Modern Architecture Midterm Review

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Post Office Savings Bank 1904-6 description from book

aCCORDING THE vIENNESE ART historian Alois Riegl the decorative arts were at the origin of all artistic expression. Art was rooted in indigenous culture, not dervied from a universal nautral law. This idea meshed closely with the idea of John Ruskin and William MOrris and stood in stark contrast to teh idea (derived from the Enlightmenet) that architecture should align itself with prgoress, science, and the Cartesian spirit. Wagner stood at teh opposite of side of the debate, a true rationalist. His rationalism reaches its peak int eh post office savings bank in vienna. It is a rationalism, however, that does not abandon teh allegorical language of classicism but extends it. In the bank we find allegorical figurative ornament: but there are also more abstract metaphors such as teh redundant bolt-heads on teh facade. these like teh functional glass adn metal banking hall are both symbols and manifestations of modernity.

Gallery of Views of Ancient Rome, 1758

all roads led to rome and back again ability of traditions to make impact on architecture of that day ( so classicism)

Oscar Kokoschka, Portrait of Adolf Loos (1909)

Adolf Loos's "Ornament and Crime" : The idea that since ornament is no longer the organically linked with our culture, it is no longer out culture. Consider Frank Lloyd Wright on Organic Architecture: "In organic architecture, then, it is quite difficult to consider the building as one thing, its furnishings another and it settings and environment still another."

Alfred Loos, Looshaus, Vienna, 1910 Alfred Loos, Muller House, Prague, Czech Republic, 1928-1930. Muller House Ladies' Study, Bedroom of Loos' wife Lina,

Alfred Loos: we must comprehend the form and construction of all objects only in the sense of their strictest elementary logic and justification for their existence. If we want to beautify these constructions and forms, do so only if you cannot lost sight of the essential appearance of these forms and constructions. (Ornament and Crime)

Henry Flitcroft, Temple of Ceres at Stourhead, 1744

inscription from the 6th book of the Aeneid can be found in an inscription over altar in the temple "Begone all you who are uninitiated"

test

TERM

Violet-le-Duc

"Is the 19th century condemned to come to an end without having found a style of its own?" He became an adamant combatant for the Gothic Revival but as teh leading exponent of structural rationalism as well. HIS CLAIM: tHAT IN LESS THAN A CENTURY THE ARCHITECTS OF TEH MEDIEVAL CATHEDRALS OF ILLEDEFRANCE HAD PERFECTED A STRUCTURAL SYSTEM in which every element contributed to the dynamic equilibrium of the whole, and in which material was reduced to a daring but reasoned minimum. The resulting architeture possessed what he called style "the perfect harmony between the results obtained and the means employed to achieve them" form and structure in short were identical. Saw classicism as a form of slavery of teh human spirit, gothic offered flexibile lessons of materiality rationalisty and economy. However, both the literal imitation of Gothic forms in new materials and the vision of history as a process of eclectic cultural intermingling were concepts Viollet-le-Duc was determined to combat; he lashed out against both Boileau's cast-iron church and VAUDOYER'S HISTORICIST CATHEDRAL. While he agreed with Labrouste's generation that architectural forms must change and evolve with society, he rejected their vision of historical hybridication as a motor of progress. Universal laws of form and the relativism of culture were, he maintned, not incompatible

Charles Eisen, frontispiece to Marc-Antoine Laugier, Essai sur l'architecture, (1755) (Essays on architecture)

"Let us never lose sight of our little rustic hut" (From the text: The hut had been a standard feature of architectural theory since Vitruvius; but never before had it been t proposed as anything more than a fanciful story of the primitive origins of architecture. Laugier's radical step was to propose this origin as a moment of higher truth: 'All the splendors of architecture ever conceived have een modeled on the little rustic hut I have just descthe quest ribed. It is by approaching teh simplicity of this first model that fundamental mistakes are avoided and was to be emulated, not copied. It provided a norm of procedure rather than a model, an answer to the quest fir what Laugier calls 'fixed and unchanging laws'

Boullee on the sublime

'Our buildings and our public buildings in particular should be to some extent poems. The impression they make on us should arouse in us sensations that correspond to the function of the building in question' he declares, explaining how he has converted the traditional concern for the appropriate character of a building into a science of using architecture to produce precise and knowable emotive effects. In the cenotaph, he limits himself to only using volumes, spheres, cubes and pyramids. For the first time was a monumental public building proposed without recourse to the classical language of architecture

Details of iron reinforcement in Claude Perrault's Louvre colonnade, Paris, 1667-70

(ask about this piece)

Tomb of Victor Hugo (1802-85), Panthéon, Paris

- used the church as something that belonged to the past - "This will kill that. The book will kill the edifice" - We don't do this anymore - why is this happening? because of the printing press - his conclusion is that the age of architecture is over

