Introduction
Architecture is seen today as an important part of the International Modern style of buildings. It is recognized through the flat roofs and large areas of glazing. Comparing postmodern architecture to the international modern style of architecture would require the determination of important details to better understand the two. Post-modern architecture is generally viewed as a style taken from the 1950s and constantly evolves up to the contemporary world of architecture.
It depicts wit, ornament, and reference to architecture to deal with the International Style of Modernism (Klotz, 1998). For many cultural movements, postmodernism is largely visible in the form of architectural designs. The elements of architectural designs are influenced by the new ways of looking into the familiar styles and spaces that abound.
The standard examples of modern architecture are those masterpieces such as the Seagram building and the works of Le Corbusier. A transitional example of postmodern architecture is the Sony Building made by Philip Johnson that is originally based on the past architectural elements and defines a new style through the application of color and symbolism (Hitchcock & Johnson (1997).
In addition, postmodern architecture has been referred to as neo-eclectic where in the reference and pattern has returned to the pretense that substitutes the plain styles in the present era. This kind of eclecticism is usually combined with the use of non-orthogonal angles and atypical surfaces such as the State Gallery of Stuttgart and the Piazza d’Italia made by Charles Williard Moore (Jarzombek, 1999).
Architects in modern times treat postmodern buildings as blatant and chaotic in some forms. The postmodern architects usually thought of the modern spaces as inexpressive and ordinary. The differences in opinions cater to various perspectives and goals. How modernism differs from postmodernism is that modernism originated in less and real utilization of the materials like the dearth of designs while postmodernism is a negative response of strict rules that are set by the untimely modernists and look for liveliness in the use of building methods, angles, and references on style (Klotz, 1998).
Discussion
It is overtly defined through the modern creations that postmodernism relates to the ideas of the architects through the designs where arts and styles are explored in a manner that somehow differs from the standards of modernism perspectives (Klotz, 1998). On the other hand, the International style is the major architectural style of the past years. It is normal for the buildings and architects of the influential eras of Modernism. This specifically occurred before the times of the Second World War.
The characterization of Hitchcock and Johnson of the modern architecture appeared to have an extensive characteristic which is common to the Modernism sense worldwide. The idea is central to the styles of modernism which has something to do with the style of the time and would sum up modern architecture. Ideas are determined through the prevailing concepts that the expression of volume is altered instead of mass, balance instead of the predetermined symmetry, and the discharge of applied decorations or designs (Jarzombek, 1999).
The relationship of architecture in postmodernism greatly affects the designs and styles that are seen on the buildings today. The emergence of the 20th century made some of the architects avert from modern functionalism that is regarded as dull and almost considered uninteresting. The architects who agree with this perspective turned toward the past and highlighted the past aspects of different buildings and mixed them to create a new way of designing the buildings. A clear example of the new concept of postmodernism is that it is seen as the return of the pillars and other essential elements of the pre-modern designs. Sometimes it is regarded as settling into the classical Greek and Roman examples but not necessarily recreating those designs (Klotz, 1998).
In modernism, the support as a feature design is positioned by technological methods such as cantilevers or covered by curtains. The stimulation of the pillar is an aesthetic need though instead of using the technological methods. The high-rise buildings of the modernist more likely became monolithic which disregards the idea of a mass of different design elements for a particular vocabulary (Jarzombek, 1999). Also, this is seen to be the most tremendous case that used a smooth design with the suggestions of the probability of a single metallic extrusion from the ground through the elimination of visual horizontal elements such as the World Trade Center buildings of Minoru Yamasaki.
Postmodern structures are usually achieved through striking the contradicting points of the previous styles of buildings with each other as well as integrating furniture stylistic references on a larger scale. In addition, contextualism which is a way of thinking in the later parts of the 20th century broadly affects the concepts of postmodernism. It is focused on the idea that all knowledge is context-sensitive. This is considered to say that knowledge is not able to be understood without the recognition of the main context (Klotz, 1998).
