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10 pages in length. The extent to which architecture of the modern movement was built upon nineteenth century theoretical and technological foundations is both grand and far-reaching. Changing at warp speed pace, the world was embarking upon an entirely new and different approach to everything social, political and technological; in order to keep up with these monumental metamorphoses, the very nature of architecture – its textures, tools and overall impression – was also significantly modified. This move into modernity was responsible for an entirely novel approach to what had come to be very predictable architectural design; not only had there come a need for such structures as high-rise buildings, but architects were dealing with other issues not heretofore considered in relation to theoretical and technological foundations. Bibliography lists 14 sources.
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10 pages (~225 words per page)
File: LM1_TLCModArc.rtf
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far-reaching. Changing at warp speed pace, the world was embarking upon an entirely new and different approach to everything social, political and technological; in order to keep up with
these monumental metamorphoses, the very nature of architecture - its textures, tools and overall impression - was also significantly modified. This move into modernity was responsible for an entirely
novel approach to what had come to be very predictable architectural design; not only had there come a need for such structures as high-rise buildings, but architects were dealing with
other issues not heretofore considered in relation to theoretical and technological foundations. "The roots of what we call modernity lie in the late eighteenth and nineteenth centuries, when several
new developments arose in the field of scientific research and technology (e.g. the Industrial Revolution), but also in philosophy and politics (the French Revolution and Romanticism). Absolute rulers gave
way to a society gradually evolving towards parliamentary democracy and a greater involvement of the population" (Jokilehto 4). II. MOVING INTO THE FUTURE
Theoretical and technological foundation, as such, represents the primary modification throughout this period of change, as everything old is forcibly moved toward the past. Nonconformity now took over
as the leading force, with cultural retrospection becoming all but obsolete (Berman PG). Nowhere is this more evident than with American artists and architects Charles and Ray Eames.
Thrown into the mix along with all other designers of their time, the Eames were forced to come to terms with the notion of modernity and the tremendous impact it
was having upon tried-and-true architectural projects. Inasmuch as "architects and engineers were seeking solutions to problems resulting from new functions" (The Eames House) all over the world, the same
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