The contribution of France to the modern movement was mainly from the works of two architects Auguste Perret and Tony Gardiner. The architects shared the designs of being the first to use concrete both inside and outside their buildings without concealing the material and its character or adapting it to fit past styles. Gardiner's designs were revolutionary especially his plans for an industrial city made in 1901. When mapping out the city as felt ought to be it was a demonstration against all academism Gardiner wrote.
"Ancient architect is an error. Truth alone is beautiful. In architecture truth is the result of calculation made to satisfy known necessities with known materials".
(Peusner,N (****).
He used linear instead of concentric plan for his town and flat roofs. Gardiner's drawings PICTURES became the first to be aware of the new atheistic potential lying in store for the twentieth century although France is not where they were going to be developed.
The modern movement struggles in the Soviet Union and the impact on competition on soviet architecture was decisive. It stimulated an equal amount of activity inside the Soviet Union involving many individual designers. The party seemed to feel people were incapable of responding to abstract aesthetics of modern architecture.
Similar conflicts lie between modernity and tradition in fascist Italy. The development of fascist ideology after the war brought about two aspects of the pre war futurists movement. Its revolutionary concern for the restructuring of society and its worship of the machine. They preferred the classical style.
The modern movement in the America was high rise office development and was seen as loose broad, inclusive less intense then modernism in Europe at the time. Frampton,K (1980) suggests that the intent behind modernistic style may be adduced from the way in which it was used. Mostly reserved for offices, apartment block hotels, banks and building dedicated to modern media etc.