Liquid_Wifi
TNPer
Yes I re-used another old college essay. Let's see what crap needs to be re-done. I can't find the actual thing, so this is just one of the draft's I made. So the definatly is some mistakes 
Also this is about my current job, a Modern Architect. And... anything in Brackets is probobly some part of this draft were I wanted to add something.
Modern architecture or modernist architecture is a term applied to an overarching movement, with its exact definition and scope varying widely. The term is often applied to modernist movements at the turn of the 20th century, with efforts to reconcile the principles underlying architectural design with rapid technological advancement and the modernization of society. It would take the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification. The term Modern architecture may be used to differentiate from Classical architecture following Vitruvian ideals, while it is also applied to various contemporary architecture styles such as Postmodern, High-tech or even New Classical, depending on the context. In art history, the revolutionary and neoclassical styles that evolved around 1800 are also called modern.
The concept of modernism is a central theme in the efforts of 20th century modern architecture. Gaining global popularity especially after the Second World War, architectural modernism was adopted by many architects and architectural educators, and continued as a dominant architectural style for institutional and corporate buildings into the 21st century. Modernism eventually generated reactions, most notably Postmodernism which sought to preserve pre-modern elements, while "Neo-modernism" has emerged as a reaction to Post-modernism.
Notable architects important to the history and development of the modernist movement include Ludwig Mies van der Rohe, Le Corbusier, Walter Gropius, Erich Mendelsohn, Frank Lloyd Wright, Joseph Eichler, Richard Neutra, Louis Sullivan, Gerrit Rietveld, Bruno Taut, Gunnar Asplund, Arne Jacobsen, Oscar Niemeyer and Alvar Aalto.
There are multiple lenses through which the evolution of modern architecture may be viewed. Some historians see it as a social matter, closely tied to the project of Modernity and thus the Enlightenment. Modern architecture developed, in their opinion, as a result of social and political revolutions. Others see Modern architecture as primarily driven by technological and engineering developments. Still other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian and Edwardian architecture.
With the Industrial Revolution, the availability of newly-available building materials such as iron, steel, and sheet glass drove the invention of new building techniques. In 1796, Shrewsbury mill owner Charles Bage first used his 'fireproof' design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction. This kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description of places like Manchester and parts of West Yorkshire as "Dark satanic mills". The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction, followed in 1864 by the first glass and metal curtain wall. A further development was that of the steel-framed skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan.
Around 1900, a number of architects and designers around the world began developing new solutions to integrate traditional precedents (classicism or Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner and the Vienna Secession in Austria, and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. The work of some of these were a part of what is broadly categorized as Art Nouveau ("New Art"). Note that the Russian word for Art Nouveau, "??????", and the Spanish word for Art Nouveau, "Modernismo" are cognates of the English word "Modern" though they carry different meanings. An early use of the term in print around this time, approaching its later meaning, was in the title of a book by Otto Wagner. The fallout of the First World War resulted in additional experimentation and ideas. Following out of the experiments in Art Nouveau and its related movements around the world, modernism in architecture and design grew out of stylistic threads originating throughout the world.
Wright's Larkin Building (1904) in Buffalo, New York, Unity Temple (1905) in Oak Park, Illinois, and the Robie House (1910) in Chicago, Illinois were some of the first examples of modern architecture in the United States. Frank Lloyd Wright was a major influence on European architects, including both Walter Gropius (founder of the Bauhaus) and Ludwig Mies van der Rohe, as well as on the whole of organic architecture. Gropius claimed that his "bible" for forming the Bauhaus was 100 Frank Lloyd Wright drawings that the architect shared with Germany over a decade prior to this point, the Wasmuth Portfolio. While Wright's career would parallel that of European architects, he refused to be categorized with them, claiming that they copied his ideas.[citation needed] Many architects in Germany believed that Wright's life would be wasted in the United States, since the US was not ready for his newer architecture. During the 1930s, Wright would experiment with His Usonian ideas for a uniquely U.S. American (i.e. "US-onian") take on modernism. It would be several decades before European architects would in turn bring their version of modern architecture to the United States.
