Modern and Postmodern Architecture - Essay Example

Modern and Postmodern Architecture Based on historical documents, architects never failed to consult influential creative thoughts from the doctrines of classical architecture (e.g. Roman and Greek architectures) as the foundation of all their inventions. Nevertheless, all through the 1900s, not just architects but also the community regardless class excessively exhibited the classical designs. Classical designs have grown contradictory with the swift evolution and hi-tech way of living of their modern world. As a result of this, many new proposals existed. The two recognized proposals were modernism and postmodernism. Modern Architecture In modern architecture, the structures and its principles were merely trends of the late 19th and the 20th centuries. In the recorded source of modern architecture, it includes the architects who designed the structures, artistic swiftness, the technology and elements that formed the new framework possible. Modern architecture started in the western and northern counties (e.g. United States and Europe) and from there it spread to the rest of the world. As compared to conspicuous early modern designs are prolific and amply adorned structures in Glasgow, Scotland, by Charles Rennie Mackintosh; having great creativity for a city of the future by Italian visionary Antonio Sant'Elia; and houses with stream-like spaces and projecting roofs by the American pioneer of modernism, Frank Lloyd Wright. A significant trend of constructions that arrived subsequently compromise the glossy villas of Swiss-French architect Le Corbusier; daring new factories in Germany by Peter Behrens and Walter Gropius; and steel and glass very tall buildings designed by German-born architect Ludwig Mies van der Rohe (Fleming et al, n.d.; Ghirardo, 2006; Musgrove, 1987). Modern architects opposed the system of the architecture of the 19th century, because they experienced being lent too great from the past. They perceived this structure either tyrannically confined to former styles or displeased quaint and eclectic. When 20th century started they felt it was needed to create an architectural design that showed the vigor or soul of the new generation that would exceed the elements, techniques, styles and technologies of earlier system. This consolidating goal did not mean that the structural creations should resemble in appearance, nor architects would merge with other issues (Ghirardo, 2006; Musgrove, 1987). Basically the aesthetics (artistic values) of modern architects disagreed fundamentally so some of them, enchanted by the influential devices evolved towards the end of 19th century, pursue to plan a framework that would convoyed the luxuriousness and energy of an engine. Their artistic values commemorated duties in all forms of designs and artworks from household furnishings, bridges, and towering structures to a ponderous ocean liners and new flying machines. No matter how, others perceived a machine-like gracefulness unnecessary to the system. They considered a structure that showed, not just the reasonableness of the engines, but the obscure powers of human emotions and spirits (Ghirardo, 2006; Musgrove, 1987). Modern architects opposed their discernment of historical traditions, while some deserted other documents recorded. Though not all, there are still a few who improved the past inventions to modernize their creations. Italian architect Antonio Sant'Elia reverberatingly refused the old system in his Futurist Manifesto of 1914 (Futurism). To more futuristic approach, he called the attention of each generation to be more creative in constructing new buildings using glass, steel, and concrete materials. The new styles of his countryman Giuseppe Terragni, attributed distinctly to the former designs. Terragni's Casa del Fascio (Fascist Party Headquarters, 1932-1936) in Como, Italy, had an interior hall for open gathering inspired by the courtyards of Italian Renaissance palaces, and windows were patterned to ancient Greek and Roman theories of existing architectural harmony. He saw tradition as a very readily available patterns/elements for new designs. However, the concrete and steel construction and its luxurious, unadorned style showed a very artistic appeal (Ghirardo, 2006; Musgrove, 1987). The two elements that shaped the technical progress for a more futuristic structure were iron and concrete. In 1779 English architect Thomas Pritchard built the first model made of purely of molded iron: an example is a bridge over the River Severn in England. Within the same period, an Englishman again tried to invent with the use of lime, clay, sand, and iron slag to make concrete. Iron is the most common and important of all metals, so it has been around ever since to connect materials in constructing buildings. However, after the Iron Bridge was built, iron played a major role as a construction material. Iron becomes very popular everywhere in Europe and North America to build storage houses and storefronts, instead of using woods (Ghirardo, 2006; Musgrove, 1987). Sometime in 1932, two American architects, Philip Johnson and historian Henry-Russell Hitchcock documented a very effective list that guided in showing architectural photographs and models at the Museum of Modern Art in New York City. In their pamphlet, International Style: Architecture since 1922, the authors summarized the features of the new architecture they discovered, with distinctive attention to its volume, not mass; on regularity, not symmetry; on proportions and sleek, technical perfection instead of decorations; and a choice for a polished