As a comparison to the concept of postmodernism, the International modern style somehow differs because of its development through graphical and architectural sense by artists and maintains an identifiable, simple, and efficient style. Illustrations of an international modern style depict unembellished flat and curved walls, roofs, and floors. The curve presents a functional design for the building and maintains its simplicity though some obstacles are seen on the design. Difficulties are encountered for considering the basic concepts of International Style which are sheerness, flatness, plainness, unornamented, and smoothness. This may be viewed as simple but tough weathering and maintenance should be considered to achieve the said design because perfect geometry forms should appear (Tournikiotis, 1999).
Defining the examples of the International style applies to some famous sights in the world. Flat walls, roofs, and square corners match the natural beauty of the environment because of its simplicity and its plainness. The idea of Le Corbusier depicts that buildings are machines for living because of the purpose of the concepts of style. As preset parts function effectively in a machine, the human workers should then be able to function properly in a building. The capability of achieving tasks easily is a good point however people’s idea of the innovation regarding technology as a machine is somehow disappointing. Sometimes the time of development can overlook the feelings of a person. International style is indeed not about feelings but science and purpose (Hitchcock & Johnson (1997).
The purpose of International Modern Style appears to be vital for different places but it started in Germany. The needs and demands of people initiate art. The International Modern style buildings are shown in the early post-war era through the forms of big industrial-sized buildings. The designers seek great functionality in creating styles that suits the character of time though there is a limited international agreement on what does it depicts.
Modernism is a complete and revolutionary perspective and philosophy. It rejects the decorative themes that do not significantly contribute to the functionality of a building. Before, arts and designs had never come to a point of the mechanical senses and were put into detail. It is said that the Industrial Revolution gave a form of art according to its principles such as simplicity, reproducibility, and modularity (Tournikiotis, 1999). De Stijl’s art is also one of the examples of modernism. De Stijl uses planes and a distinctly modern style hairline grid for the patterns of a building. Compared to the earlier styles, the International Modern Graphic design is regarded as having an integration of art and science for the combination of formulas and mathematical concepts. From art that are seen on the wall to the designs of the buildings, it proves that small details are vital for each other’s lives (Hitchcock & Johnson (1997).
The International Style of modernism is viewed to be a minimalist form of art. It is not merely in the sense of minimalism though and the International style does not possess a decorative detail wherein geometrical figures are focused and expressed in a functional form. With the perspectives of minimalism, international style is distinct for describing art more clearly. The term as it prevails may mean an international standard for the designs and art for architecture but it varies depending on the country. A distinct style should be made accordingly based on the artist’s style and sense. The ideals should be the same but the completion of the final design will make the masterpiece unique and most likely to be related to other designs (Jarzombek, 1999).
Conclusion
The comparison between postmodernism and the International Style for Modernism falls under the main elements of architectural designs that have something to do with the total visualization of the buildings. Postmodernism possesses intricacy for the designs used for a structure while the International Style for modernism largely accounts for its basic principle of simplicity and plainness with the consideration of its functionality. Late modernism showed popularity through the International modern style and it had been justified through commercialization over the years of development and impacted many structures.
As the stage of modernism continues, the ascending desire for more creative designs is approaching the eyes of the people and expect more from the designers. A more creative distinction of the type of arrangement and size develops over time which makes designs varied. The use of the International Modern style is widely seen today among buildings and other infrastructures. Buildings, books, and other modern styles are used in accordance to the daily lives of people and are present anywhere. Postmodernism style in architecture though is still used today but few numbers of designs seem to be visible as people embrace the new style of modernism.
The development of art through the form of many media creates an overt and universal style which is apparent to the International Modern Style. With the line of its progress, the graphical and architectural styles have met diversity but still maintain its simplicity and functionality.
References
Hitchcock, H.R. & Johnson, P. (1997). The International Style. W. W. Norton & Company.
Jarzombek, M. (1999). “The Disciplinary Dislocations of Architectural History,” Journal of the Society of Architectural Historians, 58/3, p. 489.
Klotz, H. (1998). History of Post-Modern Architecture, Cambridge, MA: MIT Press.
Tournikiotis, P. (1999). The Historiography of Modern Architecture. MIT Press.