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The modern movement in architecture known as the International Style emerged into Europe and the United States around the 10's. The key players in this new style of architecture gave a new direction to building structure by emphasizing and lightening the structure while at the same time allowing it to enclose large dynamic spaces. With the use of steel frames, curtain walls, u-shaped buildings, set backs and reinforced concrete, the International Style was the new precedent for any building looking to become sleeker and more functional. In his book, The Sources of Modern Architecture, Nikolaus Pevsner writes about the emergence of this new style, how it was formed and who helped to shape it.
Before the International Style can be defined, one must look to the past to see the buildings and their architects who would be the influence for this modern style. First of the buildings that would later play a large role in the evolution of architectural style was the Crystal Palace (c. 1851) by the non-architect, Joseph Paxton. His use of iron and large eight foot modules of cut glass created and open span of lighted area over eighteen acres. This building designed for the Great Exhibition in 1851 was amazing because of its ability to be constructed and deconstructed with rapidity. By bolting the cast iron together it made it strong but also easy to take apart. This was essential when dealing with the million square feet of glass used to create the building. Second of the influential structures is seen with the use of iron and steel combined. Gustave Eiffel gave way to a 84 ft vertical wonder known as the Eiffel Tower (c. 188). His structure created for the 188 exposition was an example of form and fluidity in steel that would hint at the idea of taller structures. As buildings would soar vertically, the use of passenger elevators would become part of the function of structure. This all would become more important as seen in later works by Louis Sullivan and William Le Baron Jenney.
The need for the "skyscraper" would soon become evident. Soaring costs of land required that buildings project upward. Now with the use of the passenger elevator, architects were able to design buildings that would rise higher than the five story buildings of the past. The Chicago School of Architects was the key influences in American Architecture during the turn of the century, each contributing with their own revolutionary ideas. In the designing of the first Leiter Building, Jenney was faced with figuring out a way to build a tall, heavy building on the marsh soil of Chicago. His solution was to use columns in a spread foot design that would bear more weight. On top of these would be the first ever use of hollow iron columns enclosed in a mason bearing curtain wall to bear its own weight. This would help the steel beams, which in turn would bear their own weight on every floor. The top floors were of Bessemer steel made into the beams and girders for additional support. The aesthetics of the building were "a-styler" in design utilizing piers and spandrels for a continuing patter from top to bottom with large plate glass windows.
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Also from Chicago was Louis Sullivan. In his book, Ornamentation in Architecture, Sullivan describes how ornamentation should be put on hold so that the concentration could be solely on the construction of the building "in the nude" and that "form should follow function".However, Sullivan himself could not stay away from his own new ideas of ornamentation. Borrowing heavily from nature, his design of the Troescher Building, Sullivan embraces a new form of ornamentation. He believed that the ornamentation be an integrated into the building, not simply "stuck on". The piers of this building burst into flowers on top while the spandrels have a flower/vine motif. Another of Sullivan's innovations for architecture was the Odd Fellows Temple. Because of new strict zoning laws, buildings were not allowed to cover the entire lot in a block like fashion from bottom to top. His solution to this problem was the idea of the "set back". He would allow the first couple of stories to encompass the lot forming and "X" shape. From those two buildings another building set slightly back would rise from it. Another of Sullivan's buildings that would play heavily in the advancement of design was the Wainwright Building. His use of bracing and riveted steel frame made for a sturdy structure. Its reinforced concrete and terra cotta tiles for fireproofing were key to its design. It is formatted on the principle of a column, with a base, shaft and capitol all topped off with a cornice that is classical in design giving it a monolithic look.Another one of Sullivan's building that followed the pattern of a column was his Guaranty Building in New York. He formed the twelve stories into a "U" shaped design that formed the look of base, shaft and capitol. By arranging the building this way, it gave it a lighter, sturdier construction. All of it was ornamented in geometric shapes with spandrels made from terra cotta.
In the same vein as Sullivan's botanical motif, a new era of design was sweeping the late eighteen hundreds until it fell out of favor around 110.Known as the "New Art", Art Nouveau artists liberated the arts by incorporating modern materials and themes with naturalistic ideas and design.Art Nouveau can be seen in the styles of not only architecture but also the applied and decorative arts, as well as in sculpture and painting. The movement began in Western Europe in the 1880s when artists and craftsmen made a break with the styles of the past.Signatures of the style not only incorporated plant form, but long, thin drawn out lines, concave and convex forms, whiplash lines in asymmetrical, non-repeating forms.
Victor Hortas Maison du Peuple (186-) is what Pevsner calls the Art Nouveau version of the American office building, "both dependent on iron, but in exactly opposite ways". The Americas use iron as a support that is covered in a curtain wall, while Horta used iron as an integral part of the design. Because the iron is curving in a decorative matter it doesn't give of a "utilitarian" appearance. The curving walls between the masses of brick, iron and glass give an aesthetically pleasing look at the architecture. Hortas use of curving thin lines and shapes can also be seen in his Tassle House. It too showcases its exposed cast iron structure to add to the decorative townhouse with its centralized floor plan. Here the bay windows add to the effect that the building is undulating with the convex/concave style of Art Nouveau. The interior of the building follows through with the curving whiplash lines, incorporating them into the staircase, walls and floor mosaics.
Hector Guimard was equally important in this movement, most notably creating the Paris Metro entrances at the turn of the century. He used the nature inspired motifs in each of his entrances, all with curvilinear lines. His streetlamps metamorphosed into a stem for the light post and a flower for the light. Each entrance to the subway is designed differently, even creating one of the entrances to look like a dragonfly spanning over the top of the awning. His Hotel Guimard is an architectural illusion. With his use of a facade for the front, he creates undulating curves that are Baroque in style.
When Art Nouveau was waning out of favor, a new phase of architecture was being ushered in. As seen in Henri Van de Velde's design of the Werkbund Theater, it is almost International Style with its straight lines and horizontal windows. The Werkbund was a group that believed in returning to the craft aesthetic. This idea of "form follows function" may also be seen in the vertical bands of windows, glass walls and geometric cubicles in Otto Wagner's Postal Savings Bank.His use of thin sheets of marble with exposed bolts gives the structure a geometric pattern. He also used these same ideas on his own house, Villa Wagner, only this time they had slight classical overtones with the flat, corniced roof.
Another new design in buildings that would be used by several architects including Perret and Wright was the use of the cantilever.Perret would use reinforced concrete to allow the glass to be projected out, allowing the weight to be supported without the interior walls. This opened up floor plans, allowing for a more spacious interior. Wright too used this idea in his structures to allow for a more naturalistic, flowing space.
With the avocation of "form follows function" new schools of design and thought opened up. The leaders of this new era from the Bauhaus understood that functionality was key, and that determined what form the style would take. Stripping down the aesthetic to create a workable environment. They understood this new International Style was about a stripped down look, no more over the top ornamentation or design. By utilizing the modern materials like reinforced concrete and steel, buildings could soar in an unfettered new way without the old ideas of the past cluttering up the new tomorrow. The desire for function was now at their fingertips.
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