Futurist architecture began in the early 20th century, characterized by anti-historicism and long horizontal lines suggesting speed, motion and urgency. Technology and even violence were among the themes of the Futurists. The movement was founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians artist (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. Among the latter there was Antonio Sant'Elia, who, though he built little (being killed in WWI), translated the Futurist vision into bold urban form. The unbuilt designs and theories of Futurists went on to influence both the Constructivists and a branch of Italian Fascist architecture.
Following the 1917 revolutions in Russia, the societal upheaval and change was coupled with a desire for a new aesthetic, one more in keeping with the Communist philosophy and societal goals of the new state, in contrast to the ornate Neoclassicism that had prevailed prior. This resulted in a new style, Constructivism, with a new set of buildings in the spotlight - namely, workers' clubs, commune-houses and communal 'factory-kitchens'. Constructivist architecture was proclaimed to be the architectural style aimed at promulgating a new, socialist society. Konstantin Melnikov, a Russian Constructivist architect, designed the number of working clubs - including Rusakov Workers' Club (1928) - and his own living house, Melnikov House (1929) near Arbat Street in Moscow. The leading group of constructivist architects, led by Vesnin brothers and Moisei Ginzburg, was publishing the 'Contemporary Architecture' journal. This group created several major constructivist projects in the wake of the First Five Year Plan - including colossal Dnieper Hydroelectric Station (1932) - and made an attempt to start the 'typization' of living blocks with Ginzburg's Narkomfin building. A number of architects who already were recognized professional before 1917, like Alexey Shchusev or Ivan Fomin, were successfully working under new conditions, providing several important examples of constructivist style, including Lenin's Mausoleum in Moscow (1930).
The main centers of constructivist architecture were Moscow and Sain-Petersburg; however, during the industrialization lots of constructivist buildings were erected in provincial cities. The regional industrial centers, like Ekaterinburg, Kharkiv or Ivanovo, were rebuilt in the constructivist manner; some cities, like Magnitogorsk or Zaporizhia, were constructed anew (the so-called socgorod, or 'socialist city').
The style prospered, but fell markedly out of favor during the design competition for the Palace of the Soviets from 1931 to 1933, losing to a more traditional revivalism of Russian architecture with nationalistic overtones, afterwards termed Postconstructivism. However, the whole process was rather complicated, and the influence of constructivism was still present in projects like Soviet pavilion at Paris World Exhibition (1937) designed by Boris Iofan. This resulted in the ultimate demise of the Russian branch of early architectural modernism, though not before it had a chance to influence architects elsewhere, such as Le Corbusier.
Spanning the gap between the ideals of the Arts and Crafts movement, and the Modernism of the 1920s, was the Deutscher Werkbund (German Work Federation) a German association of architects, designers and industrialists. It was founded in 1907 in Munich at the instigation of Hermann Muthesius. Muthesius was the author of a three-volume "The English House" of 1905, a survey of the practical lessons of the English Arts and Crafts movement and a leading political and cultural commentator. The purpose of the Werkbund was to sponsor the attempt to integrate traditional crafts with the techniques of industrial mass production. The organization originally included twelve architects and twelve business firms, but quickly expanded. The architects include Peter Behrens, Theodor Fischer (who served as its first president), Josef Hoffmann and Richard Riemerschmid. Joseph August Lux, an Austrian-born critic, helped formulate its agenda.
As a result of isolation during World War I, an art and design movement developed unique to the Netherlands, known as De Stijl (literally "the style"), characterized by its use of line and primary colors. While producing little architectural design overall (with notable exception of the Rietveld Schröder House of 1924), its ideas went on to influence the architects and designers of the 1920s.
Expressionism was an architectural movement that developed in Northern Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts. Making notable use of sculptural forms and the novel use of concrete as artistic elements, examples include Rudolf Steiner's Second Goetheanum, built from 1926 near Basel, Switzerland and the Einsteinturm in Potsdam, Germany.
