Different styles of modern architecture
Modern architecture.
In rationalist architecture, art has no more contemplative and playful function, but critical and positive cognitive, the removal of nature leads to naked, closed, symmetrical configurations, without ornaments and artificial. The functional reason allowed the disposition of the plant from the functions, the orientation and the economy, the new models were the cars the airplanes and the Atlantic trans. The project process is lived from the inside outside and the facades cease to be main or secondary, they become correlated to the function of the enclosures. Again, it seeks to break the past, while the structural function was before hidden in the benefit of the image, rationalist architecture highlighted the function as one of the components of traditional architecture. For Gropius the Bauhaus style meant the fight against a stagnant inertia. “We deal all schools, (the Corbu school as much as Vignola’s please). No formula, no file, we are at the beginning of the architectural discovery of modern times, which are formulated from anywhere free proposals. Within a hundred years we can talk about a style, now this does not work for us, only the style in general, the moral coherence in each work created ”(Le Corbusier) looked for any occasion so that these principles were applied and persuade that the newarchitecture worked better than ancient. For the Chicago Tribune Contest, one thousand nine hundred twenty -two, they requested a skyscraper of offices, and before the First World War in Europe due to medieval origin buildings, the construction of skyscrapers was prevented, so many Europeans saw the opportunity to apply formal language. The projects were cataloged as an extravagance. The International Exhibition of Decorative Arts in one thousand nine hundred and twenty -five was intended to expose French products out of design houses, where twenty -one countries participated. Mallet Stevens treated light as a material in its own right, develop interior decoration as a staging of the psychology of the characters, and in the contest participate from the avant -garde with a pavilion of classical purity and concrete trees, to combine an exotic mention, but good taste. The Konstantin Melnikov’s USSR Pavilion was the first representation to the world of the new Soviet Union after the Bolshevik Revolution in October of one thousand nine hundred seventeen. He was awarded after the victory in a closed contest without knowing the orientation the land or the context. The Pomone Pavilion of Louis Hippolyte Boileau concerted an Art Nouveau of the exhibition and France. L’Eitz Nouveau raised the rejection of Cubism, the revaluation of classical tradition and the highlight of industry and science. The Citrohan House house in one thousand nine hundred and twenty develops in Le Corbusier the dominoes system with a project of standardization of elements that allowed to carry out a concrete structure with pilotis and stairs independent of the distribution in the house, thus allowing a free floor, this radically changeThe way of conceiving and building buildings, where it was widely rejected. In Weissenhof’s exhibition in Stuttgart one thousand nine hundred twenty -seven, under the slogan of minimal housing, Mies van der Rohe is commissionThe building regarding perimeter circulation, separation of cars, pedestrians and also as a general requirement had to be the functionality primpage above all with cubic geometric shapes, flat covers and absence of decoration of decoration.
All homes spread a new domestic life with air, sun, space, health and efficiency. The economy was sought, a rationable rental price and an adequate size for families with limited income. Mies only, Gropius, Behrens and Pieter Oud, thought of these serial homes. The house has a clear distinction between facilities and the rest of the surface. The fixed areas are the kitchen, bathrooms and stairs, the rest was mobile and versatile according to the programmatic satisfaction of each user. The exhibition presented a unitary program of the modern movement.
In the contest of the Palace of the Nations Society, Le Corbusier was forty years old and said that they built some buildings that played a laboratory role, wanted each element built to be the experimental progress that allowed to take the indispensable initiatives in urbanism in urban planning. Among the jurors were the teachers of the last generation, Berlage, Hoffmann, Mosser who understood the continuity between their experiences Art Nouveau and that of the young postwar teachers with Victor Orta de Jurado. In 1931 the Russian government convened a contest for the Soviets Palace, to demonstrate socialism about capitalism, with Le Corbusier, Mendelssohn, Pelsi and Gropius, the Boris Iofan building wins because the president said that none was worthy ofThe Republic of the Soviets, Le Corbusier Tildo as a betrayal of the spirit of the Soviet Revolution. In the International Exhibition of Barcelona in one thousand nine hundred and twenty -ninth, the German Republic entrusted to MIES the artistic direction and the construction of all the buildings of the German sections of this international exhibition and it is assumed that the pavilion would represent the new Germany, MIES resolved it withNeoclassicist criteria, the exhibition commissioner said that he should give voice to the new era that was developed with the free plant, plans that limited the space, rich materials in a floating ceiling and the floor, a revulsive idea of how to delimit the space tofrom plans that close and do not close, full, empty, but fundamentally the idea of a fluid space with transparencies, reflexes with the steel columns and the roof that seems to float. Gropius set out to present the best of German production widely influenced by Bauhaus. It was about explaining and making everyone understandable, an alternative to the traditional way of living, in these exhibitions the conception of the market was diluted and the exhibition was conceived as a mechanism to suggest the visitor using all the means of representation that the modern movementI elaborated in the meantime. In one thousand nine hundred and two when the Nazis come to power in Essau, the Bauhaus is forced to emigrate to Berlin, and the following year when Hitler is appointed chancellor, closes the school. The manifest works are the Ville Savoye de Le Corbusier with the five points, the free plant, the run window, the independent structure, the garden terrace and the pilotis, the Tuitondhat house of Mies where the space flows abroad, the ceiling seems thatFly, the carpentry that penetrates inside and sinks into the lower part to the subsoil, with a totally fluid and articulated space organized with specific elements. In the first exhibition of modern architecture held in New York, the MoMA, the international style label was coined for the first time. The fundamental idea is that the works represented the architectural style in the present and this style was unique and universal as it happened with the styles of the different times of art. "The objective of Bauhaus is not to spread a style, a dogma, a formula or fashion, but plain and plainly exert a vital influence on architectural planning" (Gropius, 1935)
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