Descriptiont of the Bibliotheque Ste Genevieve Paris

- exterior stone - rusticated stone base, stone arches, stone tablets - we read left to writ e - he creates ornamates suitable for this cause drawing both on antiquity and the most modern technologies (the gas lamp) - interior of the upper room, there's Iron. the most extraordinary slender cast iron columns that are visible - opens up the space so that if feels open

Sir Giles Gilbert Scott, design for GPO Telephone Kiosk No 2, 1924

- flooting detail - pendentative dome - based on the tomb - which was based on antiquity - entirely new material cast iron to house a radically new technology that would be a mass produced good - interesting that it is THIS thing that has stood the test of time

Dominique Perrault, Bibliothèque Nationale de France, Paris, 1989-95

- most recent replacement of the library by Perrault - 4 open books (picture) - original idea was that as books were collectedd over time, the books would be visible in these buildings - didn't actually happen, because there wasn't the right type of glass - picture of the forest in the center of the library - compared to boulle drawings and his drawing of a library for paris - then compared to sterling memorial library, treated as a tree

Joseph Gandy, A Selection of Parts of Buildings, Public and Private, Erected from the Designs of John Soane, Esq. R. A. in the Metropolis and Other Places, 1818

- synthesis of over 100 of Soane's projects - feeding his craving for immortality, golden light - little arcthiect sitting at his desk

Eugène Viollet-le-Duc, Armor Study and Concert Hall, 1864

An iron armature resting on 8 cast-iron columns is at once independent fo and interacts with a thin masonry shell in this imaginary building published in his Lectures on Architecture. He awas at pains to show taht unversal principles fo form, evident in teh equilateral traingles that form teh web of ribs over teh vaults, could raise iron construction to teh highest ideal of architecture

Le Corbusier

Architecture vs. construction. Architecture is poetic emotion. The concept of plasticity as what we see and what we measure with our eyes. Contour modulation (and light and shadow) acknowledges the architect as a "plastic artist." Now, the engineer steps aside. The Parthenon in Greece marks the pinnacle of contour modulation and the pure creation of the mind.

Peter Behrens, AEG Turbine Factory, Berlin (1909)

Art and Technology: Only a civilization has been created and not a culture. The idea that to correct this we need to fuse art and technology into one activity.

Auguste Perret Esders Tailoring Factory, Paris 1919 Apartment building, 1903-04 Automobile garage, 1906-07 Wallut Docks, Casablanca, 1916

Auguste Perret (12 February 1874 - 25 February 1954) was a French architect and a world leader and specialist in reinforced concrete construction. In 2005, his post-World War II reconstruction of Le Havre was declared by UNESCO one of the World Heritage Sites.

The new philosophy of sensation

Based on Locke's Essay Concerning Human Understanding. Sensationalism, or the doctrine that all knowledge is derived from experience through sensations, was to have profound effects on aesthetic theory because it sought elucidate the direct and immediate relationship between physical objects and mental states. It opened new horizons for thinking about how architecture conveyed meaning and how those meanings could in turn be manipulated. Even as Laugier was seeking a natural model for structural expression, the philosophy of sensation opened the way for exploring the hypothesis that architectural meaning had a basis in nature and was embodied in a range of forms and configurations prior to, even outside of, teh canon of the inherited classical lanugage of architecture. It became possible even to argue that architecture had an equal if not superior, effeec ton emotions, thoughts and ultimately morals ot the representational arts of literature, painting and sculpture. Grounded in explorations between nature and inner mental states.

Victor Horta, Tassel House, Brussels, Belgium, 1892

Belgium Art Nouveau

architecutre terrible

Boulee's teacher Blondel advocated the use of this a terrifying architecutre, for the exterior design of prisons. The expressive means of teh Classical orders and their parts would be pushed to their limits by exaggeration of scale and mass to achieve a 'repulsive styple' of heaviness that would 'declare to the spectators outside the confused lives of those detained inside, along with the force required for those in charge to hold them confined"

Étienne-Louis Boullée, Cenotaph to Sir Isaac Newton, 1784

Boullee wrote Essay on Art (1794) which shed light on his intentions in this laboratory for a visionary architecture of the sensations. His most famous design was this one in which he set out to honour Newton by imagining an architectural memorial that responded to the near hero-worship that had grown up in the half-century since Newton's death. At the same time he hoped to demonstrate that architectural art could rival science as a means of exploring the laws of nature. "Sublime mind! Prodigious and profound genius . . . O Newton! With the range of your intelligence and the sublime nature of your Genius, you have defined the shape of the earth; I have conceived the idea of enveloping you in your discovery" He claims the spherical building as his own discovery of an architectural form perfectly suited to its purpose. He transcends the French academic ideal of 'character' or the appropriate physiognomy for different types of hierarchies of the buildings. The subject f the building is nothing short of the sublime itself, for as Bure explained, the sublime was characterized by infinite extent, daunting obsucirty and oveprowering scale, all qualitites emboied in teh sphere a perfect form instantly perceived yet subejct to iinfitne variety in lghting effects which Boulllee calls his only decorative accessoreis. The time of day is recersed as one passes to the interior

