ARCH 2112 - EXAM II

Catalan Modernisme

Started using iron and glass in work (Art Nouveau). Paid attention to nature and not classical language

Counter Construction

Theo van Doesburg 1923 -advocated a simplified, geometric, and reductive aesthetic in the visual arts -argued that painting, design, and architecture should be fully integrated -abstract painting -emphasized subtle shifts in tones, tilting squares and rectangles at angles relative to the picture plane, and allowed straight horizontal and vertical lines to be colored, varied in length, and disconnected from one another -wanted to add variety, movement, and energy to the de stijl movement (neoplasticism) -believed that art should be an absorbing, spatial, and environmental experience, which led him to create architectural designs, stained glass, interior decoration, furniture, and other functional, daily items that were carefully related to one another and were meant to be installed together for a holistic experience -felt that abstraction's unique value was its ability to achieve social order and universal harmony with its precise, orderly geometry and vibrant, contrasting colors -felt that his reductive method had spiritually and morally uplifting qualities -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Vienna Secession

This was exclusively Austrian Art Nouveau occurring only in Vienna. The leaders, Josef Hoffmann and Joseph Olbrich. In this style they used the squares or circles rather than flowing curves. The dominant motif was vertical.

Monument to the March Dead

Walter Gropius Weimar, Germany 1922 -considered by the nazis to be degenerate art and destroyed in 1936 and reconstructed in 1946 -memorialized workers killed in the kapp putsch -form alludes to a thunderbolt -constructed of reinforced concrete -theo van doesburg, leader of the de stijl movement, vocally criticized this expressionist design, calling it "the result of a cheap literary idea" -built to establish a relationship between the monument and the location of the graves of those were killed -tried to create a continuity between the existing graves and the collective group -headed by a lighting bolt which would rise from the ground -reflected the common struggle of the fallen -aimed to represent their shared and admirable qualities: dynamism, flexibility, integration, great potential, and the use of the expressionist vocabulary -lightning bolt evokes the arising of the living spirit of those buried under the soil -Gropius, Miles van der Rohe, The Deustscher Werkbund and the Bauhaus

Jugendstil

"Youth Style" German Art Nouveau - Birth of Modernist Design

Michel de Klerk

-"Het Schip" (The Ship), Amsterdam, Holland, 1917-20 -Dutch -founding architects of the movement Amsterdam School (Expressionist architecture) -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

August Perret

-#25 bis Rue Franklin, Paris, 1903 -Notre Dame de Raincy, Paris banlieue (suburb), 1922-23 - explored reinforced concrete, neoclassical style - used "ferroconcrete" in new ways - tall slender columns, vaulted ceilings, tracery windows -structural rationalism and concrete as a vision for a new architecture

Peter Behrens

-AEG Turbine Factory, Berlin, Germany, 1908-09 -German -important to the Jugendstil and modernist movement -employed Mies van der Rohe, Le Corbusier, and Walter Gropius -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Hendrik Petrus Berlage

-Amsterdam Stock Exchange, Amsterdam, Holland, 1897-1903 -Dutch -influenced by Henry Hobson Richardson and Viollet-le-Duc -considered the father of modern architecture in the netherlands and the intermediary between the traditionalists and the modernists -inspired most dutch architectural groups of the 1920s, including the traditionalists, the amsterdam school, de stijl, and the new objectivists -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

J.J.P. Oud

-Cafe de Unie, Rotterdam, Holland, 1925 -Hook of Holland, Rotterdam, Holland, 1924-27 -Dutch -De Stijl -influenced by Berlage -worked on socially progressive projects during the period when many workers were coming to Rotterdam -attempted to reconcile strict, rational, 'scientific', cost effective construction technique against the psychological needs and aesthetic expectations of the users -practiced 'poetic functionalism' -contributed to influential modernist projects -considered one of the four greatest modern architects -prominently featured in an International Style exhibition -eventually let go of De Stijl influences -took highly individualistic stances against mainstream modernism -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Antoni Gaudi

-Casa Batllo, Barcelona, Spain, 1904-07 -Casa Mila, Barcelona, Spain, 1906-12 -Crypt at the Colonia Guell, Santa Coloma de Cervello, Spain, 1908-14 -Spanish -Catalan -highly individualized, one-of-a-kind style -influenced by architecture, nature, and religion -integrated into his architecture such crafts as ceramics, stained glass, wrought ironwork forging, and carpentry -introduced new techniques in the treatment of materials, such as trencadis (uses waste ceramic pieces) -became part of the modernista movement under the influence of neo-Gothic art and Oriental techniques -works transcended mainstream Modernisme -culminated an organic style inspired by natural forms -rarely drew detailed plans of his works, instead preferring to create them as three-dimensional sclae models and moulding the details as he conceived them -works enjoy global popularity and continuing admiration and study by architects -"God's Architect" -Catalan Modernisme and Antoni Gaudi

Theo van Doesburg

-Counter Construction, 1923 -Dutch artist who practiced painting, writing, poetry, and architecture -founder and leader of De Stijl -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Eric Mendelsohn

-Einstein Tower, Potsdam, Germany, 1921 -German -expressionist architecture in the 1920s -developed a dynamic functionalism in his projects for department stores and cinemas -pioneer of Art Deco and Streamline Moderne -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Lluis Muncunill

-Fabrica Aymerich, Terrazas, Spain, 1908 -Spanish -Catalan -involved in the modernisme catala movement -influenced by Antoni Gaudi, Lluis Domenech i Montaner -Catalan Modernisme and Antoni Gaudi

Walter Gropius

-Fagus Factory, Alfeld-an-der-Leine, Germany, 1911-14 -Werkbund Pavillion, Werkbund Exhib., Cologne, Germany, 1914 -Chicago Tribune Competition Entry, 1922 -Monument to the March Dead, Weimar, Germany, 1922 -Office of the Director Bauhaus, Weimar, Germany, 1923 -Bauhaus School Buildings, Dessau, Germany, 1925-26 -German -founder of the Bauhaus School -widely regarded as one of the pioneering masters of modernist architecture -leading architect of the International Style -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism -Gropius, Miles van der Rohe, The Deustscher Werkbund and the Bauhaus

Adolf Meyer

-Fargus Factory, Alfeld-an-der-Leine, Germany, 1911-14 -Werkbund Pavillion, Werkbund Exhib., Cologne, Germany, 1914 -Chicago Tribune Competition Entry, 1922 -German -student and employee of Peter Behrens -office boss of Walter Gropius's firm and later a full partner -master at Bauhaus, where he taught work drawing and construction technique -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Bruno Taut

-Glass Pavilion, Werkbund Exhibition, Cologne, Germany, 1914 -German -active during Weimar period -known for theoretical works as well as building designs -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Mies van der Rohe

-Glass Skyscraper Competition Entry, Friedrichstrasse, Berlin, Germany, 1919 -Project for a Brick Country House, 1923 -Weissenhof Apartment Block, Stuttgart, Germany, 1927 -Tugendhat House, Brno, Czechoslovakia, 1928-30 -Barcelona Pavilion, 1929 -German/American -pioneers of modernist architecture -last director of the Bauhaus -emigrated to the united states when Nazis rose to power -sought to establish his own particular style that could represent modern times just as classical and gothic did for their own eras -created his own twentieth-century architectural style, stated with extreme clarity and simplicity -made use of modern materials such as industrial steel and plate glass to define interior spaces -strove toward an architecture with minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space -called his buildings "skin and bones" architecture -sought an objective approach that would guide the creative process of architectural design, but was always concerned with expressing the spirit of the modern era -associated with his fondness for the aphorisms "less is more" and "God is in the details" -International Style: The Machine and Other Myths of Modernism -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Georg Muche

-Haus am Horn, Weimar, Germany, 1923 -German -master at Bauhaus -style evolved from pure abstraction towards more figurative and organic leanings, a sort of lyric surrealism -Gropius, Miles van der Rohe, The Deustscher Werkbund and the Bauhaus

