Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar.

Mar Ticao

MODERN ARCHITECTURE
Introduction The nineteenth century, so rich in important works of music and painting, the great age of the novel and of lyric poetry, developed no characteristic art forms in spatial composition and planning. It was an epoch without a building style of its own. Selfconfident reliance on the architectural forms of the past concealed an inner uncertainty. The past had become a store-house for hasty resurrections of every style, for the pseudo-Gothic and the neoromantic, for "renaissances of the renaissance" and resuscitations of Baroque and Rococo, to be plundered without restraint and often enough without any comprehension of the circumstances which had given rise to these particular forms. For religious structures Romanesque and Gothic models were preferred, for bank buildings Doric and Ionic columns were chosen to indicate stability and the dignity of wealth, and in the building of town halls middle-class vanity found expression in reminiscences of Late Gothic and Renaissance days, the golden age of towns. Even the ordinary middle-class home could not escape the carnival of styles and masqueraded in clothes borrowed from the Renaissance villas of the Florentine, Roman and Venetian nobility. But even among followers of the cult of historical pageantry there were important architects like Semper and Viollet-le-Duc who stood head and shoulders above the sycophantic mannerists with their pattern books. There were architects who tried to speak a language of their own, even if they used the grammar and vocabulary of the past, but for the most part their efforts were condemned to failure. The intellectual revolutions and social upheavals which had taken place in the meantime could no longer find a response in concepts which were based entirely on traditional ideas of architecture. The tasks which confronted nineteenth-century architecture, and which continued unsolved into our century, were unmatched in variety and magnitude. About 1800, with the onset of the industrial revolution, there occurred a rapid increase in population. Within 130 years the number of inhabitants in England rose from 9 to 45 million, in Germany from 24 to 66, and in the USA from 5 to 123. Simultaneously the proportionate distribution of town and country dwellers altered. In 1871 64 out of 100 Germans still lived in the country and 5 in cities, but by 1933 there were only 33 in the country to 30 in cities. London underwent an eigthfold expansion in 150 years, while Paris increased two-and-a-half times in half a century. The rise in population only affected towns. In previous centuries architecture had been associated in its development with what were essentially unchanging building problems: the church, the castle, the town hall and the merchant's house. New tasks now began to appear, which hitherto had been without significance in architectural development: factories, workshops and administrative buildings; highways, stations and airports; hospitals and sports buildings; schools, libraries and exhibition halls. At the same time there arose an ever more pressing need co-ordinate from the standpoint of over-all control the immense multiplicity of requirements and regulations. The problem involved the technical, sociological and formal aspects of town planning, and finally national planning as well. Beyond the town boundaries regional planning sought a basis for individual planning by ordering the disposition of industrial and residential zones, highways and green Page 1 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao spaces and of built-up and agricultural areas. Confronted with such an abundance of tasks eclecticism with its methods based upon historical precedents was certain to founder. During the same period a complete change in production methods took place. Handicrafts were gradually superseded and supplanted by industry; techniques began to appear as the determining factor. Manufacturing processes were increasingly mechanized. The staggering developments in natural sciences, which were leading to a different conception of our world, changed everyday activities in all respects. Seventy years ago in our grandparents' time, living and work rooms were still lit with gas; the motor car and the electric tram, the aeroplane, the radio and the telephone had not yet been invented. To-day, barely three generations later, we no longer measure the speed of the jet fighter in miles per hour, but by the speed of sound. The pioneers of modern architecture could still know little of what the age of techniques might bring. They instinctively sensed, however, the coming transformation in the social structure of the time and they recognized with absolute clarity that the new architectural problems could be solved only by contemporary means. Their protest against style mimicry and historical makebelieve became audible for the first time when, in the last decade of the nineteenth century, Louis Sullivan in Chicago, Hendrik Petrus Berlage in Amsterdam, Henry van de Velde in Belgium and Otto Wagner in Vienna issued their simultaneous challenge, starting a movement which led to Modern Architecture. Modern architecture is generally characterized by simplification of form and creation of ornament from the structure and theme of the building. It is a term applied to an overarching movement, with its exact definition and scope varying widely. In a broade r sense, modern architecture began at the turn of the 20th century with efforts to reconcile the principles underlying architectural design with rapid technological advancement and the modernization of society. It would take the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification. The concept of modernism would be a central theme in these efforts. Gaining popularity after the Second World War, architectural modernism was adopted by many influential architects and architectural educators, and continues as a dominant architectural style for institutional and corporate buildings into the 21st century. Modernism eventually generated reactions, most notably Postmodernism which sought to preserve pre-modern elements. Modern Architecture Styles In the United States The Robie House, 1910, in Chicago, Illinois. Wright's Larkin Building (1904) in Buffalo, New York, Unity Temple (1905) in Oak Park, Illinois, and the Robie House (1910) in Chicago, Illinois were some of the first examples of modern architecture in the United States. Frank Lloyd Wright was a major influence on European architects, including both Walter Gropius (founder of the Bauhaus) and Ludwig Mies van der Rohe, as well as on the whole of organic architecture. Gropius claimed that his Page 2 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao "bible" for forming the Bauhaus was 100 Frank Lloyd Wright drawings that the architect shared with Germany over a decade prior to this point, the Wasmuth Portfolio. While Wright's career would parallel that of European architects, he refused to be categorized with them, claiming that they copied his ideas. Many architects in Germany believed that Wright's life would be wasted in the United States, since the US wasn't ready for his newer architecture. It would be several decades before the European architects would bring in turn their version to the United States. During the 1930s, Wright would experiment with his Usonian ideas for a uniquely U.S. American (ergo "US-onian") take on modernism. In Italy: Futurism Futurist architecture began in the early-20th century, characterized by anti-historicism and long horizontal lines suggesting speed, motion and urgency. Technology and even violence were among the themes of the Futurists. The movement was founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians, artist (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. Among the latter there was Antonio Sant'Elia, who, though he built little (being killed in WWI), translated the Futurist vision into bold urban form. The unbuilt designs and theories of Futurists would go on to influence both the Constructivists and a branch of Italian Fascist architecture. In Russia: Constructivism Following the 1917 revolutions in Russia, the societal upheaval and change was coupled with a desire for a new aesthetic, one more in keeping with the Communist philosophy and societal goals of the new state, in contrast to the ornate Neoclassicism that had prevailed prior. This resulted in a new style, Constructivism.Konstantin Melnikov, a Russian Constructivist architect, designed the Melnikov House (1927-29) near Arbat Street in Moscow. The style would prosper, but fell markedly out of favor during the design competition for the Palace of the Soviets from 1931 to 1933, losing to a more traditional revivalism of Russian architecture with nationalistic overtones, afterwards termed Postconstructivism. This resulted in the ultimate demise of the Russian branch of early architectural modernism, though not before it had a chance to influence architects elsewhere, such as Le Corbusier. In Western Europe

