Modernism is the act of using cheaper resources and more standardized/cheaper methods of production. The aesthetic is more of a side-effect of those limits. Ugliness has become a cultural norm in order to suit the modern economy. It may come as a surprise but it required years of cultural development and education for most people to accept the work of Dieter Rams as some aesthetic pinnacle rather than soulless mass production. It's only recently, (with designs like the Ferrari EV for instance) that people are starting to see how limited our aesthetic language has become. Modernism is too cheap to replace so the "beauty" of soulless minimalism will likely endure in the zeitgeist, but it's not a very interesting environment to be in.
I don't think this computes. Modern 'efficient' industrial design can absolutely fail at efficiency. I have lived in spartan, utilitarian apartments that you could tell were built without any regards for efficient use of living space, and ended up wasting huge swaths of their floor area to interior corridors, winding tunnels between rooms, random walled off mystery areas and overall such poor planning that I'm sure despite their builder trying to save every buck, ended up costing more money relative to usable living space than seemingly more luxurious alternatives.
I have seen the opposite as well. Building an efficiently laid out, beautiful building doesn't take that much more raw material, it just requires more thought. Big US cities used to also have copypaste mass housing even a century ago, built with a strong eye towards cost efficiency, but designers also kept aesthetics and livability in mind.
And since they were basically identical to each other, they had to figure this out only once, and they could build the same t
The 'cheap and nasty' design school usually succeeds at the latter, not so much the former.
And this supposed efficiency of modern architecture often doesn't really show up. The Empire State Building was famously built in a year. Nowadays the most utilitarian housing project takes longer.
They didn’t say anything about efficiency. It’s all cost driven. Cheapest inputs possible. The PE backed builder isn’t dealing with the building in 2 years, what do they care how well it works?
I think most developers have a captive market. They don't really compete, they build whatever they want, and still sell, because somebody somewhere will still buy, since they know they can sell for more.
The units are basically commodities. Same floor plans same amenities same building about the same rent. True across the country for these sort of newer buildings, only real difference is the pool doesn't close for the season for those in milder climates.
It is designed to be this way for investors more than consumers. Investors want these units to be as fungible as possible so they can better compare local market dynamics. Commodity trading has a lot of advantages for the investor after all. The consumers have no choice really but to be in this market if they want to be sheltered at all. It isn't like you really can exercise free market selection for something necessary like shelter. You have to take what has been made available and you cannot do without.
There is therefore no incentive to make a smart building that is favoring the tenant since this doesn't grow the potential pool of tenants in the area, that pool remains the same size as it was. It is unlike a lot of other markets where having a better product might actually grow the customer base of the product segment overall.
> Investors want these units to be as fungible as possible so they can better compare local market dynamics. Commodity trading has a lot of advantages for the investor after all.
I think you hit the nail on the head. Lot of the finance machine works on standardization, like the are some building techniques, like spray-on insulation that work perfectly fine, but banks wont approve a loan on a building like that because its hard to inspect and repair.
This ironically makes these crappy buildings built to investor standards expensive, since banks will give cheap loans for it, on account of having low maintenance costs.
Of course all this exists only on paper.
Yes plus everyone is competing on cost so the lowest bid gets chosen.
If you just look at hard costs and ignore beauty and comfort, is it also the cost-over-what-timeframe question? If a building is expected to be actively used for 100 years vs 20, you get to different decisions.
My other question that I've never found a good answer to, is with mechanization, how is it that "cheap" modern buildings are so expensive. Or were old, traditional buildings super expensive? What is the cost of a unit of beauty per year, then and now...?
> My other question that I've never found a good answer to, is with mechanization, how is it that "cheap" modern buildings are so expensive. Or were old, traditional buildings super expensive?
Old buildings were often expensive to their inhabitants because people were very poor. The cheap ones were largely torn down, because they fell apart because... they were cheap. Also, people largely lived in comparative squalor to today. Only about 50% of homes in America had an indoor flush toilet in 1926, and most of those were the urban north east. In 1926, the average home was <1k sqft (avg >2k in 2026). The modern idea of insulating a home wasn't around 100 years ago - houses were small, and cold, and you had to shit in a hut in the yard or in a bucket you threw out the window after.
Like cars, we've upgraded our standards of comfort and safety a lot. HVAC, electricity + internet networking, running water and bathrooms and water heaters, insulation, double paned windows, more and bigger appliances, safer standards for things like like staircase dimensions, increased fire/earthquake/hurricane/etc resistance, etc - there are a lot of things that just didn't get included in old homes.
Old houses were literally boxes made of wood, and now they're complex and mechanically rich in many subtle dimensions. Houses also have gotten bigger, so even as the price-per-sqft grows, so does the total size of the home.
Unfortunately only custom homes can afford to care about beauty. Developers are building for cheapest possible and letting the long term owners deal with the consequences.
Homes still aren’t really mechanized. I’ve seen attempts but they haven’t worked well yet. Labor and materials are so expensive!
And most new homes are built by one of a few big groups. Oligopoly issues again.
>Or were old, traditional buildings super expensive?
