Modernism, Modernity and Modernisation: Urban Growth in Melbourne Between the Wars

Though the start of the modernisation may trace back to the beginning of Industrial Revolution. “Modernism in the design world did not exist in a fully developed form, until well after First World War.” (Wilk, 2006) Causing the great loss of lives and other countless damage to the world, it reshaped many people’s way of thinking the world. With the inspiration of early avant-garde movement, the modernism began to emerge advocating an utopian future and shared certain core principles by various styles of modernists: rejecting the past and applied ornament; forms follow function, a preference for

Kuiper, Kathleen. “Modernism.” Encyclopedia Britannica. Encyclopedia Britannica Online. Encyclopedia Britannica Inc., 2015. Web. 02 DEC 15.

Architecture in Melbourne is thriving with creativity, new buildings such as the Manchester Unity Building, Capitol Theatre and Century building, which are all located on Swanston Street in the Heart of Melbourne. There are also other Modernist commercial building in Melbourne, such as the Myer Emporium and Yule House. Not all of these buildings are in Melbourne’s centre, there are many which are in Melbourne out skirts, for example Percy Everett who designed the Technical School in Essendon which opened in 1939. There is much modernist

Question 1. Choose an architect or practice whose work is covered by or relevant to this course and discuss critically one or more of their design projects or drawings or urban proposals as precedent case-studies. Selectively situate this work in relation to their body of work, and against the practices and concerns of the period. Focus on the architectural qualities of a specific key aspect of the design of the projects. Selectively consider how they might relate to the historical situation, cultural values, theoretical concerns and design practices of the time. This may involve a selective analysis of compositional design practices, material fabrication production and the experiential reception of built outcomes of the projects.

In the study of Australian modern architecture, the term regionalism has constantly been discussed. In an architectural sense, regionalism can be understood as an architecture that is derived from its local setting. In relevance to this, elements of regionalism can be found in the works of Sydney Ancher and Peter Muller, two figures that had significant influence in Australian architecture discourse whose works can be seen as being Australian. Nevertheless, as much as how their works respond to regionalism, the proof of overseas principles being adopted is clear.

The history of Architecture started long time ago. The nomadic were groups of people whom move from one place to another in order find shelter and food to survive. As they progress, their techniques to survive evolve. The need for a permanent shelter became vital for a better stability of the group. This is the time when the first structures that provided protection appeared. Post and lintel were the first forms of Architecture, that satisficed the basic needs. Architecture evolved to be more sophisticated and fulfill the people’s needs. Consequently, Architecture evolved throughout different periods such as: Ancient architecture, Romanesque, The medieval, Renaissance, Early modern, and the industrial age, Modernism and Contemporary

| * * outline the impact of the main technological changes over time on everyday life in post-war Australia, based on a selection of sources

Modernism transformed life in Australia across five tumultuous decades from 1917 to 1967 , it spans all aspect of Australian culture including art, design, architecture, advertising, film, photography and fashion. The process of modernisation has had a profound affect, changing our perspectives and the course of our everyday living.

From 1874 to 1925, the firm Reed and Barnes, who was also designed the Exhibition Building, Melbourne Library and Melbourne Town Hall, was in charge of the building construction. According to the book “Melbourne Architecture”

Marshall Berman’s take on modernity is presented in his book All That Is Solid Melts into Air whereby he focuses on its issues and the cultural attitudes and philosophies towards the modern condition. In doing so he shares his experiences of modernity post WWII in New York in the height of an economic boom and then more specifically of his childhood neighbourhood, the Bronx. In addition to expanded austerity, industrial and architectural development, the end of WWII proved to be a key period in world history and by extension the history of art. A talented group of artists emerged in result that had been influenced by an influx of established European artist who had fled to New York to escape fascist regimes in their homelands. More importantly these artists produced art that was at the heart of maelstrom Berman describes in regards to his experience of modernity. I aim to highlight the correlation between Berman’s experience of modernity and the emergence of a new American modernism. Modernity throughout this period was broken into two different compartments, hermetically sealed off from one another: "modernisation" in economics and politics, "modernism" in art, culture and sensibility. It’s through the lens of this dualism in which we recognise that both Berman and these artists try to make sense of the world around them by making their individual expressions that would re-conceptualise what it is to be modern in the twentieth century.

On his book on Modern Architecture, Curtis writes that modern architecture was faulted for it’s “supposed lack of ‘recognizable imagery’” towards the end of the 1970s. This statement supports the idea of Jencks’ double coding where architects must now make

The main difference between these two schools is that the architects point of view to any design as a means of communication (Chan, 1997). Modern architecture, for example, focus on the aesthetics of architectural language, while post-modernity adjust in constant effort to achieve what is more than unity and focus on the traditional concepts, therefore both schools are in competition with each other. Second basic principle of modern school is the production beauty by basic technology (Chan, 1997), and this led to a contradiction on the post-modernism architects being attempted to use primitive technology. Their particular case is to access and change the impact of the traditional architecture through all people. Therefore, to achieve this goal they have addressed the issues of beauty and technology within the general concept of the design.

The incredible work of these Modernist architects had a strong and distinct influence on up and coming young Australian Architects during the 1950’s – 1970’s.

Memmot (2007) explains how Indigenous building methods, based on semi-permanent structures utilized original styles, local materials and, like their culture. They were poetically wedded to the distinct sense of place for which this isolated continent is renowned. Indigenous architecture is pure vernacular (Memmot 2007). While this is respectfully acknowledged, this essay will examine the period after European settlement, during which Australian architecture has sourced the bulk of materials and styles internationally and has never been purely vernacular (Drew 2006). For example, while corrugated iron is seen as Australian it was produced in the steel mills in England and heavily used throughout Britain and the British Empire. Drew (2006) discusses how it is accepted that since 1788, Australian vernacular buildings have always contained a plethora of international influences - both stylistic and material - and were never truly original or unique in the same manner of Indigenous vernacular shelters. Consequently, the aim is to find architecture which possesses vernacular elements that overshadow the universal, international elements. To substantiate the arguments and isolate a period in Australia’s history, two case studies from the Mid 20th century will be examined – The Rose Seidler House (figure 2), by Harry Seidler and the Curry House 2 (figure 3), by Bruce Rickard.

This essay will critically discuss the development of Post Modernism as a reaction to Modernism and the growth of the architectural style as an individual movement.