Book contents
- Frontmatter
- Contents
- List of Illustrations
- Preface
- 1 Prelude
- 2 The Enlightenment and Neoclassical Theory
- 3 British Theory in the Eighteenth Century
- 4 Neoclassicism and Historicism
- 5 The Rise of German Theory
- 6 Competing Directions at Midcentury
- 7 Historicism in the United States
- 8 The Arts and Crafts Movements
- 9 Excursus on a Few of the Conceptual Foundations of Twentieth-Century German Modernism
- 10 Modernism 1889–1914
- 11 European Modernism 1917–1933
- 12 American Modernism 1917–1934
- 13 Depression, War, and Aftermath 1934–1958
- 14 Challenges to Modernism in Europe 1959–1967
- 15 Challenges to Modernism in America
- Epilogue
- Notes
- Index
10 - Modernism 1889–1914
Published online by Cambridge University Press: 25 July 2009
- Frontmatter
- Contents
- List of Illustrations
- Preface
- 1 Prelude
- 2 The Enlightenment and Neoclassical Theory
- 3 British Theory in the Eighteenth Century
- 4 Neoclassicism and Historicism
- 5 The Rise of German Theory
- 6 Competing Directions at Midcentury
- 7 Historicism in the United States
- 8 The Arts and Crafts Movements
- 9 Excursus on a Few of the Conceptual Foundations of Twentieth-Century German Modernism
- 10 Modernism 1889–1914
- 11 European Modernism 1917–1933
- 12 American Modernism 1917–1934
- 13 Depression, War, and Aftermath 1934–1958
- 14 Challenges to Modernism in Europe 1959–1967
- 15 Challenges to Modernism in America
- Epilogue
- Notes
- Index
Summary
I have made the following observation and have announced it to the world: The Evolution of culture is synonymous with the removal of ornament from objects of daily use.
Adolf Loos (1908)Otto Wagner
The break with historical forms that had been contemplated in theory for much of the nineteenth century came about largely in the exhilarating years 1889–1912. If we look at the change from the perspective of European theory, the essential tracts defining the new perspective were published between 1896 and 1901. What is as surprising as the suddenness of the transformation of modern architectural thought is the breadth of activity across two continents. The great tower and buildings of the Paris Exposition of 1889 – whose role in fostering an image of “modern life” should not be underestimated – may rightly be viewed as symbols of the new modernity, but this new phase of Western culture was also being driven from below by the widespread desire of architects – now drawing upon the existing theoretical base – to make a fresh start.
Formal innovation was widespread. In 1889 the Catalan architect Antonio Gaudí (1852–1926) was putting the finishing touches on his Palacio Güell in Barcelona. In 1890 Louis Sullivan rushed into the office of his chief draftsman, Frank Lloyd Wright, in Chicago and (with the design of the Wainwright building in hand) proudly announced that he had solved the “skyscraper” problem.
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- Information
- Modern Architectural TheoryA Historical Survey, 1673–1968, pp. 204 - 234Publisher: Cambridge University PressPrint publication year: 2005