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History of architecture essay
Architectural history essay
Architectural history essay
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Trying to define modern architecture was a problem that many architects struggled to explain. No one before had created what we now know as “modern” architecture. In the past architects were able to look into history to gain an inspiration for buildings however, this approach would not fit in this new age of the machine. Industrialization changed the way people thought. The Industrial Revolution allowed products to be produced on an industrial scale, allowing ordinary people access to goods that would have been otherwise not have been in their reach. Architecture was slow to adapt to industrialization and the industrial age brought new problems never seen before. One such of architecture’s main goals is to faithfully represent its time; this idea is known as Zeitgeist or “Spirit of the Age.” Since an age of the machine was a never before seen phenomenon, architects had to think slightly ahead of their time in order to keep up with the changes going on in society. Many architects such as Le Corbusier, Frank Lloyd Wright, Walter Gropius and Ludwig Mies worked tirelessly to establish themselves as leaders in their field. They came up with ideas such as harmony between architecture and nature, and function over form. Ludwig Miles was one such architect who tried to cement his place in history through the creative use of concrete, steel and glass. Mies’s style was known to follow the saying “less is more.” One of his greatest known buildings is the Seagram Building. Built in New York City in 1958, it was one of the most expensive buildings built at that time. The Seagram building was built in 1958, during a time “when Park Avenue was transforming from an exclusive residential neighborhood to a prestigious business address, the Seagra...
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...hborhood Preservation Center. Accessed December 10, 2012. http://www.neighborhoodpreservationcenter.org/db/bb_files/Seagram-Building--Including-The-Plaza.pdf.
Scott, Felicity D. "An Army of Soldiers or a Meadow The Seagram Building and the 'Art of Modern Architecture'." Journal of the Society of Architectural Historians 70 (September 2011).
"Seagram Building." New York Entertainment. Accessed December 10, 2012. http://nymag.com/listings/attraction/seagram_building/.
"Seagram Building, New York." Galinsky. http://www.galinsky.com/buildings/seagram/.
Wegener, Jim. "Nocturnal Modernity." Architizer. Last modified August 12, 2010. Accessed December 10, 2012. http://www.architizer.com/en_us/blog/dyn/6365/nocturnal-modernity/#.UMkahoPs5TJ.
Whyte, William H., narr. The Social Life of Small Urban Spaces. N.p.: n.p., 1980. DVD. Originally released 1980.
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
Night. The. New York, NY: Hill and Wang, a Division of Farrar,. Strauss and Giroux, 2006. Print.
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
The success of the Van Nelle Factory as an icon of modern architecture was due to its functional design concepts fused with the principles of progressivism and idealistic concepts. The flexible interior, the large amounts of penetrating light, the elegance of clean and healthy functionalism, and the weightless mass were the strongest attributes for the complex. With Brinkman’s, Van der Vlugt’s, and Van der Leeuw’s combined education of modern architecture they were able to employ their design ideologies to create one of the most renowned factories in Europe. Paul Bromberg wrote that the Dutch architects soon “… realize[d] that even the most utilitarian buildings can and should be beautiful. Building should always be architecture, even when it is ‘only’ a factory.”
Rowland, Kurt F. A History of the Modern Movement: Art Architecture Design. New York: Van Nostrand Reinhold, 1973. 142. Print.
In the early twentieth century the Modern movement of architecture and industrial design came about. This movement was a reaction to the change within society and the introduction of new technologies. The ever changing world and technology meant artists to evolve alongside the changing world and this kind of ‘industrial revolution’ that was happening. Modernists ideas have seeped into every form of design especially architecture and design. Although most modernists insisted they were not following any style in particular, their work is instantly
Le Corbusier’s Vers Une Architecture (Towards a New Architecture) is focused on the architectural qualities of “the machine”. He states that “the house is a machine for living in,” where the principles of architects should be to make the house suited for its purpose, as if it was a machine. This restates the argument that functionalism is more important than appearance, and that progress comes from architects abandoning the concept of traditional styles and decorative effects. Le Corbusier understood that architecture has nothing to do with various styles because functionality will always come before the subjectivity of appearance; he saw the aesthetic, not as just another style but the substance of architecture. In which he drew parallels
“In the Cause of Architecture” is an essay written by Frank Lloyd Wright in 1908. In this work, Wright outlines many of his architectural values. This text goes into great detail about the philosophy behind Frank Lloyd Wright’s architecture, as well as many important milestones in his life, such as working for Adler and Sullivan. This text is useful because it comes straight from Frank Lloyd Wright himself. It talks about many things important to his role as a notable American, such as his influences for his architecture and his architectural
From the early Greek temples of yesteryear, to the high-tech autonomous buildings of tomorrow, the question of whether the function of a building or its aesthetics qualities are more important has plagued the minds of architects around the world. Webster's II New College Dictionary (Please do not use the encyclopedia or the dictionary to open your essay--way too high school.) defines aesthetics as "The branch of philosophy that provides a theory of the beautiful and of the fine arts" (18). The definition of Functionalism is defined by Webster's as "The doctrine that the function of an object should determine its design and materials" (453). Now, if the function of an object decides the type of design and materials used how does one integrate aesthetics into design, and moreover, how important are aesthetics to an architect? Frank Lloyd Wright was one of the greatest and most renowned architects of the 19th and 20th centuries, and while his buildings where lauded for displaying great artistic design, the issue of function was compromised by the blatant fact that his roofs leaked. This is because he let the aesthetics of his buildings become the focus of the structure, and neglected to adequately address the function of the building allowing for this problem to take root in his designs (Palermo, 4 Mar. 1999). As is apparent from Frank Lloyd Wright, there is a certain balance that has to be attained between aesthetics and functionalism in order for a structure to be appreciated as a successful building.
Architecture, the practice of building design and its resulting products, customary usage refers only to those designs and structures that are culturally significant. Today the architecture must satisfy its intended uses, must be technically sound, and must convey beautiful meaning. But the best buildings are often so well constructed that they outlast their original use. They then survive not only as beautiful objects, but as documents of history of cultures, achievements in architecture that testify to the nature of the society that produced them. These achievements are never wholly the work of individuals. Architecture is a social art, yet Frank Lloyd Wright single handily changed the history of architecture. How did Frank Lloyd Wright change architecture?
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...
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...
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
What makes modern architecture? Before answering this, one would need to understand what the term “modern” exactly describes. In architecture, modernism is the movement or transition from one period to another, and it is caused by cultural, territorial, and technological changes happening in the world. In Kenneth Frampton’s Modern Architecture: A Critical History, he details these three major societal changes that impact and create modern architecture.