The Bank of England description pre soane

By the 1760s some 60,000 Englishmen owned shares in the national debt and the Bank's trading halls hosted a daily influx of investors. Taylor took inspiration from teh church architecture of Gibbs and Wren and created a separate dignified universe of calm in counterpoint to the bustle of teh City's streets and to the inherent risks of credit. Spaces such as the central rotunda, with its evocations of the Roman Pantheon, framed bureaucratic acts of transferrring funds as private gestures in a space of public ritual. They provided spaces which maximized movement, visibility, and a sense of participation in an ordered market. And they served the goals of the bANK'S DIRECTORS TO FOSTER PUBLIC FAITH IN THE REASONED AND SOBER MANAGMENET OF MARKETS AND THE TO COUNTERACT FREQUENT CRITICISM THAT FINANCIAL SPECULATIONG WAS A SPIRALLING CORRUPTION OF MORAL VALUES AND THE LARGER PBULCI INTEREST. When Soane comes to the scene, lot of financial tumult thanks to the French Revolutionary Wars and suspension of gold standard

Charlotte Perriand

Charlotte Perriand (24 October 1903 - 27 October 1999) was a French architect and designer. Her work aimed to create functional living spaces in the belief that better design helps in creating a better society. In her article "L'Art de Vivre" from 1981 she states "The extension of the art of dwelling is the art of living—living in harmony with man's deepest drives and with his adopted or fabricated environment."

Picturesque and the landscape garden

Creating landscapes like paintings, thus substituting pictorial for architectural criteria in laying out gardens. Richard Payne Night (1750-1824) argued that the picturesque was a distinct category of aesthetic experience with its own formal laws and emotive effects. From the first, this embracing of simple or natural nature over teh highly formal and geometric artifice of the gardens of Versailles which enjoyed europe wide prestige for over a centyr was celebrated as distincly English invention, on which paralled, endorsed even, the quest for a society founded on natural law, liberty, and tolerance. The landscape garden became something of a utopia, a place where humanity's own natural morality rejoined the natural realm of which it was a part.

Otto Wagner, Postal Savings Bank, Vienna, main hall (1904-1912)

Detail of the main banking hall, showing the use of indsutrial motifs as metaphors for teh abstraction of money in modern capitalism. In teh publci facade of teh same buidling Wagner used covnentional allegorical figures conforming to idealist codes.

Otto Wagner, Postal Savings Bank, Vienna (1904-06). (left) Gustave Caillebotte, Young men at his window, 1875. (right)

Detail of the main banking hall, showing the use of industrial motifs as metaphors for the abstraction of money in modern capitalism. In the public facade of the same building Wagner used conventional allegorical figures conforming to idealist codes.

Dom-ino House

Dom-Ino House is an open floor plan structure designed by noted architect Le Corbusier in 1914-1915.[1][2] It is a design idea to manufacture in series, that combines the order he discovered in classical architecture. This model proposed an open floor plan 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. The frame was to be completely independent of the floor plans of the houses thus giving freedom to design the interior configuration. The model eliminated load-bearing walls and the supporting beams for the ceiling.

John Soane, Bank of England, London, 1788-1833

Facade compared to the Newgate prison. Comparison of a building that is meant to keep people out versus a building that is meant to keep people in

Giacamo Matte-Trucco, Fiat Lingotto Factory, Turin, 1915-1921

Fiat Factory

Hermann Muthesius, The English House (Das Englische Haus), 1904.

For Hermann Muthesius, an outspoken critic of the official architectural culture in Germany, writing in The English House (1904), the English house offered not only a model for reforming the interiors and lifestyles of individuals Germans, but a veritable paradigm of a new way of thinking about architecture that could break the pattern of historicist thought Nietzsche had so potently criticized in The Use and Abuse of History. The stage for the modern movement's preoccupation with the domestic realm as the true field for exploring the nature of modern consciousness was set.

Fillippo Tommaso Marinetti, Futurismo Definizione, undated

Founder of the futurist movement. Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, and the industrial city.

Umberto Boccioni, City Rises, 1910 Umberto Boccioni, Unique forms of continuity in space, 1913

Futurism. (the manifesto: nothing is absolute in painting. The gesture which we would reproduce on canvas should no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself. (remade). Boccioni was known for his approach to dynamism of form and the deconstruction of solid mass.

