Variations on the Modern Essay Example | Topics and Well Written Essays - 3000 words - 1

Variations on the Modern - Essay ExampleThe aim of this study is to discuss different versions of modern interior designerure movements in Italy and Scandinavia in order to show how modern architecture responded to the political and cultural subtexts. Modern architecture was flourished later in twain Italy and Scandinavia than Germany, Holland, France and Russia. William J. Curtis notes that Modernisms influence was slight in Scandinavia in the 1920s1 and it formed relatively late in Italy2. Further much, both Scandinavia and Italy brought their own interpretation to the international style. However, their similarities end here since their political, cultural and also ecological conditions were exceedingly different. While modern architecture emerged in Fascist Italy ruled by a dictator, democratic welfare states prevailed in Scandinavia at that time hence, there was a stark difference between the political climates of Italy and Scandinavia. Their cultures also differed whereas nat ionalistic tendencies and nostalgia for the Roman heritage were predominant in Italy, communal values were strong in Scandinavia. In line with their differences, they both developed a different variation of Modernism. While Italian Modernism highlighted nationalism and magnanimous Roman heritage Scandinavia adopted a modernism with a human face stressing organic and natural life. As a matter of fact, in Italy, modernism grew in two directions Noveconto and Italian freethinking. The continent Novecento movement, represented by Giovanni Muzio, paved the way for the development of Italian Rationalism represented by gruppo 73. Sebastian Larco, Guido, Frette, Carlo Enrico Raba, Adalberto, Luigi Figini, Gino Pollini and Guiseppe Terragni formed Gruppo 7 in 19264. Throughout the 1930s, both Novecento and Italian Rationalism coexisted as alternative variations of modernism. Although Novecento, originated in Milan, used modern technology of concrete construction, it was highly committed to the traditional Italian house. Gio Ponti, the famous architect and editor of the magazine of the Italian house Domus, described Italian house as setting for Italian life as follows the place that we have chosen for enjoying our life5. Pontis description highlights the stark difference between Novecento and Le Corbusiers international style, since Le Corbusier defined the house as a machine for lively in. While Pontis approach stressed the organic and humanist aspect of the house, Le Corbusiers definition was more mechanistic. Furthermore the Novecento houses were more decorative and furnished in Italian taste, while the international style was against any ornaments. Indeed, modern Milan houses incorporated common features of traditional Italian chimneys and sundials6. Although Italian Rationalism could be regarded as more radical than Novecento and closer to the spirit of machine civilization, it was still fully contextual as well, relating to historical Italian culture7. Besides Italian culture, Italian Rationalism was also intertwined with Fascist nationalism. It was not just Italian Rationalists were ardent fascists, but their work also reflected the Fascist ideology although The Italian Fascist Partys relation to Italian Rationalism was ambivalent. Giuseppe Terragnis Casa del Fascio could