The AEG Turbinenfabrik ("turbine factory"), 1909, designed by Peter Behrens, illustrating the combination of industry and design.

Spanning the gap between the ideals of the Arts and Crafts movement, and the Modernism of the 1920s, was the Deutscher Werkbund (German Work Federation) a German association of architects, designers and industrialists. It was founded in 1907 in Munich at the instigation of Hermann Muthesius. Muthesius was the author of a three-volume "The English House" of 1905, a survey of the practical lessons of the English Arts and Crafts movement and a leading political Page 3 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao and cultural commentator. The purpose of the Werkbund was to sponsor the attempt to integrate traditional crafts with the techniques of industrial mass production. The organization originally included twelve architects and twelve business firms, but quickly expanded. The architects include Peter Behrens, Theodor Fischer (who served as its first president), Josef Hoffmann and Richard Riemerschmid. Joseph August Lux, an Austrian-born critic, helped formulate its agenda. As a result of isolation during World War I, an art and design movement developed unique to the Netherlands, known as De Stijl (literally "the style"), characterized by its use of line and primary colors. While producing little architectural design overall (with notable exception of the Rietveld Schrder House of 1924), its ideas would go on to impact the architects and designers of the 1920s. Expressionism
The Second Goetheanum, 1924-1928, in Basel, Switzerland, is an example of architectural Expressionism.

