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What is modern: characteristics ofmodern architecture

What is different about modern architecture? a2 modern member, Greg Jones, A.I.A.,summarizes some of the common characteristics of this period of architecture.

Characteristics of Mid-Century Modern:

• Lack of ornament: Decorative moldings and elaborate trim are eliminated or

greatl simplified, giving !a to a clean aesthetic !here materials meet in simple,

!ell"e#ecuted $oints.

• Emphasis of rectangular forms and horizontal and vertical lines % &hapes of

houses are based bo#es, or lin'ed bo#es. (aterials are often used in !ell"

defined planes and vertical forms $u#taposed against horizontal elements for

dramatic effect.

• Low, horizontal massing, flat roofs, emphasis on horizontal planes and

broad roof overhangs: (odern homes tend to be on generous sites, and thus

man, but not all, have to have meandering one"stor plans. (an e#amples hug

the ground and appear of the site, not in contrast to it.

• se of modern materials and systems: &teel columns are used in e#posed

applications, concrete bloc' is used as a finished material, concrete floors are

stained and e#posed, long"span steel trusses permit open column"free spaces,

and radiant heating sstems enhance human comfort.

• se of traditional materials in new ways: (aterials such as !ood, bric' and

stone are used in simplified !as reflecting a modern aesthetic. )raditional

clapboard siding are replaced !ith simple vertical board cladding used in large,

smooth planes. *ric' and stone!or' are simple, unornamented, and used in

rectilinear masses and planes.

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• Emphasis on honesty of materials: Wood is often stained rather than painted

to e#press its natural character. In man cases e#terior !ood is also stained so

that the te#ture and character of the !ood can be e#pressed.

• !elationship between interior spaces and sites: +se of large e#panses of

glass in effect brings the buildings site into the building, ta'ing advantage of

dramatic vie!s and natural landscaping.

• Emphasis on open, flowing interior spaces: -iving spaces are no longer

defined b !alls, doors and hall!as. -iving, dining and 'itchen spaces tend to

flo! together as part of one contiguous interior space, reflecting a more casual

and rela#ed !a of life.

• "enerous use of glass and natural light: Windo!s are no longer portholes to

the outside, but large e#panses of floor to ceiling glass providing dramatic vie!s

and introducing natural light deep into the interior of homes.

• se of sun and shading to enhance human comfort:  )he best modern homes

are efficient. )he are oriented to ta'e advantage of natures forces to provide

passive solar heating in the !inter, !hile long overhangs and recessed openings

provide shading to 'eep homes cool in the summer.

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Transcript of Architecture: Modern Vs.Postmodern

Sarah Thornley, P.2 Modern vs. Postmodern Thesis: Modern

and Postmodern architecture have many similarites and

dierences, which will be compared and contrasted

throuhout my pro!ect. Modern "rchitecture:

#$eveloped after WW%, but ained in popularity after WW2

#$eveloped by those aainst the lavish and e&pensive

appearance in 'ictorian and (uropean architecture.

#)ollows a *form follows function* and *truth to materials*

notion, meanin that the result of a desin should come from

its purpose, and that none of the materials should try and be

concealed as somethin else. +e. a concrete slab as a wall.# Showed a use of less materials, as well as more natural

liht.

#)irst modern buildins were s-ycrapers Post#Modern

"rchitecture

#Showed up in late /0s, ained popularity in early %1/0s.

#Same philosophy as modern, althouh buildins use more

cylindrical and whimsical shapes as opposed to strictly

rectanles, and hori3ontal4vertical lines.

#$rew from past styles , such as 5ree- and 6oman, and

brouht the return of the column. #7oth use very little

construction materials

#8se tons of natural liht

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#8se eometric shapes 9omparison 9ontrast Modern strictly

uses hori3ontal and vertical lines, as well as rectanular

shapes.

Postmodern shows a use of *$r. Suess* or whimsical li-eshapes.

Modern houses are very simple, while postmodern shows a

reater use of ornamental styles, drawn from the art#deco

period. )amous Modern "rchitects:

ouis Sullivan +%;#%12ouse

$aniel 7urnham +%e is consideredthe forefront of the entire post#modern movement. B(@

 T(6MS:

Modernism

Postmodernism

9ontemporary

Symbolysm

9ylindrical

Crnamental

"rt $eco

'ictorian

"rticulation Wor-s 9ited:

http:44architecture.about.com4od4reatarchitects4p4venturi.ht

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m

http:44architecture.about.com4od42/thcenturytrends4tp42/thc

reats.htm

http:44www.dwell.com4http:44www.modernaustin.com4

#econstructivism in architecture

Deconstructivism in architecture !as born in the late /s of the t!entieth centur.

