Turn of The Century Questions

Marielys Delgado ARC5744 Questions on Turn-of –the-century Modernism

Hermann Muthesius wrote that objects should express a ‘will-to-form’. What does that mean and what is the role of the designer in creating them? Give an example. Herrmann Muthesius believed that the only problem that modern architecture had was that you were not able to just rearrange a door or a window on a design and say that the problem was solved. He believed that it was about looking for a not so different lot and finding any possible benefit with science and technology that will help us improve our problem with modern architecture. He insisted on ignoring everything that weighed a lot, such as, a tradition or proportions and making new lines and new forms. He alleged that one should give new reasons for existing. Since most Architecture was influenced by the Zeitgeist, Herrmann Muthesius was against it and had a moral of life to be the environment as a whole.

An example of ‘will-to-form’ in the role of a designer in creating them is to not design according to a tradition or to a proportion; instead, you should give new reasons for structures and for life. Try not to follow the basic design of modern architecture or try not to change a simple line and assume that you changed the way modern architecture works. Try and design a structure that gives you new reasons for excitement. You can accomplish anything through the power of the mind, ‘will-to-form’. An example of this role of a designer being done is Star Wood Hotel by Frank Gehry in Spain. This design gives you a perfect example of a designer not following the rules of ‘the Zeitgeist’ and making his own rules by using any possible benefit with science and technology, and not using traditional rules of modern architecture.

Both Gropius and Sant’Elia valued lightness, transparency, and dynamism. How did each of the express those qualities differently? Describe specific buildings or drawings. Gropius and Sant’Elia both used lightness, transparency, and dynamism. They valued these qualities very much but used them differently.

Sant’Elia believed that straight and oval lines are dynamic by their own and a lot more intense in feeling than the vertical and horizontal lines that are used. He said that the architecture that sued reinforced concrete, steel, glass, cardboard, and textile fibers or any alternates for wood, stone and even brick or anything that will allow elasticity and lightness into a building. Sant’Elia believed that there was more in modern architecture. His drawings had an iconic form and brought out a kind of fantasy. An example of this is his drawing called the Futurist Manifesto of Architecture built in 1914. Here you can see ideas that Sant’Elia valued, as well as the dynamism and lightness that was used to accomplish such great work. On the other hand, Gropius experimented with light, space, and form, which brought a lot of attention towards him. He was recognized as one of the best modern architects in the 20th century as he used glass screen all over his walls in most of his buildings. He was quick to see the advantages and disadvantages that the economy had on the buildings. An example is the Fagus Factory, Alfred, Germany. In this structure, you can see Gropius’s use of light and how he used a form of steel frame to suppose the glass, floors and the external walls. Stan’Elia had more of a grand design when it came to his drawings. Although Stan’Elia died young and was not able to build many buildings, he left a huge impression on us. You can see in both examples provided the difference between how lightness, transparency, and dynamism were expressed by both, but at the same time, you can see how similar these qualities were used.