Antonia Sant'Ellia: study for a train station, 1914 Power Station Building with external elevators Aswan Dam, Egypt Stepped apartment building with external elevators and illuminated skyline advertising, 1914

Futurist movement. Known for his bold sketches. Left behind almost no completed works of architecture.

George Dance the Younger, Newgate Prison, London, 1770-82

Gave compelling form to the notion of an architecture so terrifying that a mere glimpse could deter crime. The urban presence of prisons was called in to fill the void left by the disapperance of punshisment from teh public arena in the form of public floggins, hangings etc. We see influences from Piranesi's Carceri engravings, adding new layers of violent dark-etched lines to these exercieses in sublime spatial effects. Something of Piranesi's influence is perhaps to be detected int eh way Fance carves out a triangular space before his buidings so that a drmatic angualr view of it would have somethign of the impact on Londoners passing in nearby streets that Piranesi's prison views ahd on the 18th century imagination.

Phillip Johnson, Johnson House, Cambridge, MA, 1942

I don't know why this is relevant . A critic, writer and early advocate of Modernism who had already worked at MoMA, Johnson had coined the term "International Style" and sponsored Mies van der Rohe's first visit to the United States (and got him to design his New York apartment). Few could also claim to have the means to purchase land and fund construction. Johnson's father had bought stock in ALCOA, the American aluminum company, when he was young, and the proceeds from that investment, along with his family's fortune, gave him incredible freedom (he was a millionaire in his '20s).

Devil's Tower

I think it has something to do about his point on whether America has it's own architecture. compares to the UVA campus an how it's very neoclassical

Walter Gropius, Bauhaus, Dessau (1926) Bauhaus manifesto

Gropius's career advanced in the postwar period. Henry van de Velde, the master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar was asked to step down in 1915 due to his Belgian nationality. His recommendation for Gropius to succeed him led eventually to Gropius's appointment as master of the school in 1919. It was this academy which Gropius transformed into the world famous Bauhaus, attracting a faculty that included Paul Klee, Johannes Itten, Josef Albers, Herbert Bayer, László Moholy-Nagy, Otto Bartning and Wassily Kandinsky. In principle, the Bauhaus represented an opportunity to extend beauty and quality to every home through well designed industrially produced objects. The Bauhaus program was experimental and the emphasis, was theoretical.[10] One example product of the Bauhaus was the armchair F 51, designed for the Bauhaus's directors room in 1920 - nowadays a re-edition in the market, manufactured by the German company TECTA/Lauenfoerde.

Descriptiont of the Bibliotheque Ste Genevieve Paris

He set out to solve the logistics of book storage and delivery straightforwardly and at the same time to develop the symbolism of this all but unprecedented assignment of a public library. New systems of ventilation, heating, and gas lighting would make the space a magnet for readers, even in the eveneing. Conscioulsy negotiated the deamnds of an unprecedented programme, the possibilities of new materials and the conviction that architectural forms, to be legible must derive from historical evolution. Tensile and tall to express the ductilty of iron, the cast-iron columns have volutes turned 45 degrees to receive the membrane liek iron arhces and trusses synthesizing Greek and Gothic structural systems, the joint rejoicing in the dematerialized potential of building in Iron.

Robert Adam, Syon House, Middlesex, 1760-69

If Adam was versed in history, it was not to unearth its underlying laws but to interpret, with great personal freedom, associations between teh grandeur of the ancients and the quest for ascendancy and legitimacy, as well as fashion, among the English aristorcracy, particularly the Which aristrocracy who cultivated the picturesque for its suggestions of natural law and liberty and the antique for its assocations with their own political creed of democracy. Despite the fact he counld't add a main rotundanda at the front, he created int eh four wings of of the house a picturesque circtutit in which changes in floor levesl and axes were brilliantly nuanced by the use of columnar screens and domed half-apses and in which the sense of sequence and teh character of each space was carefully adjusted in teh palette of both colours and materials. (THAT THE LOST VESTAGES OF THE VILLAS THE roMANS BUILT IN bRITAIN WITH their four corner towers were echoed in teh form of such great Jacobean houses as Syon). FROM THE SIDE TEXTS: VIEW OF THE ENTERENCE HALL: screen walls and stairs not only add spatial richness but disguise asymmetries and changes of level that Adam encountered as he sought to endow and existing plan with grandeur and spatial coherence. This accepting attitude towards exisiting accidents and irregularities was a feature of the picturesque attitude in design

Picture of Loria and School of architecutre with lights on throughout the whole building

Image of the lit architectural building supersedes the external form of the building as a whole

Le Corbusier's Paris v. Chandigarh

In Paris, he wanted to concrete over the 3rd and 4th arrondissements to create a business district dotted with concrete skyscrapers. Chandigarh was an experiment in planning and architecture that used all of Corbusier's previous knowledge and experiences. It has a grid system, and all of the 56 districts are connected to each other through wide boulevards. Each district is also a self-contained neighborhood with schools and families and facilities and so on.

