Modernist Theories in Le Corbusier and Marianne Brandts Works - Research Paper Example

Form and Function Instruction: Task: Form and Function Form follows function is an interesting principle of modern architecture that emerged especially in the 20th century and it determines the shape and the objectives of the respective buildings. This means the principle is mostly guided by functionalist and formalist approaches of architecture that were mostly revolutionized by the Horatio Greenough, an American sculptor who used modernist concepts. According to proponents of this principle, form follows function also affects organic and inorganic matters that affect art as noted in Le Corbusier’s Villa Savoye and Marianne Brandt’s teapot that revolutionized visual practice using modernist concepts (Beatrice et al 2013, p. 2). However, these art forms possess notable differences because their purposes and intentions lack the modernist expectations in terms of characteristics and traits that guide their architectural make. Despite the current similarities and differences, Villa Savoye and teapot have played a significant role in defining visual practice especially when finding an attachment with modernist concepts such as functionalism and formalism. Le Corbusier’s Villa Savoye and Marianne Brandt’s Teapot have significant influence in the domain of visual art particularly in the promotion of the modernist concept. This is through following the procedural expectations of form follows function essential in exposing the indicative characteristics and traits symbolic with modernism in art. For instance, Le Corbusier’s Villa Savoye is attached to the modernist concept in terms of form follows function through its magnificent five-point architecture that represents the overall impression of architecture in the context of meeting global standards (Butterworth 2013, p. 2). Additionally, the cost and concern associated with Le Corbusier’s Savoye is associated with the architectural changes found in the shape of the building in regards to the form follows function principle. In other words, the Villa, according to Savoye, had to attain certain goals and objectives in his immediate society such as accommodating the Jews and acting as a historical French monument in the specifically in 1965. However, Marianne Brandt’s Teapot has interesting traits that differ with those of Le Corbusier’s Villa Savoye. Functionalism, for example, is infused into the German’s art with concentration of modernist concepts in the overall display of the teapot such as Bauhaus style and integration of the tea infuser to meet the form follows function principle. Consequently, in the product design of the teapot, emerging conflicts of the functional design have been criticized to affect the marketing ability of such works of art (Joshua 2005, p. 13). This prompted debate the relationship between functionalism and modernism concept as used by Marianne in the Teapot in the context of obeying the demands of the form follows function principle. Conversely, this allowed the artist to experiment with the mass-market consumption in regards to finding standpoint functionality including the necessary replacements such as inclusion of formalism instead of functionalism to evoke both admiration and veneration in the realms of art. On the other hand, Le Corbusier also espouses certain modernist characteristics that deserve mention unlike the functionalist and formalist form follows function found in the teapot by Marianne Brandt. For instance, while the teapot by Brandt gained prominence for the materials used including placement to the Bauhaus Museum for prosperity, Villa Savoye has enjoyed other forms of the modernist concept to maintain its relevance. The precision of its architecture has included the infusion of designs with urban feel to justify its initial goal and objectives (Rawsthorn 2007, p. 2). Its features defined by the early 20s include grid spacing such as 5metres to 4.75meters hence meeting the principle stipulations of the form follows principles. In other words, the shape of Villa Savoye are essential in tandem with the purpose of accommodating Jews and acting as a lasting historical monument for the French people. Similarly, unlike Brandt’s teapot in product design, Le Corbusier does not follow any known principle of thought except abiding by the building shape in the context of construction. Brandt, however, moves away from the modernist concepts in terms of overstepping the costs by making its quotations high estimation to generate review. This suggests that the teapot, according to art critics, is a functionalistic design in terms of requirements especially for the adaptation of designing elements. Its rectangular position with the ebony handle compliments cylindrical knob is in deep contrast to Villa Savoye in meeting international modernist concepts in 1930s (Rudoe 2005, p.2). This was based on the five points such as the long horizontal windows to provide ventilation