Essay Modernist Architecture

Essay Modernist Architecture-75
Google(); req('single_work'); $('.js-splash-single-step-signup-download-button').one('click', function(e){ req_and_ready('single_work', function() ); new c. Gill and the Chicago School,” presents new scholarship connecting American architect Irving Gill’s experience in Chicago with his later designs for “buildings of amazing modernity” in early 20th century California, as well as the broader Modernist movement.Gill, who was born near Syracuse, New York, in 1870, briefly worked in Chicago during the early years of his career, then settled near San Diego, was well-known during his lifetime for his streamlined forms and flat roofs, but fell out of favor after his death in 1936.

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Modernism isn't just another architectural style. It is an evolution in design that first appeared around 1850 — some say it began earlier than that — and continues to this day.

The photos presented here illustrate an array of architecture — Expressionism, Constructivism, Bauhaus, Functionalism, International, Desert Midcentury Modernism, Structuralism, Formalism, High-tech, Brutalism, Deconstructivism, Minimalism, De Stijl, Metabolism, Organic, Postmodernism, and Parametricism.

The result was an incredible version of nature-inspired modern residential design Gill is known, and rightly so, for streamlined buildings such as the La Jolla Woman’s Club (1914) and the Dodge House (1916), but Guthrie says he has a number of modern homes worth investigating.

One of his favorites is the Ellen Browning Scripps residence, now the Museum of Contemporary Art in San Diego.

He created homes that were cream-white, stucco structures, with no roofline, set against the clear, blue sky.

“San Diego and Southern California influenced Gill the way that the prairie influenced Frank Lloyd Wright,” says Guthrie.“It’s an incredible house.” Gill would describe his homes as Cubist, a reference to the art movement.It may be hard to think of architecture embodying that school of work, but Guthrie says the comparison is apt. “As you move around them, they change shape and proportions, because he was breaking up mass into shapes and cubes.His philosophy was shaped by the Chicago School ...Gill’s incredible career trajectory includes stops in two areas considered crucibles for American modernism.“Gill used the geography of canyons, looked at them as an architectural element. He look at his work as bigger than the building itself, which is a very modern approach.” In addition, Gill briefly mentored Richard Neutra and Rudolph Schindler during his later years, connecting with some of the architects who would help shape midcentury California design.He experimented with new materials and ideas Gill felt that there needed to be a new aesthetic and architecture, that the 20th century was a new period in human history, an new epic, and needed its own design.His first stop was in Chicago, where he worked from 1890 to 1893, including a multi-year stint with Adler & Sullivan during a peak time for this iconic architecture duo.He was surrounded by, and influenced by innovation that would shape modern architecture. Sullivan has been quoted numerous times for his statement about reducing ornamentation in design, a thoroughly modern concept that informed much of his work during Gill’s time in Chicago.In his 1892 essay, Ornament in Architecture, he wrote: “I take it as self-evident that a building, quite devoid of ornament, may convey a noble and dignified sentiment by virtue of mass and proportion…I should say that it would be greatly for our aesthetic good if we should refrain entirely from the use of ornament for a period of years, in order that our thought might concentrate acutely upon the production of buildings well formed and comely in the nude…” “Gill took that idea and ran with it,” says Guthrie.While Sullivan never completely avoided ornamentation in his work, Gill, “stripped architecture of external ornamentation, and used nature as his ornamentation.

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