History Architecture Part 3

Peter Eisenman

"The architecture we remember is that which never consoles or comforts us."

Frank Lloyd Wright

Considered America's greatest architect. Pioneered the concept that a building should blend into and harmonize with its surroundings rather than following classical designs.

Eco-cities

An eco-city or ecocity is "a human settlement modeled on the self-sustaining resilient structure and function of natural ecosystems", as defined by the Ecocity Builders (a non-profit organization started by Richard Register who first coined the term).[1] Simply put, an eco-city is an ecologically healthy city. The World Bank defines eco-cities as "cities that enhance the well-being of citizens and society through integrated urban planning and management that harness the benefits of ecological systems and protect and nurture these assets for future generations".[2] Although there is no universally accepted definition of an 'eco-city', among available definitions, there is some consensus on the basic features of an eco-city. Eco-cities are commonly found to focus on new-build developments, especially in developing nations such as China, wherein foundations are being laid for new eco-cities catering to 500,000 or more inhabitants.[3]

3D printed buildings

An industrial-scale 3D printer used high strength artificial marble.[67] Companies around the world have 3D-printed numerous buildings, many only taking a few hours to be completed. 3D-printed buildings have been shown to be practical, cost effective, and environmentally friendly. The technology is being expanded to other frameworks.

Art Nouveau

Around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents with new social demands and technological possibilities, being inspired by natural forms and structures, particularly the curved lines of plants and flowers. The work of Victor Horta and Henry van de Velde in Brussels, Antoni Gaudí in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. Art Nouveau architecture was a reaction against the eclectic styles that dominated European architecture in the second half of the 19th century. It was expressed through decoration: either ornamental (based on flowers and plants, e.g. thistles[57], irises[58], cyclamens, orchids, water lilies etc.) or sculptural (see the respective section below). While faces of people (or mascarons) are referred to ornament, the use of people in different forms of sculpture (statues and reliefs: see the respective section below) were also typical for Art Nouveau. Before Vienna Secession, Jugendstil and National romantic style façades were asymmetrical, and often decorated with polychrome ceramic tiles. The decoration usually suggested movement; there was no distinction between the structure and the ornament.[59] The whiplash motif was widely used.

contemporary

Contemporary architecture is the architecture of the 21st century. No single style is dominant; contemporary architects are working in a dozen different styles, from postmodernism and high-tech architecture to highly conceptual and expressive styles, resembling sculpture on an enormous scale. The different styles and approaches have in common the use of very advanced technology and modern building materials, such as Tube structure which allows construction of the buildings that are taller, lighter and stronger than those in the 20th century, and the use of new techniques of computer-

critical regionalism

Critical regionalism is an approach to architecture that strives to counter the placelessness and lack of meaning in Modern architecture by using contextual forces to give a sense of place and meaning. The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later more famously by Kenneth Frampton. Frampton put forth his views in "Towards a Critical Regionalism: Six points of an architecture of resistance." He evokes Paul Ricœur's question of "how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual. Frampton draws from phenomenology to supplement his arguments.

deconstructivist

Deconstructivism in architecture is a development of postmodern architecture that began in the late 1980s. It is characterized by ideas of fragmentation, non-linear processes of design, an interest in manipulating ideas of a structure's surface or skin, and apparent non-Euclidean geometry,[65] (i.e., non-rectilinear shapes) which serve to distort and dislocate some of the elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit the many deconstructivist "styles" is characterised by a stimulating unpredictability and a controlled chaos.

Colonial Houses

During the Age of Discovery, architectural style from an Colonizing country has been incorporated into the buildings of settlements or colonies in distant locations. Colonists frequently built settlements that synthesized the architecture of their countries of origin with the design characteristics of their new lands, creating hybrid designs. [56] Countries born out of colonialism hold these houses in a national status.

