Essay Modernist Architecture

Essay Modernist Architecture-16
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.Eventually, his work in San Diego and other parts of California would reflect the environment, a landscape that would also become a key element shaping postwar Modernist buildings.

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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.

Ahead of his time Irving Gill’s work in the 1910’s was ahead of its time.

In 1916, he wrote an essay, Home of the Future, that outlined his design philosophies years before many of the pioneering modernists began designing homes and buildings.

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.

Essay Modernist Architecture Education Problems In Pakistan Essay

While he’s been credited as a pioneer before, this event seeks to make more explicit connections, with new scholarship connecting the Chicago School with this precursor to Southern California cool.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.Louis Sullivan was an early modern theorist, but Gill got the buildings built.” …But it was realized in Southern California Gill’s move to Southern California in 1893 helped him revolutionize his craft.He had already developed his architectural vocabulary before the wave of attention paid to Modernist architecture in the ‘30 and ‘40s.The history of modernism, at least in the middle of the 20th century, was written by Europeans for the most part, says Guthrie, and Gill, who was covered by American architecture critics and publications during his career, wasn’t connected with the growing scene overseas.“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.

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