and illumination with the freely-designed facades. Additionally, the functional roof acting as the terrace and garden is a bold reclamation of nature in meeting the form follows function principles in the contrast to Brandt’s teapot in the product design. Its objective, therefore, while meeting the modernist concepts, is also a bold contradiction to the goals and objectives of functionalism and formalism in the context of architectural spacing and other building intentions according the form follows function fundamentals. This is mostly complicated by the emerging extra costs that have hindered the historical monument from meetings its desired goals such as becoming the only international modernist architecture with modernist views specifically terracing and overall grounding. Consequently, this contributes to the visual practices found in modernist theory in Villa Savoye such as experimentation with surrealism in terms of designs (Trevelyan 2008, 190). This also applies to the domination of color white in buildings according to the form follows concept in design thinking concepts for the required concepts. The teapot in the modernist concept also challenged various expectations of visual art practice in regards to modernist concepts such as emphasizing on form and newness. Accordingly, this leads to various characteristics such as having same colors and being indicative in quality and quantity. On the other hand, Le Corbusier’s Villa Savoye’s history of commission is part of the modernist concept in relation to form follows function in the approximation of 800,000 Francs for the overall project. Conversely, the grid spacing about the single lodge found in the contracts in the alternatives in the eventual solution particularly in the modernist concept and its assorted characteristics. On that account, the four sides of the Villa Savoye responds to the architectural design of the master bedroom, guest bedroom, salon and external terraces meeting the form meets function principle. The governing principles found in the functionalist and formalist in the teapot heavily contrast the modernist concept specifically the application and implementation of architectural designs (Wilson 2009, p. 1). These are mostly derived from varying building techniques such as the curved arc, the ramp and the floor entrance that are in tandem with ebony handles of Brandt’s teapot. Alternatively, this does not include the spherical version with its conventional aspect that largely defined Marianne Brandt’s tastes and references in regards to Christopher Dresser’s exquisite teapots. This, however, matches the form meets principle found in the cruciform base because it is cut diagonally to allow a fix on the hinges based on the modernist concepts of both formal experiment and the tubular handle of various teapots. Le Corbusier, on the other hand, meets the visual practice demands such as attaining the principles based on functionalism, formalism, and modernism concepts besides having an attachment with the form follows guidelines (Woodham 2006, p.310). Another fundamental similarity between Le Corbusier’s Villa Savoye and Brandt’s teapot includes the use of principles with aesthetic values particularly the modernist concepts and values of visual arts in the 20th and 21st centuries. This always resulted to a relation between the color images and other modernist theories that represent the broader assumptions made by Brandt and Le Corbusier’s critics in the visual world. The artworks also have a striking simplicity in the formalistic design found in the modernist conceptions to showcase the art history as exemplified by Villa Savoye as a historical monument. Form follows function also plays a crucial role in Le Corbusier’s Villa Savoye in terms of the subdivision of the parts unlike in the fixed product design of the teapot. This is apparent in the extension of the two sides that directly project the facades of the entrances and the ramp. In other words, the inclusion of other subjects include the simple function for traveling that meets modernist theory requirements that are in tandem with form follows function principles in the comparison to Brandt’s teapot especially its overall architectural makeup. Consequently, this transcends to the complicated aims of Villa Savoye that meets the goals and objectives of Le Corbusier such as resistance, comfort, and resistance (Woodham 2006, p.310). However, Marianne Brandt’s use of functionalistic design revolutionized the essential principles of form follows function similar the works of Ikko Tanaka, a Japanese graphic designer. This meant the integration of designing elements that define corporate identity that included the tea infuser. Additionally, this included the usability and the fundamental functionalistic expectations that lack in the modernist theory of Le Corbusier’s Villa Savoye. Brandt’s teapot, therefore, pours out liquid through measurable drips that complete the pouring test that the artist attested as the