Machine aesthetic

[4] With the notable exception of dadaists, most adherents of machine aesthetic were generally adoring the industrial development, although sometimes with hesitation: "this shouldn't be beautiful, but it is" (Elsie Driggs on her smokestacks- and smoke-filled landscape of Pittsburg steel mills).

The adherents of machine aesthetic called for elimination of traditional for architecture (and furniture design) structural distinctions between load and support.

For example, Charles Sheeler in his precisionist works showing off the factory complexes used glossy finishes and crisp lines to imitate the surface of instruments.

Vladimir Tatlin in particular considered himself an "inventor" imitating factory processes when putting together three-dimensional pieces made of industrial materials like sheet metal.

Oskar Schlemmer at Bauhaus had created a few ballets where dancers performed fast and repetitive motions of pistons and cogs (evoking "mechanthropomorphism"), with costumes and sets imitating the engine parts on a grand scale.

[8] László Moholy-Nagy tried to erase the border between a work of art and the machine in his "Light-Space Modulator", a "fountain of light" made in collaboration with the engineering company (AEG).

[6] Fernand Léger in the 1924 penned a declaration on "The Machine Aesthetic", stating that the humanity is starting to live in the "geometrical order" and called for "the architecture of the mechanical".

[22] Schröder House in Utrecht (Gerrit Rietveld, 1924) is a combination of interlocking planes expanding outside (cantilevered) and movable walls partitioning the open space inside.