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Introduction
Technology has played a very critical role in moulding the current society and its environs. Technology has therefore influenced every aspect of human life and a critical one is the field of architecture[1]. As technology advances, especially since the 19th Century, so does architecture evolve. Prior to the existence of technology within the architectural realm, architecture existed as a process of construction experience in a space. Currently, with the presence of technology, the value has changed privileging as visual architecture or advancement of the visual aesthetics of the space[2]. During the 19th century, architecture had nothing to do with the industry as it was solely concerned with the development of monumental structures and gigantic civil structures which glorified the states and expressed the pride of its people. Technology directly influenced architecture within this period by facilitating the use of new construction materials to construct structures. The new materials used in the construction process enabled architects to explore new engineering limits which were unexplored in the past and allowed the transformation of structural designs based on the new buildings functions[3]. This paper critically evaluates three different authors, Benjamin, Francastel and Giedion, perspectives of technology as a modern force of architecture in the nineteenth century. The paper also critically evaluates how the three authors analyse the underlying tensions between aesthetics and structure, tradition and innovation during the same period.
Giedion’s perspective of modern technology as a force for architecture
In his literature works, Building in France, building in Iron, building in ferroconcrete, Giedion Sigfried acknowledged technological advances especially in the production of new building materials such as iron and ferroconcrete as a major stepping stone facilitating the construction of new structures in the industrial era. He puts side by side two physically and visually dissimilar construction materials i.e. iron and ferroconcrete as the basis of modern architecture. Iron and reinforced concrete lead to the construction of structures of unprecedented size and openness such as market halls, department stores and railroad stations in the 19th and 20th century[4]. Giedion points out iron's preeminent property which is its tensile strength as the main contributing factor which has enabled it to be a significant construction material. He also points out the iron and its tensile strength abilities consequently enabled the development of superior skeletal structures which were light and required little space as compared to materials used previously such as wooden beams and stone. Iron was also especially suitable for the construction of roof framings, bridges and railroads.
Giedion also critically evaluates the underlying tensions between aesthetics and structure, tradition and innovation with the adaptation of modern construction technology in the 19th and 20th century. For instance, with the adaptation of iron in the construction of skeletal structures (lightweight in nature) architects and contractors had to look for new materials which were aesthetic. The combination of glass and iron was especially suitable in courtyards, railroad stations, market halls and exhibition buildings. Glass houses which had virtually invisible exterior shells were the driving force for innovation of iron in the development of skeletal structures.
Benjamins perspective of modern technology as a force for architecture
In his book, The arcades project, Benjamin Walter also acknowledges the utilisation of iron (a new technology) in the construction industry which enabled development of structures of unprecedented nature. He particularly acknowledges irons properties such as its tensile strength which is ten times as compared to that of wood and forty times as compared to that of stone as a critical component in its use in the construction industry. He also notes it is very light as compared to any of its substitutes. Iron can also be transformed into various formations such as cast iron, ingot iron and wrought iron which makes the engineer have various materials at his disposal for the different needs as he/she requires[5]. Iron, unlike any other building material, is revolutionary as it has unlimited possibilities. Benjamin Walter also explores iron combination with other materials such as copper in the development of different structures. Iron is also a revolutionary construction material as it has the ability to be mechanically prefabricated to many other forms hence it can be used in the construction of different structures such as railway roads, exhibitions and markets.
Benjamin Walter also analyses the underlying tensions between aesthetics and structure, tradition and innovation with the use of iron. He points out iron in combination with glass which was especially used in exhibitions was of significance to the structure in terms of aesthetics. The use of iron also made it a possibility in the innovation of new items such as rail tracks.
Francastel’s perspective of modern technology as a force for architecture
Architecture in the early 19th century experienced a remarkable change with the rise of knowledge, tools and equipment. In his literature works, Art and Technology in the early nineteenth and twentieth centuries, Pierre Francastel gives an overview of transition of architecture from the 19th to 20th century. He credits the evolution of architecture to modern technology especially in terms of new tools and equipment used in the construction industry. Iron was particularly very essential in the replacement of stone as a building material as it was evolutionary in terms of structures designs and their appearances. The innovation of the cast iron column was revolutionary to modern architecture as it enabled the construction of massive structures which were very durable. It was also used for large section replacing traditional wooden beams enabling the construction of massive structures[6]. Irons combination with glass in the construction of most structures ensured problems emanating from walls and surfaces had been finally resolved. The discovery of modern technology in the construction made it possible to produce new equipment and materials making it possible for mass construction.
