The 1930’s proved to be an important moment in the transformation of the architectural society. New forms brought about the period know as ‘International style’ of which expressed a basis for new individual invention. During this time Society as a whole began evolving as the automobile became more popular among households, thus cities began to grow and urbanization was in full effect. The advancements in the Architectural realm led designers such as Alvar Aalto, Mies van der Rohe, and Le Corbusier to start what is now know as the Modernist Movement. These architects among many others shaped the way we view architecture and defined their approach through a progression of designs, of which residential will be examined in this blog.
Charles-Eduard Jeanneret, later know as Le Corbusier was an internationally known and influential Swiss architect and city planner. His vision of an ‘ideal city’ pioneered studies of including theoretical plans for skyscraper cities and mass-produced housing which sought to provide better living conditions for the residents of crowded cities in crisis. Influenced by the ideas of nature and its simplistic geometrical forms Le Corbusier combined the functionalism of the modern movement with bold, sculptural expressionism. In his formative years, Corbu “absorbed many different influences and tried many different forms of expression before he found his true way” (Curtis 165). Belonging to the first generation of the ‘International School’ such as the likes of Walter Gropius and Mies van der Rohe, Le Corbusier excelled in the movement providing deep wisdom and a rich illustration of ideas. These concepts later formed one of the most influential architectural books of the century, Towards a New Architecture 1923. After settling in Paris, Le Corbusier along with painter Amédée Ozenfant formulated the ideas of Purism, pioneering an aesthetic based on the pure, simple geometric forms of everyday objects. “Jeanneret and Ozenfant, strongly objected to developments in Cubist art, particularly the decorative elements. [They] wanted a return to more basic forms mainly inspired by modern machinery” (Lecture). His early work joined the functionalist aspirations of his generation with a strong sense of expressionism. Le Corbusier was an architect who made a studied use of reinforced-concrete construction: his pursuit eventually led to the invention of the ‘Dom-ino’ skeleton 1914 (Fig.1).

While not as nearly renowned as Le Corbusier in France, Mies van der Rohe proved to be a distinguished actor in the realm of Germany’s architects. In Mies’s work, two opposing tendencies struggled for dominance. 1) The enclosure of function in a generalized cubic container not committed to any particular set of concrete functions, relating to his early allegiance to neoclassicism similar to Le Corbusier. 2) the articulation of the buildings in response to the fluidity of life (Colquhoun 171). The resultant architectural formation was very similar to Le Corbusier’s yet the approach was very different to their perceived conditions of modernity (Lecture). Mies spent a much greater time than Corbu designing homes in the neoclassical style and in fact saw a greater success. His early designs focused on “ symmetrical two-story prisms” (Colquhoun 172) such as the Riehl House in Berlin 1907 (Fig. 3). The house is conceived in a simple and practical style with references to the architecture of residences of the early nineteenth century. The emphasis of the house lies in its gabled ends, one of which seems to grow out of the retaining wall.
After the war Mies’ design conventions transform from mimetic eclecticism to Constructivist abstraction. “He began to take a strong anti-formalist position: ‘We know no forms, only building problems. Form is not the goal but the result of our work’” (Colquhoun 173). His early Constructivist projects were exemplified in works such as the Wolf House, Lessing house Project, and Concrete Country House. The Wolf house depicts a system of cubes broken down into smaller interlocking forms utilizing local building materials and brick. Similar to the Lessing House project these plans form a rough pyramidal composition of two and three stories achieving sequences in echelon.

The Tugendhat house as well as one of Mies’s more infamous works the Barcelona Pavilion seek support by an independent grid of columns, at first similar to Le Corbusier’s free plan the system works in unison with the wall planes. Mies gradually began to open his enclosed works over time to frame views of nature. This I believe can be depicted best in his design of the Farnsworth House (Fig. 5).
Leading the discussion on nature presents Alvar Aalto who strongly pursued the incorporation of this element throughout all his work. His prototypes were well adapted to the scale of the landscape and the stringencies of the Nordic climate (Curtis 454). Aalto is seen as the father of the modern architecture movement however rarely gets the acclaim to the extent of Le Corbusier. This Finnish Modernist questioned the mechanistic premises of the new objectivity as did the likes of several others – including Le Corbusier. Returning to natural materials and traditional details Alto like Le Corbusier retained the ‘empty’ language of the new movement, seeking to fill it with new metaphors (Colquhoun 201).
