A World

Without Man
Does Modernist architecture hold man in
contempt?

Joshua R. Smith

The ebb and flow of architectural trends throughout

human history have typically been joined to the
pursuit of bettering man in one shape or another.
This can come in the form of the inculcation of
virtue, theological orthodoxy, respect for lawful
authority or even simply providing a beautiful and
consoling respite for the eyes. At the dawn of the
20th century, however, a new form of architecture
was gradually increasing in popularity. I speak, of
course, of the varied schools of Modernism:
Deconstructivism, Industrialism and countless
other aggressive manifestations.

December 12th, 2014

This is the guiding force behind Modernist

architecture, one which eschews symbolism and
beauty in lieu of pragmatic efficiency. It is an
inherently narcissistic and elitist ideology. There is
no such thing as a mute building. Every building is
a reflection of its creator. The Modernist, in his
hatred for objective meaning, must then cast aside
his clienteles inherited tradition and culture as
nothing more than the residual, juvenile creations
of a primitive society that had not yet entered into
the cold, sober reality of the modern world. It is
then replaced with the enlightened ideals sprung
from the minds of a self-declared caste of liberated
There arose simultaneously from this movement a architects.
philosophy that embraced a vacuum of meaning.
Gone were the days of architecture seeking to Humans, however, crave the consolation of tactile
beautify, inform or instruct. Meaning was viewed and ordered symbolism. They love and cherish
as an imposition. It was an affront to the brutal what has been lovingly assembled by the hands of
honesty of modern man, as if being countless generations for future ones to enjoy. The
disenfranchised with the pursuit and love of beauty ability to create art is one of the most earthwas a virtue to be attained. As Dino Marcantonio, shatteringly unique and noble abilities of man. As
a prominent New York City architect, observes such, Modernism leads to a desired aesthetic form
with regard to Modernist architects:
that is as inhuman as possible: the machine
aesthetic. Modernist buildings of the Industrialist
[They] do not trust the information that comes to stripe will purposefully omit the normative
the mind from the senses. I think I see a table over pleasantries of such dishonest accoutrements as
there, but how do I know for certain that my eyes finished walls and ornamentation of any kind, in
do not deceive me? All I can say for sure is that I lieu of exposed plumping, central air ducts, and a

think I see a table. The only thing I can be sure of

are my thoughts. Oh, and because I am sure I have
thoughts I know I must existcogito ergo sum! But
that is all I know for certain. Everything that
appears to be an ordered universe is in fact my
minds projection.(Marcantonio, 2013)

geometry that can only be charitably described as

sterile utilitarianism. It is a form which attempts to
disassociate the dwelling place from its human
occupants as thoroughly as possible. It is almost
contemptuous for humanity, seeing his mark and
his needs as a blight and corruptive influence in all
endeavors. Evelyn Waugh, the 20th century English
novelist, parodies this mindset in his novel,
Brideshead Revisited. The character, Professor
Silenus, is a Modernist architect who takes on a
commission to build Something clean and square
for a young socialite. When probed as to what his
views are for architectural integrity, he opines the
following:

The problem of architecture as I see it, he told a journalist who had

come to report on the progress of his surprising creation of ferroconcrete and aluminum, is the problem of all art the elimination of
the human element from the consideration of form. The only perfect
building must be the factory, because that is built to house machines,
not men. I do not think it is possible for domestic architecture to be
beautiful, but I am doing my best. All ill comes from man, he said
gloomily; please tell your readers that. Man is never beautiful, he is
never happy except when he becomes the channel for the distribution
of mechanical forces. (Waugh, 1945)

While this may be a bit of a coy exaggeration, it is the logical conclusion

of an artistic movement which holds the collective artistic patrimony of
man as quaint insipidity at best or as a cancer at worst. If Modernistic
architecture can only be defined by what it is not and not by what it is,
can it truly be called a legitimate form of architecture? We must advocate
for architects to preserve and celebrate our cultural patrimony and to
build in such a way that respects the hallowed traditions of previous
generations. Historical commissions, academic institutions, and entire
communities must strive to ensure that both their existing structures are
maintained and protected in addition to ensuring that their communities
are built in accord with the will and heritage of the local population and
not created in the image and likeness of a single ideologue. We must
undertake such measures lest we fall victim to the likes of Professor
Silenus who begrudgingly begins his design thusly:

I suppose there ought to be a staircase, he said gloomily. Why

cant the creatures stay in one place? Do dynamos require
staircases? (Waugh, 1945)

References:

Waugh, E. (1945). Brideshead revisited; the sacred and profane memories of Captain Charles
Ryder, a novel. Boston: Little, Brown.
Levenson, M. (2011). Modernism. New Haven, Conn.: Yale University Press.
Jordana, S. (2011, January 4). AD Round Up: Industrial Architecture Part V. Retrieved
December 11, 2014, from http://www.archdaily.com/101249/ad-round-up-industrialarchitecture-part-v/
Marcantonio, D. (2010, March 29). I Refute Modernism Thus! Retrieved December 15, 2014,
from http://blog.marcantonioarchitects.com/i-refute-modernism-thus/
6 Spectral Artworks With Faces Erased. (2013, April 20). Retrieved December 11, 2014, from
http://www.thingsworthdescribing.com/2013/04/30/6-spectral-artworks-with-erased-faces/