Victor Horta

-Hotel Tassel, Brussels, Belgium, 1893-95 -Maison du Peuple, Brussels, Belgium, 1896-99 -Belgian -Art Nouveau -influenced Hector Guimard -curving, stylized vegetal forms -precursor of modern architecture -open floor plans and innovative use of iron, steel, and glass -later moved towards more geometric and formal, with classical touches, such as columns -highly original use of steel frames and skylights to bring light into the structures, open floor plans, and finely-designed decorative details -Art Noveau, Jugendstil, and the Vienna Succession

Le Corbusier

-Maison Domino, 1914 -Ozenfant Studio, Paris, 1922 -Maison Citrohan, 1922 -Maison La Roche-Jeanneret, Paris, 1923-25 -Villa Stein, Garches, France, 1926 -Villa Savoye, Poissy, France, 1928-31 -Five Points Towards a New Architecture, 1926 -French/Swiss Architect -Pioneer of modern architecture -international -dedicated to providing better living conditions for the residents of crowded cities -influential in urban planning -Structural Rationalism and Concrete as a Vision for a New Architecture -International Style: The Machine and Other Myths of Modernism

Hector Guimard

-Metro Entrances, Paris, France, 1900 -French -Art Nouveau -glass and iron edicules or canopies, with ornamental Art Nouveau curves -Art Noveau, Jugendstil, and the Vienna Succession

Vladimir Tatlin

-Monument to the Third International, 1919-20 -Russian and Soviet -one of the most importnat figures in the Soviet avant-garde art movement of the 1920s -later became an important artist in the Constructivist movement -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Alexander (and Victor) Vesnin

-Palace of Labor Competition, 1922 -Pravda Tower, Moscow, 1924 -Russian -leading light of Constructivist architecture -meticulous perspectival drawings -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Josef Hoffman

-Palais Stoclet, Brussels, Belgium, 1905-11 -Austrian -founder of Vienna Secession -co-establisher of the Wiener Werstatte -Modern Architecture, Art Deco, and Vienna Secession -Art Noveau, Jugendstil, and the Vienna Succession

Otto Wagner

-Postal Savings Bank, Vienna, Austria, 1904-06 -Austrian -Vienna Secession -Art Nouveau -works illustrate the rapid evolution of architecture during the period -early works inspired by classical architecture -later, his style became floral and Art Nouveau, as well as geometric forms and minimal ornament, clearly expressing their function -later works considered predecessors to modern architecture -Art Noveau, Jugendstil, and the Vienna Succession

Lasar M. "EL" Lissitsky

-Proun Room, 1923 -Cloud-hanger Project, 1924 -Russian -important figure in Russian avant-garde -helped develop suprematism -designed numerous exhibition displays and propoganda works for the Soviet Union -greatly influenced the Bauhaus and constructivist movements -experimented with production techniques and stylistic devices that would go on to dominate 20th century graphic design -goal-oriented creation -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Francois Hennebique

-Reinforced Concrete System, 1892 -structural rationalism and concrete as a vision for a new architecture

Gerrit Rietveld

-Schroder House, Utrecht, Holland, 1924 -Red and Blue Chair, 1917-18 -Dutch furniture designer and architect -principal members of De Stijl -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Joseph Maria Olbrich

-Secession Building, Vienna, Austria, 1898 -Austrian -co-founder of the Vienna Secession -Art Noveau, Jugendstil, and the Vienna Succession

Adolf Loos

-Steiner House, Vienna, 1910 -Villa Muller, Prague, 1930 -austrian -influential theorist of modern architecture -Vienna Secession -Raumplan (spatial plan) -Art Noveau, Jugendstil, and the Vienna Succession

Konstantin Melnikov

-USSR Pavilion, International Exhibition of Decorative Arts, Paris, 1925 -Russakov Workers' Club, Moscow, 1928-29 -Melnikov House, Moscow, 1929 -Russian -front end of 1920s avant-garde architecture -associated with Constructivists -independent artist, not bound by the rules of a particular style or artistic group -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Bauhaus

A German interdisciplinary school of fine and applied arts that brought together many leading modern architects, designers, and theatrical innovators.

Deutscher Werkbund

A German organization founded in Munich in 1907 with the intention of raising the quality, both aesthetic and functional, of the nation's industrial production.

Art Nouveau

A decorative style of art, popular in Europe and America from the 1880s to the 1930s. This style is usually characterized by flowing lines, flat shapes, and vines and flowers.

Pravda Tower

A. and Victor Vesnin Moscow, Russia 1924 -summit of alexander's architecture, the last instance when he enforced his leadership over his brothers and the last work unconditionally credited largely to him -intended to be an advertising magnet, rather than actual offices -lean, six story tower housing a two story public area and a four story editorial office -embraced various engineering and avant garde novelties, including alexander's own stage sets and the design cues of ladovsky's rationalist school -completely devoid of graphic art or sculpture of any kind -a vesnin rejected the concept of synthesis of the arts -for them, architectural form itself synthesized past experience in graphic art and spatial installations, and needed no embellishments besides the inevitable advertising -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Villa Muller (Plan)

Adolf Loos Prague, Czech Republic 1930 -early modernist -cubic -Art Noveau, Jugendstil, and the Vienna Succession

Villa Muller (Interior)

Adolf Loos Prague, Czech Republic 1930 -interior is lavishly decorated with comfortable furniture and marble, wood, and silk surfaces -distinguish between the outside, where the view could be seen by the public eye, and the inside, the private spaces of those who lived there -Art Noveau, Jugendstil, and the Vienna Succession

Villa Muller (Exterior)

Adolf Loos Prague, Czech Republic 1930 -modernist villa (residence) -an innovative landmark of early modernist architecture -embodies Loos' ideas of economy and functionality -spatial design, known as Raumplan, is evident in the multi-level parts of individual rooms, indicating their function and symbolic importance -exterior displayed Loos' theory discussed in his 1908 essay, "Ornament and Crime" -criticized decorated surfaces -white, cubic facade -Art Noveau, Jugendstil, and the Vienna Succession

Steiner House

Adolf Loos Vienna, Austria 1910 -one of his major works -worldwide example of rationalist architecture -uses his volumes to create a classical tripartite façade by creating a recess between the two wings of the house that continues straight to the roof -fenestration be subdivided into squares and rectangles that all obey a modular system, which correspond perfectly with the geometry of the façade -features a living area that is raised slightly above the ground level and separated from more private areas of the house such as bedrooms and painting studio -served space in this house is neatly separated from the serving space by placing the serving space in the basement and attic -refined and intricate interior with a simple and nonthreatening exterior -stucco façade -roughcast walls and used the stucco to form a protective skin over the bricks -used stucco for its functionality -smooth, unornamented, and white surface. This surface represents the nature of the material and also does not hint to what is inside the building -only able build one floor above the street level -a one quarter round roof that is facing the street. This roof flattens out the apex and makes the two additional floors that look out onto the garden impossible to see from the street -meant to demonstrate certainty of form and economy of space, proving that traditions can be manipulated or rid of completely, for a functional and non-aesthetic purpose -Art Noveau, Jugendstil, and the Vienna Succession

Palace of Labor Competition

Alexander Vesnin 1922 -paper architecture -competition for a building perceived as the main building of the soviet union, with an 8000 seat congress hall, ruled out any revivalist styles -the competition was boycotted due to the belief that it was biased against modernist art -neoclassicists also neglected the contest, confident that the project would never materialize -attracted mostly constructivist architects -the definitive statement of modernism -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Casa Batllo

