styles had been consolidated and identified as the International Style and became the dominant way of building for several decades in the twentieth century.
The exact characteristics and origins of modern architecture are still open to interpretation and debate, but it's generally accepted that modernism was superseded by postmodernism and is now regarded as a historical style.
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Origins
Some historians see the evolution of modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions.
Others see modern architecture as primarily driven by technological and engineering developments, and it's plainly true that the availability of new materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 is an early example; possibly the best example is Louis Sullivan's development of the tall steel skyscraper in Chicago around 1890.
Other historians regard modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau.
Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new.
Modernism as dominant style
By the 1920s the most important figures in modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology.
Frank Lloyd Wright's career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them.
In 1932 came the important MOMA exhibition, the International Exhibition of Modern Architecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style.
This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. Modernism became the pre-eminent, and then (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984.
Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous/notorious manifestations include the United Nations headquarters, the Seagram Building, and Lever House by Skidmore, Owings, and Merrill, all in New York.
Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from strictly geometrical designs.
Although there is much discussion as to when the fall of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. The rise of postmodernism is attributed to the general disenchantment with Modern architecture.
Characteristics
Modern architecture is usually characterised by:
- a rejection of historical styles as a source of architectural form (historicism)
- an adoption of the principle that the materials and functional requirements determine the result
- an adoption of the machine aesthetic
- a rejection of ornament
- a simplification of form and elimination of unnecessary detail
- an adoption of expressed structure
Some catchphrases of Modern architecture
- "Form follows function" - first used by sculptor Horatio Greenough, more popularly by Louis Sullivan
- "Less is more" - Mies van der Rohe
- "Less is more only when more is too much" - Frank Lloyd Wright
- "Less is a bore" - Robert Venturi, pioneer of Postmodern architecture; in response to the featureless International Style popularized by Mies van der Rohe
In his 1941 essay "The mischievous analogy" (collected in Heavenly Mansions) the architectural historian Sir John Summerson identified several generalizations and clichés of modern architecture:
- it arises from an accurate analysis of the needs of modern society;
- it represents the logical solution of the problem of shelter
- achieved by the direct application of means to ends;
- it expresses the spirit of the machine age;
- it is the architecture of industrial living;
- it is based on a study of scientific resources and an exploitation of new materials;
- finally it is organic
Summerson found that the modernist obsession was not with architecture itself, but with its relation to other aspects of life, and investigated the results.
See also
- form follows function
- Le Corbusier
- Louis Kahn
- Philip Johnson
- Adolf Loos
- Mid-century modern
- Louis Sullivan
- Oscar Niemeyer
- Walter Gropius
- Otto Wagner
- Peter and Alison Smithson
- Glaspaleis
| Modernism | |
|---|---|
| 20th century - Modernity - Existentialism | |
| Modernism (music): 20th century classical music - Atonality - Jazz | |
| Modernist literature - Modernist poetry | |
| Modern art - Symbolism (arts) - Impressionism - Expressionism - Cubism - Surrealism | |
| Modern dance - Expressionist dance | |
| Modern architecture | |
| ...Preceded by Romanticism | Followed by Post-modernism... |
