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Modernism in Architecture

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Around the beginning of the 20th century, a general dissatisfaction with the emphasis on revivalist architecture and elaborate decoration gave rise to many new lines of thought that served as precursors to Modern Architecture.

Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine made objects. The rise of the profession of industrial design is usually placed here. Following this lead, the Bauhaus school, founded in Weimar, Germany in 1919, redefined the architectural bounds prior set throughout history, viewing the creation of a building as the ultimate synthesis—the apex—of art, craft, and technology.

When modern architecture was first practiced, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings. Immediately after World War I, pioneering modernist architects sought to develop a completely new style appropriate for a new post-war social and economic order, focused on meeting the needs of the middle and working classes.

They rejected the architectural practice of the academic refinement of historical styles which served the rapidly declining aristocratic order. The approach of the Modernist architects was to reduce buildings to pure forms, removing historical references and ornament in favor of functionalist details. Buildings displayed their functional and structural elements, exposing steel beams and concrete surfaces instead of hiding them behind decorative forms. Architects such as Frank Lloyd Wright developed organic architecture, in which the form was defined by its environment and purpose, with an aim to promote harmony between human habitation and the natural world with prime examples being Robie House and Fallingwater.

Architects such as Mies van der Rohe, Philip Johnson and Marcel Breuer worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution, including steel-frame construction, which gave birth to high-rise superstructures. By mid-century, Modernism had morphed into the International Style, an aesthetic epitomized in many ways by the Twin Towers of New York’s World Trade Center designed by Minoru Yamasaki.

1,893 thoughts on “Modernism in Architecture”

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  255. The Bauhaus framing of technology and craft working together rather than against each other still holds up. Looking at modern design history through that lens makes you appreciate how much of it grew out of that specific tension between machine production and form.

    I was actually thinking about that balance last week while putting together a quick background reel on modernist facades. I dropped a prompt into veo for a slow architectural pan across raw concrete at dusk; it took around two minutes to generate, and while I had to rerun it once to fix some weird reflection issues on the glass, the geometric lines came out clean enough for the edit.

  733. That concept of the Bauhaus treating design as a deliberate synthesis of craft and industrial production still rings true across modern visual work. It is easy to overlook how radical it was at the time to view machine-driven tools as genuine collaborators rather than just a compromise on artistry.

    I ended up exploring that exact aesthetic recently while mocking up some short architectural B-roll. Feeding a geometric reference sketch into the Kling 4.0 AI Video Generator with a prompt for a slow horizontal tracking shot across exposed concrete and tubular steel held the perspective lines quite well, even if it took two or three passes to get the interior shadow falloff right.

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  1660. It’s fascinating to read about how dissatisfaction with revivalist styles pushed architecture toward a more functional aesthetic. The transition from ornate decoration to the synthesis of art, craft, and technology as seen in the Bauhaus school really changed the built environment. Even though I’m mostly interested in digital design, I find myself thinking about structural efficiency, similar to calculating a minecraft sphere block count for optimal use of resources. It’s interesting to see how modernism still influences practical planning today.

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