Antoni Gaudi Barcelona, Spain 1904-1907 -"House of Yawns" -considered one of his masterpieces -remodel of a previously built house -visceral, skeletal organic quality -only identifiable as Modernisme or Art Nouveau in the broadest sense -ground floor has unusual tracery, irregular oval windows and flowing sculpted stone work -few straight lines -façade is decorated with a colorful mosaic made of broken ceramic tiles that starts in shades of golden orange moving into greenish blues -roof is arched and was likened to the back of a dragon or dinosaur -common theory about the building is that the rounded feature to the left of centre, terminating at the top in a turret and cross, represents the lance of Saint George (patron saint of Catalonia, Gaudí's home), which has been plunged into the back of the dragon. -wanted an architect that would design a house that was like no other and stood out as being audacious and creative -the loft is considered to be one of the most unusual spaces -known for its simplicity of shapes and its Mediterranean influence through the use of white on the walls -contains a series of sixty catenary arches that creates a space which represents the ribcage of an animal -noble floor is the main floor of the building -accessed through a private entrance hall that utilizes skylights resembling tortoise shells and vaulted walls in curving shapes -spacious landing with direct views to the blue tiling of the building well -elaborate and animal-like décor continues throughout the whole noble floor -roof terrace is one of the most popular features of the entire house due to its famous dragon back design -represents an animal's spine by using tiles of different colors on one side -decorated with four chimney stacks, that are designed to prevent backdraughts -façade has three distinct sections which are harmoniously integrated -lower ground floor with the main floor and two first-floor galleries are contained in a structure of Montjuïc sandstone with undulating lines -central part, which reaches the last floor, is a multicolored section with protruding balconies -top of the building is a crown, like a huge gable, which is at the same level as the roof and helps to conceal the room where there used to be water tanks -top displays a trim with ceramic pieces that has attracted multiple interpretations -roof's arched profile recalls the spine of a dragon with ceramic tiles for scales, and a small triangular window towards the right of the structure simulates the eye -tiles were given a metallic sheen to simulate the varying scales of the monster, with the color grading from green on the right side, where the head begins, to deep blue and violet in the center, to red and pink on the left side of the building -tower topped with a cross of four arms oriented to the cardinal directions -bulbous, root-like structure that evokes plant life -a second bulb-shaped structure similarly reminiscent of a thalamus flower, which is represented by a cross with arms that are actually buds announcing the next flowering -decorated with monograms of Jesus (JHS), Maria (M with the ducal crown) and Joseph (JHP), made of ceramic pieces that stand out golden on the green background that covers the façade -These symbols show the deep religiosity of Gaudí, who was inspired by the contemporaneous construction of his basilica -bulb was broken when it was delivered, Gaudí liked the aesthetic of the broken masonry and asked that the pieces be stuck to the main structure with lime mortar and held in with a brass ring -central part of the façade evokes the surface of a lake with water lilies with gentle ripples and reflections caused by the glass and ceramic mosaic -great undulating surface covered with plaster fragments of colored glass discs combined with 330 rounds of polychrome pottery -above the central part of the façade is a smaller balcony, also iron, with a different exterior aesthetic, closer to a local type of lily -two iron arms were installed here to support a pulley to raise and lower furniture -façade of the main floor, made entirely in sandstone, and is supported by two columns -design is complemented by joinery windows set with multicolored stained glass -In front of the large windows, as if they were pillars that support the complex stone structure, there are six fine columns that seem to simulate the bones of a limb, with an apparent central articulation -this is a floral decoration -rounded shapes of the gaps and the lip-like edges carved into the stone surrounding them create a semblance of a fully open mouth, for which the Casa Batlló has been nicknamed the "house of yawns" -Catalan Modernisme and Antoni Gaudi

Casa Mila

Antoni Gaudi Barcelona, Spain 1906-1912 -La Pedrera, "the stone quarry", a reference to its unconventional rough-hewn appearance -modernist -last private residence by gaudi -controversial because of its undulating stone facade, twisting wrought iron balconies -structural innovations include a self-supporting stone façade, and a free-plan floor, underground garage and the spectacular terrace on the roof -a new house with the idea of living in the main floor and renting out the rest of the apartments -demolishing the pre-existing building instead of reforming it -did not respect any rules of conventional style -planned for the Casa Milà to be a spiritual symbol -Overt religious elements include an excerpt from the Rosary on the cornice and planned statues of Mary, specifically Our Lady of the Rosary, and two archangels, St. Michael and St. Gabriel -not built entirely to Gaudí's specifications -local government ordered the demolition of elements that exceeded the height standard for the city, and fined the Milàs for many infractions of building codes -decided to forgo the religious statues -designed the house as a constant curve, both outside and inside, incorporating ruled geometry and naturalistic elements -consists of two buildings, which are structured around two courtyards that provide light to the nine stories: basement, ground floor, mezzanine, main (or noble) floor, four upper floors, and an attic -basement was intended to be the garage, the main floor the residence of the Milàs (a flat of all 1,323 m2), and the rest distributed over 20 apartments -layout is shaped like an asymmetrical "8" because of the different shapes and sizes of the courtyards -attic housed the laundry and drying areas, forming an insulating space for the building and simultaneously determining the levels of the roof -most notable elements of the building is the roof, crowned with skylights, staircase exits, fans, and chimneys -these elements, constructed out of brick covered with lime, broken marble, or glass have a specific architectural function but are also real sculptures integrated into the building -apartments feature plastered ceilings with dynamic reliefs, handcrafted wooden doors, windows, and furniture, as well as hydraulic tiles and various ornamental elements -stairways were intended as service entries, with the main access to the apartments by elevator except for the noble floor, where Gaudí added a prominent interior staircase -elevators on every other floor so people could meet each other -characterized by its self-supporting stone facade, meaning that it is free of load-bearing walls -facade connects to the internal structure of each floor by means of curved iron beams surrounding the perimeter of each floor -construction system allows, on one hand, large openings in the facade which give light to the homes, and on the other, free structuring of the different levels, so that internal walls can be added and demolished without affecting the stability of the building -allows the owners to change their minds at will and to modify, without problems, the interior layout of the homes -facade is composed of large blocks of limestone from the Garraf Massif on the first floor and from the Villefranche quarry for the higher levels -blocks were cut to follow the plot of the projection of the model, then raised to their location and adjusted to align in a continuous curve to the pieces around them -building has three parts -main body of the six-storey blocks with winding stone floors -two floors set a block back with a different curve, similar to waves, a smoother texture and whiter color, and with small holes that look like embrasures -the body of the roof -original facade had some of its lower-level ironwork removed -in the middle of twentieth century, wrought ironwork had little importance -original solution to solve the issue of a lobby being too closed and dark -open and airy courtyards provide a place of transit and are directly visible to those accessing the building -two patios -patios are key as supporting loads of interior facades -floor of the courtyard is supported by pillars of cast iron -In the courtyard, there are traditional elliptical beams and girders but Gaudí applied an ingenious solution of using two concentric cylindrical beams with stretched radial beams, like the spokes of a bicycle -function of the central girder a keystone -supported structure is twelve feet in diameter and is considered "the soul of the building" with a clear resemblance to Gothic crypts -centerpiece was built in a shipyard by Josep Maria Carandell who copied a steering wheel, interpreting Gaudí's intent as to represent the helm of the ship of life -protected by a massive iron gate -originally used by both people and cars, as access to the garage is in the basement, now an auditorium -two halls are fully polychrome with oil paintings on the plaster surfaces, with eclectic references to mythology and flowers -problem including a basement as a garage for cars which was a thrilling new invention for the bourgeouis at the time -model of floor forms of square timbers with two colors, and the hydraulic pavement hexagonal pieces of blue and sea motifs that had originally been designed for the Batllo house -shows the application of the catenary arch as a support structure for the roof -used the Catalan technique of timbrel, imported from Italy in the fourteenth century -attic, where the laundry rooms were located, was a clear room under a Catalan vault roof supported by 270 parabolic vaults of different heights -roof resembles both the ribs of a huge animal and a palm, giving the roof-deck a very unconventional shape similar to a landscape of hills and valleys -shape and location of the courtyards makes the arches higher when the space is narrowed and lower when the space expands -roof was more innovative, creating shapes and volumes with more body, more prominence, and less polychromasia -four domes that discharged to the facade -stepped roof of La Pedrera, called "the garden of warriors" bc chimneys appear to be protecting the skylights -One of the chimneys was topped with glass pieces - it was said that Gaudí did that the day after the inauguration of the building, taking advantage of the empty bottles from the party -whole set of chimneys is more colorful than the facade, although here the creamy tones are dominant -designed furniture specifically for the main floor -part of the concept artwork itself integral to modernism -biomorphic appearance -inspired by a mountain -interior comees from studies made of medieval fortressses which is reinforced by the seeming appearance of the rooftop chimneys as "sentinels" with great helmets -structure of the iron door in the lobby does not follow any symmetry, straight or repetitive pattern -evokes bubbles of soap that are formed between the hands or the structures of a plant cell -criticized greatly at the time, hence the nickname the quarry -massively made fun of, as if it isn't the single most beautiful building of all time (speculation) -Catalan Modernisme and Antoni Gaudi

