Final Exam
II. Frank Lloyd Wright, Wright House and Studio, Oak Park, Illinois, 1889.
- "Architectural laboratory": experimenting with design concepts that contain the seeds of his architectural philosophy -Here he raised six children with his first wife, Catherine Tobin -Storks Greet Clients (studio annex), design by Wright's friend and collaborator, the American Sculptor Richard Bock -The capitals signifies the tree of life, the book of knowledge, an architectural scroll, and two storks full of wisdom and fertility
A. Otto Wagner, Apartment Houses, Vienna, 1898-9
- Shops below & apartments above -Applied ceramic tile decoration
Charles Voysey
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IV. Le Corbusier, Le Corbusier: Five Points of Architecture, Maisons Jaoul, Paris, 1955
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IV. Le Corbusier, Mass Production of Houses, Housing at Pessac, Pessac, 1924
- Ingersoll cement gun -Although prestressed concrete was patented by a San Francisco engineer in 1886, it did not emerge as an accepted building material until a half-century later. -The shortage of steel in Europe after World War II coupled with technological advancements in highstrength concrete and steel made prestressed concrete the building material of choice during European post-war reconstruction
II. Frank Lloyd Wright, Winslow House, River Forest, near Chicago, 1893-4.
-"Wright's Prairie style transitional work" -symmetry on the street façade -asymmetry on the rear -Wright's Prairie style transitional work -Cruciform plan and symmetrical main façade about the front door, which is set into a stone panel brought forward slightly from the wall plane -Wright is often spoke of "breaking the box": That process had begun in this project! -Front rooms are self-contained and axially connected; while the side and rear rooms project as a porte-cochere and as semicircular and semi-polygonal bays, and the terraces are defined by platforms as projecting wall -Hipped roof overhangs the second floor at the level of the windows heads -Apparent height of the ground floor extends to the second-floor window sills= Reducing the perceiving volume of the upper level -Building hugs the ground and emphasizes horizontality -but still compact composition -Dark terracotta texture -Looked Sullivan for inspiration - it display Sullivanesque ornament. -The ornamental frontispiece echoed Sullivan's Getty Tomb -The house is organized around a central fireplace and dominated by horizontal lines -Carriage house with tree growing through the roof
IV. Le Corbusier, Le Corbusier: Five Points of Architecture, Villa Savoye, Poissy, 1928-31
-Architectural promenade -"official model" at MOMA-NY (had color but ended up just white) -Model at Richard Meier studio
D. Adolf Loos (1870-1933), Steiner House Vienna, 1910
-As far as possible furniture was always built in
IV. Le Corbusier, Early Works, Villa Jaquemet, La Chaux-de-Fonds, 1908
-Born in the Swiss watchmaking town of La Chaux-de-Fonds as Charles Edouard Jeanneret -Received formal art instruction in the local arts and crafts school, which trained its students to do fancy engraving for watch cases -Late he would choose the named Le Corbusier -In 1906, the 19 years-old Jeanneret designed his first house, the Villa Fallet, in La Chaux-deFonds, with the help of local architect named René Chapallaz -Architectural education from experience garnered in the offices of Auguste Perret (1908-09) and Peter Behrens (1910) and travels -This house maybe caused his change to the modern style. It cost more than the architect had estimated. Anatole Schwob urged Le Corbusier in a legal proceeding to pay him back in 1920. After this Le Corbusier left Swiss and settled in France for the rest of his life...
William Morris
-British craftsman, designer, writer, typographer, and socialist -one of the principle founders of the British arts and crafts movement -best known as a designer of wallpaper and patterned fabrics, a writer of poetry and fiction and a pioneer of the socialist movement in Britain -Anti industrial and anti historicist -"production by machinery is altogether evil" -Attracted to medieval styles because of the handcraftsmanship he saw reflected in these styles
D. Adolf Loos (1870-1933), Goldman and Salatsch, Michaelerplatz, Vienna, 1910
-Cartoonist's comment on Loos' Goldman and Salatsch façade. The original caption read: "Brooding about art, the most modern man walks through the streets. Suddenly he stops transfixed. He has found that for which he has searched so long"
F. Charles Rennie Mackintosh, Hill House Helensburgh, 1902-03
-Designed for a Glasgow Publisher -Monolithic character -Pebble-dash Stucco -Plan is compartmentalized into functional areas
Augustus W.N. Pugin
-English architect -Writings influential -gothic was a principle not a style -he advocated a direct return to the spiritual values and architectural forms of the Middle Ages. -
II. Frank Lloyd Wright, Robie House, South Woodlawn, Chicago, 1908-10.
-First use of welded steel! -Elongated bricks: emphasis on the horizontality
Weiner Werkstatt
-Founded 1903 Principal founder = Josef Hoffmann -"The Viennese parallel of the (English) Arts and Crafts movement" -Aims: Elegance, functionality and appropriateness in all art forms -Basic philosophy not unlike Ruskin, Morris and Mackintosh (who had exhibited on the continent)
