The International Style : Architecture

This museum is the first time Johnson started to move away from the influence of Mies and the International Style. The international style of architecture emerged in the 1920’s and 1930’s. You can see this style of architecture in photo A. Common characteristics of International Style buildings are said to be rectilinear forms, ligh taut plane surfaces that have been completely stripped of applied ornamentation and decoration, and open interior spaces. The typical materials of this style are glass and steel usually combined with less visible reinforced concrete. In picture number four you can see Munson Williams Proctor museum has opaque stone-clad walls, and uses luxuriant materials such as granite and statuary bronze, and a very balanced and symmetrical design. These aspects were all part of Johnson’s growing new interest in neo classical typologies, or what would be known as New Formalism in modern architecture. Neo formalism emerged in the 1950s and really took off in the 1960s, it remained popular in the third quarter of the twentieth

Throughout American history, people have been categorized based on what gender they are, and what their race is. In order to explore these ideas and come to terms with their importances many musicians, film makers, and authors have described the inner-workings of this societal construct. Indeed, both racial and female identities have been at the epicenter of many works of art throughout American culture as can be seen in: Maggie: A Girl of the Streets by Stephen Crane, film “Modern Times,” Bessie Smith’s “T’ain’t Nobody’s Bizness If I Do,” and James Weldon Johnson’s Autobiography of an Ex-Colored Man.

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 1920's Art Deco was a popular form of art. It also influenced architecture, fashion, and furniture. Art Deco used bold geometric shapes and strong colors. It used concrete, smooth stone, and terracotta as materials. Art Deco represented modernism and a bright future.

‘When intelligent designers of the late 19th or early 20th century looked at the anonymous artifacts of 18th- and 19th-century industrialization, they saw great beauty in the simple, engineered structures, and set

At the end of World War 1, people came to the realization that the values they held did not seem to correspond to what they believe in anymore because of what they experienced during the war; so, they decided to explore new ones. The 1920’s was an era of breaking social norms in America and adopting new ones that not everyone agreed with. This rebellious nature sparked an energetic and dynamic expression throughout the country. Architecture played an important role in contributing to the 1920’s that still reflects in the present.

Art Nouveau, 1890-1914, explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century. The exhibition is divided into three sections: the first focuses on the 1900 World's Fair in Paris, where Art Nouveau was established as the first new decorative style of the twentieth century; the second examines the sources that influenced the style; and the third looks at its development and fruition in major cities in Europe and North

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

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

The Museum of Modern of Art was the first to use the words “International Style”, which was a fitting term to introduce modernist arts to the world. Johnson and another renowned architect Henry-Russell Hitchcock organized a major show under the title “Modern Architecture: International Exhibition”. There they described the International Style that expresses several design principles, that concerns with volume rather than mass and solidity, regularity instead of axial symmetry, and the proscription of “arbitrary applied decoration”. Exhibits featured leading European and American architects, especially the likes of Le Corbusier and Ludwig Mies van der

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 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.

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

Before the mid-twentieth century, museums in Europe and the United States were generally planned in variations of the neoclassical style. But, the Guggenheim museum in Bilbao moved the heading of gallery outlines, which gave an extensive show venue to twentieth century and modern art, designed by the famous architect Frank Gehry. Architecture is important nowadays to the public, because it offers a physical surrounding environment in where we live in. Moreover, architecture is not only affected by the culture, but also by the economy of the country.

Post Modernism architecture originated as an international style in America around the 1960’s to 1970’s and quickly spread throughout the rest of the world. The goal of the Post Modernism movement was that it was a reaction against Modernism and rejected the modernist desire for