Evolution of Modernism
Modernism’s origins begin in the late 19th and early 20th century in Western society as a global modern movement in alignment with modern industrial materials and machine esthetic. As iron, steel and concrete materials became more affordable, of better quality, and more readily available, architects began to use these industrial materials more frequently and in innovative ways. Art Noveau, a popular late 19th century style, characterized by organic and flowing plant-based shapes, gave way to this new modernist trend.
Crystal Palace
An early example of the use of industrial materials in architecture was the Crystal Palace, designed by Sir Joseph Paxton (1803-65) for the Great Exhibition of 1851 in London. The use of cast iron framework and glass was unique because it was lighter in weight than the traditional buildings of that time. Even at its massive size of 990,000 square feet and over 1,800 feet long, the Crystal Palace could be assembled in one location then disassembled and set up in a different location. It took 2,000 men to assemble in its entirety over 8 months. The Crystal Palace inspired many architects and engineers such as Gustave Eiffel (1832-1923). For the 1889 Paris World’s Fair, engineer Eiffel designed a tower, meant only to be temporary, to welcome visitors to the World’s Fair. Named the Eiffel Tower, it was comprised of iron and reflected a “modern” feel that challenged tradition and history. While it received a lot of criticism at the time, the Eiffel Tower became a permanent fixture on the Paris skyline and a global icon. |
The Father of Modernism
Architect Louis Sullivan (1856-1924), often referred to as the “father of Modernism,” pioneered the modern skyscraper. With the use of
industrial materials such as steel his structures could reach heights not achieved in the past. In the 1890s he designed the Wainwright Building in St. Louis, Missouri which became the first modern skyscraper.
Architect Louis Sullivan (1856-1924), often referred to as the “father of Modernism,” pioneered the modern skyscraper. With the use of
industrial materials such as steel his structures could reach heights not achieved in the past. In the 1890s he designed the Wainwright Building in St. Louis, Missouri which became the first modern skyscraper.
Modernism Expands
Modernism Design
In addition to the application of newer materials like iron, steel, glass, and concrete in architecture, “Modernism” also exhibited other changes such as less decorative and ornamental designs in favor of more geometric designs with strong horizontal and vertical lines. Glass often replaced stone and brick facing, allowing an open feeling of being outside when inside.
In addition to the application of newer materials like iron, steel, glass, and concrete in architecture, “Modernism” also exhibited other changes such as less decorative and ornamental designs in favor of more geometric designs with strong horizontal and vertical lines. Glass often replaced stone and brick facing, allowing an open feeling of being outside when inside.
Frank Lloyd Wright
Architects such as Frank Lloyd Wright (1867-1959), who worked for Sullivan in the late 1880/90s, used a philosophy of “organic architecture” which fuses nature and art creating harmony between people and their internal and external environment. Wright developed an architectural style termed “Prairie Style,” in which structures reflect and work together within their environment. An example of this is “Fallingwater,” the Kaufmann home in Pennsylvania that Wright built over a natural waterfall. Native sandstone and other natural materials from the property were also used to complete the home and further fuse the concept of nature and art. Wright’s architecture was not fully appreciated by other architects of the time. His style can be characterized by cantilevered roofs, strong horizontal and vertical lines, open space concept, terraces and balconies, the feeling of having no boundary between interior to exterior, asymmetry, and interior furnishings that related to the architectural structure. |
Frank Lloyd Wright Influences
Influences on Wright’s new “Prairie Style” were attributed to a Chicago 1893 World’s Columbian Exhibition visit where he saw a Japanese Pavillion with dramatic projection of eaves and severe geometric-shaped rooms with sliding doors allowing one room to flow into the other. The other influence was his mother’s purchase from the 1889 World’s Fair of a Froebel Block set for him when he was young.
Influences on Wright’s new “Prairie Style” were attributed to a Chicago 1893 World’s Columbian Exhibition visit where he saw a Japanese Pavillion with dramatic projection of eaves and severe geometric-shaped rooms with sliding doors allowing one room to flow into the other. The other influence was his mother’s purchase from the 1889 World’s Fair of a Froebel Block set for him when he was young.