Early modern

Early Modern architecture began with a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament, that first arose around 1900. By the 1940s these styles had largely consolidated and been identified as the International Style. The exact characteristics and origins of modern architecture are still open to interpretation and debate. An important trigger appears to have been the maxim credited to Louis Sullivan: "form follows function". Functionalism, in architecture, is the principle that architects should design a building based on the purpose of that building. This statement is less self-evident than it first appears, and is a matter of confusion and controversy within the profession, particularly in regard to modern architecture.

Expressionist

Expressionist architecture was an architectural movement that developed in Northern Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts. The style was characterised by an early-modernist adoption of novel materials, formal innovation, and very unusual massing, sometimes inspired by natural biomorphic forms, sometimes by the new technical possibilities offered by the mass production of brick, steel and especially glass. Many expressionist architects fought in World War I and their experiences, combined with the political turmoil and social upheaval that followed the German Revolution of 1919, resulted in a utopian outlook and a romantic socialist agenda.[60] Economic conditions severely limited the number of built commissions between 1914 and the mid-1920s,[61] resulting in many of the most important expressionist works remaining as projects on paper, such as Bruno Taut's Alpine Architecture and Hermann Finsterlin's Formspiels. Ephemeral exhibition buildings were numerous and highly significant during this period. Scenography for theatre and films provided another outlet for the expressionist imagination,[62] and provided supplemental incomes for designers attempting to challenge conventions in a harsh economic climate.

modern

Modern architecture is generally characterized by simplification of form and creation of ornament from the structure and theme of the building. It is a term applied to an overarching movement, with its exact definition and scope varying widely.[64] Modern architecture has continued into the 21st century as a contemporary style, especially for corporate office buildings. In a broader sense, modern architecture began at the turn of the 20th century with efforts to reconcile the principles underlying architectural design with rapid technological advancement and the modernization of society. It would take the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification

Beaux Arts

Monumental and heavy looking Flat or hipped roof[54] Rusticated and raised first story[55] Hierarchy of spaces, from "noble spaces"—grand entrances and staircases—to utilitarian ones Arched windows[55] Arched and pedimented doors[55] Classical details:[55] references to a synthesis of historicist styles and a tendency to eclecticism; fluently in a number of "manners" Symmetry[55] Statuary,[55] sculpture (bas-relief panels, figural sculptures, sculptural groups), murals, mosaics, and other artwork, all coordinated in theme to assert the identity of the building Classical architectural details:[55] balustrades, pilasters, garlands, cartouches, acroteria, with a prominent display of richly detailed clasps (agrafes), brackets, supporting consoles and decorative columns Subtle polychromy

new classical

New Classical architecture is a modern movement in architecture that continues the practice of classical and traditional architecture. It can be considered as the modern continuation of the Neoclassical movement and other revivalist movement that may or may not fall to the umbrella term; Classical architecture. The design and construction of buildings in these traditions is continuous throughout the twentieth and twenty-first centuries, even as modernist and other post-classical theories of architecture have been more dominant. Since New Classical architecture is not an architectural style and can appear in various forms, contemporary classical buildings might be also, although not correctly, be described with the terms Traditionalism, Neo-Historism (or Historicism/Revivalism), or simply Neoclassical Architecture, implying the continuation of a specific historical style

new urbanism

New Urbanism is an urban design movement which promotes environmentally friendly habits by creating walkable neighborhoods containing a wide range of housing and job types.[1] It arose in the United States in the early 1980s, and has gradually influenced many aspects of real estate development, urban planning, and municipal land-use strategies. New Urbanism is strongly influenced by urban design practices that were prominent until the rise of the automobile prior to World War II; it encompasses ten basic principles such as traditional neighborhood design (TND) and transit-oriented development (TOD).[2] These ideas can all be circled back to two concepts: building a sense of community and the development of ecological practices

the 21st century

On January 21, 2013 architects began preparations for constructing the world's first 3D-printed building. An industrial-scale 3D printer used high strength artificial marble.[67] Companies around the world have 3D-printed numerous buildings, many only taking a few hours to be completed. 3D-printed buildings have been shown to be practical, cost effective, and environmentally friendly. The technology is being expanded to other frameworks.