Expressionism was an architectural movement that developed in Northern Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts. Making notable use of sculptural forms and the novel use of concrete as artistic elements, examples include Rudolf Steiner's Second Goetheanum, built from 1926 near Basel, Switzerland and the Einsteinturm in Potsdam, Germany. The style was characterised by an early-modernist adoption of novel materials, formal innovation, and very unusual massing, sometimes inspired by natural biomorphic forms, sometimes by the new technical possibilities offered by the mass production of brick, steel and especially glass. Many expressionist architects fought in World War I and their experiences, combined with the political turmoil and social upheaval that followed the German Revolution of 1919, resulted in a utopian outlook and a romantic socialist agenda. Economic conditions severely limited the number of built commissions between 1914 and the mid 1920s, resulting in many of the most important expressionist works remaining as projects on paper, such as Bruno Taut's Alpine Architecture and Hermann Finsterlin's Formspiels. Ephemeral exhibition buildings were numerous and highly significant during this period. Scenography for theatre and films provided another outlet for the expressionist imagination, [9] and provided supplemental incomes for designers attempting to challenge conventions in a harsh economic climate. A particular type, using bricks to create its forms (rather than concrete) is known as Brick Expressionism. Rise of Modernism It was at this time, during the 1920s, that the most important figures in Modern architecture established their reputations. The big three are commonly recognized as Le Corbusier in France, and Walter Gropius and Ludwig Mies van der Rohe in Germany, all of whom trained under Peter Behrens.

Page 4 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao Gropius and Mies van der Rohe would both serve as directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology. Mies van der Rohe designed the German pavilion (known afterward as the Barcelona Pavilion) at the 1929 Barcelona International Exposition. Villa Savoye, by Le Corbusier and his cousin, was built from 1928 to 1931. As in Russia, political pressures turned against the modernists. With the rise of Nazism in 1933, the German experiments in modernism would be replaced by more traditionalist architectural forms.
The Bauhaus building at Dessau, designed by Walter Gropius

Style Moderne: tradition and modernism

Greyhound Bus Station in Cleveland, Ohio, showing the Streamline Moderne aesthetic.

Following WWI, a stylistic movement would develop that embraced ideas of both modernism (or at least modernization) and traditionalism. It is characterized by the adoption of the machine aesthetic, glorification of technological advancement and new materials, while at the same time adopting or loosely retaining revivalist forms and motifs, and the continued use of ornament. In the case of the Art deco, decorative motifs included both those evocative of technology (such as the lightning bolt (electricity) or the tire (the automobile)), and those of the exotic (such as drawing elements from Mesoamerican, African, and Ancient Egyptian designs). Frank Lloyd Wright himself experimented with Mayan Revival, culminating in the concrete cube-based Ennis House of 1924 in Los Angeles. A later variant, Streamline Moderne, simultaneously both played a role in industrial design and borrowed forms from machines themselves. More restrained forms with national imagery would also be adopted. In the United States, it took the form of "Stripped Classicism" (alternatively, "PWA Moderne" or "WPA Moderne") a stark version of the Neoclassicism of Federal buildings earlier in the century. It application ranged in scale from local postoffices to the Pentagon). At the same time (as noted above), the rise in nationalism would be reflected in the Stalinist architecture of the Soviet Union, Fascist architecture of Italy, and Nazi architecture of Germany, what historian Kenneth Frampton termed the "New Tradition". To a less political extent, such

Page 5 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao an idea of modernized tradition could also be seen in contemporaneous Mycenaean Revival architecture. During and following World War II, this broad branch of modern architecture would decline, with the rise of the International Style and other mid-century architecture.

Wartime innovation
Quonset hut en route to Japan

World War II (19391945) and its aftermath was a major factor in driving innovation in building technology, and in turn, architectural possibilities. The wartime industrial demands resulting in a supply shortage (of such things as steel and other metals), in turn leading to the adoption of new materials, and advancement or novel use of old ones. Similarly, surplus postwar industrial capacity would accelerate materials and techniques, particular architectural aluminum (as a result of advances made in its use in aircraft, etc., during the war). At the same time, there was a rapid demand for structures during the war (such as military and governmental facilities) as well as for housing after the war. These factors would accelerate experiments with prefabricated building. Though examples of prefabrication have existed since the beginning of the Industrial Revolution, with notable examples during the Interwar period (such as the diner), they took several new forms during and after the war: the metal semi-circular Nissen huts of World War I would be revived and inspire Quonset huts; others included the post-war enameled-steel Lustron houses (made from 19471950) and Buckminster Fuller's experimental aluminum Dymaxion House. International Style
The Seagram Building, New York City, 1958, by Ludwig Mies van der Rohe, is regarded as one of the finest examples of the functionalist aesthetic and a masterpiece of corporate modernism.