The style was characterised by an early-modernist adoption of novel materials, formal innovation, and very unusual massing, sometimes inspired by natural biomorphic forms, sometimes by the new technical possibilities offered by the mass production of brick, steel and especially glass. Many expressionist architects fought in World War I and their experiences, combined with the political turmoil and social upheaval that followed the German Revolution of 1919, resulted in a utopian outlook and a romantic socialist agenda.It was at this time, during the 1920s, that the most important figures in Modern architecture established their reputations. The big three are commonly recognized as Le Corbusier in France, and Walter Gropius and Ludwig Mies van der Rohe in Germany, all of whom trained under Peter Behrens.
Gropius and Mies van der Rohe both served as directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology. Mies van der Rohe designed the German pavilion (known afterward as the Barcelona Pavilion) at the 1929 Barcelona International Exposition. Villa Savoye, by Le Corbusier and his cousin, was built from 1928 to 1931. As in Russia, political pressures turned against the modernists. With the rise of Nazism in 1933, the German experiments in modernism were replaced by more traditionalist architectural forms.
Economic conditions severely limited the number of built commissions between 1914 and the mid-1920s, resulting in many of the most important expressionist works remaining as projects on paper, such as Bruno Taut's Alpine Architecture and Hermann Finsterlin's Formspiels. Ephemeral exhibition buildings were numerous and highly significant during this period. Scenography for theatre and films provided another outlet for the expressionist imagination, and provided supplemental incomes for designers attempting to challenge conventions in a harsh economic climate. A particular type, using bricks to create its forms (rather than concrete) is known as Brick Expressionism.
Following World War I, a stylistic movement developed that embraced ideas of both modernism (or at least modernization) and traditionalism. It is characterized by the adoption of the machine aesthetic, glorification of technological advancement and new materials, while at the same time adopting or loosely retaining revivalist forms and motifs, and the continued use of ornament.
In the case of the Art deco, decorative motifs included both those evocative of technology (such as the lightning bolt (electricity) or the tire (the automobile)), and those of the exotic (such as drawing elements from Mesoamerican, African, and Ancient Egyptian designs). Frank Lloyd Wright himself experimented with Mayan Revival, culminating in the concrete cube-based Ennis House of 1924 in Los Angeles.
A later variant, Streamline Moderne, simultaneously both played a role in industrial design and borrowed forms from machines themselves.
More restrained forms with national imagery were adopted. In the United States, it took the form of "Stripped Classicism" (alternatively, "PWA Moderne" or "WPA Moderne") a stark version of the Neoclassicism of Federal buildings earlier in the century. It application ranged in scale from local post-offices to the Pentagon. At the same time (as noted above), the rise in nationalism was reflected in the Stalinist architecture of the Soviet Union, Fascist architecture of Italy, and Nazi architecture of Germany, what historian Kenneth Frampton termed the "New Tradition". To a less political extent, such an idea of modernized tradition could also be seen in contemporaneous Mycenaean Revival architecture.
World War II (1939–1945) and its aftermath was a major factor in driving innovation in building technology, and in turn, architectural possibilities. The wartime industrial demands resulting in a supply shortage (of such things as steel and other metals), in turn leading to the adoption of new materials, and advancement or novel use of old ones. Similarly, surplus postwar industrial capacity accelerated the use of new materials and techniques, particular architectural aluminium (as a result of advances made in its use in aircraft, etc., during the war). At the same time, there was a rapid demand for structures during the war (such as military and governmental facilities) as well as for housing after the war.
These factors encouraged experiments with prefabricated building. Though examples of prefabrication have existed since the beginning of the Industrial Revolution, with notable examples during the Interwar period such as the diner, the semi-circular metal Nissen hut of World War I revived as the Quonset hut, the post-war enameled-steel Lustron house (1947–1950), and Buckminster Fuller's experimental aluminum Dymaxion House.
