Modernist Manifesto: Spirit of the New

My name is Ernst McMillan, a modernist designer with particular interest in lifestyle and design. Throughout my career, I have come across mind-blowing facts about this specific field. One of these moments was when I realized that in truth, no decent piece of architecture had existed before the start of the 18th century. It was a mixture of shambolic stylistic elements that were brought together by accident that do not compare to what we know as modern architecture. The beauty that we witness presently is a mixture of concrete and iron that create decorative incrustations that were brought about by individual’s creative taste. The origins of these various styles in use span the globe, from the India, Byzantium and the neoclassical movement that looked to ancient Greece for inspiration (Architecture, 2004, p. 65). Their architectonic revolutions were also welcomed in Australia, even though they were alien to the land and were the epitome of the talent that was invested in architecture. It is now common to see grand buildings with Gothic arches, Rococo scrolls, swollen caryatids and the presence of Egyptian pilasters wherever you turn (Barman, 2009, p. 56). They form appearances that are kaleidoscopic while using the diversity in style that they contain as a way of responding to the changes that we are now experiencing in the 50s. The concentration of man on architecture has led to the development of perplexing designs that are moving and just phenomenal. Their main architectural task is to preserve all the standard rules; Sansovino, Vignola, and Vitruvius that were common in Italy before spreading to the rest of the world. By applying these rules, they recreate these images on our contemporary landscape with the cities also serving as the best reflection of the man.

The Great Depression (1929-31) was a trying time for everyone around the world. Those most affected included persons making a living in the architectural world as their flow of money was disturbed abruptly.  After this tumultuous phase, architecture would once again thrive through expressive art that was synthetic which at the same time was the brainchild of experimental innovation (Ford, 2003, p. 45). There was a definite use of a mixture of artistic formulas that were now being used to create modern buildings. Presently, the accumulation of this building has created beasts of a mechanical nature that continue to generate these structures at an industrial scale. It is vital to note that this is the challenge that we are currently facing as a society as buildings are being built on a day to day basis with recopying remaining the basis of their styles. We have now reached a saturation point and need to think about the future of architecture and the structures that will come later on. There is no doubt that we are connected to our structures, both materially and emotionally. It is vital to accept linear arrangement as a reality where individuals now have to find the right mold and frames for the buildings being built to replace the corbels, columns, and pilasters. It has everything to do with the human desire to leave a mark in bare brick to determine the differences that between old buildings and the new ones. With the development of new technology, we are now able to assure the society of the growth of building projects well into the future.  Modern day structures play a significant role in the lives of persons who derive personal satisfaction from the beauty they set their eyes upon. It is for this reason that architecture remains integral to Australians as it improves the quality of their lives and pushes them towards the right direction. In a land brutally beaten by the elements, architecture now serves as a source of solace for millions who take time on a daily basis to observe the beautiful work of expert craftsmanship.

The current situation requires bold new leaders ready to subject architecture to historical continuity so that it thrives in the face of development. Construction has been evolving from one form to the next which has enabled the transmission of styles that can then be tweaked and altered to suit the architect’s needs. A change of fashion might, therefore, occur through alterations that might be set in motion by political dispositions and religious convictions among persons in influential positions (Colquhoun, 2006). In such cases, there already exists a predetermination of what the public is to expect as the blueprint now sets a precedent. Moreover, massive changes are currently occurring in the environment around us. In some cases, they are so extreme that they change the natural order of things and unhinge the commonly held assertions. Such was the case with the discovery of the laws of nature that now enabled professionals in this field to perfect their mechanical skills together with the implementation of rational scientific principles. The modern era that we have now entered requires a process of stylistic development that is continuous and without any operational hiccups. It is vital to make a new start out of ideas held by most of the experts in this field for better building traditions. It will now be possible to calculate the resistance of the materials that one is about to use and combine both the traditional and classical methods in the creation of architectural masses. There exists a stark difference between the scientific principles that are used presently in construction and those that were in use historically. The man has gone through a period of trial and error which has been responsible for the innovation that is witnessed through the use of science. Scientific knowledge allows accurate calculations to be made to ensure that the structure is balanced and can withstand all the forces of nature that might be present at the locality. It, therefore, allows for feasible mitigation strategies that will ensure that the building is not vulnerable and will be durable enough to provide that coming generations are now aware of how the architectural arena faired.