I'd say yes. Reading fairy tales and historical records, we see just how huge were the prices. A pair of boots could be worth a year's income of a peasant.
You mention the private equity backed builder, but the designs come from the corrupted ivory tower which just invents more and more ridiculous designs (modernism, brutalism, for example) to try to stay fresh. Same in the art world. (Banksy, Warhol, others)
We have not made any progress, and perhaps we don’t need to, when it comes to architecture since World War I. There have been a few projects like La Sagrada Família, but those are exceptionally rare.
Suburban homes. What a disaster and embarrassment to the human race.
What do you think is weird about Banksy? Looks like older pre-modern art to me.
If you like neoclassicism and hate brutalism, then I would say you are very strange too. To me, brutalism hits the same things neoclassicism does but much more organically and better.
> The Empire State Building was famously built in a year. Nowadays the most utilitarian housing project takes longer.
This is true, but usually fewer people die in the construction of those utilitarian housing projects
Speed of construction is also not the same as efficiency.
>The Empire State Building was famously built in a year. Nowadays the most utilitarian housing project takes longer.
In China buildings are built faster.
The global construction industry learned a lot in the last 100 years.
Modern materials and production methods eliminated the need for ornamentation to prove a craftsman's skill and attention to detail.
I'm thinking of something like a violin. You can't pick up a violin and judge the perfection of the fitting between the wood surfaces that are glued together. If that work isn't perfect, the instrument will eventually fly apart. But you can look at the "scroll" and "bees sting" which are unforgiving of tiny errors. These kinds of features persist to this day due to traditionalism, but have disappeared from most industrial products.
Today, I don't expect an ornamented house to be of any better quality than a plain house.
There's plenty of traditional architecture that's not baroque, and is therefore not very rich in ornamentation. An austere brick home with a tiled roof still wins over a modernist cube house in both form and function, if not cost.
It's not even always cheaper. https://youtu.be/y5w4REl_Few
This is not a general truth.
The Dana-Thomas House, designed and executed by Frank-Lloyd Wright, spared no expense in an age when skilled craftsmen were affordable.
Are there seeds of the Guggenheim in New York between these two buildings?
https://www.ourchanginglives.com/springfields-dana-thomas-ho...
https://www.tripadvisor.com/Attraction_Review-g60763-d108687...
The work of Dieter Rams, the primary influence for Ive's work at Apple that's set the aesthetic direction for hardware for the last ~20 years to critical acclaim and is a showcase of manufacturing prowess? That Dieter Rams? This is an absurd and ahistorical understanding of modernism.
Isn't that exactly their point? Every new building looks like an iPhone: sleek glass and metal.
But that’s not a byproduct of trying to ‘use cheaper resources’, it’s borne of trying to create products that are shaped exclusively by how to best solve a problem and treat materials honestly, as opposed to ornamentation and material imitation.
White or grey are grossly over represented in Australia.
It’s like people visit the remains of the forum in Rome and picture the colours being as they are today instead of the ridiculously bright/strong colours they would have been when erected/used.
I painted my house blue and orange in protest at the boring colour choices most people make.
No one else on my street has followed my lead though.
I think some of it is because people are obsessed with treating housing as an investment, and so anything outside the norm is a financial risk.
This is the grey car theory of real estate.
It’s easy to sell grey, white, and black cars. So it’s what you buy.
This assumes no purchase is longterm. Which is its own indictment.
I should add: I love that you broke this idea. Can you (safely for the internet) share any photos?
I grew up near a house that was painted an odd combination of purple with pink trim (shutters, etc). Nobody else followed suit because all anybody thought of it was "the ugly house".
Standing out doesn't really help if it isn't more desirable than the boring normal.
What I personally dislike is the recent trend of all black siding and trim. I have no idea why people are doing this on new construction near me, other than perhaps cooling is cheaper than heating in our climate. It's certainly (IMHO) hideous though.
I wanted to paint my house in Razzle Dazzle, but orange and green. My wife threatened to leave me, so the idea was abandoned.
Don't get me started on our houses. For some reason we build the same houses in Queensland as we do in Melbourne: no eaves or awnings. I guess the idea is you just turn your AC up even higher in summer.
If I lived in Australia, I would have the exterior of my house to be very white (except solar panels), so as to reflect most of the visible and IR light, and stay cooler.
Problem is most newer places are built of concrete or brick. I mean sure slap some white paint on but the that thermal material is going to take a lot of cooling/heating.
A similar design trend of using terracotta everywhere in the 1990s permeated Australian housing design that was similarly ugly and monotonous. I'm only slowly undoing the damage to mine now.
We are too rich to be able to afford things like Sears Roebuck houses now.
So rich but nobody has any money anymore.
All the money belongs to a remarkably small group of people.
"The aesthetic is more or a side-effect of using cheaper resources and cheaper methods of production."
This is a really interesting argument and very much not the story I've heard. Can you cite any sources for any of your statements at all?
My guess is that at best it's a specious argument. It would be interesting but difficult to try to elucidate. Still what occurs to me is
– Cheaper: than what? Is it that premodern architects had the same technology and materials available but chose not to use them <because they had a higher aesth-ethical integrity>?