D. Adolf Loos (1870-1933), Essay/manifesto "Ornament and Crime", written in 1908.
-Fourth major figure working in Austria -Takes simplicity of form further -Writes article "Ornament and Crime" comparing ornament with graffiti -Ornament on a building is like a tattooed man! -"Evolution of culture marches with the elimination of ornament from useful objects" Loos -Approach to relationship between: ornament and structure = eliminate ornament - Loos expressed the idea that the progress of culture is associated with the deletion of ornament from everyday objects, and that it was a crime to force craftsmen or builders to waste their time on ornamentation that served to hasten the time when an object was obsolete -"To seek beauty only in form and not in ornament is the goal to which all humanity is striving"
F. Charles Rennie Mackintosh, Glasgow School of Art Glasgow, 1897-1909
-He argued that modern materials, such as iron and glass, "will never worthily take the place of stone because of this defect, the want of mass -Steven Holl Architects strategy was inspired by Mackintosh's inventive manipulation of the building section for a tremendous variety of light. The plan for the new Glasgow School of Art draws upon the push-pull typology of light of the Mackintosh building but moves forward using a new language of different light. The building is composed studio volumes shaped by light and connected by a "circuit of connection" which encourages the creative contact central to the workings of the school. -American firm Steven Holl architects together with scottish firm JM architects have been awarded first prize for the competition to design a new building for the glasgow school of art. -
A. Auguste Perret, 25 Rue Franklin Apartment, Paris, France, 1902-03
-He sought a formal discipline in the constrains and creative potentials of new constructional systems, especially reinforced concrete, in the belief that this would lead to genuine architectural forms of lasting quality -It gave enhanced status to the material -light-well with U-shape plan that increased the percentage of daylight-lit walls. -He cast ornament into the building's concrete skin.
Otto Wagner
-He taught architecture in Vienna -Wrote: Modern Architecture in 1895 = relationship of ornament to structure; construction -"Necessity the sole mistress of Art" -Need to relate style to the requirements of materials and modern construction techniques -Importance of claddings for buildings as opposed to building in stone
II. Frank Lloyd Wright, Ward Willits House, Highland Park, Illinois, 1902.
-Here FLW abandoned the compact composition -Cruciform plan! -Horizontal line dominates: accentuated by the overhanging eaves of the roofline and the extension of the transverse axis of the house -Central chimney mass
IV. Le Corbusier, Mass Production of Houses, Atelier Ozenfant, House and Studio, Paris, 1922
-House for the artist and painter Amadée Ozenfant with large atelier upstairs. -Ozenfant was Corbusier's mentor for painting and together with Dermée they founded the magazine L'esprit Nouveau.
Prairie House
-Houses in suburban lot/areas. -Fenestration in strips; (Fenestration = the arrangement of windows in a building) -Low-hipped roof; -Emphasis on the fireplace, and horizontality (house organized around a central fireplace and dominated by horizontal lines); -Irregular distortions to the rear of a formal façade that conveniently accommodate awkward ingredients such as service elements; -Cruciform plan commonly used during the period 1900-10. -Elimination the room as a box and the house as another.
WRIGHT'S PRAIRE HOUSES
-Houses in suburban lot/areas. -Fenestration in strips; (Fenestration = the arrangement of windows in a building) -Low-hipped roof; -Emphasis on the fireplace, and horizontality (house organized around a central fireplace and dominated by horizontal lines); -Irregular distortions to the rear of a formal façade that conveniently accommodate awkward ingredients such as service elements; -Cruciform plan commonly used during the period 1900-10; -Elimination of the room as a box and the house as another.
D. Phillip Webb & W. Morris, Red House, Bexleyheath, London, 1859-66
-L shaped -Red brick -rely on construction system and revealing the honesty of the system -The truth of the materials -Direct expression of materials -honesty of the materials and form -values of simplicity and directness
E. Charles Voysey, Broadleys, Cumbria, England, 1898
-L shaped -Round element on façade
D. Adolf Loos (1870-1933), Chicago Tribune Building Competition entry, Chicago, 1922
-Loos proposed to solve the problem of incompatible dimensions by making the entire shaft of the skyscraper into a Doric column
D. Adolf Loos (1870-1933), Müller House, Prague, Czech Republic, 1929-30
-Loos' multi-level spatial design -Loos' multi-level spatial design -The wall between the two rooms is perforated without destroying their volumetric integrity
D. Adolf Loos (1870-1933), Moller House, Vienna, 1927-8
-Loos's Raumplan turned the experience of the house into a spatio-temporal labyrinth, making it difficult to form a mental image of the whole"
B. Joseph Maria Olbrich, Vienna Secession Exhibition Building, Vienna, 1897-8 (Olbrich worked for Wagner)
-Ornament applied to surface -The formative strands of modern architecture: the search for new forms - Vienna
B. Frank Lloyd Wright, Unity Temple, Oak Park, IL, 1905-07
-Potential of concrete: cheapness and wide span -But also it could e molded to his spatial ideas -steel reinforced concrete -It is thought to be the first building built from reinforced concrete poured on the site: to reduce cost of shipping materials
B. John Ruskin, Seven lamps of architecture (1849)
-Ruskin laid out seven "lamps" or principles of great architecture. The Lamp of Sacrifice is dedicated to the craft of building and asks "Was it done with enjoyment...?
