What Happened To Good Architecture?

Feature image: The Perot Museum of Nature and Science. Photo courtesy of the Dallas Art District.

The past two centuries of industrial revolution and technological advancement has brought about a shift in architectural styles. One of the many byproducts of rapid, commercialized globalization has been a decline in what was once considered 'good' architecture. Centuries ago, when the technology and resources we have today were unimaginable, buildings of all categories thrived in a spotlight of decorative and creative techniques. Despite the seemingly unlimited resources available to today’s builders, modern architecture has been unable to match the artisanship, opulence, embellishment, and exquisite intricacy of pre-industrial structures. 

Architecture has witnessed prolific movements, from grand Gothic churches to clean-cut commercial buildings. The decline in the avant-garde nature of architecture can be attributed to various factors, with cultural trends and economic considerations playing a significant role. For instance, Rococo’s ornate details reflect various cultural shifts, including the rise of the bourgeoisie and the heightened demand for luxury goods. Despite the Western world’s continued hunger for wealth and extravagance, we have seen a marked decline in deliberate, tasteful, and imaginative architectural designs. This shift underscores the influence of cultural trends on the concept of 'good' architecture. 

The definition of “good architecture” is heavily subjective; personal style, societal values, and cultural views drive it. For the purpose of this argument, good architecture favors grandiosity, affluence, and vibrant color, with aesthetics and ornamentation at the forefront of the design process. 

The ancient Egyptian pyramids are among the largest and oldest still-standing structures. Aside from the debatable topics of its laborers and architects, historians estimate the Great Pyramid of Giza was built in 2560 BC as a mausoleum for Pharaoh Khufu. While not frivolous, this pyramid is impressive at first sight from its sheer size. The level of intricacy and technology—especially this early in history—required for a structure like this deems it an outstanding piece of architecture. Over time, the pyramid has deteriorated due to weathering, depleting its original brilliance. However, at the time of completion, the Pyramid of Giza was the epitome of exquisite architecture. 

As for religious structures, churches have been the standard bearers of grandeur, particularly during prosperous periods of a given classical civilization. The Pantheon, created in 25 BC, then burned down twice and finally rebuilt around 125 AD, is the oldest building still used for its original purpose. This Roman temple is lavish in a way that exudes religiosity while keeping functionality in mind. Newly constructed churches, and modern architecture as a whole, hold different intentions than Classical architects. Redesigned in 2019, St. Fidelis Church in Stuttgart, Germany, embodies the muted simplicity of New Age architecture. The stark contrast between old and new religious architecture is undeniable. From intricately detailed tiling to crisp, bland walls, contemporary architecture has diverged from the unfettered grandiosity seen in churches of antiquity.

One principle of architecture, however, remains untouched. Structurally, houses have not endured extreme changes across periods and cultures. Though a home can take different forms and aesthetics, humans have reliably resorted to at least a roof, walls, and a door. In ancient Greece—around 1500-2000 BC—people built homes bearing remarkable resemblance to modern Spanish-style homes: terracotta tile, stucco walls, arches, and courtyards. Even after thousands of years, this style and scores of other ingenious designs from bygone ages have sparked wonder in communities across the world. However, in the age of unfettered capitalism, architectural design has been forced to eschew beauty and artisanship in favor of speed, cheap materials, and unethically building on stolen and protected land. These factors have resulted in, for example, the average 21st-century American house serving less as a home and more as a store of value for the landowner, constructed with profit as the homebuilder’s motive. 

Dubbed the “cookie-cutter house,” this soulless style of homebuilding is the quintessential example of America’s residential design downfall. With the increase of white families searching for an affordable suburban home in post-World War II America, home-building companies jumped on the opportunity to build segregated neighborhoods—cheap and fast. Tract houses, as they were officially known, are constructed in bulk quantities with mass production and monotony in mind. Since then, this style of residential architecture has plagued the development of American suburbia. Compared to houses from, for instance, the 1800s, homes have decreased in character, durability, and individuality.

Functionality is crucial to any structure, regardless of style, era, or purpose. In early civilizations, the design of a home simply shielded one from outdoor elements. Over time, a house became a symbol of the owner’s personality, social status, and aesthetic rather than the mere necessity of shelter. For instance, Louis XIV’s Palace of Versailles demonstrates how an era of pompous taste subsumed functionality. Comparing its absurd opulence to the abject poverty of the citizenry of 18th century France, one is not shocked that revolution fomented. Within this functionality deficit, architectural designs were those of ornamentation, beauty, and splendor. While functionality was always crucial to the blueprint process, some Rococo-loving architects left practicality at the end of the to-do list. Unnecessary walls to display luxurious wallpaper—often seen in Victorian houses—did nothing but showcase over-priced decorative paper.

Charles-Édouard Jeanneret-Gris, commonly known as Le Corbusier, pioneered functionalism in modern architecture. He once called the house “a machine for living,” implying that a house’s sole purpose is for practical living. Most buildings he designed arguably resemble a prison fortress injected with a pop of color. Corbusier’s most famous design, the Capitol Complex in Chandigarh, India, is undoubtedly enormous. Still, its lackluster exterior distracts from any eminence he wanted to display. In Cambridge, Massachusetts, The Carpenter Center for Visual Arts—another concrete-covered design plaguing a university—is anything but visually pleasing art. However, with Corbusier’s functionalism philosophy in mind, these buildings perform their exact purpose. Nothing more, nothing less.

