In Europe the modern movement in architecture had been called Functionalism or Neue Sachlichkeit (New Objectivity), L'Esprit Nouveau, or simply Modernism and was very much concerned with the coming together of a new architectural form and social reform, creating a more open and transparent society.[3] The English term International Style originated from an exhibition in 1932 titled Modern Architecture - International Exhibition, curated by American architectural historian and critic Henry-Russell Hitchcock and recently graduated Harvard University philosophy student (and later self-taught architect) Philip Johnson. [4] Commissioned in 1931 by the founding director of the Museum of Modern Art, Alfred H. Barr Jr, this was the first ever architectural exhibition held at the Museum of Modern Art in New York, USA. The original exhibition catalogue was then followed up immediately by the book titled The International Style, which was reissued in 1966 with a new foreword by Hitchcock.[5]
The aesthetics-based definition of The International Style identified, categorized and expanded upon characteristics said to be common to Modernism across the world and its stylistic aspects. Hitchcock and Johnson identified three principles: the expression of volume rather than mass, the emphasis on balance rather than preconceived symmetry, and the expulsion of applied ornament. The aim of Hitchcock and Johnson was to define a style that would encapsulate this modern architecture, doing this by the inclusion of specific architects. All the works in the 1932 Museum of Modern Art exhibition were carefully selected, only displaying those that strictly followed these rules. For example, the works of the most prominent "modern" architect in the USA, Frank Lloyd Wright, was included in the exhibition only to provide a contrast to the International Style examples, and his works were not featured at all in the book that followed.[5]
Previous to the 1932 exhibition and book, Hitchcock had concerned himself with the themes of modern architecture in his 1929 book Modern Architecture: Romanticism and Reintegration, and the 1932 book can be seen as a supplement to the earlier book.[3] Both books, however, are seen as "operative texts" - in the understanding defined by Italian critic Manfredo Tafuri - in that they were not merely a history but moreover a kind of manifesto proclaiming the birth of a new architecture
In Europe the modern movement in architecture had been called Functionalism or Neue Sachlichkeit (New Objectivity), L'Esprit Nouveau, or simply Modernism and was very much concerned with the coming together of a new architectural form and social reform, creating a more open and transparent society.[3] The English term International Style originated from an exhibition in 1932 titled Modern Architecture - International Exhibition, curated by American architectural historian and critic Henry-Russell Hitchcock and recently graduated Harvard University philosophy student (and later self-taught architect) Philip Johnson. [4] Commissioned in 1931 by the founding director of the Museum of Modern Art, Alfred H. Barr Jr, this was the first ever architectural exhibition held at the Museum of Modern Art in New York, USA. The original exhibition catalogue was then followed up immediately by the book titled The International Style, which was reissued in 1966 with a new foreword by Hitchcock.[5]
The aesthetics-based definition of The International Style identified, categorized and expanded upon characteristics said to be common to Modernism across the world and its stylistic aspects. Hitchcock and Johnson identified three principles: the expression of volume rather than mass, the emphasis on balance rather than preconceived symmetry, and the expulsion of applied ornament. The aim of Hitchcock and Johnson was to define a style that would encapsulate this modern architecture, doing this by the inclusion of specific architects. All the works in the 1932 Museum of Modern Art exhibition were carefully selected, only displaying those that strictly followed these rules. For example, the works of the most prominent "modern" architect in the USA, Frank Lloyd Wright, was included in the exhibition only to provide a contrast to the International Style examples, and his works were not featured at all in the book that followed.[5]
Previous to the 1932 exhibition and book, Hitchcock had concerned himself with the themes of modern architecture in his 1929 book Modern Architecture: Romanticism and Reintegration, and the 1932 book can be seen as a supplement to the earlier book.[3] Both books, however, are seen as "operative texts" - in the understanding defined by Italian critic Manfredo Tafuri - in that they were not merely a history but moreover a kind of manifesto proclaiming the birth of a new architecture
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