Giovanni Battista Piranesi, Carceri d'invenzione series (1750-61)

In counterpoint to the period's quest to make of the prison a rationalized and humanitarian instrument of reform, Piranesi imagined a series of haunting spaces, exploring spatial complexity and ambiguity as well as visual effects of chiaroscuro adn the theatrical low angular view, the sceno per angolo, of Baroque stage design. These desings have long seemed the veritable embodiment of the other side of the rationalist coin of Enlightenment exploration of the human mind.

Debate between Chambers and Lancelot Capability Brown (1716-83)

In his Dissertation on Oriental Gardening, Chambers not only praised Chinese gardens for their varied effects and numerous structures asymetrically disposed as images of nature in freedom, but attacked Brown's style as little different from banal or unimproved nature"

Ildefons Cerdà, Barcelona extension plan (1854)

In response to the steam locomative. He conceived of all streets as part of an endless communication system insiting that all be straight and equally wide. Inidividual residential quarters were to be the same throughou the city not only to accommodate all socail classes but to forge a model of a city infite expanadbility.

William Chambers, A Treatise on Civil Architecture (London, 1759)

It dealt with the use of the classical orders, and gave suggestions for decorative elements, rather than dealing with construction and planning; for its third edition it was retitled A Treatise on the Decorative Parts of Civil Architecture. It included ideas from the works of many 16th- and 17th-century Italian architects then still little known in Britain

Thomas Jefferson, Monticello, Charlottesville (1770-1809) Jane Braddick Peticolas, View of the West Front of Monticello and Garden, 1825

Jefferson designed the main house using neoclassical design principles described by Italian Renaissance architect Andrea Palladio, subsequently reworking the design through much of his presidency to include design elements popular in late 18th-century Europe and integrating numerous of his own design solutions. t Jefferson's direction, he was buried on the grounds, in an area now designated as the Monticello Cemetery. The cemetery is owned by the Monticello Association, a society of his descendants through Martha Wayles Skelton Jefferson

Basculant Sling chair

One of the most influential of 20th century architects, Chareli-Edouard Jeanneret, who chose to be know as "Le Corbusier", was also responsible for some of the Modern Movements best-known furniture. In collaboration with designer Charlotte Perriand and his architect cousin Pierre Jeanneret, he helped create machine age classics such as the LC2 "grand confort" armchair, the Basculant Sling chair and the chaise lounge chair. Free from any form of decoration, these tubular steel designs embody relaxed and timeless elegance.

John Nash, Royal Pavilion, Brighton, England, 1815-23

Not sure why this is important

Jacques-Germain Soufflot, Panthéon (former Church of St. Geneviève), Paris, 1758-90

One of his collaborators said that the architects intent was to "unite under one of the most beautiful forms the purity and magnificence of Greek architecture with the lightness and audacity of gothic construction.' Greek architecture was capable of further perfection; Gothic offered lessons to construction but was not yet honouursed itself as architecture." Essentially he created a church to replace the dilapidated medieval church contained within the abbey complex. Leroy's progressive vision of history and Piranesi's brilliant visualization of the power of ancient architecture came together in this church. "The idea of combining a classical temple portico with the dome characteristic of the greatest churches of Christianity reflected his notion that a modern architecture would evolve from a synthetic use of major themes from historic architecture.

Denis Diderot and Jean le Rond d'Alembert, Encyclopédie (Paris, 1751-72)

One of the reasons France and its national Academy of Architecture gained a new primacy in architectural theory during the mid 1700s. (From the text: Diderot's hesitation over the place architecture should occupy in the system of knowledge which organized the encyclopedia--whether it was more properly placed under the faculty of reason or that of imagination--reopened an ancient debate that subsequent generations would play out they sought to align architecture's power to move and shape users' responses alternately with rhetoric and poetry or the growing prestige of science. The expolsion of architectural research, travel, and publishing after 1750 ws launched in the spirit of Diderot's determination to examine every domain freed from the shackles of tradition, of church dogma, and of received superstition.

Jeremy Bentham, Panopticon, 1791

Or all-seeing eye, called for an open ring of individual cells all facing a central void dominated by a cylindrical central tower. As in Boullees cenotaph, light was central to the effect, for Bentham proposed that the cells be litonly by windows on the exterior wall, providing ample light but also serving to silhouette the prisonerf or better observation. At the center the gaurds remained in darkness. The gaurds could even absent themsevlves, so that the prisoners wouldn't know when they were undersurveilence or not.

