Modernism from Europe and the International Style Art Deco 1925-1945 Art Moderne 1930-1945...
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Transcript of Modernism from Europe and the International Style Art Deco 1925-1945 Art Moderne 1930-1945...
Modernism from Europe and the International Style
Art Deco 1925-1945
Art Moderne 1930-1945
International Style 1920-1945
Art Deco, 1925-40
Named for the Exposition Internationale des Arts Decoratifs and Industrials Moderne, 1925
Eliel Saarinen
“Break with the past; look to the future”
– A mixture of science and art
Art Deco characteristics
Linear and angular compositions
Use of set backs and vertical emphasis
Common decorative motifs– Chevrons, zigzags– Colored tiles
Use of exotic themes and décor
Background: Art Deco takes its name from the Exposition Internationale des Arts Décoratifs and industriels Mondernes, held in Paris in 1925. However, the first building designed in this style was a submission for a new Chicago Tribune Building in 1922, by Finnish architect Eliel Saarinen. The exposition emphasized the future, not the past [hence the break with Beaux Arts]
Art Moderne, 1930-45
Streamlined
Emphasis on the horizontal
Smooth finishes and curves
Curved windows of modern glass
Flat roofs
Modern materials
Rockafeller Center, New York CityReinhard & Hofmeister, 1927-1935
The construction of this complex was a preview of the rejection of decoration as criteria of design
International Style, 1920-45
Massing most important, undecorated, uniform treatments
Concrete, metal, glass
Flat roofs, smooth walls
Large expanses of glass
Emphasis on the horizontal
Cantilevered balconies
European Context
• Bauhaus School: Walter Gropius, Ludwig Mies van der Rohe– Intentionally futuristic– Modern technology and democracy
• The architectural machine• Form follows function
– Functional simplicity– “Less is More”
• Architecture’s social and political context– Honesty vs. decorative trappings
Philadelphia Savings Fund Society, Philadelphia, Penn., 1929-32
12th & Market Sts., Philadelphia, PA, 1932. George Howe and William Lescaze
The term "International Style" began at the Metropolitan Art Museum in 1932 in which fifteen current architects' works were grouped as an international style. The Catalog of that exhibit was also termed, The International Style since 1922. While most work in the United States embraced revival styles, Europeans were the principal practitioners of this work without precedent.
Art Deco and especially Art Moderne embraced transportation metaphors for decoration,
International Style viewed buildings as factories for living and sought to emulate the extreme functionality and modularity of those spaces.
Rejection of "unessential" decoration is the one characteristic that separates International style from Deco, or Art Moderne.
International Style, 1920-45
International in impact
Developed by European architects
Walter Gropius, Ludwig Meis van der Rohe, Marcel Breuer, and LeCorbusier, among others used this style in their early careers. The Bauhaus School was particularly influential.
Purposeful critique of and break from the past
Modular, uniform architecture for the masses
Architecture for industry, business, and institutions
European Context
Bauhaus School: Walter Gropius, Ludwig Mies van der Rohe
– Intentionally futuristic– Modern technology and democracy
The architectural machine Form follows function
– Functional simplicity– “Less is More”
Architecture’s social and political context– Honesty vs. decorative trappings
Tension between formal and functional elements
Assertion of FunctionWindows should show pattern of use. (Functional)
Assertion of FormWindows should emphasize rightness of relationships. (Formalist)
International Style characteristics
Simple, undecorated, uniform
Concrete, metal, glass
Flat roofs, smooth walls
Large expanses of glass
Emphasis on the horizontal
Cantilevered balconies
Seagram BuildingNew York, NY, 1956-58, L. Mies van der Rohe & P. Johnson
Lake Shore ApartmentsChicago, 1948-51, Meis Van Der Rohe.