(More To Be Added)
Let's hope I didn't say anything stupid...
Also this is about my current job, a Modern Architect. And... anything in Brackets is probobly some part of this draft were I wanted to add something.
Modern architecture or modernist architecture is a term applied to an overarching movement, with its exact definition and scope varying widely. The term is often applied to modernist movements at the turn of the 20th century, with efforts to reconcile the principles underlying architectural design with rapid technological advancement and the modernization of society. It would take the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification. The term Modern architecture may be used to differentiate from Classical architecture following Vitruvian ideals, while it is also applied to various contemporary architecture styles such as Postmodern, High-tech or even New Classical, depending on the context. In art history, the revolutionary and neoclassical styles that evolved around 1800 are also called modern.
The concept of modernism is a central theme in the efforts of 20th century modern architecture. Gaining global popularity especially after the Second World War, architectural modernism was adopted by many architects and architectural educators, and continued as a dominant architectural style for institutional and corporate buildings into the 21st century. Modernism eventually generated reactions, most notably Postmodernism which sought to preserve pre-modern elements, while "Neo-modernism" has emerged as a reaction to Post-modernism.
Notable architects important to the history and development of the modernist movement include Ludwig Mies van der Rohe, Le Corbusier, Walter Gropius, Erich Mendelsohn, Frank Lloyd Wright, Joseph Eichler, Richard Neutra, Louis Sullivan, Gerrit Rietveld, Bruno Taut, Gunnar Asplund, Arne Jacobsen, Oscar Niemeyer and Alvar Aalto.
There are multiple lenses through which the evolution of modern architecture may be viewed. Some historians see it as a social matter, closely tied to the project of Modernity and thus the Enlightenment. Modern architecture developed, in their opinion, as a result of social and political revolutions. Others see Modern architecture as primarily driven by technological and engineering developments. Still other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian and Edwardian architecture.
With the Industrial Revolution, the availability of newly-available building materials such as iron, steel, and sheet glass drove the invention of new building techniques. In 1796, Shrewsbury mill owner Charles Bage first used his 'fireproof' design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction. This kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description of places like Manchester and parts of West Yorkshire as "Dark satanic mills". The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction, followed in 1864 by the first glass and metal curtain wall. A further development was that of the steel-framed skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan.
Around 1900, a number of architects and designers around the world began developing new solutions to integrate traditional precedents (classicism or Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner and the Vienna Secession in Austria, and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. The work of some of these were a part of what is broadly categorized as Art Nouveau ("New Art"). Note that the Russian word for Art Nouveau, "??????", and the Spanish word for Art Nouveau, "Modernismo" are cognates of the English word "Modern" though they carry different meanings. An early use of the term in print around this time, approaching its later meaning, was in the title of a book by Otto Wagner. The fallout of the First World War resulted in additional experimentation and ideas. Following out of the experiments in Art Nouveau and its related movements around the world, modernism in architecture and design grew out of stylistic threads originating throughout the world.
Wright's Larkin Building (1904) in Buffalo, New York, Unity Temple (1905) in Oak Park, Illinois, and the Robie House (1910) in Chicago, Illinois were some of the first examples of modern architecture in the United States. Frank Lloyd Wright was a major influence on European architects, including both Walter Gropius (founder of the Bauhaus) and Ludwig Mies van der Rohe, as well as on the whole of organic architecture. Gropius claimed that his "bible" for forming the Bauhaus was 100 Frank Lloyd Wright drawings that the architect shared with Germany over a decade prior to this point, the Wasmuth Portfolio. While Wright's career would parallel that of European architects, he refused to be categorized with them, claiming that they copied his ideas.[citation needed] Many architects in Germany believed that Wright's life would be wasted in the United States, since the US was not ready for his newer architecture. During the 1930s, Wright would experiment with His Usonian ideas for a uniquely U.S. American (i.e. "US-onian") take on modernism. It would be several decades before European architects would in turn bring their version of modern architecture to the United States.