Modernism Grows in 2oth Century America
Art Deco
Starting in the 1920s a style called “Art Deco” emerged at the Exhibition of Decorative and Industrial Art held in Paris. It was a transition from Art Noveau’s organic forms to machine-age, geometric, and streamlined looks. William van Alen’s “Chrysler Building” of 1928-30 in New York City is a famous example. “Art Deco” also was more than architecture-it was furnishings, everyday home use items, clothing, appliances, and more. The International Style The “International Style” came to New York City and Philadelphia in the early 1930s with structures that hold true Modernist characteristics and were firsts for this country. In 1932 the Museum of Modern Art in New York City held an exhibition titled Modern Architecture: International Exhibition in which architecture featured in the exhibition had the “International Style” characteristics of rectilinear forms, flat surfaces with no ornamentation, cantilevered forms, weightless feeling, open interior spaces, and were constructed with concrete, glass, and modern steel. The founders of the “International Style” include the following architects:
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From the Bauhaus to America
The Bauhaus in Weimar
Of these founding architects Walter Gropius was the founder of the Bauhaus in Weimar, Germany in 1919. The Bauhaus was a German school of art that combined crafts, design, and fine art together in unity to produce products of everyday life. In addition to Gropius was a multitude of arts/architectural talent such as Wassily Kandinsky, Josef Albers, Paul Klee, Ludwig Mies van der Rohe, and others. The school was closed in 1933 by the National Socialist German Worker’s Party or Nazi Party. Many of the school’s faculty emigrated to America and began successful careers by carrying on their contemporary art theories and teachings. |
Form Follows Function
With the Bauhaus School, design unity was applied to everything in the material world. Everyday objects for both living and working spaces were designed by observing how people used them, then making sure the design and function were united. These objects of functional art had to not only look better but they were also intended to make life more pleasant and be able to be mass produced.
With the Bauhaus School, design unity was applied to everything in the material world. Everyday objects for both living and working spaces were designed by observing how people used them, then making sure the design and function were united. These objects of functional art had to not only look better but they were also intended to make life more pleasant and be able to be mass produced.
Walter Gropius
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Wassily Kandinsky
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Josef Albers
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Paul Klee
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Mies van der Rohe
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Read the Bauhaus: How the Avant Garde Movements Transformed Modern Art by Kelly Richmond-Abdou at “MY Modern Met.”
ELIEL SAARINEN COMES TO THE UNITED STATES
The United States experienced a wave of immigration in the late 1800s and early 1900s. Eliel Saarinen (1873-1950), an accomplished Finnish architect, was one of many talents that moved to the United States during that time. He had designed the Finnish pavilion for the 1900 World’s Fair in Paris, the Helsinki Central Railway Station in the early 1900s, and worked as a city planner for Estonia and Budapest. Upon moving here in 1923, he quickly amassed accomplishments as an architect and Professor.
George Booth, founder of the Cranbrook Education Community (Bloomfield Hills, MI) known as an American Bauhaus, invited Saarinen to Cranbrook. He accepted, taught, designed architecture structures and became president in 1932. Cranbrook Education Community produced architects such as Ray and Charles Eames and Victor Gruen, counterparts to “America’s Public Sculptor”, Marshall M. Fredericks.
George Booth, founder of the Cranbrook Education Community (Bloomfield Hills, MI) known as an American Bauhaus, invited Saarinen to Cranbrook. He accepted, taught, designed architecture structures and became president in 1932. Cranbrook Education Community produced architects such as Ray and Charles Eames and Victor Gruen, counterparts to “America’s Public Sculptor”, Marshall M. Fredericks.
Eliel Saarinen
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Eero Sarrinen
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Eero and Eliel Saarinen
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Like Father, Like Son: Eero Saarinen
Saarinen’s son Eero (1910-1961) became a renowned architect as well. His work explored curvilinear forms, irregular geometries, mass production, and the auto industry. He applied elements of the car industry to architecture design. For example, he invoked a collaborative ingenuity of ceramic artists at Cranbrook with the spark plug division at General Motors.
Saarinen’s son Eero (1910-1961) became a renowned architect as well. His work explored curvilinear forms, irregular geometries, mass production, and the auto industry. He applied elements of the car industry to architecture design. For example, he invoked a collaborative ingenuity of ceramic artists at Cranbrook with the spark plug division at General Motors.