– What is a 'side effect' in architecture in a way that's unique from the necessary compromising that the needs of occupants, material constraints, longevity, cost, time, labor, aesthetics, and etc. which essentially is architecture?
> given {cheap material, not the good stuff / I don't feel like it / measuring sucks / I just want to cram people that will ruin your neighborhood everywhere}, the average roll of the dice yields simpler geometry with less ornamentation.
But simpler geometry is structurally stronger and allows more spacious airflow / less heat trapping. The cost of materials is not inert, the demand for them affects the cost obviously. Energy efficiency is beneficial to all. Open floor plans are less prohibitive on use cases. Large window sectioning allows for more light/efficiency and also keeps the street level perspective from seeming insular.
The logic doesn't follow for me that capital was plainly more benevolent, then around some time or another they began the project of "educating" people into accepting their cheap and accidental aesthetic standard.
What survives the past are its most accomplished projects, and thus maybe per capita it appears of higher quality than modern. And more importantly re: the submitted article, it has informed centuries of signing what "home", safe, hospitable, threatening, and etc. mean. So the whole measurement of who prefers what says something but I don't think it speaks to natural perception.
That's it yeah. These kinds of pieces have been written for centuries. Surprise: people like what they are familiar with! There is no meaningful conclusion to draw from this. Look at Monet or Satie. In their own time? Grotesque, offensive - the kind of art scruffy pompous intellectuals enjoy. Now, a century later? At home in a greige IKEA showroom house being sold on the open market. To be clear: I don't think there is anything wrong with this - I love IKEA! I am buying a greige house as we speak! It is just not an interesting observation, and when writers attempt to use it as an argument against making new things, it's facetious at best, and at worst? Well, several interesting possibilities.
In Europe we had this minor disagreement in 1914, which we would prefer not to talk about.
One consequence of this was the decimation of skilled craftsmen. Millions of them were sent off to become machine-gun fodder, to never return to their respective trades.
Along with them was their craft. The next generation of apprentices never had the mentors they needed, hence that was that, the end of what you might call traditional architecture.
There was another minor disagreement that began at various times depending on one's nationality. In the UK this meant 1939, and with it a second 'double tap' on the skilled craftsmen that the building trade used to rely on.
Many of the survivors did get to work on war memorials, and every village has one, carved in stone, and often kept in immaculate condition to this day.
In my local station there are two memorials, and I struggle to hold it in as I walk past. Needless to say, we lost a lot of good railway workers too. Sad.
There wasn't a lot of money after each of these minor disagreements and heavily blitzed cities still bear the scars. There can be a wonderful parade of shops with flats above, with wonderful craftsmenship, which is truly wonderful considering they didn't have motorised vehicles as we know them, or cherry pickers, or any machine that is big and yellow (JCB in the UK).
Nowadays there can be a huge 1870s building, with four storeys, all with big rooms and high ceilings, next to some 'rubbish' that was built in the post-disagreement years.
Some places were physically removed from the map. A 500 bomber raid on the special crane used to hoist big guns onto the ships of the Royal Navy happened one night. They completely missed the crane to destroy the entirety of Clydebank, a district of Glasgow. People are sore about that to this day.
The crane still stands, albeit idle, since shipbuilding went to Asia in the post-disagreement years. That crane, once the largest and most capable in the world, has a soul. It speaks of sorrow to me.
So yes, you are correct, but there is more to the story than just a Modernist story of cheap mass production. The limit was not resources as you can see the quarries that were abandoned after the first minor disagreement, and there is enough stone in any given mountain to make millions of homes. The limit was the loss of men as well as the loss of European colonies, on which the wealth of European cities came from.
Moving swiftly on, I am no Ferrari fan under normal circumstances, however, Lewis Hamilton currently drives for their Formula One team and he is a hero of mine. Hence I am willing to defend the loathed Luce!
The Luce does have Mr Ive's design input and I don't think anyone is critical of the interior. It is well understood that serious tax avoidance vehicles need to stay away from having big screens on the dashboard since they are not going to age well (and F1 cars don't have such things). Having four seats rather than just the two makes sense to me, since the car needs to have some length to it for high speed stability and there is no need for a massive red V12 engine in the middle of the car.
The Luce brings much from the world of F1, including high performance cooling systems that cost 100x the price of the radiators in your car. People like older cars because they can tune them, the Luce is the first EV that is what you might call tune-able, with the owner able to set the car up for a given track or just the road, with them also able to do what they want with it.
The aerodynamic package is ahead of its time, and, as such, it will draw criticism. We have been here before, notably in the UK with the Ford Sierra. This was a 'jelly mould' shaped version of the three-box saloon that had gone before, the Cortina. Initially the press hated on the Sierra and people did have genuine misgivings. However, it did not take long before the Sierra rose to the top of the sales charts to set the trend for the 'jelly mould' look, these being the 'peak car' maintainable vehicles that people wish they had today.
Fortunately I will never be a customer for Ferrari, however, if I was a tax-dodging benevolent dictator with the wealth to put together a motor museum, I would not hesitate to buy a Luxe for the collection, to go alongside an OG Tesla Model S, with the faux grille, and a Xiaomi SU7. I would like to add a Ford Cortina and a Ford Sierra too, however, millions were made and millions rusted away, leaving none for my fantasy museum, particularly in the desired Saluki Bronze colour.
