MOdern Architecture
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* Organic and sculptural Modernism 1945-1970
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* Robie House, Chicago 1907-09, (35-77,78) (29-45,46) horizontality, reduction of ornament, cantilever, ribbon/strips windows; non-Western influences such as Japanese; rejection of typically symmetrical design Importance of portfolio of his designs published in Berlin in 1910.
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*1. Charles Moore Piazza d'Italia, New Orleans, 1976-80 (36-63) (30-45) historical references along with modern materials *2. Philip Johnson and John Burgee AT&T Building, New York (36-64)(30-46) Historical reference: tripartite arrangement, arcaded base, arched portal and crowning pediment broken by orbiculum (reminiscent of 18th century British furniture!).
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*1. Frank Lloyd Wright Guggenheim Museum, New York, 1943-59 (36-55,1) (30-39) reinforced concrete
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*5. Rogers and Piano Pompidou Center, Paris 1977 ("Beaubourg") (36-67)(30-49)
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*B. Second International Style, i.e. Modern having typically rigid geometry 1945-1970
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*C. Post Modernism 1970- It can be understood as a reaction against the values of Modernism generally and specifically the stereotypical geometric rigidity and lack of ornament of some Modern structures. Your text book describes postmodernism not as a single style but "wide-spread cultural phenomenon;" growth from "naive and optimistic populism" "pluralism, complexity, eclecticism" "expansive and inclusive" (14th edition page 929)
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*D. Deconstruction/Deconstructivism 1970-also a reaction against Modernism with emphasis on disorder, irregularity; a subset of postmodern. "destabilization ("rupture") of assumptions"—desire to disorient the viewer (choquer le bourgeois—shock the middle class)
*1. Gerrit Rietveld Schroder House, Utrecht, Netherlands, 1924 (35-71) (29-65) De Stijl; connect to Mondrian who wanted integration of art and life; Open plan reminiscent of Wright; Right angles but not simply cubic.
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*1. H. H. Richardson Marshall Field wholesale store, Chicago 1885 (31-39) (28-39) appreciation of masonry and solidity of Romanesque, Renaissance palazzo and Roman aqueduct; iron encased in masonry to make more fire proof; lack of ornament; novelty of extensive use of glass—breaking of wall surface.
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*1. Henri Labrouste Reading room of the Library (Bibliotheque) Ste. Genevieve, Paris 1843-1850 (30-47) (27-46) Renaissance references such as exterior with palazzo references; novelty in the interior with exposed iron: roof arches, cast iron columns with capitals. concrete pedestals for columns; traditional Renaissance decorative motifs. Reading room of the Bibliotheque nationale, Paris, very similar.
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*1. Horta Staircase in the van Eetvelde House, Brussels, Belgium 1895 (31-36) (28-36)
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*1. Ludwig Mies van der Rohe Seagram Building, NY 1956-58(36-60)(30-43) purity of design; single shaft, no setback; bronze color of metal and amber glass.
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*2. John Nash Royal Pavilion, Brighton, England (30-45) (27-44) Islamic features, "Indian Gothic;" hidden cast-iron skeleton, i.e. not visible except for cast iron palm tree columns in kitchen
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*2. Joseph Paxton Crystal Palace, London, 1850-51 (30-48) (27-47) Competition winner for Great Exhibition of 1851—European propaganda; Enlargement of his greenhouse designs; Prefabricated iron posts, iron arches, and glass; Roman and Christian basilica design elements—for example, Basilica Ulpia, Rome (7-44,#4)
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*2. Le Corbusier Notre Dame du Haut, Ronchamp, France 1950-55 (36-56,57) (30-40) frame of steel and metal mesh sprayed with concrete; deceptive relationship of walls and roof; replacement for building destroyed in WWII. What are the organic associations here?
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*2. Louis Sullivan "Form follows function." Guaranty Building, Buffalo 1894-96 (31-40) (28-40) steel frame, terracotta sheath and glass of exterior; ornament related to Art Nouveau, not overpowering; verticality emphasized.
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*2. Walter Gropius Shop Block, the Bauhaus, Dessau, Germany 1925-26 (35-72) (29-56) (read page 962/ page 885, for discussion of Bauhaus and Gropius, especially his goals for the school) Bauhaus, a design school, founded in 1919, connected to equivalence of arts and crafts, the unity of all the arts; connect utopianism and much of outlook to De Stijl; paradoxical appreciation of mass production, classless outlook; three story reinforced concrete and steel grid with glass sheath; closed down by Hitler in 1933; Gropius off to Harvard; Mies to Chicago.