In 1932 (prior to World War II), the International Exhibition of Modern Architecture was held at the Museum of Modern Art in New York City. Philip Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends in architecture, identified them as stylistically similar and having a common purpose, and consolidated them into the International style. This was a turning

Page 6 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao point. However, for the remainder of the Interwar period, the Moderne styles would overshadow this movement. With the labeling of modernist art and architecture in Germany as degenerate, followed by World War II, important figures of the Bauhaus and New Objectivity fled to the United States: Marcel Breuer and Walter Gropius went to the Harvard Graduate School of Design (the former becoming part of a group known as the "Harvard Five"), Ludwig Mies van der Rohe to Chicago, with others going to Black Mountain College. Still others would flee to British Palestine, contributing to the design of the White City of Tel Aviv. While high-style modernist architectural design never became dominant in single -dwelling residential buildings in the United States, in institutional and commercial architecture Modernism became the preeminent, and in the schools (for leaders of the architectural profession) the only acceptable, design solution from about 1932 to about 1984. Architects who worked in the International style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade (usually a curtain wall), steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building and the Toronto-Dominion Centre (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill).
The Bailey House, Case Study House #21

In the United States, a prominent early residential example was the Lovell House in Los Angeles, designed by Austrian expatriate Richard Neutra in the 1920s. Other examples include the Case Study Houses. Commissioned between 1945 and 1966, the twenty or so homes that were built primarily in and around Los Angeles, designed by architects such as Neutra and Americans Charles and Ray Eames (the Eames House) have attracted hundreds of thousands of visitors since their completion, and have influenced many architects over the years. These and other Modern residences tend to focus on humanizing the otherwise harsh ideal, making them more livable and ultimately more appealing to real people. Many of these designs use a similar tactic: blurring the line between indoor and outdoor spaces. This is achieved by embracing "the box" while at the same time dissolving it into the background with minimal structure and large glass walls, as was particularly the case with the Farnsworth House by Mies van der Rohe and the Glass House by Philip Johnson, the later part of a set of residences by the "Harvard Five" in New Canaan, Connecticut. Some critics claim that these spaces remain too cold and static for the average person to function, however. The materials utilized in a large number of Modern homes are not hidden behind a softening facade. While this may make them somewhat less desirable for the general public, most modernist architects see this as a necessary and pivotal tenet of Modernism: uncluttered and purely Minimal design.

Page 7 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao Urban design and mass housing

National Congress of Brazil, by Oscar Niemeyer, in the modernist-designed city of Brasilia.

The Congrs Internationaux d'Architecture Moderne (CIAM) would be a force in the shaping Modernist urban planning, and consequently the design of cities and the structures within, from 1928 to 1959. Its 1933 meeting resulted in the basis of what would become, via Le Corbusier, the Athens Charter, which would drive urban planning practice for much of the mid-20th century. Following its principles, in the late 1950s the entirely-new city of Braslia was built as a new capital for Brazil, designed by Lucio Costa, with prominent works for it designed by Oscar Niemeyer. Le Corbusier himself would help design the city of Chandigarh in India. The devastation that WWII wrought in Europe, Asia, and the Pacific and subsequent post-war housing shortages would result in a vast building and rebuilding of cities, with a variety of techniques employed for the creation of mass-housing. One attempt to solve this was by using the Tower block. In the Eastern Bloc, mass housing would take the form of prefabricated panel buildings, such as the Plattenbau of East Germany, Khrushchyovka of Russia and the Panelk of Czechoslovakia. Mid-Century reactions
Saint John's Abbey Church, Collegeville, Minnesota, United States, by Marcel Breuer, 1958-1961

As the International Style took hold, others architects reacted to or strayed from its the purely functionalist forms, while at the same time retaining highly modernist characteristics. Eero Saarinen, Alvar Aalto and Oscar Niemeyer were three of the most prolific architects and designers in this movement, which has influenced contemporary modernism.

Page 8 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao

TWA Terminal, John F. Kennedy Airport, New York, 1962, by Eero Saarinen

Lincoln Center for the Performing Arts, New York City, illustrating an example of "New Formalism"

Central Library of UNAM, in Mexico City, 1950-1956, showing the detailed artwork of plastic integration.

Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Midcentury modernism, or organic modernism, was very popular, due to its democratic and playful nature. Expressionist exploration of form was revived, such as in the Sydney Opera House in Australia by Jrn Utzon. Eero Saarinen would invoke suggestions of flight in his designs for the terminal at Dulles International Airport outside of Washington, D.C, or the TWA Terminal in New

Page 9 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao York, both finished in 1962. The Mission 66 project of the United States National Park Service would also be built during this time. Contributing to these expressions were structural advances that enabled new forms to be possible or desirable. Flix Candela, a Spanish expatriate living in Mexico, and Italian engineer Pier Luigi Nervi, would make particular strides in the use of reinforced concrete and concrete shell construction. In 1954, Buckminster Fuller patented the geodesic dome. Another stylistic reaction was "New Formalism" (or "Neo-Formalism", sometimes shortened to "Formalism"). Like the pre-war "Stripped Classicism", "New Formalism" would blend elements of classicism (at their most abstracted levels) with modernist designs. Characteristics drawing on classicism include rigid symmetry, use of columns and colonnades or arcades, and use of high-end materials (such as marble or granite), yet works in this vein also characteristically use the flat roofs common with the International Style. Architects working in this mode included Edward Durrell Stone, Minoru Yamasaki, and some of the middle-period work of Philip Johnson, with examples in the United States including the Kennedy Center(1971) and the National Museum of American History (1964) in Washington, D.C., and the Lincoln Center for the Performing Arts (mid-1960s) in New York. Arising shortly after the end of World War II, a particular set of stylistic tendencies in the United States during this time is known as Googie (or "populuxe"), derived from futuristic visions inspired by the imagery of the Atomic Age and Space Age, with motifs such as atomic orbital patterns and "flying saucers", respectively, such as in the Space Needle in Seattle. Though the style was unique to the United States, similar iconography can be seen in the Atomium in Brussels. A distinctly Mexican take on modernism, "plastic integration", was a syncretization of Mexican artistic traditions (such as muralism) with International Style forms, and can be seen in the later works of Luis Barragn and Juan O'Gorman, epitomized by the Ciudad Universitaria of UNAM in Mexico City. Brutalism and monumentality
The National Assembly Building of Bangladesh by Louis Kahn; compare its "weightiness" with works above.

Architects such as Louis Kahn, Paul Rudolph, Marcel Breuer, I.M. Pei and others would respond to the "light" glass curtain walls advocated by Ludwig Mies van der Rohe, by creating architecture with an emphasis on more substantial materials, such as concrete and brick, and creating works with a "monumental" quality. "Brutalism" is a term derived from the use of "Bton brut" ("raw concrete"), unadorned, often with the mold marks remaining, though as a stylistic tendency, Brutalism would ultimately be applied more broadly to include the use of other materials in a similar fashion, such as brickwork. The term was first used in architecture by Le Corbusier.

Page 10 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao Tube architecture In 1963, a new structural system of framed tubes appeared in skyscraper design and construction. The Bangladeshi architect and structure engineer Fazlur Khan defined the framed tube structure as "a three dimensional space structure composed of three, four, or possibly more frames, braced frames, or shear walls, joined at or near their edges to form a vertical tube -like structural system capable of resisting lateral forces in any direction by cantilevering from the foundation." Closely spaced interconnected exterior columns form the tube. Horizontal loads, for example wind, are supported by the structure as a whole. About half the exterior surface is available for windows. Framed tubes allow fewer interior columns, and so create more usable floor space. Where larger openings like garage doors are required, the tube frame must be interrupted, with transfer girders used to maintain structural integrity. The first building to apply the tube-frame construction was the DeWitt-Chestnut Apartment Building which Khan designed and was completed in Chicago by 1963. This laid the foundations for the tube structures of many other later skyscrapers, including his own John Hancock Center and Sears Tower, and can been seen in the construction of the World Trade Center and most other supertall skyscrapers since the 1960s, such as the Petronas Towers and the Jin Mao Building. The architecture of Chicago employing the ideas developed by Khan is often known as the "Second Chicago School". Postmodern architecture

The Sony Building (formerly AT&T building) in New York City, 1984, by Philip Johnson, illustrating a Postmodern spin on the boxy office towers that preceded it with the inclusion of a classical broken pediment on the top.