Hendrik Petrus Berlage, Stock Exchange, Amsterdam (1903) DESCRIPTION FROM BOOK

Structural and rationalist tendencies became pronounced in his work. Reduced his earlier eclecticism to an astylar neo-Romanesque in which basic volumes are articulated and structural materials exposed, with Art Nouveau ornament used sparingly to emphasize structural junctions

The Bank Stock Office of 1791-93

Reusing Taylor's foundations and emulating his layout of a central vault held aloft by free-standing supports, Soane distinguished a central area for customers adn pheriphery for the clerical staff. Soane had 11 copies of Laugiers Essay on Architecture, which helped inspire a strict almost primivist return to fundamentals in order to build anew an architecture of rigorous structural logic. le cAMUS Genius of architecture is evoked in what Soane called teh poertry of architecture, explaining his belief that light and shadow as much as form and ornament were key to endowing buildings with emotive character. As in the Piranesi engravings of half-buried ruins that Soane was collecting, these spaces are defined by low spring vaults whose surfaces created a sense of enclosure, centuring, and monumentality wholly unexpected in a relatively small room. Departs from classical standard whereby the exterior should reflect the interior. ttMEPLE OF tIVOLI AND EXAMPLE OF THIS. Critique argue (especially the guy that follows him) that he doesn't understand the need for classical form for a monumental building. So the image of Gany and teh bank of Engladn rising from the ruins is a rebuttle to these critiques

John Ruskin's Seven Lamps of Architecture (1849)

Sacrifice - dedication of man's craft to God, as visible proofs of man's love and obedience Truth - handcrafted and honest display of materials and structure. Truth to materials and honest display of construction were bywords since the serious Gothic Revival had distanced itself from the whimsical "Gothick" of the 18th century; it had been often elaborated by Pugin and others. Power - buildings should be thought of in terms of their massing and reach towards the sublimity of nature by the action of the human mind upon them and the organization of physical effort in constructing buildings. Beauty - aspiration towards God expressed in ornamentation drawn from nature, his creation Life - buildings should be made by human hands, so that the joy of masons and stonecarvers is associated with the expressive freedom given them Memory - buildings should respect the culture from which they have developed Obedience - no originality for its own sake, but conforming to the finest among existing English values, in particular expressed through the "English Early Decorated" Gothic as the safest choice of style.

La Tourette

Sainte Marie de La Tourette is a Dominican Order priory on a hillside near Lyon, France designed by architects Le Corbusier and Iannis Xenakis and constructed between 1956 and 1960. Le Corbusier's design of the building began in May, 1953 with sketches drawn at L'Arbresle, France outlining the basic shape of the building and terrain of the site.[1] La Tourette is considered one of the most important buildings of the late Modernist style.

The Charter House of Emma (L-shaped plan formation)

Sainte Marie de La Tourette is a Dominican Order priory on a hillside near Lyon, France designed by architects Le Corbusier and Iannis Xenakis and constructed between 1956 and 1960. Le Corbusier's design of the building began in May, 1953 with sketches drawn at L'Arbresle, France outlining the basic shape of the building and terrain of the site.[1] La Tourette is considered one of the most important buildings of the late Modernist style.

Henry van de Velde, House Bloemenwerf (own house), Uccle, Belgium (1895-1896) -- exterior, interior and chairs, visiting-dress and street-dress, tea dress for his wife Maria, reception dress for Maria. Henry val de Velde with family at Hohen PappeIn House near Weimar (1908).

The Animation of Materials as the principle of beauty. Known as realism in painting and sculpture and "l'art pour l'art" in literature. We have to return to the concept of beauty in the material, beauty whose fundamental principle relies on the degree of life, to which the materials used to execute an artwork could be lifted. The animation (Lebendigkeit) in the things of our environment can protect us, as much as their beauty can distract us, if it has that quality to excite this particular sensuality that the sight of life, the wonder of life awakes in us. Emphasis on realism: He is realistic; he build his table for one. (see slides)

Hendrik Petrus Berlage, Stock Exchange, Amsterdam (1903)

The Beurs van Berlage is a building on the Damrak, in the centre of Amsterdam. It was designed as a commodity exchange by architect Hendrik Petrus Berlage and constructed between 1896 and 1903. It influenced many modernist architects, in particular functionalists and the Amsterdam School. It is now used as a venue for concerts, exhibitions and conferences. The building is constructed of red brick, with an iron and glass roof and stone piers, lintels and corbels. Its entrance is under a 40m high clock tower, while inside lie three large multi-storey halls formerly used as trading floors, with offices and communal facilities grouped around them. The aim of the architect was to modify the styles of the past by emphasizing sweeping planes and open plan interiors. It has stylistic similarities with some earlier buildings, for instance St Pancras station and the work of H. H. Richardson in America, or the Castell dels Tres Dragons, Barcelona, by Lluís Domènech i Montaner. True to its nineteenth-century roots, it maintains the use of ornament in a civic structure.