elements that included those of the machine age. "International Style" became a book and at the same times a bible of new architects. The book was reprinted over and over again. The theory behind the book is contrary to most modern styles because it could be measured. Because of some bewildered group of styles, the authors planned to settle it but decided not to make any dogma. Hitchcock, in his early career gave distinction to architects he called as new traditionalists. Though, generally adopted the historical traditions, they simplified their decorations. The new pioneers eminently focused on historical planes and space. However, the International Style exhibition, gave special attention to new pioneers and architects from which historians to be called their styles to be the heart of modernism (Ghirardo, 2006; Musgrove, 1987). Postmodern Architecture In the late 20th century, postmodernism (architecture and art) actions had been organized ad is distinctively a form of new styles, elements, patterns and manners with the marked and is very aware of the functions of its features and agreements from earlier times. In architecture, in an opposing statement was formed in regards with rigidness and no adjustments in modernism. In terms of artistry, it is shown as a marked transfer from the advocate of fascination and abstract notion which had ruled an avant-garde art way before decades of the 20th century. Aside from that, Pop Art was expanded, in which eclecticism and its popularity unethically used the general vigor of common things (Haris, 2004; Master's 2006). Postmodernist theorist Charles Jencks puts it as, "Postmodernism is both the continuation of Modernism and its transcendence". The term "Postmodernism" also refers to literature and dance. The formations of the motions are detailed in Postmodernism (literature) and Postmodernism (dance) respectively (Master's 2006). It is a much respected theory that Architecture should provide the demands and supply of generation anytime. As generation grows, so shall architecture. The artistic values should not cease from developing as the needs of man becomes more demanding. In the early 1960s, architects started to rebel opposing the Modernist practices of "form follows function." Instead of constructing building, where it has disagreeable view, why not make a structure that describes the society itself, the class of people living and working in the building and the evolution of architecture Why not make something pleasing, playful, and even entertaining Here are some examples of postmodern landmarks ("Postmodern Architecture" n.d.). Thus arrived about the famous opinion "Less is bore". "Less is bore" principles permits to utilize the form of free flowing and decorations in architecture even though they it does not serve any important purpose. The pleasantness and artistic values of the finished product is what mattered most. Generally, men and society cannot be compared to machines because the former are not ruled by any principles about mathematics and other dogma as what Modern Architecture was trying to force on society. The rigidness and unadjusted rectangular geometry of the international style claim is dehumanizing according to detractors. Once,Le Corbusier referred to buildings as "machines for living", but people are not robots and definitely don't want to live in machines. Even Philip Johnson admitted he was "bored with the box." To avoid boredom with the structures, architects have carefully considred searchng for new patterns to escape the geometrical styles since the beginning of 1980s. ("Modern Architecture", 2006a). Postmodernism has been notably important fact in architecture, particularly during the 1980s, when known commissions were given to such leading figures as Robert Venturi, Michael Graves, James Stirling, Terry Farrell, Charles Moore, Hans Hollein, and Arata Isozaki. Their masterpiece brought different kinds of styles, which included modernism, classicism, and even vernacular domestic architecture. Such system of thoughts appreciated the significant pluralism of post-industrial society, a noteworthy significant fact in the field of architecture, since many important structures now a days utilized by a group of people with varying tastes and cultural preferences (Master's 2006). The craving to plead to a greater exposure has leaded postmodernist architects to gather knowledgeable sources to earlier architectural designs with more evidently playful attractive motif. A noticeably fine example of such is James Stirling's and Michael Wilford's Staatsgalerie (1977-1984) in Stuttgart, where radiantly coloured fixtures, such as handrails and canopies, decorate a building that also includes direct reference to Classical architecture. In such structures, the materials of popularity can be differed with the limited interest modernism, where very plain buildings were enjoyed only by structures cultural elite (Master's 2006). The Modern Movement's possession with abstract styles, with no ornamentals, also refused the significant purpose that cultural associations play in our insights of architecture. On the other hand, the postmodernists took advantage of the symbolic qualities of specific architectural styles (Master's 2006). Postmodernity is shown as an answer to the strictness of international style of modernism and reveals itself by "replacing unapologetically diverse aesthetics; styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound." Modernist architects view postmodernism as "vulgar and loaded with 'gee-gaws'" however post modernist architects see modern architecture as "soulless and bland." Modernism