Naoualcohen_06-04-2016_historyofinteriordesgin_modernism

Modernism 

Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th centuries. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by the horror of World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief.

Modernism, in general, includes the activities and creations of those who felt the traditional forms of art, architecture, literature, religious faith, philosophy, social organization, activities of daily life, and even the sciences, were becoming ill-fitted to their tasks and outdated in the new economic, social, and political environment of an emerging fully industrialized world. 

A notable characteristic of modernism is self-consciousness and irony concerning literary and social traditions, which often led to experiments with form, along with the use of techniques that drew attention to the processes and materials used in creating a painting, poem, building, etc.Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting,recapitulation, revision and parody.

-twentieth century industrialization and the technology 

-changes in human affairs as great 

-discovery of fire and the invention of language

-steel and reinforced concrete 

-factory production has become the norm

-population growth and the increase in urban poverty were new and pressing problems 

-rise of communism and fascism 

-problems that technology did little to solve 

-traditions that had served past ages were no longer relevant to this modern world 

-9th century design : Arts and crafts / Art nouveau and vienna secession / Eclecticism

-Modernism is the name given to the new forms that appeared in all of the arts-in painting, sculpture, architecture, music, and literature

-design direction that would be a true expression of the twentieth century

-the term served to distinguish the word modern

-new style

-defined a new directions with such clarity and force "modern movement"

- Walter Gropius (1881-1969) - Ludwing Mies Van der Rohe (1886-1969) - Le Corbusier (1887-1965)

-international style

-modernism was not marked by strong national differences 

Frank lloyd Wright (1867-1959)
-"form follows function"
-ornament that was non-historic
-designing structures that were in harmony with humanity and its environment
-organic architecture 

Prairie house : 
-flat landscape 
-long overhangs and horizontal bands of windows, and low walls extending outward at ground level

Art déco ( 1920-1940) :

-the 1925 World's Fair in Paris carried the title L'exposition International des Arts Decoratifs et Industriels Modernes

-symbols of the modern world

-not strongly concerned with issues of functionalism and technology

-in architecture stepped forms with use of luxury materials like marble, granite and aluminium

-workers figures are frequently used

-women wear in a more daring style, using shorter hair, smoking and tacking active part in cocktails showing their liberations 

-the use of straight lines is the main feature of the style in different combinations and mainly creating Zig-Zag

-curves are frequently used 

-geometry rules and appears in designs from architecture to any object or graphic design 

Art déco in United states :

-New york: skyscrapers as a power sign

-Miami: romantic place for rest and pleasure 

-Hollywood: center for cinema and entertainment 

International style :

-It is a style of modern architecture framed into architectural functionalism which advocated a form of projecting "universal" and devoid of regional features 

-started to appear in 1920 was consolidated towards 1932

-it was the result of several factors that occurred in the Western world industrialization, mechanical engineering and materials science were revolutionizing architecture 

-with generic architectural production from the 20s to the 60s 

Form and Materials

By 1920 there was an increasingly wide understanding that building forms must be determined by their functions and materials if they were to achieve intrinsic significance or beauty in contemporary terms, without resorting to traditional ornament. Instead of viewing a building as a heavy mass made of ponderous materials, the leading innovators of modern architecture considered it as a volume of space enclosed by light, thin curtain walls and resting on slender piers. The visual aesthetic of modern architecture was largely inspired by the machine and by abstract painting and sculpture.

In giving form and coherence to modern architecture, Le Corbusier's book Vers une architecture(1923, tr. 1927) played an important role, as did the writings of the Dutch architect J. J. P. Oudand the German architect Walter Gropius, who also headed the Bauhaus in Dessau. Other early leaders of the modern movement included Ludwig Mies van der Rohe, Marcel Breuer, and Ernst May in Germany and Raymond Hood, Albert Kahn, Richard J. Neutra, William Lescaze, and George Howe in the United States.

In 1932 the label "International style" was applied to modern architecture by the Museum of Modern Art, New York City, anticipating its growing acceptance around the world. The United States became a stronghold of modern architecture after the emigration of Gropius, Mies, and Breuer from Germany during the 1930s. By the mid-20th cent. modern architecture had become an effective instrument for dealing with the increasingly complex building needs of a global society. Large architectural firms such as Harrison and Abramovitz and Skidmore, Owings, and Merrill did much to popularize modern architecture around the world after World War II.

At the same time new technological developments continued to influence architects' designs, particularly in the realm of prefabricated construction, as seen in the works of R. Buckminster Fuller and Moshe Safdie. The development of sophisticated air conditioning and heating systems also allowed modern architecture to spread from the temperate climates of Europe and North America to countries with extremely varied weather conditions. 

The Style Evolves

Increasingly, during the 1950s, modern architecture was criticized for its sterility, its "institutional" anonymity, and its disregard for regional building traditions. More varied and individual, as well as regionalist, modes of expression were sought by architects of the next generation, although the basic emphasis on structure and materials continued. This tendency was evident in the works of Louis Kahn, Edward Durell Stone, and Philip Cortelyou Johnson in the United States, and the architects of the so-called New Brutalism movement in England. A dynamic sculptural unity distinguished the buildings of Eero Saarinen and the late works of Le Corbusier. Other leading architects of this generation include Alvar Aalto of Finland, the Italians Pier Luigi Nervi and Paolo Soleri, and in Central and South America, Lúcio Costa, Oscar Niemeyer, Juan O'Gorman, and Felix Candela. 

Development of Postmodernism

After 1960, a less evolutionary and more revolutionary critical reaction to modern architecture, first articulated in the writings of Robert Venturi, began to form. Architects have become more concerned with context and tradition. Ornament, once banished by modernism, has returned, often in the form of overtly historical revivalism, although it has just as often been reinterpreted in high-tech materials. This has resulted in a stylistic eclecticism on the contemporary scene. Prominent architects working in the postmodern mode include Philip Johnson in his later projects, Michael Graves, Ricardo Bofill, and Aldo Rossi.