Design and Modernism Le Corbusier Contextualised Andrea Peach
A Great epoch has begun. There exists a new spirit. Towards a New Architecture Le Corbusier 1927
Modernism Dominant ideology throughout western industrialised world in art, design and architecture for most of the twentieth century
19 th century: Ornament & Decoration …
If we challenge the past we shall learn that ‘styles’ no longer exist for us, that a style belonging to our own period has come about; and there has been a Revolution. Towards a New Architecture Le Corbusier 1927
Die Wohnung Stuttgart 1927
Adolf Loos 1928 Essay on Ornament and Crime: Evolution is synonymous with the removal of ornament from objects of everyday use
Adolf Loos 1928 Steiner House - Vienna, Austria
A house has to fulfill two purposes. First it is a machine for living in, that is, a machine to provide us with efficient help for speed and accuracy in our work, a diligent and helpful machine which should satisfy all our physical needs: comfort. But it should also be a place conducive to meditation, and Le Corbusier Cook House, Paris, 1926 lastly, a beautiful place, bringing much needed tranquility to the mind. 1923
Machine Art exhibition at Museum of Modern Art in New York 1934 The beauty of machine art is in part the abstract beauty of straight lines and circles made into actual tangible surfaces and solids by means of lathes, rulers and squares
Industry, overwhelming us like a flood which rolls on towards its destined ends, has furnished us with new tools adapted to this new epoch, animated by the new spirit. Le Corbusier - Towards a New Architecture
Russian Constructivist printed textile c 1920
Le Corbusier 1929 Metal plays the same part in furniture as cement has done in architecture. It is a revolution.
The machinery of Society, profoundly out of gear, oscillates between an amelioration, of historical importance, and a catastrophe. Le Corbusier - Towards a New Architecture
If we eliminate from our hearts and minds all dead concepts in regard to the house, and look at the question from a critical and objective point of view, we shall arrive at the ‘House Machine’ Le Corbusier Villa Savoye 1928 -31
We must create the mass-production spirit. The spirit of constructing mass-production houses. The spirit of living in mass-production houses. The spirit of conceiving mass-production houses. Le Corbusier Unité d’Habitation, Marseilles 1947 -52
It is a question of building which is at the root of the social unrest of to-day: architecture or revolution Le Corbusier Unité d’Habitation, Marseilles 1947 -52
Weissenhof Seidlung, Stuttgart 1927 Walter Gropius / Marcel Breuer Mies van der Rohe
Marcel Breuer 1931 This metal furniture is intended to be nothing but a necessary apparatus for contemporary life
Modernist Design Objects should be: • Simple, honest and direct • Well adapted to their purpose • No ornament
Modernist Design • Standardised • Machine-made • Reasonably priced • Expressive of their structure and materials
Marcel Breuer 1926 Nesting Tables Germany Nickel-plated steel and lacquered wood
Mies van der Rohe 1927 Cantilever Chair Germany Chrome-plated tubular steel, oil cloth
1946 “Here is gay, sparkling furniture that brings new beauty and charm into your kitchen … it’s the kind that seems to stay new looking indefinitely” Howell ‘Chromasteel’ USA
Greta von Nessen 1952 ‘Anywhere lamp’ Germany Aluminum and enameled metal
2008 … Ocean - Bianco Table / Gamma Chairs - chromed tubular steel frame
Modernism A term used to refer to the principle that nothing is included in a design that does not enhance the object’s purpose
Marianne Brandt 1924 Tea infuser Germany, Bauhaus
Metal is cold and brutally hard. . . It gives no comfort to the eye John Gloag 1929
“Modern carpet designs may provide endless entertainment for your friends” Heath Robinson 1936
“De Staalstoelophoon” 1934
The end of modernism…? The Titanic - Photomontage Stanley Tigerman, 1978, USA
Alessandro Mendini 1978 1925 “Redesign of Modern Movement Chairs” Wassily by Breuer, Italy
The end of modernism. . . ?
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