Crypt at the Colonia Guell

Antoni Gaudi Santa Coloma de Cervello, Spain 1908-1914 -unfinished -surviving sketches, catenary models, and resulting forms -crypt was the only segment of the church that was fully completed -built partially below ground bc of the hillside, designed so that it could feel like it belonged in the surrounding nature -pillars on the exterior made of bricks while others were made of solid blocks of stone -roof has a geometric shape that is morphed by the connecting of the various pillars -dimly lit (underground and hillside) -22 lead stained glass windows to let in colorful lighting -Catalan Modernisme and Antoni Gaudi

International Style

Archetypal, post-World War II modernist architectural style, best known for its "curtain-wall" designs of steel-and-glass corporate high-rises.

Notre Dame de Raincy

Auguste Perret Paris banlieue (suburb), France 1922-23 -a Roman Catholic church considered a monument of modernism in architecture, using reinforced concrete in a manner that expresses the possibilities of the new material -to commemorate the French victory in the Battle of the Marne in 1914 -the new material was used on its own terms, with standardized elements, slender supports, and thin membranes pierced by windows. -Structural Rationalism and Concrete as a Vision for a New Architecture

#25 bis Rue Franklin

Auguste Perret Paris, France 1903 -Reinforced-concrete apartment building -first important project -the concrete structure, instead of being concealed, was clearly visible and was a part of the exterior design -Structural Rationalism and Concrete as a Vision for a New Architecture

Glass Pavilion

Bruno Taut Werkbund Exhibition, Cologne, Germany 1914 -destroyed soon after the exhibition since it was not built for practical use -multi colored glass -landmark of the exhibition -cement and glass -double glass outer layer with colored glass prisms on the inside and reflective glass on the outside -facade had inlaid colored glass plates that acted as mirrors -tauts single best known architectural achievement -for the german glass industry association -considered a house of art -demonstrate the potential of different types of glass for architecture -indicated how the material might be used to orchestrate human emotions and assist in the construction of a spiritual utopia -made when expressionism was most fashionable in germany and is sometimes referred to as an expressionist style building -each part was designed to recall the complex geometry of nature (pineapple shape) -evocative of a temple with its concrete plinth and steps to the entrance -first building of importance made of glass bricks -the interior had the effect of a large crystal producing a large variety of colors -frieze written with aphoristic poems of glass, like "colored glass destroys hatred", "without a glass palace, life is a conviction" -inspired a ritualistic composition of the interior by bringing in the light of the moon and stars which brought in different positive feelings that led to a whole new culture -made in the spirit of a gothic cathedral -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

de Stijl

Dutch post-WWI movement that believed that their style revealed the underlying structure of existence; art was simplistic and used primary colors and horizontal and vertical lines (invented by Piet Mondrian and Theo van Doesburg). Neo-plasticism

Einstein Tower

Eric Mendelsohn Potsdam, Germany 1921 -"function plus dynamics is the challenge" -astrophysical observatory to house a solar telescope designed by an astronomer -supports experiments and observations to validate (or disprove) einstein's theory of relativity -still working today -mendelsohn's best known building -attempted to create a structure that reflects einstein's groundbreaking theories -originally conceived in concrete, but much was actually realized in brick and covered with stucco -this caused issues such as cracking and dampness as it was an unplanned change that wasn't reflected in new drawings -heavily damaged by allied bombing during wwii -fully renovated in 1975 -design, while logical and perfectly sufficient to its purpose, stood out like an "ungainly spaceship" in the suburbs of potsdam -einstein said it was "organic" -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Office of the Director Bauhaus

Walter Gropius Weimar, Germany 1923 -played homage to the square, dividing the room with partitions and screens to create themes of the cube measure 5 m by 5 m -gropius ensured the director's office at dessau was equipped with furniture and fittings designed by the students and the masters -the geometric illustrations of the forms and the relationship between the objects and space were essential, although moderately more informal than the wiemar layout -Gropius, Miles van der Rohe, The Deustscher Werkbund and the Bauhaus

Airship Hangars

Eugene Freyssinet Orly, outside Paris, France 1916-1921 -thin-shell reinforced concrete -early modern style -demonstrated for the first time his mastery of moving formwork for the casting of in-situ concrete -Modern technology lead to a new concept of construction, where each part of the parabolic form of the roof becomes an active vehicle of energy -Structural Rationalism and Concrete as a Vision for a New Architecture

Reinforced Concrete System

Francois Hennebique Patent 1892 -based on plain round bars with fish-tailed ends and stirrups of flat straps, all at that time being of mild steel. -the bars provided tensile resistance in beams and slabs, and supplemented the compressive capacity of the concrete in columns and walls. -the stirrups provided shear resistance. -...integrated separate elements of construction, such as the column and the beam, into a single monolithic element. The Hennebique system was one of the first appearances of the modern reinforced-concrete method of construction. -Structural Rationalism and Concrete as a Vision for a New Architecture

Haus am Horn

Georg Muche Weimar, Germany 1923 -domestic house -built for the bauhaus exhibition -first building based on bauhaus design principles, which revolutionized 20th century architectural and aesthetic thinking and practice -students were involved with the building project -simple cubic design with a flat roof, utilizing steel and concrete in its construction -saving energy was an important consideration due to wwi fuel shortages -coal-fired central heating and gas-fueled boiler in the bathroom and a gas kitchen stove -thought at the time to be a model for houses on an envisioned bauhaus campus, but was never realized -nicknamed the coffee grinder because of its square shape and clerestory roof, which resemble a typical early 20th century coffee grinder -Gropius, Miles van der Rohe, The Deustscher Werkbund and the Bauhaus

Red and Blue Chair

Gerrit Rietveld 1917-1918 -represents one of the first explorations by the de stijl art movement in three dimensions -built of wood and painted later -painted entirely black with areas of primary colors -this theme made the chair seem to almost disappear against the black walls and floor of the schroder house where it was later placed -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Schroder House

Gerrit Rietveld Ultrecht, Holland 1924 -residential -ideally designed without walls -espoused progressive ideals that included "a fierce commitment to a new openness about relationships within their own families and to truth in their emotional lives" -eliminated (through architectural design) bourgeois notions of respectability and propriety, with their emphasis on discipline, hierarchy, and containment -worked closely with the commissioner to create the house -a house free from association that could create a connection between the inside and outside -one of the best known examples of de stijl architecture -arguably the only true de stijl building -constitutes a radical break with all architecture before it -makes no attempt to relate to its neighboring buildings, even though it shares an exterior wall with another house -no static accumulation of rooms, but a dynamic, changeable, open zone -ground floor can be deemed traditional, based around a central staircase -the house included a garage, even though the owner did not own a car -upstairs living area is a large open zone except for a separate toilet and a bathroom -had sliding and revolving panels so that it could be used as either an open or subdivided space -facades are collages of planes and lines whose components are purposely detached from, and seem to glide past, one another, which enabled the provision of several balconies -each component has its own form, position, and color, like rietveld's red and blue chair -colors were chosen to strengthen the plasticity of the facades with surfaces in white and shades of gray, black windows and door frames, and a number of linear elements in primary colors -little distinction between indoor/outdoor space -rectilinear lines and planes flow from interior to exterior with the same color palette and surfaces -strict design standards about intersecting planes and blurring the delineation of inside and out -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Eugene Freyssinet

Hangars at Orly, outside Paris, France, 1916-21 - pioneer of prestressed concrete - space frame - large reinforced concrete airship hangars