most critical in visual art practice. Functional reason became important unlike in the modernist theories of Le Corbusier when he made architectural designs based on overall appearance and display. This is notable in the deliberate omission of the architectural palette that characterized his work from the onset of 1928 through complicated manifestations of concern about cost among others. Eccentric position by the teapot suggest the need for functionalist as a modernist concept to help the visual artist adopt a simple production approach based on machine production following the criterion set by related functionalistic expectations (Trevelyan 2008, 190). However, the simplicity evoked by Brandt’s teapot challenge the form follow principles characteristic of Le Corbusier’s Villa Savoye in regards to architectural shape and profile of modernism. The handwork implemented in the teapot by Brandt is an embodiment of the connection of separate parts fitted one by one similar to Villa Savoye in the subdivision of its rooms. Conversely, the geometric forms found from modernist theories differ heavily in the industrial expectations that have direct consequences because it displays Brandt’s talent as a trained silversmith. However, this has drawn skepticism because Marianne Brandt’s teapot only mirrors a production model that is different from Le Corbusier’s Villa Savoye on the organization of hemispheres and overall assembly of parts (Beatrice et al 2013, p. 2). On that account, while Villa Savoye has been instrumental in enjoying its subdivision of rooms and other architectural aspects, Brandt’s teapot lacks the functional components of serving liquids such as tea and coffee for guests. This is because it does not have the construction kit found in Bauhaus pottery effective in the arrangement of the infuser. Correspondence with the triangular opening on top thus defies the form follow function principles pinned on modernist theory concepts mostly found in Villa Savoye unlike the silversmith craft of Brandt’s teapot. Additionally, while in Le Corbusier’s Villa Savoye the modernist concept does not necessarily depend on form follows function principles because the artist defied certain visual practice rules, Marianne Brandt’s teapot remains intact. Formalism, for example, is exemplified in several parts such as the tea infuser and ebony handle that acts as sources of the overall beauty of the product including meeting other respective objectives of visual art (Woodham 2006, p.310). This suggests the differences are meant to strike elegance and admiration that is also found in Le Corbusier’s Villa Savoye though at a minimal level. This, therefore, suggests modernist concepts do not have a uniform goal on the aforementioned art subjects. It, therefore, suggests modernist theories and its subsequent concepts such as functionalism, formalism, and surrealism has played a paramount role in Le Corbusier and Marianne Brandt’s works. This is notable in both artists’ determination to integrate form follows function principle by making the inventions of the 20th century a symbolic example in visual practice. Villa Savoye and Teapot actually exemplify the use of modernist concepts meant to evoke feelings of emotion and passion to meet the desired standards of architecture (Beatrice et al 2013, p. 2). Consequently, this resulted to the successive modification of the terracing and ground floor arrangements found in Le Corbusier’s Villa Savoye though conspicuously missing in Marianne Brandt’s teapot. This suggests modernism theory and the form follows theory is directly interlinked with principles of formalism and functionalism. Bibliography Beatrice, G et al 2013, Tea infuser and strainer. Heilburn Timeline of Art History. Retrieved from http://www.metmuseum.org/toah/works-of-art/2000.63a-c Butterworth, K 2013, Bauhaus- Marianne Brandt. Teapot MT49. Retrieved from http://interdisciplinaryleeds.wordpress.com/bauhaus-marianne-brant/ Joshua, W 2005, Meanings of Le Corbusier’s Villa Savoye, University of Sidney, Sidney, pp.1- 17. Retrieved from http://www.joshuawwy.com/docs/Meanings-of-Le-Corbusier%E2%80%99s-Villa-Savoye.pdf Rawsthorn, A 2007, ‘The tale of a teapot and its creator. New York Times.’ pp. 1-2. Retrieved from http://www.nytimes.com/2007/12/16/style/16iht-design17.1.8763227.html?_r=0 Rudoe, J 2005, ‘Marianne Brandt, a silver tea-infuser.’ The British Museum. Retrieved from http://www.britishmuseum.org/explore/highlights/highlight_objects/pe_mla/m/marianne_brandt,_a_silver_tea-.aspx Trevelyan, A, 2008, ‘Continuity of form and function in the art of the Eastern Woodlands.’ The Canadian Journal of Native Studies, 4 (2), pp. 187-203. Wilson, T 2009, Le Corbusiers Villa Savoye at Poissy. Retrieved from http://www.dieselpunks.org/profiles/blogs/art-history-le-corbusiers-1 Woodham, J 2006, ‘Design in the 20th Century: Form Follows Function? Design in the 20th Century: Nationalism and Internationalism.’ Journal of Design History. 7, pp.306-308. Read More