> The crane still stands, albeit idle, since shipbuilding went to Asia in the post-disagreement years. That crane, once the largest and most capable in the world, has a soul. It speaks of sorrow to me.
And now it's used for bungee jumping.
The US equivalent is the Hunter's Point crane.[1] This was built to do a very specific job - lifting battleship turrets. It's not used any more.
[1] https://en.wikipedia.org/wiki/Hunter%27s_Point_crane
Yet buildings from the 20s and 30s, after the apparent death of all skilled craftsmen made it impossible, used elaborate ornament eg art deco.
I am not sure how it is about "cheaper". Lathering on a finish with a roller is much cheaper than a carefully prepared spray system. Modern furniture and structures often use uniformly sprayed coatings. You are mistaking cleanness of look with cheapness, getting such a uniform coating is quite expensive and takes skill and discipline regarding hygiene and cleanup between abrasive grits etc as well.
And if you are against things generally in the sphere of "Bauhaus" interior design then I would say you are engaging in a cargo cult of using modern materials in unnatural ways to copy older designs without eye to how the modern material has its own natural form and manner of usage. I would say, for example if one only has hand tools and solid wood then it is reasonable to follow Colonial design school, but if one has glass, stainless steel and plywood, it is wasteful to force them into a Colonial shape rather than their natural forms. Either style respects the substances and tooling it uses.
You are free to pay four digit prices for every piece of furniture if you truly oppose designs that are aligned toward mass production.
Industrial modernism is an aesthetic of distance, abstraction, predictability, and containment.
But the flip side isn't anti-modernism, it's mass-market kitsch, which is at least as ugly.
Minimalism isn't bad on its own, and the best minimal design really is beautiful.
But the abstraction and containment went too far, and the result is often functional (on a good day) and joyless even if it's a prestige product. And claimed efficiency is often purely decorative. (Which is ironic.)
The worst is block sprawl and suburban slop - endless subdued and constrained repetitions of the same thing, with very minor variations.
If bespoke robotic manufacturing becomes a thing it will start being possible to build and make exotic, individual, decorative things at scale. Most of the results will be terrible, but some will stand out as examples of new aesthetics.
> But the flip side isn't anti-modernism, it's mass-market kitsch, which is at least as ugly.
It's far more common than it should be.
> The worst is block sprawl and suburban slop - endless subdued and constrained repetitions of the same thing, with very minor variations.
The economic of bathtub curves incentivises designs nobody hates, even if at the cost of nobody loving them.
The bathtub curve is not the most optimal however.
I mean look at the ecology of our world. What do you see out there when you look outside? Solely some lumbering generalist beast doing not good and not too bad taking up all the energy that comes off our sun?
Absolutely not. The opposite happens. The generalist tends to die out, outcompeted by the litany of specialists who better occupy the specific niches the generalist attempts to fill.
Left to its own devices, the market ought to look like this: hyperspecialized at all scales and levels such that every demand is maximally occupied by the most efficient manner to serve that demand. One might ask instead what artificial constraints are allowing a generalist to emerge and not be swallowed up by the sum weight of the countless specialists who are more optimal at every possible thing?
The influencer aesthetic. Why do people pay so much to look so boring?
> Modernism is the act of using cheaper resources
Which modernism?
1930s modernism was about new materials to allow luxury for the modern man (electricity! large windows! electric oven! washing machines! fridges! indoor toilets!)
1960/70s modernism was about creating new communities, adapting land to fit the modern car based world. No more pokey little shops with only a few items, requiring a trudge along a wobbly high street. NO! drive your car, go to a futuristic supermarket only once a week.
I don't think we see a modernism now, not as a movement. I will now divert to UK building, because in the US its different. Part of the reason why thats the case in the UK is that councils used to build houses, facilities and infrastructure with their own money. This meant they had their own architects. This lead to town plans that were coherent, if not always successful. See Birmingham, milton keynes, roehamton.
Housing wise, council houses were built, or should have been built to a standard. They were, especially in cities much bigger, brighter and luxurious compared to what preceded them. Were they pretty? no, modern is never pretty, because its not what you grew up with. When I was a kid everyone _hated_ victorian terrace houses, because thats what poor people have. They were more pokey compared to executive estate housing, and in some places didn't have a drive for your four door saloon.
Now, those estates are meh and terrace houses are very expensive, despite being cold, draughty, dingey little shitboxes with odd toilet arrangements. (unless you've slapped in a loft conversion and extended over the kitchen/outdoor toilet)
> Dieter Rams as some aesthetic pinnacle rather than soulless mass production.
The problem is, Rams was about bringing the complex new object into the house in a was that was reliable and simple. If we were all about Rams' vision, then we'd have got rid of radiators, had decent windows, insulated the place, had lots of cupboards and cleanly separated living spaces. Not an everything room and a bedroom with inbuilt mould farm (shower + shitter)
Yes the modern apartment is inspired by loft living and dieter rams, but that requires 100sqm/1000sqft and high ceilings. none of which most places have. So you get a kitchen diner because it allows developers to shave off one room from the floorplan and increase density by 1/3rd without extra mateiral costs.
