History of Modern Architecture - Essay Example

?Introduction The use ical culture during the beginning of the modern era in architecture was one which continued to show influences in design. Several architects referred to the geometry, formation and creative elements that were able to combine the classical with the contemporary innovations of the time. The various elements of each building created new prototypes that were able to emerge the past understanding of architecture with new sets of creativity that added into a refined look and feel from the classical period. The different veins in which architects worked in during the modern period combined the futuristic elements with the classical foundations to emerge different structures conducive to the time frame. Classical Traditions of Pre and Post WWI The main component of the classical was to create a sense of harmony among the architecture. This was defined by the use of symmetry where everything was even and where the materials and practicality of the buildings was combined with a sense of creativity that balanced each of the buildings. The harmony was then redefined with only using some of the elements while combining the newer aspects which were occurring at the time. For instance, the Expressionist movement of Italy was focused on using symbolic meaning to the buildings and creative innovations in terms of the overall shape. However, classical elements were defined in the external services, specifically with the creation of balance and the ability to have the symmetry with both sides of the architecture work effectively for the building. While there were elements of experimentation and expression, the main approach of the classical period was to keep balance and harmony among the different pieces of architecture (Colquhoun, 95: 2002). The same approach to modernism was taking place in Germany, specifically with the experimental and avant-garde representations of the time. To match this were architects such as Peter Behrens, who combined the new architecture of the experimental with the classical elements which were considered as a need for creating the right craft. The approach which was taken with the various pieces was one which was based on the romantic elements that were able to express different motifs and emotions. However, this was combined with the belief in a strict form that balanced the ideals while creating an objective appearance with the use of balance. A piece of architecture which was able to represent this was Victor Horta, as seen in image 1. Image 1: Victor Horta When looking at this specific piece of architecture, it can be seen that the balance is defined by the specific shapes of the overall home. However, there is also a sense of the creative with the motif based on a more romantic style. The arches, round aspects and the contrast with the triangular top are used in contrast as a part of the experimentation. This was used to please the eye because of the balance, while using a sense of experimentation for a more refined look (Anderson, 9: 2000). Another architect that had the same concept applied to the classical elements of buildings was Walter Gropius. Gropius was a part of the Bauhaus Movement, which took place in Germany around World War II. The concept in this movement was to begin experimenting with the new style of architecture from a modernist perspective. The influences were based on the commercial concepts, mass production and other elements that had a loss of the creative and natural in turn for man - made elements. The expressions from this movement included making an environment that was modern in appearance, such as skyscraper type buildings, uniform shapes and the innovation of creating a culture that was represented to a zero degree with the commercial and industrial taking precedence over this (Tournikiotis, 43: 1999). The approach of Gropius within this movement was to combine a sense of conformity of the mass production to the craft of the classical. Image 2 is an example of this approach. Image 2: Gropius House The structure of the Gropius House shows the Bauhaus elements as the primary influence, specifically with the square looks and the modernist aspects of the glass and refined spaces. However, the classical use of balance, specifically through the line formation and the additional symmetries with the home show the classical influence as a driving force in the modern expression. The Bauhaus Movement also had individuals such as Werkbund that were interested in the creative with the modernist approach of industrialization. The work of Werkbund was based first on the elements of precision and symmetry, while creating a sense of balance and harmony. However, the focus was then furthered with ways to change the balance and harmony with the buildings. The use of modernist approaches to create something that was related to the machinery, technology and the concept of futurism was the focus of creativity of Werkbund, as seen in Image 3 (Frampton, 92: 1992). Image 3: Glass Pavillion The glass pavilion shows different elements of symmetry by keeping the same balance on each side of the pavilion while having the stairs as a classical element for balance. However, this is combined with the industrial concepts and the modernist ideologies of using glass and innovative materials. The overall structure and the oval shape used is also a part of the modernist approach to creativity as recognized by the Bauhaus movement and the innovative aspects influenced through the avant-garde. The Formative Movement Another approach which was taken was the formative movement. This particular movement was defined as an anti – art establishment in modernism. The formation of the building took precedence over creativity or the expressions that were attributed to a building. This was a backlash of other modernist approaches, such as the use of expressionism in the Italian movement and other romantic elements which were often added into the architecture. Instead of creating this particular option to the formation of buildings, there was an attitude based on connecting the need to have practicality to the buildings for mass production and aspects based on external goals, as opposed to the artistic approach that was needed. The pragmatic functionalism was a part of this, which stated that manipulation of different areas of a building through a structural system could eliminate some of the problems that were often associated with architecture. Using this as the priority would then create a logical expression to the architecture used (Sharp, 62: 2002). An architect which led with this style and the modernist combined with practicality was Le Corbusier. The dedication of Le Corbusier was to create more practical living situations, especially for those who were in crowded cities and which didn’t have the proper accommodations for living, such as single family living homes that were built upwards instead of with length. He then moved into urbanism with the same living styles and moved into more practical applications for government homes, places of work and urban development. The works were based on five points of structure, including support for the home, free facade for walls, a roof garden and free floor space. The elements of creativity were in the interior design of the house while the structure was based on urban practicality. The elements