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Modern architecture, or modernist architecture, was an architectural movement or architectural style based upon new and innovative technologies of construction, particularly the use of glass, steel, and reinforced concrete; the idea that form should follow function (functionalism); an embrace of minimalism; and a rejection of ornament. It emerged in the first half of the 20th century and became dominant after World War II until the 1980s, when it was gradually replaced as the principal style for institutional and corporate buildings by postmodern architecture. According to Le Corbusier the roots of the movement were to be found in the works of Eugène Viollet le duc.
Modern architecture emerged at the end of the 19th century from revolutions in technology, engineering, and building materials, and from a desire to break away from historical architectural styles and to invent something that was purely functional and new.
The revolution in materials came first, with the use of cast iron, drywall, plate glass, and reinforced concrete, to build structures that were stronger, lighter, and taller. The cast plate glass process was invented in 1848, allowing the manufacture of very large windows. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and plate glass construction, followed in 1864 by the first glass and metal curtain wall. These developments together led to the first steel-framed skyscraper, the ten-story Home Insurance Building in Chicago, built in 1884 by William Le Baron Jenney and based on the works of Viollet le Duc.
French industrialist François Coignet was the first to use iron-reinforced concrete, that is, concrete strengthened with iron bars, as a technique for constructing buildings. In 1853 Coagent built the first iron reinforced concrete structure, a four-story house in the suburbs of Paris. A further important step forward was the invention of the safety elevator by Elisha Otis, first demonstrated at the New York Crystal Palace exposition in 1854, which made tall office and apartment buildings practical. Another important technology for the new architecture was electric light, which greatly reduced the inherent danger of fires caused by gas in the 19th century.
The debut of new materials and techniques inspired architects to break away from the neoclassical and eclectic models that dominated European and American architecture in the late 19th century, most notably eclecticism, Victorian and Edwardian architecture, and the Beaux-Arts architectural style. This break with the past was particularly urged by the architectural theorist and historian Eugène Viollet-le-Duc. In his 1872 book Entretiens sur L’Architecture, he urged: “use the means and knowledge given to us by our times, without the intervening traditions which are no longer viable today, and in that way we can inaugurate a new architecture. For each function its material; for each material its form and its ornament.” This book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí.
With roots in German and Scandinavian architecture and design, the modern style is simple and unadorned. It is connected to the age of machination and is often referred to as that of the 1920s to 1950s. The modern style movement continued to grow in popularity throughout the first half of the 20th century, and later derivatives of this style are known as midcentury modern and postmodern.
One of the key beliefs behind the modern design movement is the idea that “form follows function.”1 In other words, the design of all furnishings and decorative objects should reflect its intended purpose, and if a furnishing, decor, or decorating detail does not have a practical purpose, then it can be eliminated.
In the past, interiors were put together instinctively as a part of the process of building.
The profession of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processes.
The pursuit of effective use of space, user well-being and functional design has contributed to the development of the contemporary interior design profession. The profession of interior design is separate and distinct from the role of interior decorator, a term commonly used in the US; the term is less common in the UK, where the profession of interior design is still unregulated and therefore, strictly speaking, not yet officially a profession.
In ancient India, architects would also function as interior designers. This can be seen from the references of Vishwakarma the architect—one of the gods in Indian mythology. In these architects’ design of 17th-century Indian homes, sculptures depicting ancient texts and events are seen inside the palaces, while during the medieval times wall art paintings were a common feature of palace-like mansions in India commonly known as havelis. While most traditional homes have been demolished to make way to modern buildings, there are still around 2000 havelis in the Shekhawati region of Rajashtan that display wall art paintings.
In ancient Egypt, “soul houses” (or models of houses) were placed in tombs as receptacles for food offerings. From these, it is possible to discern details about the interior design of different residences throughout the different Egyptian dynasties, such as changes in ventilation, porticoes, columns, loggias, windows, and doors.
Reconstructed Roman triclinium or dining room, with three klinai or couches
Painting interior walls has existed for at least 5,000 years, with examples found as far north as the Ness of Brodgar, as have templated interiors, as seen in the associated Skara Brae settlement. It was the Greeks, and later Romans who added co-ordinated, decorative mosaics floors, and templated bath houses, shops, civil offices, Castra (forts) and temple, interiors, in the first millennia BC. With specialised guilds dedicated to producing interior decoration, and formulaic furniture, in buildings constructed to forms defined by Roman architects, such as Vitruvius: De architectura, libri decem (The Ten Books on Architecture).
Throughout the 17th and 18th century and into the early 19th century, interior decoration was the concern of the homemaker, or an employed upholsterer or craftsman who would advise on the artistic style for an interior space. Architects would also employ craftsmen or artisans to complete interior design for their buildings.
Interior designer
Interior designer implies that there is more of an emphasis on planning, functional design and the effective use of space, as compared to interior decorating. An interior designer in fine line design can undertake projects that include arranging the basic layout of spaces within a building as well as projects that require an understanding of technical issues such as window and door positioning, acoustics, and lighting. Although an interior designer may create the layout of a space, they may not alter load-bearing walls without having their designs stamped for approval by a structural engineer. Interior designers often work directly with architects, engineers and contractors.
Interior designers must be highly skilled in order to create interior environments that are functional, safe, and adhere to building codes, regulations and ADA requirements. They go beyond the selection of color palettes and furnishings and apply their knowledge to the development of construction documents, occupancy loads, healthcare regulations and sustainable design principles, as well as the management and coordination of professional services including mechanical, electrical, plumbing, and life safety—all to ensure that people can live, learn or work in an innocuous environment that is also aesthetically pleasing.