Joseph Paxton, The Crystal Palace, Great Exhibition of the Works of Industry of all Nations, London 1851.

The Crystal Palace was a glass and cast iron structure built in London, England, for the Great Exhibition of 1851. The building was designed by Sir Joseph Paxton, an architect and gardener, and revealed breakthroughs in architecture, construction and design.In January 1850 a committee was formed to choose the design for a temporary exhibition building that would showcase the latest technologies and innovations from around the world: The "Great Exhibition of the Works of Industry of all Nations." The structure had to be as economical as possible, and be built before the exhibition was scheduled to open on May 1st, 1851. Within 3 weeks the committee received 245 entires, all of which were rejected. It was only after this that Paxton showed his first interest in the project.Paxton experimented extensively with glasshouse construction. Using combinations of prefabricated cast iron, laminated wood, and standard sized glass sheets, Paxton created the "ridge-and-furrow" roof design. In 1836 this system was used for the first time in the "Great Stove" - the largest glass building at the time.

Frank Lloyd Wright, Frederick C. Robie House, Chicago Illinois (1909)

The Frederick C. Robie House is a U.S. National Historic Landmark on the campus of the University of Chicago in the neighborhood of Hyde Park in Chicago, Illinois, at 5757 S. Woodlawn Avenue on the South Side. It was designed and built between 1908 and 1910 by architect Frank Lloyd Wright and is renowned as the greatest example of the Prairie School style, the first architectural style that was uniquely American. 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. (Marks the return to the idea of the hut?)

Bruno Taut, Glashaus, Werkbund exhibition, Cologne, 1914 Cologne cathedral under construction Stadtsilhouette "Monument des neuen Gesetzes," 1919 Alpine Architektur (1919) Alpine Architecture: Appeal to the Europeans (1919)

The Glass Pavilion, built in 1914 and designed by Bruno Taut, was a prismatic glass dome structure at the Cologne Deutscher Werkbund Exhibition.[1][2] The structure was a brightly colored landmark of the exhibition, and was constructed using concrete and glass.[1][2] The concrete structure had inlaid colored glass plates on the facade that acted as mirrors.[3] Taut described his "little temple of beauty" as "...reflections of light whose colors began at the base with a dark blue and rose up through moss green and golden yellow to culminate at the top in a luminous pale yellow

Eugène Emmanuel Viollet-le-Duc

The Gothic revival in France did not lead to new buildings in historic styles, but rather to intervene on old buildings to make them whole and more convincingly Gothic. This architect restored over 200 structures. LOOK AT HIS ESSAY ON STYLE

Gottfried Semper, plates from Style in the Technical and Tectonic Arts (1860-62)

The Great Exhibition confimred Semper's belief that the chaos of contemporary architecture resulted from teh lack of an integrating 'world view' something earlier societies enjoyed unselfconsciously but which the modern world could only harness through the new science of history. Semper's great originality was teh centrality of teh symbolic or rperesntational role of architectural forms and teh belief that those forms, no matter how evovled, could be traced back to fundamental social practices. Aim was to formulate an " architectural theory of invention that teaches the way of nature and avoids characterless schematicism and thoughtless caprice" evoking dual spectres of acadmeic convention and eclecticism. Unlike Paxton's Crystal Palace, the full-scale model of a wood and thatch hut embodied semper's convition that arcthiecture had evolved from handicrafts. 'Around teh eharth the first groups assembled; around it first alliances formed, around it the first rude religiosu concepts were put into customs of a cult. Throughout all phases of society the hearth cormed the sacred focus centre around which the whole took order and shape. Theory of dressing. "Although architecture produces original formations adn is not an imitative art like painting and sculpture, it has over teh centuries created its own store of forms from which it borrows the stypes for new creations; by using htese types, architecture reamins legible and comprehesible for everyone" Muesems as a response to the Crystal Palce in creating schools of pbulic taste

Le Corbusier Unite'd Habilitation

The Unité d'habitation (French pronunciation: ​[ynite dabitasjɔ̃], Housing Unit) is the name of a modernist residential housing design principle developed by Le Corbusier, with the collaboration of painter-architect Nadir Afonso. The concept formed the basis of several housing developments designed by him throughout Europe with this name. The most famous of these developments is located in south Marseille.

Frank Llyod Wright, Winslow House, River Forest Illinois (1893): reclaimed Loius Sullivan terracotta tiles on the second floor and entrance with limestone details. Plan of the Winslow House Garden Facade (1893) Inglenook and fireplace (1893)

The Winslow House is a building in River Forest, Illinois designed by architect Frank Lloyd Wright. Built on a private street on the Edward Waller estate, the Winslow House was Wright's first important independent commission and his first attempt at reinventing the traditional house.