But thats not modernism, thats poor fucking standards, and the lack of competition in the uk in the form new council houses. (a 3 bedroom council house will be at least 90sqm with seperate kitchen, living room)
Not really. That may have been true in the past, but it would be so cheap to CNC carve or extrude or injection-mould some ornamentation. Certain materials have gotten more expensive, but I think most of modernism was driven by materials progress and a boredom with previous trends
> Ugliness has become a cultural norm in order to suit the modern economy.
I read someone's argument that the ugliness results in market failure. Because the ugly results in not only local opposition to building renewable it results in everyone in the area being opposed. And they then use the political process to block new construction.
What really bad is after a 100 years of this the construction industry no longer knows how to design attractive buildings. Starts with architecture where 2/3 of the architects are aesthetically blind. And the remaining 1/3 had it beaten out of the in school. Ends with manufactures that have long since stopped manufacturing pleasing materials for construction.
I actually think this is a big part of nimbyism. People know that whatever is built is going to make the neighborhood uglier because they have no faith in architecture, so they start opposing everything.
That plus in the early days traditional/classical architecture was rejected as "bourgeois" or aristocratic by the socialist movements who pushed for modernist approaches. See: the early days of soviet architecture and even Bauhaus in Germany was based on left-leaning/utopian ideas.
So it had dual pressure, from economics because it was cheaper/efficient and from the cultural reform side.
This is sort of a just-so story that isn't completely true. Stalin pushed "socialist classicism" [1] as an aesthetic, and it wasn't until his successors took over that modernist architectural ideas imported from the West became a hallmark of actually-existing socialism.
[1] https://en.wikipedia.org/wiki/Stalinist_architecture
I said early Soviet for a reason.
There was a whole decade of Soviet design before Stalin, which was often radically modernist even by the standards of its day, and that is what the OP was referring to. Stalin was notoriously conservative in his artistic tastes.
A huge part of the Soviet period before Stalin was the civil war and minimal efforts to do anything other than fight it ("war communism"). After that you got the NEP and things going traditional.
Stalin pushed classical and actually within the soviet union Stalinst buildings were considered the best. These are called Stalinka.
Khrushchev embarked on a massive post-war building campaign in an effort to improve living conditions within the USSR by providing millions of new housing units.
These were modernist mid-rise and high-rise buildings and were designed for mass production and efficiency above everything else. These were regarded as considerably lower quality buildings than the Stalinka and were called Khrushchyovka. The Krushchyovka were the classic "commie blocks."
Stalin was notoriously conservative in most things. I mean, the guy banned abortions, criminalized homosexuality, and re-instituted paid high school.
It's fair to have a cynical take but that's not what modernism is and modernism is not necessarily ugly.
> Ugliness has become a cultural norm
I love modern architecture (and art); I find many older forms to be garish, focused on pointless decoration and on wealth display, rather than on the beauty of function and form. The imagination of [some] modern architecture, starting from those fundamentals, is stunning.
You don't like it, which is just as valid, but trying to turn your preference into a universal truth for humanity is not valid. Can't it be just your preference?
Why is it so important? I think the real subtext for most such comments is culture war: A reactionary take on modernism and postmodernism, trying to make them outre, outside norms, attached to political liberalism which is often the real target.
Innovation is usually greeted by reactionary responses; what's odd is that, in our world of modern double-speak, reactionary has become seen as cutting edge instead of a lack of imagination and progress, of retreat and regression. Let's go back to what we were doing 100+ years ago!
I think a lot of the reflexive distaste for the modern would be softened if we were still able to build in The Old Way, whatever that might be. People like these older brick mid rise buildings with the bit of trimming decoration. But, they just don't get built. Sometimes in NYC or chicago someplace you might see a more recent build where they tried to get those old elements down. They used brick and made it square and tried to do a little decoration, but something is missing. They didn't do the thing where they use nicer brick on the street facing side of the structure, or they didn't do the actual cement formed decorative trim pieces throughout. All the brick is laid the same instead of having some lines on the top edge turned out in a decorative way for example. The whole thing feels severely value engineered even if on paper it's actually a quality building with modern amenities and comforts.
Instead it just feels like some knowledge was lost to time and we lost the plot along the way, because there is a refusal or inability to just do what used to be done all the time in the past. Yes building codes are different, but stuff like trim or brick work or generally curb appeal shouldn't affect that. No one is asking for no sprinkler system or no hvac, just a better looking building from the outside. Many of those old buildings do get gutted and end up modern inside but maintain the old facade. People want more of that facade I think without it being a diminishing resource.
>Yes building codes are different, but stuff like trim or brick work or generally curb appeal shouldn't affect that.
It very much does, unfortunately. In the US, the places with the highest housing shortages are mired with endless red tape, discretionary reviews, parking requirements etc. that substantially increase costs. This leaves little room for anything else, including aesthetics.
Developers have gotten very good at navigating this, but it has also led to them sticking to basic "good enough" designs like the five-over-ones we see when new apartments are built.