Metro Entrances

Hector Guimard Paris, France 1900 -Art Nouveau designs in cast iron and glass dating mostly to 1900, and the associated lettering that he also designed, created what became known as the Métro style (style Métro) and popularized Art Nouveau -arbiters of style were scandalized and the public was also less enamored of his more elaborate entrances -many of his station entrances have been demolished -Those that remain are now all protected historical monuments, one has been reconstituted, and some originals and replicas also survive outside France -paris metro planned and built at one time in order to minimize disruption to the city from on-going construction -design competition was held for the above-ground components, to alleviate the public's fear that they would mar the cityscape with an industrial appearance -"as elegant as possible but above all very light, prioritising iron, glass and ceramic" -appoint the still young Hector Guimard to design the entrances to the underground stations -used cast iron set in concrete both to reduce costs and to suit the sinuous Art Nouveau forms -painted in a green emulating weathered brass -designed standardized components, including railing cartouches incorporating the letter "M" and signs in his own distinctive lettering reading "Métropolitain" or, at narrow entrances, "Métro" -speed (the first set of entrances were installed within six months of their design) -relatively low cost in manufacture and adaptation to different sizes and locations of entrances -gave the system a stylistic identity -Three of the entrances took the form of free-standing pavilions or small stations -style influenced by Japanese pagodas -Eight simpler but still elaborate structures were installed at the termini -consisted of three-sided glass-roofed structures enclosing the stairway, with a projecting canopy -a variation lacked the canopy -resemble dragonflies -some cases had decorated wall panels surfaced in reconstituted lava -great majority of the entrances built (154) were unroofed enclosures, dubbed an entourage -top of the steps is surmounted by a "Métropolitain" or "Métro" sign in a holder that extends between two risers in the form of sinuous stalks, compared to lily-of-the-valley -bearing a light in the form of a red-orange globe reminiscent of an eye -not ready until 1901, the year after the system first opened -popularized Art Nouveau, which had been a style known largely to connoisseurs of the avant garde -signage was criticized by the public, "un-French", confusing to kids, German -some plainer signage was used in other areas -86 are still around today -Art Noveau, Jugendstil, and the Vienna Succession

Amsterdam Stock Exchange

Hendrik Petrus Berlage Amsterdam, Holland 1897-1903 -richardsonian sense of mass, use of brickwork, and stone trim on the planes of the facade -though the hall is dedicated to trade, the minimal decoration on the facade will seek to place it in the civic order -clearly see the influence of viollet le duc in his articulation of the component parts of his structure: the joining of iron trusswork with load bearing masonry walls, themselves an integrated use of brick and stone piers and lintels and corbels -the simplified plane of the wall and primary geometries, and though there is some ornamentation it too is greatly simplified and stylized -everything is ordered, in its place according to a repetitive rhythm such as rows of arches, the finesse with which the trusswork is joined to the plane of the wall -there is also what we have begun to see in the developing industrial architecture: the primacy of SPACE, the importance of iron framework and glass roof that promotes the use of a LIGHT filled open plan in the interior -part of this primacy of space is also its flexibility -once designed as a trading hall, it now comes to life as a concert venue -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Cafe de Unie

J.J.P Oud Rotterdam, Holland 1925 -destroyed 1940 -temporary filling of undeveloped land between two imposing buildings -de stijl characteristics even though oud was no longer a member of the movement -building contrasted sharply with the adjacent buildings "making the cafe a connecting element between the adjacent buildings was unacceptable" -facade is often compared to the asymmetrical compositions of mondrian -quasi-concentric notched pattern in the red area -has three dimensional qualities, albeit in a very sophisticated way -illuminated advertising is arranged so that it is clearly visible from different points of view -deliberately immersed the side walls of the cafe so that the independence of both the cafe and the two adjacent buildings is guaranteed -has a fixed place in the canon of de stijl in addition to mondrian compositions and rietveld's red-blue chair -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Hook of Holland

J.J.P. Oud Rotterdam, Holland 1924-1927 -modernist -housing block for mass housing of workers -sober and functional austerity that contrasted strongly with the picturesque elaboration of detail typical of the school of amsterdam -attempted to reconcile strict, rational, scientific, cost effective construction techniques against the psychological needs and aesthetic expectations of the users -futuristic in its curved shape stone exteriors -minimalistic -though made of stone, there is a lightness in its length and clear and present lines -it screams functionality -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Palais Stoclet (Interior)

Josef Hoffman Brussels, Belgium 1905-1911 -the stoclet frieze, gustav klimt, mosaic mural, 1905-11 -as spartan as the exterior, with upright geometric furniture and minimal clutter -an avant-garde approach, presenting a 'reformed interior' where function dictated form -decorated with marble paneling and artworks, including mosaic friezes by Gustav Klimt and murals by Ludwig Heinrich Jungnickel -Art Noveau, Jugendstil, and the Vienna Succession

Palais Stoclet

Josef Hoffman Brussels, Belgium 1905-1911 -the stoclet frieze, gustav klimt, mosaic mural, 1905-11 -mansion for residence -viennese secession style -considered hoffman's masterpiece -one of the most refined and luxurious private houses of the twentieth century -sumptuous dining and music rooms of the Stoclet Palace exemplified theatrical spaces, celebrating sight, sound, and taste in a symphony of sensual harmonies that paralleled the operas of Richard Wagner, from whom the concept originated -Hoffmann was particularly attuned to fashion and to the Viennese identity of the new style of interior -abandoned fashions and styles of the past and produced a building that is an asymmetrical compilation of rectangular blocks, underlined by exaggerated lines and corners -starkness of the exterior is softened by artistic windows, which break through the line of the eaves, the rooftop conservatory, and bronze sculptures of four nude males by Franz Metzner, which are mounted on the tower that rises above the stairwell -Regimented upright balustrades line the balconies, touched with Art Nouveau ornamentation -first residential project for the Wiener Werkstätte (Vienna Workshops) -designed every aspect of the mansion, down to the door handles and light fittings -integration of architects, artists, and artisans makes Stoclet Palace an example of a Gesamtkunstwerk, one of the defining characteristics of Art Nouveau -designed to appear from the road as a stately city mansion -Art Noveau, Jugendstil, and the Vienna Succession

Secession Building

Joseph Maria Olbrich Vienna, Austria 1898 -dismissed as a "bastard between a temple and a warehouse" and "a cross between a green house and a blast furnace" -damaged by bombs during World War II and set on fire by the retreating German army -young pupil of Otto Wagner -secessionist -exhibition hall -architectural manifesto for the vienna secession -features the Beethoven Frieze by Gustav Klimt, one of the most widely recognized artworks of Secession style (a branch of Art Nouveau, also known as Jugendstil in Germany and Nordic countries) -motto of the Secessionist movement is written above the entrance of the pavilion: "To every age its art, to every art its freedom" -The leafwork dome ('golden cabbage') is the symbol of the Secession and visible from afar. -Entrance surround ... Medusas with snake hair -large, white, cubic -building is quite sober and only uses two colours, white and gold -massive, unbroken walls, the construction has the appearance of being constructed from a series of solid cubes -most prominent feature of the otherwise clean design is the dome, made of 3,000 gilt laurel leaves -laurel symbolizes victory, dignity and purity -Today the structure is one of the most treasured examples of a particularly Viennese artistic period -adapted and renovated several times -best-known exhibit is Gustav Klimt famous Beethoven Frieze - a monumental wall cycle - designed in 1902, conceived as an homage to the composer Ludwig van Beethoven, most sublimely embodied the secessionist idea of the gesamtkunstwerk - a comprehensive work of art -drastic simplification of these Art Nouveau elements -gradual reduction of decorative elements to basic geometric forms signifying a break from Wagner's grandious art nouveau style -incorporated references to classical antiquity in the owl and gorgon -Signifying the attributes of Athena; the goddess of wisdom and victory, Olbrich makes her both a liberator and guardian of the arts. -Art Noveau, Jugendstil, and the Vienna Succession

