Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The Modernist Movement
3.3 INTERNATIONAL STYLE (1930-1970)
The International style is a major architectural style that emerged during 1920’s to 1930’s in Western Europe and United States of America. During this period, prior to World War II many European architects came to the United States, bringing their new ideas and philosophies regarding modern design with them (Pennsylvania Historical & Museum Commission 2014). The architects during the period were bored of using the same old practices and designs, so they wanted something different that will suite the present day scenario according to the needs of the society. This helped them to bring uniqueness and something different in this movement, giving rise to International Style as the construction materials and techniques used were different as compared to the previous movements.
It grew out of three phenomena. Firstly, dissatisfaction with the continued use of free forms and mix decorative elements used in the building from different architectural styles that bore little or no relation to the functions of the building. Secondly, to serve the rapidly in...
One of the most representative cases of this “International Style” or architectural innovation that encloses these qualities which were previously mentioned is the Rose Seidler House 9.
For the United States the Twenties was a time to flourish and enjoy the common wealth, but unlike everything else, architecture was in a creative slump. many artists were having difficulty in depicting a "style" for the new era. Many new technological advances were occuring through the steel industry and the discovery of glass. The architects of this period wanted to incorporate those advances in their designs, thus bringing forth an experimental period. With architects from different backgrounds and cultures working to produce a masterpiece the International Style was created.
First and foremost are the architectural elements. These encompass the structural components that Chareau uses to emphasize the current site’s condition, the regularity of the grid used, the characteristics of the materials, the spatial alignment of the program, and so forth. The Maison de Verre would not have been designed the same way if it had been erected elsewhere. The same design principles would have been apparent, but there were extenuating circumstances that the client and the architect encountered at the site. The clients, Dr. and Mrs. Dalsace, inherited the building and the surrounding property from her father, and had the sole intention of tearing down the existing building and resurrecting a new, modern structure that would showcase Chareau’s furniture designs. (Vellay 63). The only thing stopping them was an elderly woman who lived on the second floor of the existing building who refused to leave her apartment (Frampto...
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
Italian art and culture changed numerous times throughout history, bringing about some of the world’s most unique and beautiful design concepts. While many marvel at the beauty of magnificent architecture, one-of-a-kind paintings, and breathtaking sculptures, the interiors of these buildings were just as remarkable. Rebirth of classical architecture became prominent along with the notion of an ideal city, where proportions were of the upmost importance. Many early interior architects used patterns and colors, along with strategically placed furniture, to create rooms of unity and proportion. With the architectural rediscovery of classical design, artisans and designers of the time were called upon to create interiors that met those needs.
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
In the short reading, The Cunning of Cosmetics, by Jeffrey Kipnis, he begins by explaining what architecture is reacting to and how it effects the direction it is going in. As a result from explaining this, he starts to ponder on his job on Herzog & de Meuron and question, “When did my infatuation with HdM’s work begin?”(Kipnis 23) he starts to realize that buildings have the “Ability to insinuate itself into my psyche” without forcing itself upon someone. He is able to analyze this in the magazine he was reading Arch- Plus by Nikolaus Kuhnert and see how he separated the magazine into two sections – Ornament and Minimalism, through this he able to explore prime examples such as Signal Box and Ricola Europ, explaining how the use of their materiality and modern ornamentation can give a “Erotic allure…the sirens of the Odyssey”. Overall he is clarifying that
The pavilion is significant figure in the history of modern architecture, regarded to be influential with its open plan and use of exotic material. There is a blurred spatial demarcation where the interior becomes an exterior and exterior becomes the interior. The structure constantly offers new perspectives and experiences, as visitors discover and rediscover in the progress of moving throughout the in’s and out’s, a non directional conforming circulating movement pattern. To facilitate this movement, even though it is a visually simplistic plan, its complexity is derived from the strategic layout of walls with its intimation of an infinite freedom of
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
The reason for this piece is to attempt a comparison between two architectural examples that employ classical design from different stylistic eras of architectural history. The two styles I've chosen to discuss are the Renaissance and Baroque periods. An understanding of classical architecture needs to be made, as it is the fundamental style of any period that developed architecturally
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...
Designed around Corbusier’s Five Points system and with his own beliefs in functionalism and purism, the house is supported by twenty-five slender pilotis around its outer walls. On top of these pillars sits a reinforced-concrete second story, square in shape, with long rectangular windows framing most of the main unit. The top portion of the house features a terrace with enclosed wind break around a small garden. The ground floor of the house offers no immediate discernible entrance which forces the occupant to walk around the building and eventually up the spiral staircase to the roof. In keeping with his “five points of a new architecture,” Le Corbusier wanted the building to be elevated above the ground to allow accessibility to nature and human traffic. The second point he wanted was the creation of the roof garden which would replace the greenery normally inhabited by the building and incorporate it into the house itself. The open plan of the house features his third point, which is the separation of load-bearing pillars. The fourth point, which includes the strip windows was a response to provide more uniform light inside. The last point, the creation of a thin facade instead of a load-bearing wall was for aesthetic effect to create an abstract effect on the
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.
..., separate to its postmodernist counterpart, contrasting in terms of structural geometry, physicality and concept. Where deconstructivist architecture attempts to defy the laws of physics -using rectilinear shapes and patterns- to present an atypical structural envelope that pushes the boundaries of inventiveness and continuity, postmodernism in stark contrast favours traditional and ‘normal’ processes that exude predictability and emphasise the lack of importance placed on the aestheticism of the building. As a result deconstructivist architecture and the theories on which it is based is separated from postmodernism and identified as an architectural principle of its own, with this new form of architecture now being considered the new Art Nouveau for the modern architect, with an everlasting impact on the practice of architecture for years to come.
Materiality within architecture plays a focal role to communicating themes and functional properties of the design to those experiencing architecture. An architectural intent can be revealed through various methods, whether it is through materiality of spaces or the facade. The formal condition within the current design of the proposed Academy of Distilling Arts is a three-storey atrium in which the primary vertical circulation is located, making it the most activated space within the building. The atrium acts as a buffer zone, distinguishing the new form the old. The staircase being a central component, highlights the verticality in the atrium, further put in context through the materiality of the staircase and surrounding materiality of