Its characteristic feature is the idea of fragmentation. It also manipulates the surface

and the cover of the construction. It is dominated b curvilinear shapes, !hich are

supposed to disturb and dislocate the s'eleton of the ob$ect. )he structure of the

building has a feeling of controlled chaos and stimulating unpredictabilit.

Deconstruction is a continuation of an earlier architecture stle " postmodernism.

0o!ever, is stands in opposition to the limiting rules of modernism, including materials

fidelit, purit of form or forms functioning. Deconstructivism in architecture re$ects the

rule of ornament as a side effect or an item of decoration.

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Deconstructionists often dre! their inspiration from 1ussian constructivism. Delighted

b the ne!, e#perimental forms and geometric structure destabilization. )oda, in their

!or', architects need a computer. It helps in the creation of pro$ects in destructivism

and ine#pensive mass production of subtl differing elements.

In 3, an e#hibition titled 4Architecture deconstructionism4 in the (useum of (odern

 Art !as organized. It crstallized a ne! stle in architecture and has brought fame to

artists !ho too' part in it.

)he best e#ample of deconstructionism comple#it of this architecture is the 5itra

Design (useum designed b 6ran' Gehr. It is a !hite, bare cube"shaped building,

!hich !as deconstructed using geometr evo'ing abstract e#pressionism and cubism.

7ne of the best architects of deconstructionism are% 6ran' Gehr, 5lado (iluni8, 9aha

0adid, :oop 0immelb ;l< au, =eter >isenman, *ernard )schumi, 1em oolhaas, Daniel

-ibes'ind.

)he most famous !or's of architectural deconstructionism are% 4Dancing 0ouse4 in

=rague, the Imperial War (useum in (anchester in the +, 5itra Design (useum in

Weil"am"1hein ;German:0 , D>:7@&)1+:)I7@I&( , :1I)I:A- 1>GI7@A-I&(

 

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A HISTORY OF ARCHITECTURE - DECONSTRUCTION

 

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Cunder constructionC

Critics discussing the phenomenon of deconstructionism us

tire complex of the phraseology developed by Derrida. However, the concept of deconstructionism t

nderstood explicitly (as the concept of constructivism) with the proviso that the two concepts

thing to do with thestructure a component architec

econstructionism is simply removing the essence of architec

nstructivism was an abstract, mystical attitude, aimed at creating a new reality - or rather - over-the re

cause it was completely anti-functionalist, can be readily harnessed in the service of any utopian ideoe best example of anti-logic, anti-rationalist and anti-functional constructivism is !ol"enbug

ssit%"y&ego of '(* +on the left). he office building was put up in the clouds, and connected to the earth

ts and installation shafts. he obect itself is interesting, but forced to the uestion - w

e only effect of such a concept is to increase the cost of building and difficulty of life for its users. /nde

ilding there is no par", no benches. here are only a roadway, as depicted in futuropolis of 0ant

oportion of buildings indicate that all can fit on the ground. he lifts are completely unnecessary. he

ly a symbol of modernity. Total functional nonsense. 2rt for art&s sa"e. he whole constructivis

ational in nature and there is nothing wrong in that as long as it belongs to pure art. His transfer to the

architecture must lead to disaster. Constructivism of Gabo and Pevsner did not create the struc

reality, but the structure of wors of art.

the catalog of the exhibition 42rchitecture of deconstruction4 +5o52, '(66), 1hilip 7ohnson and 5ar" !

sted, that proects in this exhibition represent a different sensibility, in which the dream of pure form

en disturbed. 2rchitecture becomes deconstructivist, if it storms our ability to thin" on the form. #lsewh

ilip 7ohnson also argues that 4the creation of strange buildings uses the hidden potential of modernis

is is the whole philosophy of deconstructionism8 4disorder of dreams of purity of form4and 4disord

n"ing about the f

ch statements are good in the post-Dadaists s"etches of the Cabaret 9oltaire, but the relationship betw

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