Russakov Worker's Club

Konstantin Meinikov Moscow, Russia 1928-1929 -notable example of constructivist architecture -built on a fan-shaped plan, with three cantilevered concrete seating areas rising above the base -each of these volumes can be used as a separate auditorium, and combined they result in a capacity of over 1000 people -the more conventional offices are at the rear of the building -the only visible materials used in its construction are concrete, brick, and glass -the function of the building is to some extent expressed in the exterior, which melnikov described as a "tensed muscle" -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

USSR Pavillion

Konstantin Melnikov International Exhibition of Decorative Arts, Paris, France 1925 -exhibition pavilion -wood frame and glass -exposition -russian constructivist modern -the rhomboid structure had staircases slicing dramatically in opposite directions, dividing the structure into two acute triangles. -by this simple device, the rhombus is denied the slightest chance of settling into a stable, non-Revolutionary form -the exhibition hall was given a dynamism -does not match up with constructivist characteristics -awarded the highest award by the french commission established to judge the various entries -earned the plaudits of several of western europe's leading architects, like Josef Hoffman, August Perret, Le Corbusier, and Robert Maller-Stevens -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Melnikov House

Konstantin Melnikov Moscow, Russia 1929 -classic residence that represents the forefront of the 1920's Russian avant garde -its aesthetics differ dramatically from traditional soviet residential architecture -expressionistic approach to design -personal residence is arguably his best and most innovative work -completely unconventional design in an era when uniformity was the de facto solution -features two interlocking cylindrical volumes standing three stories high, with enough space to house his family as well as his painting and architectural studio spaces -significant rationing of materials during construction -believed that cylindrical shape provided for an economy of a material -first cylindrical volume sits slightly lower than the rear cylinder, faces the street, and features a glazed curtain wall incorporating the main entry -the rear cylinder has the iconic portion, with numerous hexagonal windows perforating the facade -exterior walls furnished with white plaster, constructed in a honeycomb latticework using local brick, which is similar to the method pioneered by Vladimir Shukhov in 1896 using metal -employed minimal material while ensuring an efficient and rigid structure -shapes of windows are a result of the honeycomb structure, with angles determined by quarter lengths of the standard local bricks -interior spaces are allowed to run the full diameter uninterrupted as the exterior walls function as the load bearing members -employed innovative technique for a self-reinforcing orthotropic wooden plank flooring system, absentee of any internal column support -quasi-open plan in the bedroom spaces that allow sunlight to flood the interior -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Proun Room

Lasar M. "EL" Lissitsky 1923 (installation reconstructed 2010) -project for the affirmation of the new -prototypes for visionary inhabitable abstractions in which the visitor could experience geometric shapes and linear vectors wrapping around corners and launching towards the ceiling -in his transformation of the two-dimensional works into "abstract rooms", lissitzky was part of a general blurring of disciplinary boundaries that took place as artists explored line throughout the twenthieth century -his radical reconception of space and material is a metaphor for the fundamental transformations in society that he expected the russian revolution to produce -this reconstruction, based on an earlier version created by the van abbemuseum in eindhoven, the netherlands reflects what is known about the original proun room today -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Cloud-hanger Project

Lasar M. "EL" Lissitsky 1924 -horizontal skyscrapers -a flat, three-story, 180-meter-wide, L-shaped slab raised 50 meters above street level -rested on three pylons placed on three different street corners -one pylon extended underground, doubling as the staircase into a proposed subway station, two others provided shelter for ground-level tram stations -as long as humans cannot fly, moving horizontally is natural and moving vertically is not -thus, where there is not sufficient land for construction, a new plane created in the air at medium altitude should be preferred to an american-style tower -experimented with different designs so that the structure would appear balanced visually -each tower faced the kremlin, as a pointing arrow -all buildings were proposed identically, so Lissitzky proposed color-coding -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Maison Domino

Le Corbusier 1914 -Dom-Ino House -The ultimate kit of parts -much needed in the post war reconstruction. -Designed for mass-production. Six support points -concrete pilotiswith cantilevered slabs, providing a framework in which anything could be fleshed out. -3 concrete slabs -6 vertical supports -Adjoining concrete stairs and base blocks. -No beams! -Allowing for the development of the free plan, the hung façade , the strip window, the roof terrace -open floor plan modular structure -prototype as the physical platform for the mass production of housing -consisting of concrete slabs supported by a minimal number of thin, reinforced concrete columns around the edges, with a stairway providing access to each level on one side of the floor plan -frame was to be completely independent of the floor plans of the houses thus giving freedom to design the interior configuration -model eliminated load-bearing walls and the supporting beams for the ceiling -Structural Rationalism and Concrete as a Vision for a New Architecture

Maison Citrohan

Le Corbusier 1922 (Prototype exhibited at the Weissenhof Seidlung in Stuttgart, Germany, 1927) -designed to be both aesthetically pleasing and functional -greatly influenced by the effects of wwi -intention of creating a space that was not only efficient, but also affordable -by making the house orderly and available to the masses, Le Corbusier envisioned creating a space that was uplifting and offered a solution to the chaos resulting from the war -attempt to improve the standard of living after wwi -designed to be built with materials that could be mass produced and easily accessible, such as concrete -mimicked not only the car's efficiency but also its method of production -white and rectilinear, which he intended would create order through mathematical precision -emitted ostentatious decorations and preserving aesthetically pleasing elements (spiral staircase) -intended to offer a release from emotional frustration and social constraints -International Style: The Machine and Other Myths of Modernism

Five Points Towards a New Architecture

Le Corbusier 1926 -support of ground-level pilotis, elevating the building from the earth and allowing the garden to be extended to the space underneath -a functional roof serving as a garden and terrace, reclaiming for nature the land occupied by the building -a free floor plan, devoid of load-bearing walls, allowing walls to be placed freely and only where aesthetically needed -long horizontal windows for illumination and ventilation -freely-designed facades functioning merely as a skin for the walls and windows and unconstrained by load-bearing considerations -International Style: The Machine and Other Myths of Modernism

Villa Stein

Le Corbusier Garches, France 1926 -represents an important milestone in which the problems of comfort, luxury, and architectural aesthetics are combined -entirely supported by columns disposed along a grid without regard for the interior plan -independent disposition of the columns diffuses a constant scale, a rhythm, a restful cadence -facades considered as carriers of light, not one of which touches the ground, as they are suspended from the cantilever floors -the facade carries neither floors nor the roof, it is nothing more than a veil of glass or masonry enclosing the house -free plan interior with each floor having a disposition totally independent from that of another, rigorously proportioned to its particular function -the partitions are nothing more than membranes -the impression of richness is not conveyed by luxurious materials but simply by the interior disposition and proportioning -International Style: The Machine and Other Myths of Modernism

Ozenfant Studio

Le Corbusier Paris, France 1922 -house and artist's studio -stucco exterior finish -early modern style -studio daylighting by large north window and glazed saw-tooth roof -an early example of minimal architecture, a prototype of the domino house and a manfiestation of Le Corbusier's principles from his Five Points -possessed a geometrical clarity inside and out which has since been lost with the elimination of the north light roof and its replacement by a flat one -International Style: The Machine and Other Myths of Modernism

Maison La Roche-Jeanneret

Le Corbusier Paris, France 1923-1925 -comprised of 2 white blocks that join to create an L-shaped plan, the house forms part of the architect's "white villas" series of private homes -designed in two parts for two clients -designed to accommodate both a private apartment and an exhibition space (hence 2 parts) -pilotis that lift the building above the ground, a flat roof that could serve as a garden and terrace, open plan interiors, ribbon windows for light and ventialtion, and a free facade independent of load bearing structures -promenade circulation -International Style: The Machine and Other Myths of Modernism

Villa Savoye

Le Corbusier Poissy, France 1928-1931 -modernist villa -reinforced concrete -exemplar of le corbusier's five points -representative of the origins of modern architecture and is easily recognizable and renowned examples of the international style -originally built as a country retreat -demonstrated what le corbusier deemed the "precision" of architecture, where each feature of the design needed to be justified in design and urban terms -International Style: The Machine and Other Myths of Modernism

