Editing Modern architecture (section)

==Art Deco==
{{main|Art Deco}}
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File:Paris-FR-75-Expo 1925 Arts décoratifs-pavillon des Galeries Lafayette.jpg|Pavilion of the [[Galeries Lafayette]] Department Store at the [[International Exhibition of Modern Decorative and Industrial Arts|Paris International Exposition of Decorative Arts]] (1925)
File:P1030956 Paris Ier La Samaritaine rwk.JPG|[[La Samaritaine]] department store, by [[Henri Sauvage]], Paris, (1925–28)
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The [[Art Deco]] architectural style (called ''Style Moderne'' in France), was modern, but it was not modernist; it had many features of modernism, including the use of reinforced concrete, glass, steel, chrome, and it rejected traditional historical models, such as the [[Beaux-Arts style]] and [[Neo-classicism]]; but, unlike the modernist styles of Le Corbusier and Mies van der Rohe, it made lavish use of decoration and color. It reveled in the symbols of modernity; lightning flashes, sunrises, and zig-zags. Art Deco had begun in France before World War I and spread through Europe; in the 1920s and 1930s it became a highly popular style in the United States, South America, India, China, Australia, and Japan. In Europe, Art Deco was particularly popular for department stores and movie theaters. The style reached its peak in Europe at the [[International Exhibition of Modern Decorative and Industrial Arts]] in 1925, which featured art deco pavilions and decoration from twenty countries. Only two pavilions were purely modernist; the Esprit Nouveau pavilion of Le Corbusier, which represented his idea for a mass-produced housing unit, and the pavilion of the USSR, by [[Konstantin Melnikov]] in a flamboyantly [[Futurist architecture|futurist]] style.<ref>Anwas, Victor, ''Art Deco'' (1992), Harry N. Abrams Inc., {{ISBN|0810919265}}</ref>

Later French landmarks in the Art Deco style included the [[Grand Rex]] movie theater in Paris, [[La Samaritaine]] department store by [[Henri Sauvage]] (1926–28) and the Social and Economic Council building in Paris (1937–38) by [[Auguste Perret]], and the [[Palais de Tokyo]] and [[Palais de Chaillot]], both built by collectives of architects for the 1937 Paris {{Lang|fr|[[Exposition Internationale des Arts et Techniques dans la Vie Moderne]]|italic=no}}.<ref>Poisson, Michel, ''1000 Immeubles et Monuments de Paris'' (2009), Parigramme, pages 318–319 and 300-01</ref>

===American Art Deco; the skyscraper style (1919–1939)===
{{main|Art Deco|Streamline Moderne}}
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File:American Radiator Building.jpg|The [[American Radiator Building]] in New York City by [[Raymond Hood]] (1924)
File:Guardian Building Detroit Interior Clock.jpg|[[Guardian Building]] in Detroit, by [[Wirt C. Rowland]] (1927–29)
File:Chrysler Building spire, Manhattan, by Carol Highsmith (LOC highsm.04444).jpg|[[Chrysler Building]] in New York City, by [[William Van Alen]] (1928–30)
File:GeneralElectricBuilding-Crown.jpg|Crown of the [[General Electric Building]] (also known as 570 Lexington Avenue) by [[Cross & Cross]] (1933)
File:GE Building by David Shankbone.JPG|30 Rockefeller Center, now the [[Comcast Building]], by [[Raymond Hood]] (1933)
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In the late 1920s and early 1930s, an exuberant American variant of Art Deco appeared in the [[Chrysler Building]], [[Empire State Building]] and [[Rockefeller Center]] in New York City, and [[Guardian Building]] in Detroit. The first skyscrapers in Chicago and New York had been designed in a neo-gothic or neoclassical style, but these buildings were very different; they combined modern materials and technology (stainless steel, concrete, aluminum, chrome-plated steel) with Art Deco geometry; stylized zig-zags, lightning flashes, fountains, sunrises, and, at the top of the Chrysler building, Art Deco "gargoyles" in the form of stainless steel radiator ornaments. The interiors of these new buildings, sometimes termed Cathedrals of Commerce", were lavishly decorated in bright contrasting colors, with geometric patterns variously influenced by Egyptian and Mayan pyramids, African textile patterns, and European cathedrals, [[Frank Lloyd Wright]] himself experimented with [[Mayan Revival architecture|Mayan Revival]], in the concrete cube-based [[Ennis House]] of 1924 in Los Angeles. The style appeared in the late 1920s and 1930s in all major American cities. The style was used most often in office buildings, but it also appeared in the enormous movie palaces that were built in large cities when sound films were introduced.{{Sfn|Duncan|1988|p=}}

===Streamline style and Public Works Administration (1933–1939)===
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File:Pan-Pacific Auditorium entrance.jpg|[[Pan-Pacific Auditorium]] in Los Angeles (1936)
File:SFMaritimeMuseum.jpg|The [[San Francisco Maritime Museum]], originally was a public bathhouse (1936)
File:Hoover Dam (3467678621).jpg|Intake towers of [[Hoover Dam]] (1931–36)
File:U.S. Post Office (Long Beach Main).jpg|[[Long Beach Main Post Office]] (1933–34)
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The beginning of the [[Great Depression]] in 1929 brought an end to lavishly decorated Art Deco architecture and a temporary halt to the construction of new skyscrapers. It also brought in a new style, called "[[Streamline Moderne]]" or sometimes just Streamline. This style, sometimes modeled after for the form of ocean liners, featured rounded corners, strong horizontal lines, and often nautical features, such as superstructures and steel railings. It was associated with modernity and especially with transportation; the style was often used for new airport terminals, train and bus stations, and for gas stations and diners built along the growing American highway system. In the 1930s the style was used not only in buildings, but in railroad locomotives, and even refrigerators and vacuum cleaners. It both borrowed from [[industrial design]] and influenced it.<!--Raymond Loewy; locomotives, aircraft, and ships, automobiles--><!--cosmetic functionality-->{{Sfn|Ducher|2014|page=204}}

In the United States, the Great Depression led to a new style for government buildings, sometimes called [[PWA Moderne]], for the [[Public Works Administration]], which launched gigantic construction programs in the U.S. to stimulate employment. It was essentially classical architecture stripped of ornament, and was employed in state and federal buildings, from post offices to the largest office building in the world at that time, [[The Pentagon|Pentagon]] (1941–43), begun just before the United States entered the Second World War.<ref name=GEMWWII>{{cite web|title=Growth, Efficiency, and Modernism|url=http://www.gsa.gov/graphics/pbs/GEMbook.pdf|publisher=U.S. General Services Administration|access-date=31 March 2011|page=27|orig-year=2003|year=2006|url-status=dead|archive-url=https://web.archive.org/web/20110331105542/http://www.gsa.gov/graphics/pbs/GEMbook.pdf|archive-date=31 March 2011}}</ref>