Frank Llyod Wright, American, 1867-1959

The concept of "organic architecture." The problem with the typical American house was that it lied about everything. It had no more sense of earth than a typical "modernistic house." Instead, Lloyd found freedom of floor space and elimination of useless heights were critical. They created a sense of appropriate freedom in the new dwelling. He called this new aesthetic of the new dwelling "continuity," the natural means to achieve truly organic architecture by machine techniques or by any other natural technique. " --> Wright designs (teacups and so on) marketing, holiday gifts. Irony?

Julien-David Le Roy, The Development of the Christian Church Type (1764)

The effort to perfect the very type of the Christian church building went beyond a mastery of the laws of construction and the natural laws of architectural form; Soufflot, supported by his friend Leroy, sought to master the laws of history as well. For the inauguration Leroy returned to historical arguments he had developed in his publication fo anciety Greek architecture and extended them to a developmental history of the Christian church type. Ste. Genevieve bottom left and the Madeleine church bottom right. Leroy offered a veritable genealogical tree of the Christian temple, beginning with the first adaptation of the Roman basilican plan to Christian workship and proceeding through a series of churches, each a refinement of its ancestors.

Villa Savoye

The five points of a new architecture. Formulated by Le Corbusier in 1927 as the fundamental principles of the Modern movement, the five points advocate reinforced concrete for constructing the pilotis, roof garden, open plan design, horizontal windows and free design of the façade - all applied in the design of the Villa Savoye. One notable feature: the entire glass partition is a sliding door.

Stourhead (description)

The lanscape is organized around an expansive irregularly shaped lake created by damming up the river Stour near the village of Stourton a few hundred feet from STourhead House, a neoPalladian desigh by Colen Campbell. Developed on the estate of Banker Henry Hoare. A winding path follows the banks of an artificially created lake, forming an itinerary that grows in accumulated experiences and images, an evocation even of one of the most famous literary journeys of selfdiscovery, Aeneas's descent into the underworld. Hoare ordered gardeners that "the greens should be ranged in large masses as teh shades are in painting, to contrast the dark masses with the light ones, and to relieve each dark mass itself with little sprinkiling of light and green. The garden would no only denote meanings but evoke moods, thus directing visitors to realms of thought.

The Sublime

The literary concept of the sublime, traceable to the ancient writings of Longinus, became a favourite topic and the most influential definition was offered by Edmund Burke in hiwh 1757 A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful. For Burker, attributes of the sublime--obscurity, power, privation, vastness, and infinity--could readily be experienced in nature, but required artful deception in architecture so that they might have a stirring effect on the imaginiation.

Lyonel Feininger, "Kathedrale," woodcut on cover of Bauhaus manifesto

This black-and-white woodcut served as a cover design for the Bauhaus manifesto by architect and founder Walter Gropius. The image reflects the aura of medievalism that pervaded the initial phase of the Bauhaus, whose academic system harks back to the training employed by Late Gothic craft guilds. Lyonel Feininger was invited by Gropius in 1919 to head the printmaking workshop, and he retained his connection with the school until it closed, in 1933.

The Bank of England description with Soane

When Soane comes to the scene, lot of financial tumult thanks to the French Revolutionary Wars and suspension of gold standard . Even as Soane studied in Rome between 1778 and 1789 and imbibed the legacy of recent French Neoclassical theory, he continued to groom himself to fulfill his ambition of crafting a modern British architecture, one in keeping with the growing patriotic association of a recovering commercial empire with the glories of ancient Rome.

John Soane, Bank of England, London, 1788-1833

it's compared to the site of the Roman forum

Horace Walpole, Strawberry Hill, London, 1749-76

not sure how important this is. often called simply Strawberry Hill — is the Gothic Revival villa that was built in Twickenham, London by Horace Walpole from 1749. It is the type example of the "Strawberry Hill Gothic" style of architecture,[1] and it prefigured the nineteenth-century Gothic revival. Walpole rebuilt the existing house in stages starting in 1749, 1760, 1772 and 1776. These added gothic features such as towers and battlements outside and elaborate decoration inside to create "gloomth" to suit Walpole's collection of antiquarian objects, contrasting with the more cheerful or "riant"[2] garden. The interior included a Robert Adam fireplace; parts of the exterior were designed by James Essex. The garden contained a large seat shaped like a Rococo sea shell; it has been recreated in the 2012 restoration. From book: Walpole felt that Grecian forms alone were suitable for public buildings, while the charming irregularity of domestic architecure was best emodied in medieval styling.

Felon's Door, Newgate Prison

note the rustification and the chains over the doorway

Jean-Baptiste Rondelet, Traité théorique et pratique de l'art de bâtir (Paris, 1827)

was an architectural theorist of the late Enlightenment era and chief architect of the church of Sainte-Geneviève after the death of Jacques Germain Soufflot of cancer in 1780. (There are a bunch of images from the book)


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