Modern architecture met with some criticism, which began in the 1960s on the grounds that it seemed universal, elitist, and lacked meaning. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), began "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" The loss of traditionalist structures to make way for new modernist construction, especially via the Urban Renewal movement, led to further criticism, particularly the demolition of Penn Station in New York in 1963. That same year, controversy materialized around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights", In criticism by Ada Louise Huxtable and Douglass Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The proposal for a tower over the terminal itself resulted Page 11 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao in the landmark U.S. Supreme Court case Penn Central Transportation Co. v. New York City, upholding the city's landmark laws. Alongside these preservation efforts came the increasing respectability and fashionability of more traditional styles. Architects explored Postmodern architecture which offered a blend of some pre-modern elements, and deliberately sought to move away from rectilinear designs, towards more eclectic styles. Even Philip Johnson would come to admit that he was "bored with the box." By the 1980s, postmodern architecture appeared to trend over modernism. High Postmodern aesthetics lacked traction and by the mid-1990s, a new surge of modern architecture once again established international pre-eminence. As part of this revival, much of the criticism of the modernists was re-evaluated; and a modernistic style once again dominates in institutional and commercial contemporary practice. Although modern and postmodern design competes with a revival of traditional architectural design in commercial and institutional architecture; residential design continues to be dominated by a traditional aesthetic. Neomodern architecture Neomodernism is a reaction to Postmodernism and its embrace of pre-modern elements of design. Examples of modern architecture in the 21st Century include One World Trade Center (2013) in New York City and Tour First (2011), the tallest office building in the Paris metropolitan area. Emporis named Chicago's Modern Aqua Tower (2009) its skyscraper of the year. Art Deco Architecture Zigzag patterns and vertical lines create dramatic effect on jazz-age. Introduction to Art Deco Architecture During the 1920s and the early 1930s, jazzy Art Deco architecture was the rage. With their cubic forms and zigzag designs, art deco buildings embraced the machine age. History of Art Deco Architecture With their cubic forms and zigzag designs, Art Deco buildings embraced the machine age. The Chrysler Building Onamental details on the Chrysler Building are inspired by automobiles. The Empire State Building Although it lacks the trademark zigzag patterns, the Empire State Building in New York is also Art Deco. Radio City Music Hall Designed by prominent architect Raymond Hood, Radio City Music Hall in New York City is one of America's favorite examples of Art Deco architecture. Paramount Theater Restored National Historic Landmark in Oakland, California. Page 12 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao Art Nouveau Architecture Art Nouveau buildings often have asymmetrical shapes, arches and decorative surfaces with curved, plant-like designs. Louis Sullivan American architect Louis Sullivan, who was mentor to Frank Lloyd Wright, was influenced by Art Nouveau ideas. Detailing on his buildings often combined intertwining vines with cris p geometric shapes. Antoni Gaud Spanish architect Antoni Gaud became known for a unique style that mixed of Gothicism, Modernism, Surrealism, and Oriental designs. Gaudi is sometimes associated with the Art Nouveau movement because he worked with fluid, organic shapes. Art Nouveau Philosophy This definition along with the related links offers a philosophic definition of Art Nouveau, and places the Art Nouveau movmement in the context of aesthetics (the philosophic study of beauty and taste). Charles Rennie Mackintosh, Art Nouveau Designer Scottish designer Charles Rennie Mackintosh became known for his Art Nouveau buildings and furnishings. Architecture of the 21st Century Architecture has transformed from a complex creative process of integrating diverse functions, structural systems, myriad services and utilities, inter-related spaces and exterior-interior visual connections into a game of appliqu where one cuts and pastes decorations and ornament onto four sides of dull boxes.

Building having Exterior Metal finish with diffused Lighting Techniques

The building in the picture above has a facade that is completely covered with sheets of perforated metal and acryllic translucent sheets. Diffused lighting techniques have been used to illuminate the facade of the building. The exterior aesthetics has gained more importance than the interior Page 13 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao functionality. The building has to be made look good. New building types could be:
o o o o o o

Shopping Malls Multiplexes Business Parks Museums Exhibition Halls Libraries

The designing system has undergone a diverse change. Architect is not sole person who create s the total design along with functional and aesthetic aspects of the interior as well as the exterior. The design profession is becoming atomized that is divided into fragments; o o o o o o o Framework Structural Designer Outside Landscape Designer Networks Utility Designer Inside Interior Designer Illumination Lighting Designer Sound and Acoustics Audio Designer Signage and Graphics Branding experience Designers