I think that's an essential point, though maybe for a different reason.
I think the cause may be that most real estate developers are not students of architecture and also are looking to minimize costs and time. Even if the developer wants to build something beautiful, cash flow (burn rate) is a big problem: You borrow millions or more, and have no revenue for the entire time it takes to build the building. Getting credit is hard enough. Do you go more in debt, and possibly for longer, for the nice trim? Does the banker also care about architecture and see that as a good investment?
Also, the trim then and trim now probably were designed with the same thing in mind: Whatever is least expensive with current technology. For example, an architect once explained to me that interior trim, for example where the wall meets the ceiling, has a purpose - it covers flaws in the join. Modern techniques and materials allowed us to eliminate it.
Most importantly, speaking of innovation and technology generally, IMHE what you say is an almost universal experience: Often it's not the new thing that is the problem, it's that the old seems carelessly discarded. All its benefits and nuance; all the skill and expertise; all the deep understanding and appreciation that comes from generations and lifetimes spent developing and using it, that enriched our lives; all lost. Think of poetry, which used to be far more popular - now people barely read it much less have any deep understanding of it. People who would have been poets are now doing something else; who could even mentor you if you wanted to be a poet?
There's a converse effect too, though - because conservatives tend to attack modernist and postmodernist art, liberals tend to defend even things that are too ridiculous to be seriously defended.
It's not "fascism" to wince and shrug at the taped banana. It's just common sense. But if you insist that everyone who does so is secretly motivated by some kind of bigotry, you end up pushing them towards the right wingers anyway.
Ugly is in the right of the beholder when it comes to individuals, but societies also have collective preferences.
> It's not "fascism" to wince and shrug at the taped banana.
Agreed, though your comment does much more than wince and shrug:
> too ridiculous to be seriously defended
Humans are very social animals and we follow social norms, like a herd moving together. Look how similar everyone's clothing is: Nobody is on 5th Avenue in a loin cloth or Elizabethan outfits (unless intentionally violating norms). Why do we all chose to wear the same things? We follow norms.
How do we signal and punish things outside norms, or shape norms to exclude something? Ridicule. Sophisticated public communicators consciously use it - you can see it in the way some conservative publications depict trans people. Their intent, through ridicule, is to push them outside norms - a foundation of facism, normalizing persecution and even brutality and murder. Facists also did/do that to art - it's the same thinking (though not everyone who ridicules art is a fascist - the fascists take advantage of that bit of human nature.)
In your comment you aren't just wincing and shrugging, but literally ridiculing (to be clear, I'm not calling you a fascist in any sense)
> It's just common sense.
Which means, common norms. There's nothing special about them; it's just a social phenomenon. Every innovator, including in tech, faces the usual response:
The same happens with social change, like women working - Ridicule, then a threat to norms, then normalized. What was absurd becomes normalized. In art, Impressionists were once objects of ridicule; now of course it's arguably the most popular style of painting in human history.> societies also have collective preferences
They don't. People try to make preferences look more universal to justify their own beliefs or simplify thinking, but it's always far more diverse. Look at how the Democratic party attempts to lump simple demographic groups (e.g., black men) into one stereotype of political thinking - and ~25% voted for Trump in 2024.
Societies do have norms, which are very changeable. Look how the far right has changed norms around the world in just a short time. It's not by accident - I've seen guides on how to normalize antisemitism, for example. The leading fascists in history, the Nazi party, had very consciously designed propaganda to do the same.
If someone wants to be an innovator (and have a truly free mind, IMHO), they need to step back and see norms, their dynamics, and what's beyond them, and learn to see what's outside without the filters, to treasure it as potential future innovation. To look at things on their merits, not at whether they are inside or outside.
At the debut of the first play by Harold Pinter, The Homecoming, much of the audience booed and left at intermission. Pinter, the great innovator, booed the audience. (Or so the story goes.)
> You don't like it, which is just as valid, but trying to turn your preference into a universal truth for humanity is not valid. Can't it be just your preference?
What if it's almost everyone's preference? Except for the high priests of architecture who have their own agenda. Then we end up living in a world full of buildings they design for themselves that most of us dislike.
> Why is it so important?
Because the rest of us have to live with it at street level, every day.
> A reactionary take on modernism and postmodernism, trying to make them outre, outside norms, attached to political liberalism which is often the real target.
But they are the norm and have been for some time. It's time to challenge that norm.
If we go back to (for example) Le Corbusier, we see this sort of thing thrown around in discussions all the time - you just don't accept innovation, you're hung up on traditionalism, get with the way of the future. Only it's not the future, it's one part of the past, and for all there was noble intent behind some of this stuff, we've had adequate time to judge the outcomes as lacking.
I am not an architect or high priest of anything.
No, but it appears you are part of a pretty small minority.
I find it very irritating looking at fake or overdone things. I don't think that's minority. Each era of architecture was suited in some way to the building materials and technology of it's time. I do not understand this movement to rob concrete, steel and plywood of it's natural voice and force it to conform to design styles made for different substances and tech.
> I find it very irritating looking at fake or overdone things. I don't think that's minority.