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*3. Charles Garnier Paris Opera House c. 1860 (30-46) (27-45) Garnier's Opera House reflects the Beaux-Arts taste for the neo-Baroque. (Beaux-Arts/neo-Baroque)
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*3. Eero Saarinen TWA Terminal, Kennedy Airport,NY (36-58) (30-41) 1956-62 concrete shells--What is the organic reference?
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*3. Ludwig Mies van der Rohe "Less is more." Succeeded Gropius as head of Bauhaus in new location of Berlin; *Model for a glass skyscraper (35-74) (29-67) 1921 German Pavilion at Barcelona World's Fair 1929
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*4. Frank Gehry Guggenheim Museum, Bilbao, Spain, 1997 (36-69,70) (31-33,34)
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*B. Art nouveau (read introduction page 846; 828)—came out of the Arts and Crafts movement, but the artists did not turn their backs on new materials. They used "natural forms that could be mass-produced" and were holistic in their approach.
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*B. Prairie Style+International Style Frank Lloyd Wright Kaufmann House (Fallingwater), Bear Run 1936-39 (35-79) (29-79) integration into the site.
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*C. First International Style 1914-1945 of Europe
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*Carson, Pirie, Scott, Chicago, 1899-1904 (31-41) (28-41) department store in the Loop; steel frame and cast iron ornament; white ceramic facing between windows.
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*D. Chicago School--early skyscrapers (read introduction page 849; page 830)
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*Frank Lloyd Wright worked for Sullivan in the Chicago area and shows connection to Sullivan's interest in clarity of function and Art Nouveau inspired ornament. He searched for what he called the "architecture of democracy," and the belief that "the reality of a building was not the container but the space within."
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*II. Europe and America 1870-1900 (pages 846-850; 827-832) A. Arts and Crafts Movement rejection of growing capitalism and industrialism led by English author John Ruskin, writer, and artist and designer William Morris were leaders.
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*III. Europe and America 1900-1945 (pages 961-966; ) Architecture and its Innovators *A. Prairie Style-organic architecture in the United States
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1. Ch. Barry & Pugin Houses of Parliament, London (30-44) (27-43) (neo-Gothic)
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1. William Morris Green Dining Room (31-34) (28-34) Love of repeated pattern, both vegetal and geometric; functionality also respected.
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2. A. E. Eiffel Eiffel Tower, Paris 1889 (31-1) (28-38) Created for centenary of French Revolution; wrought iron; "interpenetration of inner and outer space"
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2. Charles Rennie McIntosh and Margaret MacDonald McIntosh Ingram St. Tea Room, Glasgow, Scotland (31-35) (28-35)
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2. Gaudi Casa Mila, Barcelona 1907 (31-38) (28-37) sinuous lines inspired by organic forms but much more massive than other art nouveau; cut stone façade with rough surfaces—allusion to caves? curvilinear iron railings.
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4. Le Corbusier Towards a new Architecture: "A house is a machine for living." (read page 963/886 for Le Corbu's understanding of what was necessary as well as his idea for vertical cities on page 964/page 886-87) Domino House project, Marseille, France, 1914 reinforced concrete slabs Villa Savoye, Poissy-sur-Seine, France, 1929 (35-75)( 29-68) stands on stilts of reinforced concrete, his trademark inversion of weightiness; open central courtyard on second floor; ribbon windows; originally had a dark green base; rose and blue windscreen at top.
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4. Utzon Sydney Opera House, Sydney, Australia (36-59) (30-42) 1959-72 concrete shells show connection to Saarinen; influence of Wright--What is the organic reference?
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Beaux-Arts tradition
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C. Departures from tradition 1. Joseph Maria Olbrich Vienna Secession Building, Vienna (look online for illus.)
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D. Art Deco born from the idea of improving traditional industrial design by giving it more elaboration in the 1920s and 1930s; name derived from 1925 Exposition in Paris; use of motifs not limited to any one category of objects; appreciation of flat, shallow, and elongated shapes associated with concept of "streamlining."
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E. Continuation of Tradition R. M. Hunt The Breakers, Newport 1892 (look online)
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IV. Europe and America After 1945 (pages 1002-1013)
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In Modernism and Modern buildings there are some architects whose buildings stressed "organic sculptural qualities" and those who stressed "rigid geometry."
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William Van Alen Chrysler Building, New York 1928-30 (35-76) (29-47) 1048' fan shapes—importance of curves; stainless steel spire.
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steel I beams
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*I. Europe and America 1800-1870 (pages 810-813; 787-791) *A. Historical styles (read intro on page 810) (read intro on page 787))
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Deconstruction
An analytic strategy developed in the late 20th cent according to which all cultural "constructs" are "texts". We read texts, but can't arrive to a uniform meaning. Any interpretation is valid. Destabilizing established meanings and interpretations while encouraging subjectivity.