Pierre Francastel also evaluates the underlying tensions between aesthetics and structure, tradition and innovation with the use of modern technology in architecture. Some structures such as the modern tower bridge utilised modern technology (i.e. use of iron) to develop traditionally inspired designs. Most theorists and constructors find it much easier to construct old type architectures than design new structures. This may be owed to the fact that it is much more difficult to find new uses of materials as opposed to adapting them to fit new economic constraints. Structures build during this period such as Paris libraries also emphasised on the structure of the building as opposed to aesthetics. The marriage between the use of modern innovative technology and tradition of construction of structures was largely predetermined by the tastes and preferences of one’s social class.
My own arguments
All the three authors Francastel, Benjamin and Giedion pinpoint major architectural advances in the 19th and 20th centuries as a result of technological advancements in the materials used in architecture particularly iron. Iron was revolutionary as a material for the construction mainly because of its tensile strength. Iron enabled architects to construct structures of unprecedented size and openness as compared to its substitutes such as stone and wooden beams. Iron was also quite unique as compared to all other construction materials as it is the only material which opened up spaces and at the same time strengthened the skeletal structure of the building[7]. It was also credited with enhancing the aesthetics of structures, especially when used in combination with glass. Both Francastel and Giedion also give credit to concrete as a new construction material which gave architects the ability to construct buildings with limitless structural and weight possibilities. However, it is important to note that it is only Francastel in his literature works, Art and Technology in the early nineteenth and twentieth centuries, who gives credit to technology in the development of new tools and equipment used in architecture.
Conclusion
In conclusion, the paper evaluates the evolution of architecture in the 19th and 20th centuries. This major evolution of architecture within this period may be attributed to advances in the technology especially the use of new construction materials such as iron and ferroconcrete which enabled architects to explore unlimited possibilities in construction. Most buildings constructed within this period also emphasised on a strong structure as opposed to aesthetics.
Bibliography
Benjamin, Walter, Howard Eiland, and Kevin McLaughlin. 1999. The Arcades Project. 1st ed.
Cambridge, MA: Belknap Press, 150-170.
Braham, William W, Jonathan A Hale, and John Stanislav Sadar. 2013. Rethinking Technology.
1st ed. New York: Routledge, 100.
Dobraszczyk, Paul, and Peter Sealy. 2016. Function And Fantasy: Iron Architecture In The Long
Nineteenth Century. 1st ed, 23-45.
Francastel, Pierre. 2000. Art And Technology In The Early Nineteenth And Twentieth Centuries.
1st ed. New York: MIT Press, 87-131.
Giedion, Sigfried. 1995. Building In France, Building In Iron, Building In Ferroconcrete. 1st ed.
Santa Monica, CA: Getty Center for the History of Art and the Humanities, 83-119.
Grabow, Stephen, and Kent F Spreckelmeyer. 2014. The Architecture Of Use: Aesthetics And
Function In Architectural Design. 1st ed. New York: Routledge Publishers, 21-26.
Peters, Tom F. 1996. Building The Nineteenth Century. 1st ed. Cambridge, MA [etc.]: MIT
Press, 204.
[1]Braham, William W, Jonathan A Hale, and John Stanislav Sadar. 2013. Rethinking Technology. 1st ed. New York: Routledge, 100.
[2]Grabow, Stephen, and Kent F Spreckelmeyer. 2014. The Architecture Of Use: Aesthetics And Function In Architectural Design. 1st ed. New York: Routledge Publishers, 21-26.
[3]Dobraszczyk, Paul, and Peter Sealy. 2016. Function And Fantasy: Iron Architecture In The Long Nineteenth Century. 1st ed, 23-45.
[4]Giedion, Sigfried. 1995. Building In France, Building In Iron, Building In Ferroconcrete. 1st ed. Santa Monica, CA: Getty Center for the History of Art and the Humanities, 83-119.
[5]Benjamin, Walter, Howard Eiland, and Kevin McLaughlin. 1999. The Arcades Project. 1st ed. Cambridge, MA: Belknap Press, 150-170.
[6]Francastel, Pierre. 2000. Art And Technology In The Early Nineteenth And Twentieth Centuries. 1st ed. New York: MIT Press, 87-131.
[7]Peters, Tom F. 1996. Building The Nineteenth Century. 1st ed. Cambridge, MA [etc.]: MIT Press, 204.