Someone may wish to specialize and develop technical knowledge specific to one area or type of interior design, such as residential design, commercial design, hospitality design, healthcare design, universal design, exhibition design, furniture design, and spatial branding. Interior design is a creative profession that is relatively new, constantly evolving, and often confusing to the public. It is not always an artistic pursuit and can rely on research from many fields to provide a well-trained understanding of how people are often influenced by their environments.
Color in interior design
Color is a powerful design tool in decoration, as well as in interior design, which is the art of composing and coordinating colors together to create a stylish scheme on the interior architecture of the space.
It can be important to interior designers to acquire a deep experience with colors, understand their psychological effects, and understand the meaning of each color in different locations and situations in order to create suitable combinations for each place.
Combining colors together could result in creating a state of mind as seen by the observer, and could eventually result in positive or negative effects on them. Colors can make the room feel either more calm, cheerful, comfortable, stressful, or dramatic. Color combinations can make a tiny room seem larger or smaller. So it is for the Interior designer to choose appropriate colors for a place towards achieving how clients would want to look at, and feel in, that space.
Japan, like Europe, had an enormous shortage of housing after the war, due to the bombing of many cities. 4.2 million housing units needed to be replaced. Japanese architects combined both traditional and styles and techniques. One of the foremost Japanese modernists was Kunio Maekawa (1905–1986), who had worked for Le Corbusier in Paris until 1930. His own house in Tokyo was an early landmark of Japanese modernism, combining traditional style with ideas he acquired working with Le Corbusier. His notable buildings include concert halls in Tokyo and Kyoto and the International House of Japan in Tokyo, all in the pure modernist style.
Kenzo Tange (1913–2005) worked in the studio of Kunio Maekawa from 1938 until 1945 before opening his own architectural firm. His first major commission was the Hiroshima Peace Memorial Museum . He designed many notable office buildings and cultural centers. office buildings, as well as the Yoyogi National Gymnasium for the 1964 Summer Olympics in Tokyo. The gymnasium, built of concrete, features a roof suspended over the stadium on steel cables.
The Danish architect Jørn Utzon (1918–2008) worked briefly with Alvar Aalto, studied the work of Le Corbusier, and traveled to the United States to meet Frank Lloyd Wright. In 1957 he designed one of the most recognizable modernist buildings in the world; the Sydney Opera House. He is known for the sculptural qualities of his buildings, and their relationship with the landscape. The five concrete shells of the structure resemble seashells by the beach. Begun in 1957, the project encountered considerable technical difficulties making the shells and getting the acoustics right. Utzon resigned in 1966, and the opera house was not finished until 1973, ten years after its scheduled completion.
The Art Deco style began in Europe in the early years of the 20th century, with the waning of Art Nouveau. The term “Art Deco” was taken from the Exposition Internationale des Arts Decoratifs et Industriels Modernes, a world’s fair held in Paris in 1925. Art Deco rejected many traditional classical influences in favour of more streamlined geometric forms and metallic color. The Art Deco style influenced all areas of design, especially interior design, because it was the first style of interior decoration to spotlight new technologies and materials.
Art Deco style is mainly based on geometric shapes, streamlining, and clean lines. The style offered a sharp, cool look of mechanized living utterly at odds with anything that came before.
Art Deco rejected traditional materials of decoration and interior design, opting instead to use more unusual materials such as chrome, glass, stainless steel, shiny fabrics, mirrors, aluminium, lacquer, inlaid wood, sharkskin, and zebra skin. The use of harder, metallic materials was chosen to celebrate the machine age. These materials reflected the dawning modern age that was ushered in after the end of the First World War. The innovative combinations of these materials created contrasts that were very popular at the time – for example the mixing together of highly polished wood and black lacquer with satin and furs. The barber shop in the Austin Reed store in London was designed by P. J. Westwood. It was soon regarded as the trendiest barber shop in Britain due to its use of metallic materials.
The color themes of Art Deco consisted of metallic color, neutral color, bright color, and black and white. In interior design, cool metallic colors including silver, gold, metallic blue, charcoal grey, and platinum tended to predominate. Serge Chermayeff, a Russian-born British designer made extensive use of cool metallic colors and luxurious surfaces in his room schemes. His 1930 showroom design for a British dressmaking firm had a silver-grey background and black mirrored-glass wall panels.
Black and white was also a very popular color scheme during the 1920s and 1930s. Black and white checkerboard tiles, floors and wallpapers were very trendy at the time. As the style developed, bright vibrant colors became popular as well.
Art Deco furnishings and lighting fixtures had a glossy, luxurious appearance with the use of inlaid wood and reflective finishes. The furniture pieces often had curved edges, geometric shapes, and clean lines. Art Deco lighting fixtures tended to make use of stacked geometric patterns.
Modern design grew out of the decorative arts, mostly from the Art Deco, in the early 20th century. One of the first to introduce this style was Frank Lloyd Wright, who hadn’t become hugely popularized until completing the house called Fallingwater in the 1930s. Modern art reached its peak during the 1950s and ’60s, which is why designers and decorators today may refer to modern design as being “mid-century.” Modern art does not refer to the era or age of design and is not the same as contemporary design, a term used by interior designers for a shifting group of recent styles and trends.
source : wikipedia _ thespruce _ wikipedia
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