*B. Departures from tradition -meaning independence from Beaux-Arts dictums on style and material---early use of iron as weight-bearing material
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Beaux-Arts style -descriptive of the classicizing and usually ornamented style preferred by the teachers of the Ecole des Beaux-Arts (School of Fine Arts) in Paris, where architects trained (Read description on page 812; 789). It was at its most popular from the last decades of the 19th century through the first quarter of the 20th. American architects also employed this style.
Modern
Common themes of modern architecture include: the notion that "Form follows function", a dictum originally expressed by Frank Lloyd Wright's early mentor Louis Sullivan, meaning that the result of design should derive directly from its purpose simplicity and clarity of forms and elimination of "unnecessary detail" materials at 90 degrees to each other visual expression of structure (as opposed to the hiding of structural elements) the related concept of "Truth to materials", meaning that the true nature or natural appearance of a material ought to be seen rather than concealed or altered to represent something else use of industrially-produced materials; adoption of the machine aesthetic particularly in International Style modernism, a visual emphasis on horizontal and vertical lines
utopian
Designs for buildings and cities providing an ideal, or supposedly ideal, environment for their users, usually implying development where none previously existed, or where wholesale destruction of built fabric is envisaged to provide a site. It is associated with social engineering. Read more: http://www.answers.com/topic/utopian-architecture#ixzz3Dj1WsLZl
Art Nouveau
From the 1880s until the First World War, western Europe and the United States witnessed the development of Art Nouveau ("New Art"). Taking inspiration from the unruly aspects of the natural world, Art Nouveau influenced art and architecture especially in the applied arts, graphic work, and illustration.
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New Models for Architecture: Modernism to Postmodernism 1945-2000 Read the Introduction on page 1002. After WWII New York became the center of the art world. The art critic Clement Greenberg (1909-94) became the leading supporter and spokesperson for modernism. He said, "'Purity in art consists in the acceptance, willing acceptance, of the limitations of the medium of the specific art.'" He recommended "'renouncing illusion and explicit subject matter.'" In 1939 he wrote "Avant-Garde and Kitsch" which served to separate the taste of the general public (kitsch) from what Greenberg considered progressive (avant-garde). Critics of Greenberg's Modernism viewed Modernism in these terms: "elitist, uncompromising stance of modernism" "reductive" "formalism that stressed simplicity"
organic
Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so sympathetic and well integrated with its site, that buildings, furnishings, and surroundings become part of a unified, interrelated composition.
steel reinforced concrete c. 1900
a composite material in which concrete's relatively low tensile strength and ductility are counteracted by the inclusion of reinforcement having higher tensile strength and/or ductility. The reinforcement is usually, though not necessarily, steel reinforcing bars (rebar) and is usually embedded passively in the concrete before the concrete sets.
Prairie style
a late 19th- and early 20th-century architectural style, most common to the Midwestern United States. The style is usually marked by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornament. Horizontal lines were thought to evoke and relate to the native prairie landscape.
Postmodern
a late-20th-century movement in the arts, architecture, and criticism that was a departure from modernism.[1][2] Postmodernism includes skeptical interpretations of culture, literature, art, philosophy, history, economics, architecture, fiction, and literary criticism. It is often associated with deconstruction and post-structuralism because its usage as a term gained significant popularity at the same time as twentieth-century post-structural thought.
Art Deco
an influential visual arts design style that first appeared in France after World War I and began flourishing internationally in the 1920s, 1930s and 1940s before its popularity waned after World War II.[1] It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterized by rich colours, bold geometric shapes and lavish ornamentation. Deco emerged from the interwar period when rapid industrialisation was transforming culture. One of its major attributes is an embrace of technology. This distinguishes Deco from the organic motifs favoured by its predecessor Art Nouveau.
Bauhaus
commonly known simply as Bauhaus, was an art school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. Made by Walter Gropius
Ecole des Beaux-Arts, Paris
is one of a number of influential art schools in France.
International style
the name of a major architectural style that is said to have emerged in the 1920s and 1930s, the formative decades of modern architecture, as first defined by Americans Henry-Russell Hitchcock and Philip Johnson in 1932, with an emphasis more on architectural style, form and aesthetics than the social aspects of the modern movement as emphasised in Europe. The term "International Style" first came into use via a 1932 exhibition curated by Hitchcock and Johnson, Modern Architecture - International Exhibition, which declared and labelled the architecture of the early 20th century as the "International Style". The most common characteristics of International Style buildings are said to be: i. rectilinear forms; ii. light, taut plane surfaces that have been completely stripped of applied ornamentation and decoration; iii. open interior spaces; iv. a visually weightless quality engendered by the use of cantilever construction. Glass and steel, in combination with usually less visible reinforced concrete, are the characteristic materials of the construction.