Fortunately for Corbusier, he is not the only architect who has drawn criticism from detracting pundits and journalists. Louis Sullivan has also advocated for functionalism and, ultimately, modern architecture. His passions focused more on skyscrapers and modern office buildings. Both types of buildings can easily become tiresome due to the lack of artistic beauty among the people who occupy them— Sullivan highlighted exactly that. In the name of innovation, Functionalism, and Brutalism, Sullivan designed city structures such as the Guaranty Building in Buffalo, New York, Merchants’ National Bank in Grinnell, Iowa, and the Bayard-Condict Building in Manhattan, New York. These buildings are generally composed of bricks, concrete, stone, and terracotta formed into tall rectangles. Functionalism was crucial to Corbusier and Sullivan's design processes—so much so, in fact, that the buildings lost any chance for character, decoration, or individualism.

Around the same time, Brutalism, an architectural style popularized in the 1950s, overtook city structures and transformed metropolises into harsh concrete slabs. Brutalism is sparse and desolate. Why would anyone want to work or live in a building where not even a hundred amber-lit lamps could warm up the ambiance? 

In line with Corbusier and Sullivan’s ideals, the simplicity, functionality, and affordability of Brutalist buildings attract its architects and residents. 

In this article, we have defined visually pleasing architecture as “good” architecture. Plenty of modern Brutalist buildings have impressive designs, mainly due to their accomplished functionality, vastness, and use of geometric shapes. Designing a home with concrete as the primary material undoubtedly makes a building cold—visually and literally. The Jesuit Library in Maria Laach Abbey, Germany, showcases how architecture can impact a room's invitingness. The building’s interior conveys a well-thought-out design. This library is functional while synchronously creating a warm environment, perfect for reading a book or studying. Conversely, the Salem Public Library in Oregon embodies Brutalism’s raw coldness. The building’s interior embraces minimalism, which can send a shiver down one’s spine. 

The evolution of architectural designs is inherently intertwined with cultural and economic evolution. Away from the large corporate firms and the specter of private equity, we see that many modern architects are embracing sustainable designs and materials. The increasingly concerning climate crisis brings a new opportunity for architects and engineers to design with greater energy-saving considerations. Something as simple as incorporating solar panels into a design can alter the building’s appearance tremendously. In a world where aesthetics are everything and unique style is praised, sustainable architecture has created a new paradigm for modernity, simplicity, and technology. The Acros Fukuoka building in Fukuoka, Japan, designed by Emilio Ambasz, epitomizes the accomplishments of sustainable, avant-garde architecture. 

Through all the pessimistic examples of why modern architecture is horrific and cataclysmic, I have shockingly discovered a few modern architects who perfectly incorporate functionality and character. Most famously, Frank Lloyd Wright knew how to design a building with extreme attention to detail while honoring the integrity of the surrounding land. His concept for the Fallingwater house, built in 1964, combines nature, character, and a bit of functionality. Compared to the dreadful cookie-cutter suburban houses, this house displays brilliant, high-quality modern architecture. 

As previously mentioned, modern Catholic churches can be called bland and utterly drab. The original Gothic and Renaissance-style cathedral buildings required tremendous time, energy, and money to create magnificence. However, a few modern churches have articulated a well-thought-out design in the last century. The Cathedral of Brasília, designed by Oscar Niemeyer, offers the “wow factor” many contemporary churches lack. 

Museums are the heart and home of art. Thus, art’s hearths should exemplify beauty and creativity. The Perot Museum takes futurism to a degree that employs Brutalist elements—a concrete exterior skin and geometric details—yet embraces creative design and sustainable techniques. Like other definitive modern architectural buildings, the Perot Museum operates on sustainable energy and was built with eco-friendly materials. As Earth endures the harmful effects caused by human industry, engineers and architects subsequently innovate new ways to construct buildings to help combat climate change. Sustainability is a new feature of “good architecture” that did not exist a few decades before 

Revivalism is a concept that I hold dearly in my heart. The Gothic Revival was a conscious effort from the 17th to the 19th century to revitalize Gothicism—which was popular in the 12th and 13th centuries—with its pointed arches and stained glass characteristics. More recently, New Classical architecture has combined Neoclassic and modern architectural styles. The Espaces d’Abraxas complex in Marne-la-Vallée—an apartment building near Paris—uses Neo-classical features like its grand scale, columns, and symmetry. However, despite its classic features, this building was built in 1978 and designed by Ricardo Bofill. The “new” aspect of this New Classical building lies in its interior. Its geometric shapes and simplistic walls tastefully incorporate elements of modernism. Through the interior of the apartment building, residents experience the luxury of updated amenities and modern designs. Concurrently, the exterior exposes the residents to the richness of the Neoclassical period.

One defines ‘good’ architecture by personal style, cultural upbringing, and societal views. The perspective put forth at present is rooted in a love for old architecture that once thrived in societies that valued ornamental design and deliberate artisanship. As architecture evolves with ever-changing cultural priorities and technologies, new architectural styles and approaches are born. A high demand for luxury goods calls for opulent home decor; an increase in population results in tract housing; a concerning rise in global temperatures calls for sustainable-focused designs. While it may never again surface in the same way, good architecture still exists among bold, avant-garde architects , brilliant art conservators, and Victorian-loving home decorators.

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