B. John Ruskin, The Stones of Venice (1853)
-Ruskin wrote about an architecture reflective of craftsmen's devotion to building
Charles Rennie Mackintosh
-Scottish designer and architect -Worked primarily in Glascow -Developed a unique style that is related to Art Nouveau -Collaborators: wife Margaret Macdonald, her sister Frances and her husband Herbert MacNair ("the four") -Women more involved with decorative aspects; men with construction -Mackintosh and MacDonald together created integrated architectural environments
Josef Hoffmann
-Studied and taught in Vienna -Worked in Wagner's office -Founded the Vienna Secession in 1897 with Wagner and Olbrich -Left group and founded the Weiner Werkstatte in 1903 (lasted until 1932) -Early work shows influence of Wagner and Olbrich -Begins to break away by c 1900 -Style of refined rectilinear form -"I am particularly interested in the square as such" (1901) -He was preoccupied with the possibilities for abstract form in design -Design, production and marketing of high-quality domestic objects
C. Josef Hoffmann, Founded: Weiner Werkstatt, Vienna Austria, 1903 2. Stocklet House, Brussels, 1905-11
-Suggests new direction in his architectural design -Change due in part to influence of Mackintosh: In form rather than ornament -Geometrical, block like, structured composition -Walls are faced with marble, mosaics by Gustav Klimt, Tree of life
IV. Le Corbusier, Early Works, Villa Schwob, La Chaux-de-Fonds, 1916
-This house maybe caused his change to the modern style. It cost more than the architect had estimated. Anatole Schwob urged Le Corbusier in a legal proceeding to pay him back in 1920. After this Le Corbusier left Swiss and settled in France for the rest of his life... -The house made use of 2 techniques that had become the norm in the construction of watchmaking factories: a fireproof reinforced concrete structural frame and double glazing
Secession
-Two successive movements/groups: The Viennese Secession (1897) and Weiner Werkstatt (1903) -Movement founded in 1897 by Otto Wagner and others opposed to "conservative establishment and its predilection for historical styles" -Not a particular style, but tended to interpret the relationship between ornament and structure by applying ornament to the surface....structure itself was not ornament -Floral motifs, color, new materials etc -Something NEW: sought modern in new materials, new technologies -Three of the most important architectural figures associated with the Secession movement were: • Otto Wagner • Joseph Maria Olbrich • Josef Hoffmann
IV. Le Corbusier, Early Works, Philosophy: Toward a new architecture
-Vers une Architecture, 1923 -Collection of Le Corbusier's essays on architecure that first appeared in the pages of L'Espirit Nouveau, a small journal created by the poet Paul Dermée and Le Corbusier in 1920. -architecture must reflect its time -concrete and mass-production processes
Frank Lloyd Wright
-Wonderful draftsman! -Chicago: employed by Joseph Lyman Silsbee before working for Sullivan -Practiced Sullivanesque ornament
Arts and Crafts Movement
-intended to be an alternative to the factory system
John Ruskin
-profilic crtitic of art and society -disliked classical works in buildings and art -regarded as the originator of the arts and crafts ideals -Associated high moral values with certain historic styles. promoted revival of gothic style in writitngs -opposes modern trends/values/materials -Importance of ornament: "distinguishes architecture from construction" -He spoke out against the industrialist division of labor and the degradation of the operative into a machine -Seven lamps of architecture (1849) -The Stones of Venice (1853)
A. Otto Wagner, "Modern Architecture" in 1895
-relationship of ornament to structure; construction -"Necessity the sole mistress of Art"
C. Le Corbusier, Dom-ino House, 1914
-separated structure from enclosure -mass produced housing scheme that reduced components to a minimum: -floor slabs, regularly spaced piers for vertical support -Results: free plan! with its flexible distribution of walls, and the free façade, which could take on any desired configuration -Pure structural idea -Designed as a housing kit to help in the rapid reconstruction of war-ravaged areas (Flanders) -Mass-produce a basic set of components -Framework could be assembled in less than 3 weeks
II. SECESSION
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I. ARTS AND CRAFTS (REVIEW)
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III. REINFORCED CONCRETE
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Five points of Architecture
1. The supports (PILOTIS) elevating the mass off the ground 2. The free plan- the interior wall independent of the support system can be arranged in a free plan 3. The free façade, the corollary of the free plan in the vertical plane 4. The long horizontal sliding window 5. The flat roof or roof garden, restoring, supposedly, the area of ground covered by the house.
The Modern Masters: Frank Lloyd Wright and Le Corbusier
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Lecture 26: The Idea of Modern Architecture: Art & Crafts, Vienna & Loo
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