Futurist architecture began in the early 20th century, characterized by anti-historicism and long horizontal lines suggesting speed, motion and urgency. Technology and even violence were among the themes of the Futurists. The movement was founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians artist (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. Among the latter there was Antonio Sant'Elia, who, though he built little (being killed in WWI), translated the Futurist vision into bold urban form. The unbuilt designs and theories of Futurists went on to influence both the Constructivists and a branch of Italian Fascist architecture.
Following the 1917 revolutions in Russia, the societal upheaval and change was coupled with a desire for a new aesthetic, one more in keeping with the Communist philosophy and societal goals of the new state, in contrast to the ornate Neoclassicism that had prevailed prior. This resulted in a new style, Constructivism, with a new set of buildings in the spotlight - namely, workers' clubs, commune-houses and communal 'factory-kitchens'. Constructivist architecture was proclaimed to be the architectural style aimed at promulgating a new, socialist society. Konstantin Melnikov, a Russian Constructivist architect, designed the number of working clubs - including Rusakov Workers' Club (1928) - and his own living house, Melnikov House (1929) near Arbat Street in Moscow. The leading group of constructivist architects, led by Vesnin brothers and Moisei Ginzburg, was publishing the 'Contemporary Architecture' journal. This group created several major constructivist projects in the wake of the First Five Year Plan - including colossal Dnieper Hydroelectric Station (1932) - and made an attempt to start the 'typization' of living blocks with Ginzburg's Narkomfin building. A number of architects who already were recognized professional before 1917, like Alexey Shchusev or Ivan Fomin, were successfully working under new conditions, providing several important examples of constructivist style, including Lenin's Mausoleum in Moscow (1930).
The main centers of constructivist architecture were Moscow and Sain-Petersburg; however, during the industrialization lots of constructivist buildings were erected in provincial cities. The regional industrial centers, like Ekaterinburg, Kharkiv or Ivanovo, were rebuilt in the constructivist manner; some cities, like Magnitogorsk or Zaporizhia, were constructed anew (the so-called socgorod, or 'socialist city').
The style prospered, but fell markedly out of favor during the design competition for the Palace of the Soviets from 1931 to 1933, losing to a more traditional revivalism of Russian architecture with nationalistic overtones, afterwards termed Postconstructivism. However, the whole process was rather complicated, and the influence of constructivism was still present in projects like Soviet pavilion at Paris World Exhibition (1937) designed by Boris Iofan. This resulted in the ultimate demise of the Russian branch of early architectural modernism, though not before it had a chance to influence architects elsewhere, such as Le Corbusier.
Spanning the gap between the ideals of the Arts and Crafts movement, and the Modernism of the 1920s, was the Deutscher Werkbund (German Work Federation) a German association of architects, designers and industrialists. It was founded in 1907 in Munich at the instigation of Hermann Muthesius. Muthesius was the author of a three-volume "The English House" of 1905, a survey of the practical lessons of the English Arts and Crafts movement and a leading political and cultural commentator. The purpose of the Werkbund was to sponsor the attempt to integrate traditional crafts with the techniques of industrial mass production. The organization originally included twelve architects and twelve business firms, but quickly expanded. The architects include Peter Behrens, Theodor Fischer (who served as its first president), Josef Hoffmann and Richard Riemerschmid. Joseph August Lux, an Austrian-born critic, helped formulate its agenda.
As a result of isolation during World War I, an art and design movement developed unique to the Netherlands, known as De Stijl (literally "the style"), characterized by its use of line and primary colors. While producing little architectural design overall (with notable exception of the Rietveld Schröder House of 1924), its ideas went on to influence the architects and designers of the 1920s.
Expressionism was an architectural movement that developed in Northern Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts. Making notable use of sculptural forms and the novel use of concrete as artistic elements, examples include Rudolf Steiner's Second Goetheanum, built from 1926 near Basel, Switzerland and the Einsteinturm in Potsdam, Germany.