Fabrica Aymerich

Lluis Muncunill Terrazas, Spain 1908 -severely affected by the flooding of 1963 and it finally closed in 1978. It was bought by the state in 1983 and opened as a museum -museum -solved the problem of roofing the immense weaving shed with row upon row of 161 shell-shaped half arches with gently curving windows, which served the same function as the saw-toothed north lights in a Lancashire weaving shed -columns broke up the usable space of the factory so had to be carefully placed around the looms -columns functioned as rain water drainage, and held the line shafting that transmitted power from the stationary steam engine to the looms -engine house and other parts of the building feature the Catalan vault -Catalan Modernisme and Antoni Gaudi

Tugendhat House

Mies van der Rohe Brno, Czechoslovakia 1928-1930 -one of the pioneering prototypes of modern architecture in europe -reinforced concrete -less is more and emphasis on functional amenities -created a fine example of early functionalism architecture -revolutionary iron framework, which enabled him to dispense with supporting walls and arrange the interior in order to achieve a feeling of space and light -no paintings or decorative items in the villa -naturally patterned materials such as the onyx wall and rare tropical woods -very high cost -glass facade that opens completely assisted by a mechanism built into the wall -unusually large and open floor area -air conditioning -International Style: The Machine and Other Myths of Modernism

Het Schip (The Ship)

Michel de Kierk Amsterdam, Holland 1917-1920 -expressionist architecture -part of a three building complex called Eigen Haard (our own hearth) in which the entirety of the project: facades, and apartment plans were designed by de Klerk -founded on the use of brick -called the ship because of the outlines that evoke a large ocean liner -we see the interest in diverse forms that are suggestive not of housing per se, but of more industrial elements: the stylized smokestacks, the ventilation grills emphasizing this idea of line rather than mass -but these symbols also had a purpose of a function that was socially driven -featured spacious apartments (not one room dwellings that were still common at the time) -flush toilets -ample natural light -ample ventilation from extensive fenestration -an integrated post office -a phone booth -all of these things are aspects of dwelling we come to assume, but that the working class had minimal access to -heroic, expressive, and pragmatic development of brickwork and space making -the notion of total work of art is still in force here with the added social dimension that is not an overt part of prior more aestheticized movements -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Barcelona Pavilion

Mies Van der Rohe Barcelona, Spain 1929 -built for world fair -combines architecture and landscape architecture -precedent: Brick Country House -turn down and rebuilt -raised on a platform -thick wall: opaque, thin walls: glass -big pool: large rectangular plane -floor is rocks -structure is columns, not walls -top and bottom meant to be ambiguous -flag of Germany represented -Barcelona Ottoman/Chair -2 clean lines and planes -reflection is emphasized -book matched: process to create marble pieces. -statue is plastic -materials: chrome columns (now stainless steel), glass, water, marble -uses walls to frame statue -travertine marble: light colored -leaves Germany to pursue greater designs -dematerialization -International Style: The Machine and Other Myths of Modernism

Project for a Brick Country House

Mies van der Rohe 1923 -abstract simplification of the basis of a country house -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Glass Skyscraper Competition Entry

Mies van der Rohe Friedrichstrasse, Berlin, Germany 1919 -developed visionary projects that, though mostly unbuilt, rocketed him to fame as an architect capable of giving form that was in harmony with the spirit of the emerging modern society -boldly abandoning ornament altogether, mies made a dramatic modernist debut in 1921 with a stunning competition proposal for the faceted all-glass Friedrichstrasse skyscraper, followed by a taller, curved version in 1922 -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Weissenhof Apartment Block

Mies van der Rohe Stuttgart, Germany 1927 -built for deutscher wekbund exhibition -21 buildings comprising 60 dwellings designed by 17 european architects -van der Rohe was in charge of the project on behalf of the city, he selected the architects, budgeted and coordinated their entries, prepared the site, and oversaw construction -the buildings vary slightly in form, consisting of terraced and detached houses and apartment buildings, and display a strong consistency of design -all have simplified facades, flat roofs used as terraces, window bands, open plan interiors, and high level prefabrication -most were white -advertised as a prototype of future workers' housing, each were customized and furnished on a budget far out of a normal worker's reach and with little direct relevance to the technical challenges of standardized mass construction -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

The Werkbund

Movement in early 20th c Germany which sought to ally designers with industry to improve quality of industrial goods. Schism in the Werkbund: Muthesius: Norm, standardization, typisierung, design for industry; Van de Velde: individualism, craft, expression, Art Nouveau eccentricity.

Postal Savings Bank

Otto Wagner Vienna, Austria 1904-1906 -important work of Vienna Secession, branch of Art Nouveau -constructed using then completely new reinforced concrete -bank -eight stories high, the building occupies an entire city block -façade is covered with square marble slabs and aluminum applications reminiscent of a money storage -Granite slabs are attached to the lower and upper levels -rivets with which the marble cladding seems to be fixed to the wall are purely ornamental and articulate the façade -marble makes the maintenance and cleaning of the facade very easy and inexpensive, important functional element in Wagner's design -Wagner greatly valued the aluminum, used not only for the rivets but also for other decorative elements on the exterior and interior of the building, such as the portico columns and central heating fans. -sculptures, for the first time made of cast aluminum and located on the attica of the building are work of Wagner long time collaborator Othmar Schimkowitz -glass windows are partly a work of Leopold Forstner -interior -main hall is thus effectively on the first floor -hall is designed like an atrium, with a large glass skylight allowing natural light to enter the heart of the building at all times -Natural light is not used only for stylistic reasons, but also to reduce the cost of electric lighting -floor of the main hall is constructed of glass tiles, allowing natural light to reach further down to the floor below, where the Post Office boxes and mail sorting rooms are located -decoration in the main hall minimal, using only glass and polished steel as materials -decorative effect is created by the simple but elegant use of the material itself -frosted glass skylight is pierced by steel columns, their slim design making them as unobstructive to the falling light as possible -hall is one of Otto Wagner's famous works, and one of the finest examples of the Viennese Secession -office space is divided according to the axis of the outside windows, again making use of natural light as much as possible -interior walls are non-load-bearing, and can therefore be re-arranged according to need, a feature that has become standard in modern office buildings -Art Noveau, Jugendstil, and the Vienna Succession

AEG Turbine Factory

Peter Behrens Berlin, Germany 1908-1909 -purely utilitarian factory structure (still actively in use today) that becomes a temple to the modern age and to electricity -the six sided facets of the polygonal vault within the project outwardly foring their own distinct plane on the front, evoking the classical use of pediment and columns in the rusticated wall that is slightly recessed from the projecting pediment and rose window -a temple to power, and not just the electrical kind -shows behrens at his most inventive and boldest, in his use of glass, steel, and stone, with a turbine hall over 300 feet long and glass and steel walls that are close to 50 feet tall -the massive structure is finely detailed -the shape and structure of the hall determined by the gantry cranes that move the turbines from one end of the hall to the toher. -the steel supports are exposed in a rhythmic progression on the exterior and we see the counter intuitive joining of the structure and the base at the knuckle joint, a suggestion of potential movement but within the solid vocabulary of a classical order -Reconstructions I: Rebuilding is Rethinking: The Wer-Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionismkbund and Expressionism