postmodern

Postmodern architecture is an international style whose first examples are generally cited as being from the 1950s, and which continues to influence present-day architecture. Postmodernity in architecture is generally thought to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist movement are replaced by unapologetically diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Classic examples of modern architecture are the Lever House and the Seagram Building in commercial space, and the architecture of Frank Lloyd Wright or the Bauhaus movement in private or communal spaces. Transitional examples of postmodern architecture are the Portland Building in Portland and the Sony Building (New York City) (originally AT&T Building) in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture. A prime example of inspiration for postmodern architecture lies along the Las Vegas Strip, which was studied by Robert Venturi in his 1972 book Learning from Las Vegas celebrating the strip's ordinary and common architecture. Venturi opined that "Less is a bore", inverting Mies Van Der Rohe's dictum that "Less is more". Following the postmodern movement, a renaissance of pre-modernist urban and architectural ideals established itself, with New Urbanism and New Classical architecture being prominent movements.

sustainable architecture

Sustainable architecture is architecture that seeks to minimize the negative environmental impact of buildings by efficiency and moderation in the use of materials, energy, and development space and the ecosystem at large. Sustainable architecture uses a conscious approach to energy and ecological conservation in the design of the built environment.[1] The idea of sustainability, or ecological design, is to ensure that our use of presently available resources does not end up having detrimental effects to our collective well-being or making it impossible to obtain resources for other applications in the long run.

Art Deco

The Art Deco style in architecture emerged in Paris just before World War I with the Théâtre des Champs-Élysées by Auguste Perret (1911-1913) and the Majorelle Building by Henri Sauvage (1913). Its revolutionary use of reinforced concrete, geometric forms, straight lines, and decorative sculpture applied to the outside of the building in plaques of marble, ceramics and stucco, and later in stainless steel, were a departure from Art Nouveau. The style reached its peak in the 1920s and 1930s, and took its name from the International Exhibition of Modern Industrial and Decorative Arts in Paris in 1925. Art Deco became especially popular in the United States in the late 1920s, where the style was used for skyscrapers including the Chrysler Building (1930) and Empire State Building (1931), and for lavish motion picture palaces including Radio City Music Hall (1932) in New York City and the Paramount Theater in Oakland, California. In the 1930s a stripped-down variation called Streamline Moderne emerged, which was inspired by the curving aerodynamic forms of ocean liners, airplanes and trains. Art Deco was used for office buildings, government buildings, train stations and movie theaters around the world in the 1930s, but declined rapidly at the end of the decade due to the Great Depression and intense criticism of the style by modernist architects such as Le Corbusier, who denounced what he felt was its excessive ornament. By 1939, the style was largely out of fashion and was replaced by the more austere International Style.

International Style

The International style was a major architectural trend of the 1920s and 1930s. The term usually refers to the buildings and architects of the formative decades of modernism, before World War II. The term had its origin from the name of a book by Henry-Russell Hitchcock and Philip Johnson which identified, categorised and expanded upon characteristics common to modernism across the world. As a result, the focus was more on the stylistic aspects of modernism. The basic design principles of the International Style thus constitute part of modernism. The ideas of Modernism were developed especially in what was taught at the German Bauhaus School in Weimar (from 1919), Dessau (between 1926-32) and finally Berlin between 1932-33, under the leadership first of its founder Walter Gropius, then Hannes Meyer, and finally Ludwig Mies van der Rohe. Modernist theory in architecture resided in the attempt to bypass the question of what style a building should be built in, a concern that had overshadowed 19th-century architecture, and the wish to reduce form to its most minimal expression of structure and function. In the United States, Philip Johnson and Henry-Russell Hitchcock treated this new phenomenon in 1931 as if it represented a new style - the International Style, thereby misrepresenting its primary mission as merely a matter of eliminating traditional ornament. The core effort to pursue Modern architecture as an abstract, scientific programme was more faithfully carried forward in Europe, but issues of style always overshadowed its stricter and more puritan goals, not least in the work of Le Corbusier.