is originated mostly from the quantity of elements and cost of a structure whereas post-modernism "seeks exuberance in the use of building techniques, angles, references." Within every style, there is a purpose, a goal a reason. The brain of international style architecture is that it adhere the sincerity of modernism yet still capable of entertaining with the charm of postmodernism. Since people became "bored in a box" during the 1960s, International style lifted the boredom while still adhering to its ideals of corporatism, capitalism, wealth, power and success (Deal, n.d.). Compare and contrast two example of modern and postmodern architecture In 1936, Frank Lloyd Wright's designed one of the best examples of modern architecture for the family of Pittsburgh department store owner Edgar J. Kaufmann. It is most widely acknowledge masterpiece --- the Falling water. The device used for the adjustments of the house is the waterfall should be over which it was constructed. The falls played a major role in the Kaufmann's family activities. The area around the falls signified as the location for a home. The family was surprised about Wright's opinions that the house should rise above the waterfall, instead of facing it. But the architect's original plans were accepted without any changes ("Frank Lloyd Wright's Fallingwater", 2005). In 1939, Fallingwater was constructed despite the presence of guest and service wing. It is made of sandstone quarried on the property and was constructed by local craftsmen. The stone was used to divide reinforced concrete "trays", forming living and bedroom levels, dramatically cantilevered over the stream. Fallingwater was the weekend home of the Kaufmann family from 1937 until 1963, when the house, its contents, and grounds were presented to the Western Pennsylvania Conservancy by Edgar Kaufmann, Jr. Fallingwater is the only remaining great Wright house with its setting, original furnishings, and art work intact ("Frank Lloyd Wright's Fallingwater", 2005). Photo [exterior overview, looking up the creek.] Source:Greatbuildings.com Photo [exterior, concrete gateway trellis.] Source: Greatbuildings.com "Less is more", as transmitted by Ludwig Mies van der Rohe, is one of the subject of falling water. Its charm and usefullness is seen in its less detaailed style. It had the mirror image image of the machine and factory-like lifestyle of the 1900s. It was outlined by ---the refusal of historical styles as a origin of architectural form (historicism) , an acceptance of the practices that the elements and useful necessities established the outcome, an acceptance of the machine artistic value, omition of decorations, a simplification of form and exclusion of "unnecessary detail", an acceptance of shown structure ("Modern Architecture", 2006). It minimizes and omits the utilization of elements that has no important value. Every elements of the style should be functional not just for beautification. Even the popular water falls has a purpose in the overall idea. Postmodern design is characterized by "Less is bore". The Portland Public Services Building (1982) in Portland, Oregon by Michael Graves is one example of postmodern design. The caricature of traditional architectural forms is in fact an intermittent motif of Postmodernism. Basically, it is a large cubic office block, enlightened by equally measured rows of small unmoulded windows, as in most Modernist buildings with this purpose. No matter how, it also includes many classical features, containing a pair of pilasters and a keystone, so great that they take up numerous storey of the faade (Master's, 2006). The purpose of both modern and classical style is obviously seen in Portland building as well as with other postmodern design. Photo [Exterior views of Portland Building. ] Source:Greatbuildings.com The two examples --- the Falling Water and Portland Building did not utilize the classical mouldings on its windows and to any part of the structure. Geometrically speaking, straight lines are apparent in various part of the structure. Michael Graves advanced by adding huge columns that duplicate classical architecture. Differentiating the two, we can therefore conclude that the Falling Water is mainly a modern architecture that is not motivated in anyway from classic architecture while the Portland building utilizing both ideas of modern and classical architecture, that resulted in a very attractive way. References Deal, Jenilee. N.d. Modernity in the Built Environment of Santiago. Retrieved 08 May 2006 from http://www.stanford.edu/class/cee33x/QResponses/modern.htm Fleming, John, Hugh Honour, and Nikolaus Pevsner. (n.d.). The Penguin Dictionary of Architecture. Penguin Books. "Frank Lloyd Wright's Fallingwater" 2005. Fay-West.com. Retrieved 08 May 2006 from http://www.fay-west.com/fayette/fallingwater/ Ghirardo Diane. 2006. Modern Architecture. Microsoft Encarta Online Encyclopedia 2006. Retrieved 08 May 2006 from http://encarta.msn.com Haris, Cyril M. 2000. Dictionary of Architecture and Construction. McGraw-Hill, Inc. International edition. Masters, Christopher. 2006. Postmodernism (architecture and art). Microsoft Encarta Online Encyclopedia. Retrieved 08 May 2006 from http://uk.encarta.msn.com "Modern Architecture." 2006 . Wikipedia Foundation Inc.Retrieved May 03, 2006, from http://en.wikipedia.org/wiki/Modern_architecture Musgrove, John. (ed.). (1987). A History of Architecture. London; The Royal Institute of British Architects and the University of London "Postmodern Architecture." (n.d.). Retrieved May 03, 2006, from http://www-personal.umich.edu/jewestla/pomo.html Read More