The style was characterised by an early-modernist adoption of novel materials, formal innovation, and very unusual massing, sometimes inspired by natural biomorphic forms, sometimes by the new technical possibilities offered by the mass production of brick, steel and especially glass. Many expressionist architects fought in World War I and their experiences, combined with the political turmoil and social upheaval that followed the German Revolution of 1919, resulted in a utopian outlook and a romantic socialist agenda.It was at this time, during the 1920s, that the most important figures in Modern architecture established their reputations. The big three are commonly recognized as Le Corbusier in France, and Walter Gropius and Ludwig Mies van der Rohe in Germany, all of whom trained under Peter Behrens.
Gropius and Mies van der Rohe both served as directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology. Mies van der Rohe designed the German pavilion (known afterward as the Barcelona Pavilion) at the 1929 Barcelona International Exposition. Villa Savoye, by Le Corbusier and his cousin, was built from 1928 to 1931. As in Russia, political pressures turned against the modernists. With the rise of Nazism in 1933, the German experiments in modernism were replaced by more traditionalist architectural forms.
Economic conditions severely limited the number of built commissions between 1914 and the mid-1920s, resulting in many of the most important expressionist works remaining as projects on paper, such as Bruno Taut's Alpine Architecture and Hermann Finsterlin's Formspiels. Ephemeral exhibition buildings were numerous and highly significant during this period. Scenography for theatre and films provided another outlet for the expressionist imagination, and provided supplemental incomes for designers attempting to challenge conventions in a harsh economic climate. A particular type, using bricks to create its forms (rather than concrete) is known as Brick Expressionism.
Following World War I, a stylistic movement developed that embraced ideas of both modernism (or at least modernization) and traditionalism. It is characterized by the adoption of the machine aesthetic, glorification of technological advancement and new materials, while at the same time adopting or loosely retaining revivalist forms and motifs, and the continued use of ornament.
In the case of the Art deco, decorative motifs included both those evocative of technology (such as the lightning bolt (electricity) or the tire (the automobile)), and those of the exotic (such as drawing elements from Mesoamerican, African, and Ancient Egyptian designs). Frank Lloyd Wright himself experimented with Mayan Revival, culminating in the concrete cube-based Ennis House of 1924 in Los Angeles.
A later variant, Streamline Moderne, simultaneously both played a role in industrial design and borrowed forms from machines themselves.
More restrained forms with national imagery were adopted. In the United States, it took the form of "Stripped Classicism" (alternatively, "PWA Moderne" or "WPA Moderne") a stark version of the Neoclassicism of Federal buildings earlier in the century. It application ranged in scale from local post-offices to the Pentagon. At the same time (as noted above), the rise in nationalism was reflected in the Stalinist architecture of the Soviet Union, Fascist architecture of Italy, and Nazi architecture of Germany, what historian Kenneth Frampton termed the "New Tradition". To a less political extent, such an idea of modernized tradition could also be seen in contemporaneous Mycenaean Revival architecture.
World War II (1939–1945) and its aftermath was a major factor in driving innovation in building technology, and in turn, architectural possibilities. The wartime industrial demands resulting in a supply shortage (of such things as steel and other metals), in turn leading to the adoption of new materials, and advancement or novel use of old ones. Similarly, surplus postwar industrial capacity accelerated the use of new materials and techniques, particular architectural aluminium (as a result of advances made in its use in aircraft, etc., during the war). At the same time, there was a rapid demand for structures during the war (such as military and governmental facilities) as well as for housing after the war.
These factors encouraged experiments with prefabricated building. Though examples of prefabrication have existed since the beginning of the Industrial Revolution, with notable examples during the Interwar period such as the diner, the semi-circular metal Nissen hut of World War I revived as the Quonset hut, the post-war enameled-steel Lustron house (1947–1950), and Buckminster Fuller's experimental aluminum Dymaxion House.
(More To Be Added)
Let's hope I didn't say anything stupid...