Modern construction depends on some variables to make them as fashionable as the designer would require. There are cases where the attempt to employ the extensive use of the lightness of the steel beams that plays a huge role in reinforcing the concrete that is in use to obtain the required bulkiness of the marble.  It is a clear example of the antithesis that exists between life in the past and the contemporary situation. There are a lot of things that were non-existent in the past but now live on a massive scale, allowing us to create new ways of bettering our construction abilities. Previous elements would enrich our lives in ways that we cannot contend presently. The spiritual attitudes and contingencies that man now argues have had far-reaching consequences on their lives and interaction with beauty. The formation of a new ideal that is embryonic and obscure has paved for the way in the creation of a new fascinating paradigm. The modern predilection in the production of monumental works is static but enriches the sensibility in a way that is ephemeral, swift and practical. In its formative, the society set the stage for the creation of grand palaces, podiums, and cathedrals. It was from this knowledge that we now have railway stations, hotels, ports, luminous arcades, market structures and beneficial demolitions. We are currently in a situation where we now have to make the most out of the opportunities that we now have an aid in the perpetuation of this concept. Having a model set up that is devoid of all the hiccups seen in the past plays a significant role in fostering feelings of togetherness even during the toughest of times. It is these same buildings where individuals congregate and spend a substantial amount of time together and are therefore able to create a sense of community.

Thinking about the future is integral in the creation of better structures as this is the only time we have to learn about the best ways to tackle issues. The society is continually changing in sophistication which will also serve it well in creating new works for posterity. It is therefore essential to use every bit of technology available to improve the structures standing presently throughout the continent. The creation of something new always brings forth an improvement in the sense of being of individuals that are in this area. It starts with the architect as they are tasked with coming up with these new ideas and trickles down to all those who will be involved directly in the project. Using a top-down approach, those taking part now have a chance to thoroughly own the project and all the operational matters that would require their involvement (Steiner, 1999, p. 54).. The bond forged here plays a significant role in the success of the construction as they will be able to work like as a team in solving all issues that they arise. The development of a singularity in thought is essential to this cause as it creates unity in achieving a set of goals and objectives. Moreover, the bring forth new concepts where concrete houses now lack the sculptures and paintings of the past and maximize on the mechanical simplicity that will be acceptable even in light of the new municipal laws. Opens spaces will now be filled with tall building towering above the urban traffic below while pedestrians stroll along the streets while going about with their day to day activities. It is vital to abolish decorations in future works, avoiding any adaptations from the Persians, Chinese, Japanese or Italians but focus on the science of construction that makes every building unique (Tournikiotis, 1999). It is a revolution that needs to be embraced if steady progress is to be made at various stages in our future lives. In following this philosophy, we must ensure that we use underground spaces and rooftops as they offer areas that could be put to good use. It creates issues of personal taste that can be transplanted into these moldings while producing the buildings on a large scale basis.

Our architectural future is bright and the main reason why we should bring funereal, commemorative and utterly commemorative structures to an end. It is for this reason that we need to overturn this notion of always having arcades, pavements a flight steps that permeate our lives in all ways possible.  Classical architecture was known for being scenographic, solemn, pleasing an hieratic. It is about time Australian architects decided to reinvent the wheel by creating embalming works of art that borrow styles from the ancient but also incorporates new techniques that would allow the whole process to create jobs that will be vital to future generations regarding progress.  We have been subject to the same cubical, aggressive and pyramidal forms for a long while now and it is about time now that a shift these forms became noticeable and spread across the board. In future, we now have to particular attention to the temerity of sheer simplicity. The focus should be more on the usefulness and practicality of the structure rather than the expression. Through elliptic lines, we will now be able to create dynamic works that do not contain any superimpose decorations that are absurd. It is for this reason that we should always seek inspiration from nature that will be instrumental in appreciating the mechanics that exist. Through architecture, we are playing a vital role in arranging art forms in the required criteria while endeavoring to harmonize it with the environment.

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