Two Americans, Sullivan and Wright, two Austrians, Luce and Wagner, and a Belgian, Vander Wilde, first put forward the beauty of machine and understood its basic properties. They reject retro-ism, have a passionate understanding of the progress of machines and technology, and their critical thinking has surpassed Britain and developed forward. Wilder and Luce's opposition to decoration is undoubtedly the forerunner of emerging machine aesthetics. Wilder believes that "technology is an important factor in the emergence of new culture"; Once beauty has mastered the iron arms of the machine, it can wave these iron arms with force and create beauty. Sullivan, an architect of Chicago School, preached the slogan "Form follows function" and thought that "function remains unchanged, so does form". Wright, who used to be his student, put forward the viewpoint of "the unity of function and form" on this basis.
It is said that modern architecture should be "like a giant machine". In It, Corbusier simply said: "Architecture is a living machine", and greatly exaggerated the machine aesthetics and functionalism in industrial architecture. Therefore, it can be said that the beauty of machines makes the functional beauty of contemporary design get the most direct and concentrated embodiment.
What's more, some people in Britain in the late 1950s put great emphasis on logic, streamline, machinery, equipment, technology and structure, and their works showed a "naked skeleton effect" with huge scale and bare pipeline parts. Architects Rogers and piano designed the French "Pompidou Art and Culture Center" in 1970s, which completely realized their dreams. As a machine building, it exposes the dazzling pipelines unabashedly, and even emphasizes them with bright colors. "Pompidou Cultural Center" has completely reached the height of technical expressionism and exudes a unique aesthetic feeling. As soon as this building came out, it immediately aroused people's amazement. It stands out among the gray old masonry buildings in the center of Paris and becomes a model of aesthetics of early high-tech construction machinery.
With the development of the times, those machines with complex structure, huge power and rapid change are occupying our sight more and more. Machinery is a device made by people, which can transfer energy and force from one place to another in a certain way. As the product of human skills, machines have become the means and tools for human beings to settle down from the historical source, freeing people from heavy labor.
With the rapid development of computer, environment, materials and other fields, the new technical performance emphasizes the smooth and lightweight appearance, lighter structure and more flexible space. Such a building is like a huge city machine, devouring people, information and wealth. It will also become a man-made miracle and a great material symbol of the world. Walking past a gantry crane painted with big red paint, I remembered the topic of machine aesthetics and took some photos of the portal crane.