Qualities Of Modern Architecture

There were many new types of architecture styles because of the current form of buildings around. People had wanted a change, so they decided to be different from others and built all kinds of different buildings. Architects had wanted to build sturdier buildings as well because there are more and more chances of something happening to your property. It is mainly because of the oil drilling, new weather conditions, and more people coming into the U.S. and many more children being born. There is a big threat to the urban society with more people in there, there are more chances of crime, like theft, arson, and many other things. Buildings had to be sturdier and were changed because of the new building codes issued from the state it's in, and the price changed drastically as well. “$41,300 the median price of (single-family) houses and $35,600 the average, only one out of five American families has the estimated $21,170 income to buy them” (Kay). Houses were not in demand as much as apartments because of their high-cost value. Not many people could afford to buy a house because of the struggles of finding a well paying-occupation (Kay). Many things had affected architecture, however, the price of buildings had affected the architecture the

A global city becomes the place where the typical project and the so-called objects of international style in architecture are realized when building the main complexes - from flats to trade centres and administrative buildings. The sources of international style in the modern architecture are rooted in the epoch of modernism at the beginning of the 20th century, when the rejection of the old artistic and plastic language was perceived as something new and modern.

Postmodernism is a universal movement, present in every art and discipline. In architecture, postmodernism is precise as well as ambiguous thereby in need of an explorative pursuit for a consensus of what is meant by the movement in this perspective - between the works of Charles Jencks, a primary theorist of this architectural turn; Heinrich Klotz, a leading architectural critic; and William Curtis, an architectural historian. The progression of this paper is highly influenced with Jencks’ studies as his works are often times referenced as well by both Klotz and Curtis in their individual interpretations and further accompanied with either supporting statements or contradictions.

Born on September 8, 1914, Sir Denys Louis Lasdun is considered among the most distinguished British architects of the 20th century. He is credited with having contributed to London’s urban landscape. Among the works for which he is best known are the Royal National Theatre at London’s South Banks of the Thames, the European Investment Bank in Luxembourg, the Royal College of Physicians in Regent 's Park and the University of East Anglia. The others of Lasdun’s buildings were a building at 32 Newton Road, Paddington, Hallfield Primary School, Usk Street Housing, Keeling House and the Sports Centre at the University of Liverpool. Considering how eminent these landmark buildings are in London’s landscape, it is apparent that Lasdun was a much-sough architect, especially by the British government as well as the local authorities. Lasdun’s architecture falls under the Brutalist architecture of the United Kingdom under which many prominent 20th century British and European architects worked. Among the architects that worked under Brutalism and had great influence on Lasdun’s architecture were Le Corbusier, Ludwig Mies van der Rohe and Nicholas Hawksmoor. Lasdun’s fame as a world class architect could be largely attributed to the fact that his architecture spanned the whole era of modernism in British art.

Modernism vs Neo-Traditionalism: A debate on the merits and failures of two major competing paradigms in architecture and urban planning.

Although, most post-modernist architects had been associated with modern architects in terms of training during the twentieth century, they refused most their teachers ideas. In addition, today's architects cannot deny the modern architecture ways of designing any building. Their design, for instance, has many philosophical meaning such as constructional, environmental, sociological, commercial and metaphorical meaning.

The term “Mid-Century Modern” is used to broadly describe a style of architecture and furniture design that was prominent during the post-World War II years.

Architecture is dependent on current trends. It was comparable with any other form of art, whether it is music, fashion design or painting. There is great demand for the incorporation of the latest and greatest advances in architectural design into the modern structures. Many people would want their structures to be at-per with the latest designs, but

With the growing presence of globalization and modernization, the pre-industrial building heritage is indeed under threat with modern methods prevailing. In that vein, we are seeing how the “designs, use and meanings of these traditions change within the concepts of the contemporary processes” in a globalized world (Lindsay Asquit, Marcel Vellinga, 2006).

In the 19th century, architecture had great influenced by earlier architecture movements and styles which were adapted to the new technology of the early modern age. The revivals of Greek, Gothic and Renaissance design were fused with engineering methods and materials.1 The development of technology is closely associated with the production and use of materials and steel consumption and was considered as the economic development of many countries, in Europe and America. Steel, iron and aluminium metals are used in building construction, were in the earliest time introduced into the building materials such us: iron and aluminium. In the middle 19th century in architecture emerged characteristic development of new materials as a result of the new industrial needs, rapid development began in the structures in this period. In the building, new forms were demanded to emerge “modern” architecture. In the middle year of the century cast iron and steel was used structurally in a large building which was used mainly for a publics such us: greenhouses, covered markets and halls, passages, exhibition pavilions, utility building and railways. 2

In everyday life, most people experience the work of Architects in many forms, like a school, or perhaps a house. However, architecture is much more than just the design of buildings and houses. It is a vital part of the construction process, which is a main component of the Gross Domestic Product, and can effect or be effected by local or national economies. Its importance is undervalued in the workforce, and its effect on the economy is underrated. Architecture is effected by the amount of raw materials, and the willingness of people to spend money on new developments or buildings. Architecture affects the economy by supplying new sources of revenue, such as new sports arenas, shopping malls, and infrastructure projects, while

Wright introduced the linearity and simplicity of external form. Modern architecture is imputed to the era from 1920 to 1950. Walter Gropius, Ludwig Mies van der Rohe and Le Corbusier are names often associated with modernism. designers began incorporating industrialism and urbanismin their designs. Their buildings used geometric forms, glass panels and other designs. The ornamental elements receded with modernism.. Because modernism developed hand-in-hand with industrialization, modern structures were designed and constructed in light of the machine with bold use of steel. Modern architects created details and building systems that aimed at machine manufacturing and making. With modernism, symmetry gave path to regularity. "Form follows function", an adage meaning that the result of design must evolve directly from its purpose. Also modern architecture was simple and clear in forms. the natural appearance of a material should be visible rather than hidden or modified to highlight some other feature. Major influences of modern architecture in the mid-20th century include aviation and space

One of the most interesting questions to ask is why do buildings look the way the do, or rather why do buildings of a particular function have a certain form? Now firstly not all buildings with the same function have the same form, but many buildings have a certain form which make them instantly recognizable to those who interact with them. Specifically in respect to the Greek temple they usually took a very distinct form with a columnar facade, and an inner cella. This allowed the people of antiquity to interact with any temple in a way that would be familiar to them. While it is difficult to find a modern comparison to the Greek temple that in any way reflects the weight behind the temple, the modern skyscraper office building provides and interesting subject to examine. The function of the two buildings is entirely different, and it would make sense to thus compare the Greek temple with a modern religious building. However, the physiological effect of the form of the modern skyscraper has a much similar effect to what the Greek temple would have had in antiquity.

“Modern Architecture: International Exhibition” is the title of an exhibition that took place in 1932 at the Museum of Modern Art in New York City. Organized by Philip Johnson and Henry-Russell Hitchcock, the exhibition introduced an emerging architectural style characterized by simplified geometry and a lack of ornamentation; known as the “International style,” it was described by Johnson as “Probably the first fundamentally original and widely distributed style since the Gothic.” The exhibition, became like a catalogue,that laid the principles

Transition in a social sense is a change from one system into another. Globally, the modernist paradigm changed to the post-modern with the disappearance of central authorities, universal dogmas and foundational ethics. The post-modern world introduced fragmentation, instability, indeterminacy and insecurity. Architectural responses to these conditions occurred as a 'semantic nightmare' of the post-modern discourse and/or the attempted completion of 'the modern project'.