combined with formalism were then designed with the classical attributes of harmony and balance, specifically with both the way in which the space was divided in the interior and exterior of the home (Curtis, 99: 1987). Image 4, The High Court in Chandigarh India, shows this aspect. Image 4: High Court in Chandigarh India The sense of formative approaches is seen in the symmetry and the overall use of the building, which is located with several offices. The classical elements of the archway combine with this; however, there are also formative approaches with the arches being a way to stop the sun from bringing heat into the home. The creative elements of the classical period are then able to combine with the practicality of Le Corbusier. Another influence of this was Auguste Perrett. The influence of Perrett was from France; however, he was interested most in the industrial and structural buildings that were associated with the Bauhaus and Formative Movements. The main ideal of Perrett was to combine elements of structure and functionality as the main component. The creative elements and structures were combined with the classical style of creativity. In this way, the modernist functions that were needed for the time could be used while using the creative expressions from the classical period (Britton, 3: 2005). Image 5, The Church of Notre – Dame at Raincy is one of the most popular buildings of Perrett that shows this concept. Image 5: Church of Notre – Dame at Raincy The symmetry of this particular church shows both sides as balanced, as well as the central area having mirror reflections, similar to the classical architecture. However, the functionality is first, specifically with the opening to the church, use of the bells at the top and the open spaces on the sides. The creativity of the tower balances this and is specifically taken from influences of the classical era. Early Villas in Classical Idiom The concept of functionalism and the balance between modernism, creativity and the classical was furthered into concepts such as the early villas. These became prototypes of the 1920s and 1930s, specifically because of the basis in developing a psychological and physical component that linked the classical to the modern. During this time, there was an interest in villas as a luxury item and as a place that could be used for practicality and leisure. The creation of the villas was based on the notion from the classical and is often attributed to similar buildings from the 1500s. The focus was to create symmetrical components that were equal and which created a symmetry that was hierarchical. Elements that were added in, such as a terrace and outside additions, were based on contemporary and creative features, specifically with creating practical functions with the villas for luxury. However, the concept of balance was the main element used with other features in the classical symmetry and harmony (Rowe, 4: 1999) Image 6 shows the main concept used with the villas. Image 6: L’Espirit Noveau: Villa When looking at this image, it can be seen that the concept of the villa was one based on symmetry first, as seen through the side areas for functionality. However, this was done with the proportions based on experimentation. The front area, which is round instead of square shows the classical elements of symmetry and balance while creating a sense of creativity based on modernism. Each of these elements worked together to create a sense of novelty and luxury because of the parts that stand out from the balance and symmetry of the home. Other Influential Architects An influence of the modern architecture that combined the classical elements was Mies Van Der Rohe. Rohe was a part of the Bauhaus Movement in Germany and founded the Ring, which was based on creating architecture for combat. The designs were based on the practical elements and functionality needed, combined with the elements of influence from World War II. The symmetry that was added in was based on the balance needed. However, the practicality of most of Rohe’s works was created from innovative materials. The use of thicker brick layers, thick cement walls and the use of steel rods were all a part of the identification of Rohe’s works. Monuments as well as practical elements that were combined with these interchanged the political orientation of the time with the functionality as a priority. To keep this practicality, balance was used as an element from the classical period (Cohen, 44: 1996). Another architect who became influential in the same manner was K.F. Schinkel. Similar to Rohe, there was an approach to the politics of the time, specifically with the German influences that were a part of the time frame. The approaches which were used were based on political practicality first, specifically with an association of the royalty and need to have rulers that had the right components to the architectural areas. The impressions which were built were based on the classical influence of balance as well as the use of the artistic effects of the time. However, these were used with the modern approach of practicality, functionality and the need to have more creative concepts associated with the buildings. The Pomona Temple, as seen in image 7 shows the large classical influence with practicality and creativity (Steffens, 14: 2003). Image 7: Pomona Temple The classical style pillars, top area and the amount of symmetry and balance are all measured with the classical influences. However, the creativity is based on the practicality of size as well as materials which were industrial in nature. The top portion and the use of colors added into this for creative elements to create a modern look with the classical influences. Conclusion The association of modernism is one which was based on creativity, industrialization and the futuristic looks of society. While most architects were interested in these specific influences, there were also alterations in the concept of style based on classical influences. The main philosophy that most took with the architecture was the use of symmetry and balance. This was combined with elements of creativity that were often added in to the new styles, such as the classic elements of pillars and Gothic formations. These developments created a foundation that allowed the architects to move into the experimental nature from the formative, Bauhaus and expressionist movements. References Anderson, Stanford. (2000). Peter Brehens and a New Architecture for the Twentieth Century. Massachusetts: Massachusetts Institute of Technology. Cohen, Jean – Louis. (1996). Mies van der Rohe. London: Chapman and Hall. Colquhoun, Alan. (2002). Modern Architecture UK: Oxford University Press. Curtis, William. (1987). Modern Architecture Since 1900. London: Oxford University Press. Frampton, Kenneth. (1992). Modern Architecture: A Critical History. London: Thames and Hudson. Rowe,. Colin. (1999). The Mathematics of the Ideal Villa and Other Essays. Massachusetts: Massachusetts Institute of Technology. Sharp, Dennis. (2002). Twentieth – Century Architecture: A Visual History. Australia: The Images House. Steffens, Martin. (2003). K.F. Schinkel 1781-1841: An Architect in the Service of Beauty. Germany: Taschen Company. Tournikiotis, Panayotis. (1999). The Historiography of Modern Architecture. Massachusetts: Massachusetts Institute of Technology. Read More