Defining the phenomenon of Modernist architecture is not an easy task, mostly because it incorporates uncompromising simplicity of forms and a number of design elements borrowed from a range of the existing styles. Perhaps, to approach the concept of Modernist architecture, it would be reasonable to address its relation to function. For centuries, architecture has been shaped by the aesthetical principles, with style obviously dominating the substance. With the advent of Modernist architecture, the emphasis has clearly been shifted onto the functionality of the architectural elements. The reasons for the use of simplicity in architecture are quite versatile. For instance, some researchers claim that urban style has started dictating its terms (Chalana 2010, p. 25). Others insist that the return to simplicity was meant to marry the concepts of nationalism and internationalism in design (Mentula 1979, p. 28; Al-Kodmany & Ali 2012, p. 43). The Eureka Tower in Melbourne, the design of which is based on a very simple principle of symmetry and rectangle shapes, yet incorporates the use of the latest technological innovations, is a perfect example of Modernist architecture. Therefore, Modernist, or Modern, architecture can be defined as an architecture concept that focuses on function as the top priority and stresses the significance and reasonability of architectural simplicity of forms.
Much like its definition, the origin of Modernist architecture is rather obscure; there was no particular point at which the epoch of Modernism in architecture started. The process of ousting architectural extravagances with more functional elements seems to have been going on rather naturally, with the introduction of globalist principle of culture fusion, as well as a careful balance of “spiritual fulfillment” and “material afluence” (Hirano 2006, p. 16) and the denial of the style-over-substance principles. However, speaking of the point at which the advent of a new Modernist era was heralded in architecture, one must mention the World Architecture Festival, with internationalism having been defined as the key trend in the XXI century architecture (‘World Architecture Festival’ 2012, 19). In fact, Modernist style blends the elements of the architecture approaches all over the world, which means that it incorporates the latest advances and some of the ancient traditions, thus, tying future and past together (Clark 2009, p. 13). For instance, Abbaszadeh specifies that Modernist architecture may incorporate the elements of a traditional Persian culture and the innovative approach towards functionality in that it follows the key premises of functional theory closely (Abbaszadeh, & Salim 2009, p. 117). Thus, it is reasonable to suggest that Modernist architecture appeared at the end of the XX century. Fallingwater, with its futuristic look and the design that makes it an integral part of the rural area, is the blend of technology and tradition that can only be described as Modernist architecture.
Even with due regard for the novelty and reasonability of Modernist postulates, the popularity of the Modernist principles in world architecture is truly fascinating. One might expect that the representatives of more conservative cultures would be rather resistant and hostile towards the influence of Modernism, yet the new phenomenon seems to have taken over the world for the time being. The aesthetics of function (Grabow, S 1999/2000, p. 33) should be listed among the reasons for the popularity of Modernism in various cultures. In addition, the influence of the West and the fact that the Western culture has been cultivating Modernism for quite a while should be noted. After years of searching for perfect forms, people have finally discovered the impeccability of function. Modernist architecture has gained popularity all over the world due to its tendency to incorporate elements of different cultures. It has something for the representative of any nation to relate to. The Jewish Museum, with its striking simplicity and the integration of a zigzag design, is another specimen of Modernist architecture.
References
Abbaszadeh, A, Ibrahim, R, Baharuddin, M N, & Salim, A 2009, ‘Identifying Persian traditional socio-cultural behaviors for application in the design of modern high-rise residences,’ Archnet-IJAR, vol. 3 no. 3, pp. 116–132.
Al-Kodmany, K & Ali, M M 2012, ‘Skyscrapers and placemaking: supporting local culture and identity,’ Archnet-IJAR, vol. 6 no. 2, pp. 43–64.
Chalana, M 2010, ‘Slumdogs vs. millionaires balancing urban informality and global modernity in Mumbai, India,’ Journal of Architectural Education, vol. 36 no. 2, pp. 25–37.
Clark, H 2009, ‘Back to the future, or forward? Hong Kong design, image, and branding,’ Massachusetts Institute of Technology Design Issues, vol. 25 no. 3, pp. 11–29.
Gallery: Arx Barierro 2013, Web.
Grabow, S 1999/2000, ‘Towards an aesthetics of function,’ Structurist, vol. 39 no. 40, pp. 33–36.
Hirano, T 2006, ‘Design and culture: developing a nation’s brand with design management,’ Design Management Review, vol. 17 no. 1, pp. 15–20.
Mentula, P 1978, ‘The role of nationalism and internationalism in design,’ Journal of Interior Design, vol. 5 no. 1, pp. 28–29.
Small elegant office with the modern architecture design 2012, Web.
Timeline of architectural styles, 1900–present, Web.
‘World Architecture Festival’ 2012, Architectural Review, vol. 232 no. 1388, pp. 18–26.