1. I think the onus is on you to prove that it's not a minority, in the face of people overwhelmingly favouring older, more ornamented designs.
2. Beauty does not have to feel 'fake' and ugliness can be very authentic indeed, especially when it comes to concrete. I'd take a faux-neogothic revival over another period of brutalism without even blinking.
I used to live near-ish to this eyesore - https://en.wikipedia.org/wiki/Wyndham_Court#/media/File:East...
It's a hideous blot on the landscape, the wind blows through mercilessly and constantly, it feels desolate and dystopian to be around. It smells of piss and depression. It's notorious for drug dealing. But someone managed to get it listed and protected anyway so now the town's stuck with it permanently.
> I do not understand this movement to rob concrete, steel and plywood of it's natural voice and force it to conform to design styles made for different substances and tech.
Perhaps we don't have to force it to be 'traditional' but it's clear that the 'natural voice' afforded by these materials and the current set of design languages in architecture result in ugly buildings that the large majority of people just do not like.
We don't have to look at the overwhelming preference for traditional buildings and take away from that "We must go back to exactly that", but we should at least take away "People don't like what's being made now, we can do better"
And if there is no way for concrete, steel and plywood to express more beauty then perhaps we could think about using other things that might. Either way, ploughing on with creating spaces and edifices that the majority think are ugly and worse than what came before, either because of a professional disdain for what humans actually like to be around, or some high-minded ideas about material expression seems ... well, pretty pig-headed.
That building looks normal to me. Any building would feel ugly if its less inhabited and full of druggies and homeless.
Its not about high mindedness. Tell me suppose you took steel started making cuboids out of it and sanding it rough then stacking it with cement. Does that in any way do justice to steel or is it a complete waste and misuse of the substance? What these people are trying to imagine as their ideal are not as extreme as forcing steel to behave like brick but it is on the same spectrum. Neoclassical buildings are another good example. They are completely fake. I would bet they mix wildly different centuries apart greek and roman designs. And we know they are steel and concrete structures internally just facaded over with marble, not structural load bearing all-marble like the original greek stuff. Brutalism is just a more honest form of those massive neoclassical buildgings, the scale and power of it minus the fake marble nonsense. But I am not even saying you have to be brutalist, it's just one example of an honest medium.
If I only have hand tools and solid wood, I would make Colonial furniture for example. If I have stainless steel tubing and plywood I would make bent tube legs and plywood rests.
Plywood is an amazing substance why do people hate it? It uses wood to make large panels that lack the directional weakness of wood and to quite an extent the movement issues of wood are also avoided. Concrete is pourable rock. Steel is a flexible and easy to cut and join structural substance. You may disagree with certain design ideas that use these substances snd cwn say we could try different designs but I think its ridiculous to cargo cult brick and mortar or marble for instance (which are perfectly fine materials for their tooling and design) and wholly reject modern substances.
Brick cuboids don't grown on trees or are found in nature either. I would say the funniest one is people calling structures like hypar shaped halls as unnatural. That's as natural as it gets, nature itself leaves the hypar the only shape that is optimal to be supported atop a grid of columns, not the flat roof. These curves are more natural that flat and square walls. At least people should be wrested of the naturalist argument if they use it against designs like this.
> Any building would feel ugly if its less inhabited and full of druggies and homeless.
You have cause and effect backwards IMHO. The brutalist housing monstrosities in the UK, with the notable exception of the Barbican which is more gentrified, create the conditions that encourage this. They create grim, cold, bleak, colourless liminal spaces. Their look of decay doesn't inspire community, care for the place you live or happiness, instead they are dull, oppressive monoliths that people piss on. And the story is repeated across the country.
> Does that in any way do justice to steel
Who cares? Is "justice to steel" a design goal? Why?
> Neoclassical buildings are another good example. They are completely fake.
And?
> Brutalism is just a more honest form of those massive neoclassical buildgings, the scale and power of it minus the fake marble nonsense. But I am not even saying you have to be brutalist, it's just one example of an honest medium.
And again, who cares? Is "honesty" a design goal? Why is that more important than creating human-friendly spaces with a bit of beauty to them?
I'm not arguing against the use of specific materials, I am arguing against allowing the materials to dictate a heavily disliked outcome. Are we really saying "Everyone hates what we build now but we actually can't do any better"?
Because that's not what I get from discussions like these. What I get is "Everyone hates what we build because <insert piece of philosophical sophism that explains why everyone else is wrong>"
Its nonsense. If a building has people and businesses, it is good, if it doesn't and has druggies it will feel bad. An unmaintained mansion with druggies will be equally creepy. I am not sure how you are saying a place is inviting of druggies, what are the physical designs that you think make it so? If you say lack of buyers, then to a druggie wny structure is good enough.
I find crttain kinds of fakeness disgusting. I am entitled ot my opinion as are you to yours if you prefer fakeness.
I think McMansions are honest. Stick framing and plywood is a functional, affordable and most people seem to find it looks okay.
If people disagree with steel and concrete, nothing is stopping them from pooling money to build a brick building. I don't think zoning should be an issue, if a place allows skyscrapers it probably will allow your brick multistorey building. If its liked so much why aren't people funding it?