What is the 21st century architecture? 21st Century Architecture in the City is about the integration of living working and recreation space in the one contiguous building New Living City. The reduction in the need for travel is essential for the new economy. o o o o o o o o o 21st Century Architecture has provisions for greater diversity in structure to prepare for the attacks of nature and other forces -Debuild. 21st Century architecture is not a race to build the tallest building, 21st Century Architecture provides a high variation in the external and internal views with an integrated development of artifact. 21st Century Architecture facilitates a new level of inspiration from developed geometry. 21st Century Architecture through the systems in GIS provides a new range of existence in the provisions of linked structures. 21st Century Architecture recognises Artif-elms 21st Century Architecture realises the historical force of multi-function buildings. 21st Century Architecture focuses Intentions Lawful Direction 21st Century Architecture rides through Complacency EarthGauge

Page 14 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao o o 21st Century Architecture is not a product of media fantasy Invent Reality 21st Century Architecture has not been predicted Spiritual Direction

Beijing Olympic stadium Beijing China. An example of 21 st century architecture. Design Concept in Form: Birds Nest

Preservation

In 2007, the Sydney Opera House by Jrn Utzon was listed as a World Heritage Site.

Several works or collections of modern architecture have been designated by UNESCO as World Heritage Sites. In addition to the early experiments associated with Art Nouveau, these include a number of the structures mentioned above in this article: the Rietveld Schrder House in Utrecht, the Bauhaus structures in Weimar and Dessau, the Berlin Modernism Housing Estates, the White City of Tel Aviv, the city of Brasilia, the Ciudad Universitaria of UNAM in Mexico City and the University City of Caracas in Venezuela, and the Sydney Opera House. Private organizations such as Docomomo International, the World Monuments Fund, and the Recent Past Preservation Network are working to safeguard and document imperiled Modern architecture. In 2006, the World Monuments Fund launched Modernism at Risk, an advocacy and conservation program. Following the destruction caused by Hurricane Katrina, Modern structures in New Orleans have been increasingly slated for demolition. Currently plans are underway to demolish many of the city's Modern public schools, as well as large portions of the city's Civic Plaza. FEMA funds will contribute to razing the State Office Building and State Supreme Court Building, both designed by the collaborating architectural Page 15 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao firms of August Perez and Associates; Goldstein, Parham and Labouisse; and Favrot, Reed, Mathes and Bergman. The New Orleans Recovery School District has proposed demolitions of schools designed by Charles R. Colbert, Curtis and Davis, and Ricciuti Associates. The 1959 Lawrence and Saunders building for the New Orleans International Longshoremen's Association Local 1419 are currently threatened with demolition although the union supports its conservation. Influences o History There are multiple lenses through which the evolution of modern architecture may be viewed. Some historians see it as a social matter, closely tied to the project of Modernity and thus the Enlightenment. Modern architecture developed, in their opinion, as a result of social and political revolutions. Others see Modern architecture as primarily driven by technological and engineering developments. Still other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian and Edwardian architecture. With the Industrial Revolution, the availability of newly-available building materials such as iron, steel, and sheet glass drove the invention of new building techniques. In 1796, Shrewsbury mill owner Charles Bage first used his 'fireproof' design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction. This kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description of places like Manchester and parts of West Yorkshire as "Dark satanic mills". The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction, followed in 1864 by the first glass and metal curtain wall. A further development was that of the steel-framed skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan. Around 1900 a number of architects and designers around the world began developing new solutions to integrate traditional precedents (classicism or Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner and the Vienna Secession in Austria, and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. The work of some of these were a part of what is broadly categorized as Art Nouveau ("New Art"). Note that the Russian word for Art Nouveau, "", and the Spanish word for Art Nouveau, "Modernismo" are cognates of the English word "Modern" though they carry different meanings. An early use of the term in print around this time, approaching its later meaning, was in the title of a book by Otto Wagner. The fallout of the First World War would result in additional experimentation and ideas.

Page 16 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao o Advancement of Technology Advance technology help people all over the world to construct buildings with modern techniques and construction methods. Architecture tends to follow rapid development of modern technology. The combined use of steel, iron, wood, plastic, concrete, fibers, recycled materials, etc. makes a lot of different from the architectural styles of yesterday. Aside from that, through computers, cell phones and internet transmission of data were easily shared across the world. Drafting and rendering of construction papers and data can be made also by computers (Autocad, Revit Architecture, 3ds Max and many more programs can be use) which gives more accurate drawing plans and realistic photolike renderings are produced. Materials that are not available within the area and the specific country are now possible to transport even if those materials are from other countries. Pre-cast materials or those materials/part of the building that are made not on-site are also possible, these techniques are used for time saving purposes. o Climate Each country and locations have different climate which influences structure on its shape and height. Eco or green designed buildings that formed to follow the rules of nature without sacrificing human comfort are being recognized by LEED or BERDE (organizations that checks and evaluate building designs). Countries Involved Modern Architecture is spread across the globe. A lot of countri es are involved not only in Europe or North and South America but as well as in Asia, Africa and Australia. Architects are not limiting their idea which means architects follow their own styles or follows other architects style. But still, some countries are ahead like Dubai, US, England, China and Australia. Architectural Character Common themes of modern architecture include:

the notion that "Form follows function", a dictum originally expressed by Frank Lloyd Wright's early mentor Louis Sullivan, meaning that the result of design should derive directly from its purpose simplicity and clarity of forms and elimination of "unnecessary detail" visual expression of structure (as opposed to the hiding of structural elements) the related concept of "Truth to materials", meaning that the true nature or natural appearance of a material ought to be seen rather than concealed or altered to represent something else use of industrially-produced materials; adoption of the machine aesthetic particularly in International Style modernism, a visual emphasis on horizontal and vertical lines

Page 17 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao Birth of the Skyscraper
o

The modern skyscraper originated in Chicago and was developed with a load-bearing structural frame to allow for taller buildings, with straight, clean lines and minimal adornments.

Elements
o

Elements used in modern architecture include masonry, steel and glass, which forces the abandonment of excessive styling.

Examples International examples of Modern architecture

Natural History Museum - Proposed new glass entrance

Circular Building of Al Dar HQ, Abu Dhabi

Page 18 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao

An example of Modern Designed House

Sharp Centre for Design,Toronto, Canada, SMC Alsop

Page 19 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao

White Chapel, Osaka, Japan, Jun Aoki Associates

The Torre Agbar, or Agbar Tower, has been designed by French architect Jean Nouvel. It opened in June 2005 and it was inaugurated officially by the Kings of Spain on 16 September 2005. The Torre Agbar is a colored lighting illuminate skyline that pretend to become one of the 21st century landmark of Barcelona.

The building is characterized by its nocturnal illumination: it has more than 4,000 luminous devices that use technology LED. A total of 4,500 L3 RGB lights were installed to illuminate the 32 floors of offices in the Agbar tower. The lighting system, which contains 4,500 L3 RGB lights, is controlled from a single computer.

Page 20 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao

Mind Museum, Taguig City, Philppines. (Under Construction) Its shaped like a flying saucer and big enough to hold the earth, the universe, four kinds of environment and a T-Rex. A modern science museum, which promises visitors a multisensory experience, will be built at a cost of P1 billion in a sprawling park at Fo rt Bonifacio, Taguig City.

Reflection Modern architecture is far far away different from architecture of the past where structures are limited in design solutions, construction materials, methods and ideas. Now is the time of sharing and opening ones mind into the world and nature. This modernism is not closed for some countries only but this is open to everyone who wanted to adapt this style with his/her own approach. Modern architecture originated in the United States and Europe and spread throughout the rest of the world. The attribute functions that created modern architecture possible were structures stylistic movements technologies and modern components. Modern day architecture challenged traditional tips about the kinds of constructions suitable for architectural style. Only essential civic structures aristocratic palaces churches and public establishments had extended been the mainstay of architectural practices. But modernist designers argued that architects need to design everything that was essential for culture even the most humble structures. The aesthetics used by modern day architects celebrated perform in all types of style from household furnishings to massive ocean liners and new flying machines.

Page 21 of 22

Sarah Jane S. Pahimnayan BSArchitecture III-3 Ar. Mar Ticao Conclusion Modern Architecture is the age of advance technology wherein buildings are made to be smart. Active and Passive Technology are used to make a structure more liveable in a way that people or the users will feel comfortable and the building can move and think on its own. Some buildings adjust to its surroundings with proper control and/or within specific time, temperature, pressure or presence. Modern architecture makes ways to improve each and every detail that has to be improved. With proper materials and planning and designing modern architecture will lead to architectural perfection. I, myself, believe that someday another modern architecture will be develop from the modern of today, and that modernization is more advance and improved than what we have today. Every architect has their own design solution in every design problem which is all acceptable now a day. Modern architecture is just the product of yesterdays modernism because classical design was once become modern just like the modernism we have today.

Page 22 of 22