Let’s start by admitting the name is misleading. The term ‘Modernist’ architecture might not sound particularly modern to many people. Just as iconic modernist paintings include Pablo Picasso’s Guernica (1937) and great modernist novels include James Joyce’s Ulysses (1922), so-called ‘Modernist’ architecture actually emerged almost 100 years ago.
Pioneers of the movement included Walter Gropius (German, 1883-1969) and Le Corbusier (Swiss-French, 1887-1965).
Modernist architecture gained mass popularity after World War Two, being embraced in the UK to meet fundamental social needs such as housing.
Put quite so simply, modernist architecture might sound soulless or even nightmarish. (Is anyone else picturing Fritz Lang’s dystopian film Metropolis (1927) right now? Maybe Charlie Chaplin’s Modern Times (1936)? Stanley Kubrick’s terrifying 1971 classic A Clockwork Orange)? Modernist architects have certainly been criticised at times, and perhaps rightly so, but let’s quickly redress the balance. Modernist architecture provided affordable housing to huge numbers of people in the UK, particularly through the mid-to-late 20th century, and many modernist buildings (or buildings heavily influenced by modernism) are quite simply beautiful. Take a look at the clean, straight lines of The Getty Center (Los Angeles, California: Richard Meier & Partners Architects LLP) or the awesome white spiral effect of the Solomon R. Guggenheim Museum (New York), designed by modernist icon Frank Lloyd Wright (American, 1867-1959).
Now we know the best and worst of modernist architecture, the best elements continue to thrive, even on the kind of small-scale residential projects you might be considering. After all, ornamentation can be lovely, but do you really need your home extension to have the look (and cost!) of an ornate cathedral? When space is limited, minimalist simplicity and efficiency, marrying form with function, is often the best way forward.
So what did the modernists believe? Put simply, modernist architects felt buildings should be far less ornamental than had previously been the norm and should be almost machine-like in their functionality. After all, we had moved through the Industrial Revolution and into the era of the car. Machines were everywhere, so why not live in a machine?