Either this design is too expensive or its not liked enough.
And I disagree, I find neoclassical buildings cold and inhuman, I think its actually its itnended design too, to overwhelm with sheer scale and induce despair. But I see it as just a design choice not a religion ir existential theory. Gothic is even more deliberately hostile looking.
The barrier to entry for interior is even lower, who is stopping you from buying tools or commisining a cabinet shop to build your vision?
Brutalism is perfectly human friendly, its a building, its meant to house people and take them in and out of their office or apartment. If anything I'd say brutalist structures are probably more walkabale than other multi storey structures. What you make of the interior is up to you. Paint your home as you want, put any furniture you like, as with any other building.
What specific way do you think brutalism or any other building style you would prefer as example is not human friendly?
> I am not sure how you are saying a place is inviting of druggies, what are the physical designs that you think make it so?
The concrete voids, semi-open outdoor stairwells and other weird half-hidden spaces in many of these buildings appear to encourage a lot of antisocial behaviour like drug-dealing and urination.
The greyness and water-staining leaves an area looking deprived, and against a (usually) grey and water-stained sky it makes these areas feel lifeless and barren. Especially where the wind constantly whistles through their straight-lined, hard-surfaced open plazas.
The general ugliness of them just depresses the human spirit, kills community cohesion. People don't care about them. So they come to expect the lifts to smell of piss and the stairways to be full of dealers.
The fact that you don't think building design could have such an effect is deeply weird. Have you ever had to live near any brutalist buildings? They take down your mood just by being near them.
> >I find crttain kinds of fakeness disgusting > And I disagree, I find neoclassical buildings cold and inhuman
We've already established you're the voice of the minority here.
> If its liked so much why aren't people funding it?
That's a very interesting question, why are we stuck in a world where governments and large companies are building modernist stuff that people in general don't like? I think partly it's probably cost, I think partly it's down to the overwhelming majority of architects being taught this particular gospel. But beyond that I don't know.
(The idea that it's a choice of the same individuals expressing their preferences is somewhat silly, most people will never in their lifetimes have any sort of meaningful impact on new buildings in a city)
> What specific eay do you think brutalism or any other building style you would prefer as example is not human friendly?
The whole philosophy of form following function is misdirected from the outset. Beauty, attractiveness is an important part of function in human habitation.
And you still haven't answered my question - why is 'honesty' or 'justice to steel' in the slightest bit important? Why should we prioritise that over things like happiness? Why should we not use artifice and skill to make spaces that are attractive, warm and friendly, regardless of material?
I am not talking about some abstract honesty to some subtance. I am saying if someone dislikes an architectural style they shouldn't blame it on the materials. Some people like wood for a rustic look. I can make a cabinet with wood that uses all curves and circular openings and so on, I bet this person would hate it, but that doesn't mean they hate wood.
I like warm and humane spaces..i would need to see specific examples to see how brutalism violates it. I think if the situation in your locality is so bad that any public space will be taken over by druggies is not the buildings fault. You should say then that you need highly enclosed and guarded structures to prevent this problem.
> I am saying if someone dislikes an architectural style they shouldn't blame it on the materials.
Cool, then we’ll blame it on the choice of how and where to use those materials? So when there’s an architectural style that for example is very heavy on chunky raw concrete, is pretty universally despised and has negative social consequences, it’s fair to say “we should probably stop doing that, it seems like a bad idea” rather than some abstract verbiage about doing justice to the raw materials?
Because to be clear - I don’t care about the materials, I care about the outcomes. If someone can use concrete/steel/ply to make something attractive that isn’t going to degrade is a short handful of years, go for it.
> I think if the situation in your locality is so bad that any public space will be taken over by druggies is not the buildings fault.
Nope, repeated pattern across the whole country, for reasons given and now explained multiple times.
Do you believe architecture can have any effect on a place? How people feel in that place, how that then translates into how they act in those spaces, positive or negative?
If yes, then perhaps it’s time to admit that some styles can be on the negative side.
If no, then why are we even bothering?
Many countries in Asia use concrete by default. People don't seem to have any problems with it.
Architecture obviously impacts a person's mood and behavior, eg unwalkable architecture would force a lot of driving. I just am not certain if brutalism can be said to cause whatever negative issues you are claiming it does. At least I am sure the movement wasn't designed to be anti human in any way.
> Modernism is the act of using cheaper resources and more standardized/cheaper methods of production.
That's how they sold it, but it's not true. By the end of the 19th century, all the building ornamentation that you can still see in European capitals, had been stadardized and was mass-produced, while the construction techniques using brick and mortar had been further refined, yielding building designs that were cheap to construct and easy to maintain.
Modernist buildings were, at the same time, more expensive to build and less durable because of the reinforced concrete which has a much shorter lifespan than stone or brick plus mortar. The only advantage they had was that of increased height, but that was only an issue due to the restrictive zoning in Anglo countries. Without NIMBYism that pushed towards sky-scrapers, NYC could well have ended up like Paris: replacing 1-3 stories buildings with 8-10 stories, but allowing mixed commercial/residential space everywhere.
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