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Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.

Impressionist painting characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature.


Expressionism is the way of expressing something in and around something that you feel emotionally, from all the things that happen phenomenally. This is one of the movements in architecture in the 20th century, mainly in Europe, where at that time people fought in the World War I, including the architects at that time. The political and social problems also influence the architect, such places like Germany, Austria, and Denmark. Many famous architects are involved in this movement, such as , Bruno Taut, Erich Mendelsohn, Walter Gropius, Mies van der Rohe and Hans Poelzig.

The characteristics of the expressionist architecture forms in something more gothic rather than classic, which resulted in forms and shapes that are individualistic from the other forms of architecture around that time, its detachment to realism and more to a symbolic form from conceptual representation. The representation of the forms and shapes are from the emotional feeling that the architects feel, a more bold way of showing what they feel, a more frontal way by showing forms in their buildings.

Materials used in this movement of architecture the representation first rather than function, materials which have a poetic expression, and to unify the buildings into making it a monolithic design. Bricks, steel and especially glass is used, according to Paul Scheerbart Coloured glass destroys hatred,Without a glass palace life is a burden,Glass brings us a new era, building in brick only does us harm- inscriptions on the 1914 Werkbund Glass Pavilion.

This kind of movement, inspires many others and the legacy continues until now. Art deco and Neo Expressionism is one of the branch of expressionst architecture from the past. Such architects like Frank Gehry, developed architecture from the sense of expressionism, being individualistic from the other surroundings, expressing emotional values.


Highly influential visual arts style of the 20th century that was created principally by the painters Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories of art as the imitation of nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously.

Cubism derived its name from remarks that were made by the painter Henri Matisse and the critic Louis Vauxcelles, who derisively described Braque's 1908 work "Houses at L'Estaque" as composed of cubes. In Braque's work, the volumes of the houses, the cylindrical forms of the trees, and the tan-and-green colour scheme are reminiscent of Paul Cozanne's landscapes, which deeply inspired the Cubists in their first stage of development, until 1909. It was, however, "Les Demoiselles d'Avignon," a work painted by Picasso in 1907, that forecast the new style; in this work, the forms of five female nudes became fractured, angular shapes. As in Cozanne's art, perspective was rendered by means of colour, the warm reddish browns advancing and the cool blues receding.

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The period from 1910 to 1912 often is referred to as that of Analytical Cubism. Paintings executed during this period showed the breaking down, or analysis, of form. Right-angle and straight-line construction were favoured, though occasionally some areas of the painting appeared sculptural, as in Picasso's "Girl with a Mandolin" (1910). Colour schemes were simplified, tending to be nearly monochromatic (hues of tan, brown, gray, cream, green, or blue preferred) in order not to distract the viewer from the artist's primary interest--the structure of form itself. The monochromatic colour scheme was suited to the presentation of complex, multiple views of the object, which was now reduced to overlapping opaque and transparent planes. These planes appear to ascend the surface of the canvas rather than to recede in depth. Forms are generally compact and dense in the centre of the Analytical Cubist painting, growing larger as they diffuse toward the edges of the canvas, as in Picasso's "Portrait of Ambroise Vollard" (1909-10; Pushkin Fine Arts Museum, Moscow). Paintings frequently combine representational motifs with letters, the latter emphasizing the painter's concern with abstraction; favourite motifs are musical instruments, bottles, pitchers, glasses, newspapers, still lifes and the human face and figure.

Interest in this subject matter continued after 1912, during the phase generally identified with Synthetic Cubism. Works of this phase emphasize the combination, or synthesis, of forms in the picture. Colour assumes a strong role in the work; shapes, while remaining fragmented and flat, are larger and more decorative. Smooth and rough surfaces may be contrasted with one another; and frequently foreign materials, such as newspapers or tobacco wrappers, are pasted on the canvas in combination with painted areas. This technique, known as collage, further emphasizes the differences in texture and, at the same time, poses the question of what is reality and what is illusion in nature and in painting.

While Picasso and Braque are credited with creating the new visual language, it was adopted and further developed by many painters, such as Fernand Leger, Robert and Sonia Delaunay, Juan Gris, Roger de la Fresnaye, Marcel Duchamp, Albert Gleizes, and Jean Metzinger. Though primarily associated with painting, Cubism also exerted a profound influence on 20th-century sculpture and architecture. Chief among Cubist sculptors are Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz. The adoption of the Cubist aesthetic by the architect Le Corbusier is reflected in the shapes of the houses he designed during the 1920s.


The most important Italian avant-garde art movement of the 20th century, Futurism celebrated advanced technology and urban modernity. Committed to the new, its members wished to destroy older forms of culture and to demonstrate the beauty of modern life - the beauty of the machine, speed, violence and change. Although the movement did foster some architecture, most of its adherents were artists who worked in traditional media such as painting and sculpture, and in an eclectic range of styles inspired by Post-Impressionism. Nevertheless, they were interested in embracing popular media and new technologies to communicate their ideas. Their enthusiasm for modernity and the machine ultimately led them to celebrate the arrival of the First World War. By its end the group was largely spent as an important avant-garde, though it continued through the 1920s, and, during that time several of its members went on to embrace Fascism, making Futurism the only twentieth century avant-garde to have embraced far right politics.