MAPUA INSTITUTE OF TECHNOLOGY AT LAGUNA
COLLEGE OF ARCHITECTURE
ARC151-1
History of Architecture 2
RESEARCH PAPER 01
Man and the New Society: The International Style
and Modernism
In partial fulfilment for the course requirements in
History of Architecture 2
Submitted by:
RUIZ, LEANDER T.
ARC101P — MIT174
Date Submitted:
08 July 2025
Submitted to:
Ar. Mario M. Capalad
I. Introduction
Page 1 of 5
In the 20th century, many things changed quickly—new machines, cities, and ways of
thinking. Architects responded by designing buildings that looked and worked differently. One
important movement was the International Style, which focused on simplicity, clean lines, and
function over decoration. This new style helped reflect the values of the “modern man”—someone
who lived in a fast-changing, industrial world.
II. The Rise of Modernism
After World War I, many architects wanted to break away from old, fancy styles. They
believed buildings should be useful, honest, and made for modern life. This was the beginning of
Modernism.
The International Style was first described in 1932 by Philip Johnson and Henry-Russell
Hitchcock. They listed its key features:
• Open, box-like shapes
• Clean, flat surfaces
• No extra decoration
• Use of modern materials like steel, glass, and concrete
(Johnson & Hitchcock, 1932)
This style spread quickly around the world, and many buildings started to look similar, no matter
where they were.
III. A New Kind of Man and Space
Page 2 of 5
The International Style matched the new way people saw themselves—more logical,
efficient, and focused on progress. Architect Le Corbusier said a house should be a "machine for
living in." He meant that homes should be simple, practical, and made for daily life (Le Corbusier,
1923). In his Villa Savoye, the house had big windows, open spaces, and no fancy details. It was
designed for comfort and light. Mies van der Rohe’s Barcelona Pavilion was also very simple but
beautiful, showing that less can be more. These kinds of buildings gave people a sense of freedom
and clarity. They focused on space, light, and comfort rather than decoration.
IV. The International Style Spreads Around the World
After World War II, many cities needed new homes and offices. The International Style was
popular because it was easy to build, affordable, and modern. This style also showed how
connected the world was becoming. Buildings in New York, Tokyo, or Brazil often looked the same
—flat roofs, large glass windows, and straight lines. This made it easier to build quickly, but it also
meant many cities started to lose their unique look. The Seagram Building by Mies van der Rohe is
a good example. It’s a tall glass-and-steel office tower that became a model for other buildings
around the world.
V. The Problems and Criticisms
Page 3 of 5
Over time, people began to question the International Style. Some said it felt cold and
lifeless. Cities filled with boxy buildings started to feel boring or unfriendly.
Author Jane Jacobs said that these modern cities were not good for real people or communities
(Jacobs, 1961). Other architects, like Robert Venturi, started designing buildings with color,
decoration, and local identity. While the International Style was good at solving problems like
housing shortages, it sometimes ignored feelings, culture, and history.
VI. Conclusion
The International Style changed architecture forever. It showed a new way to design
buildings that fit with a modern, industrial world. It also changed how people thought about space,
comfort, and design.
Even though it had some downsides—like making cities look too similar—it helped shape
the world we live in today. And it taught us that buildings should always serve the needs of people,
not just look good or be efficient.
References
Page 4 of 5
Jacobs, J. (1961). The Death and Life of Great American Cities. Random House.
Johnson, P., & Hitchcock, H. R. (1932). The International Style: Architecture Since 1922. W. W. Norton
& Company.
Le Corbusier. (1923). Vers une architecture [Toward a New Architecture]. Paris: Editions Crès.
Curtis, W. J. R. (1987). Modern Architecture Since 1900. Phaidon Press.
Frampton, K. (1992). Modern Architecture: A Critical History (3rd ed.). Thames & Hudson.
Venturi, R. (1966). Complexity and Contradiction in Architecture. Museum of Modern Art.
Page 5 of 5