Hotel Tassel

Victor Horta Brussels, Belgium 1893-95 -townhouse for residence -considered first true Art Nouveau building because of its highly innovative plan and its groundbreaking use of materials and decoration -built a house consisting of three different parts -Two rather conventional buildings in brick and natural stone—one on the side of the street and one on the side of the garden—were linked by a steel structure covered with glass -functions as the connective part in the spatial composition of the house and contains staircases and landings that connect the different rooms and floors -functions as a light shaft that brings natural light into the centre of the building -designed every single detail; door handles, woodwork, panels and windows in stained glass, mosaic flooring and the furnishing -succeeded in integrating the lavish decoration without masking the general architectural structures -innovations made in the Hôtel Tassel would mark the style and approach for most of Horta's later townhouses, including the Hôtel van Eetvelde, the Hôtel Solvay and the architect's own house and workshop -expensive to construct and only affordable by the haute-bourgeoisie -Most other Art Nouveau dwellings in Belgium and other European countries were inspired by Horta's 'whiplash' decorative style which is mostly applied to a more traditional building -decisive influence on the French Art Nouveau architect Hector Guimard -facade is in itself an example of Art Nouveau -came from his selection of materials and the way that they all came together to form a building that exemplified the style as a whole -exterior of the building is designed to be smooth and have a sense of fluidity -columns that dominate the front portion out of iron, as opposed to stone -columns house a large bay window further Horta's stylistic goals by creating a sense of openness and lightness -Exposed rivers and framing methods, such as large brackets around the doors and windows create a sense of unity within the architecture -organic acanthus set against the riveted iron beams that house the windows display Horta's desire to fuse nature and industry -interior features Horta's innovative open floor plan and use of natural light -Rooms in the townhouse were built around a central hall -Materials used on the inside are purposefully visible and conform to the Art Nouveau style by being modeled after organic forms -interior retains a cohesive sense of fluidity thanks to Horta's insistence on designing all of the interior elements -Art Noveau, Jugendstil, and the Vienna Succession

Maison du Peuple

Victor Horta Brussels, Belgium 1896-1899 -demolished in 1965 and a skyscraper was built on its site. "architectural crime", example of "Brusselization" -dismantled entirely with the idea of rebuilding it elsewhere -components were scattered in vacant lots around Brussels, and it was never reconstructed -structural parts of the building were used in the Horta Grand Café in Antwerp and some of the original pieces can still be found in the Horta premetro station in Saint-Gilles -the people's home, grandiose -public building -one of the most influential art nouveau buildings in belgium and one of the most notable designs by victor horta -commissioned by belgian workers party -rather restrictive and irregular plot, along a circular square and on a slope -4-storey building with maximum functionality -all kinds of socio-economic facilities -ground floor was made of shops and a café-restaurant -first floor included the Party's offices and meeting rooms, as well as a library -second and third floors welcomed various multi-purpose rooms -fourth floor was home to a large auditorium and concert hall seating over 2,000 people -Unlike Horta's houses, decoration was kept to a minimum, as it was a purely functional building -mainly constructed in white cast iron with curtain walls -only strikingly recognisable Art Nouveau features of the facade were the balustrades with curling lines, as well as a slight curving of the steel pillars supporting the roof. -roof, the building was decorated with signs bearing the names of people who contributed to the socialist cause, such as Karl Marx and Leon Blum -designed to make a maximum use of light, with large skylights over the main meeting room -completed in 1899 and was inaugurated in the presence of the French socialist leader Jean Jaurès -Because of the experimental combination of brick, glass, and steel, it was considered as a masterwork of modern architecture -Art Noveau, Jugendstil, and the Vienna Succession

Monument to the Third International

Vladimir Tatlin Russian 1919-1920 -tatlin's tower -design for a grand monumental building that was never built -built from industrial materials: iron, glass, and steel -envisaged as a towering symbol of modernity in materials, shape, and function -twin helix as main form with visitors being transported -four large suspended geometric structures that would rotate at different rates -base was a cube designed for venues for lectures, conferences, and legislative meetings, which would complete a rotation in the span of one year -smaller pyramid above the cube that would be used to house executive activities and would complete a rotation once a month -a cylinder, used as an information center that would issue news bulletins and manifestos via telegraph, radio, and loudspeaker, which would complete a rotation once a day -at the top, there would be a hemisphere for radio equipment -plans to install a gigantic open-air screen on the cylinder and a further projector which would be able to cast messages across the clouds on an overcast day -represented the aspirations of its originating country and a challenge to the eiffel tower as the foremost symbol of modernity -The Avant Garde - Aesthetics + Revolution: Futurism, de Stijl, and Constructivism

Bauhaus School Buildings

Walter Gropius Dessau, Germany 1925-1926 -further development of an idea that gropius had previously realized with the construction of the fagus factory -in both buildings, a glass facade on the load-bearing framework allows a view of the interior workings, which provides a clear view of the constructive elements -the design does not visually amplify the corners of the building, which creates an impression of transparency -designed the sections differently, separating them consistently according to function -positioned the wings asymmetrically -the form of the complex can thus be grasped only by moving around the building -Gropius, Miles van der Rohe, The Deustscher Werkbund and the Bauhaus

Chicago Tribune Competition Entry

Walter Gropius + A. Meyer 1922 -an office and administrative building for the chicago tribune -allowed the opportunity for international architects to come to terms with the specifically american task of designing a skyscraper -wanted to erect a building that avoided using any historical style, but which instead expressed the modern age with modern means -later described as a reinforced concrete frame that would clearly express the building's function -presented as being planned in iron, glass, and terracotta -exceptionally modern glass and metal high-rise, which transcended all historic forms of architecture -very ahead of its time. remarkable and revolutionary design -Gropius, Miles van der Rohe, The Deustscher Werkbund and the Bauhaus

Fargus Factory

Walter Gropius + Adolf Meyer Alfeld-an-der-Leine, Germany 1911-1914 -interpret behren's approach in their intial work for a redesign and expansion for a shoe factory -wanted a building that would symbolize a new corporate identity -almost an inversion of AEG -corners have been opened, no longer massive stone but glass prisms -the rhythmic progression of piers on the side are flush with the curtain of glass that is merely a screen between interior and exterior -again, the classical proportions are ruling the organization, with the whole structure resting on a plinth, the columns reaching up to a cornice above, but a feeling of lightness is expressed by the emphasis on the horizontal band and the narrow brick vertical piers -an obvious inspiration are the factories and industrial buildings in america, for which gropius had already begun to collect photographs of and catalog in preparation for the werkbund exhibition of 1914 -the noted slight touches of expressiveness or streamlining in the brickwork and interior railways are a synthesized new detailing that had not been entertained -such as the joining of materials like the corner joint of glass running where traditional architecture would have placed its most defining and supportive elements -yet this building, while symbolizing a new node of detailing the parts of the composition, is still as later restoration would reveal, a mostly load bearing masonry structure that only spanned floor to floor, even as the facade revealed a curtain hung full of span structure cleverly hidden behind panes of plaster and stucco -there is a seamlessness between interior and exterior that is a first in the modern tradition -Reconstructions I: Rebuilding is Rethinking: The Werkbu-Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionismnd and Expressionism

Werkbund Pavillion

Walter Gropius + Adolf Meyer Werkbund Exhibition, Cologne, Germany 1914 -following an idea of the type, gropius and meyer are invited to develop a model factory and office building, recalling some of the ideas already deployed in the Fagus factory -the monumentality almost greek or egyptian, again the temple is evoked with massive brickwork and expanses of glass -flat overhanging roofs, almost wrightian, start to display space in a different way -glass as a screen and an interpretation of interior and exterior -rhythm of brick and glass -Reconstructions I: Rebuilding is Rethinking: The Werkbund and Expressionism

Constructivism

a form of modern architecture that flourished in the Soviet Union in the 1920s and early 1930s. it combined advanced technology and engineering with an avowedly Communist social purpose.

Expressionism

architectural movement in Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts that especially developed and dominated in Germany

Modernism

based upon new and innovative technologies of construction, particularly the use of glass, steel, and reinforced concrete; the idea that form should follow function (functionalism); an embrace of minimalism; and a rejection of ornament

Futurism

early 20th century form of architecture born in italy, characterized by strong chromatism, long dynamic lines, suggesting speed, motion, urgency, and lyricism

Avante-Garde

innovative and radical.

Structural Rationalism

the belief that architecture should be shaped by a proper understanding of materials (especially industrial materials like iron, steel, plate glass and reinforced concrete) which will lead to a style based on the precision, rationality and economy of engineering.

curtain wall

thin, usually aluminum-framed wall, containing in-fills of glass, metal panels, or thin stone. The framing is attached to the building structure and does not carry the floor or roof loads of the building