History of Architecture2

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HISTORY OFARCHITECTURE :

MODERNARCHITECTURE


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architecture

The great 19th century architectof skyscrapers, Louis Sullivan,

promoted an overriding preceptto architectural design: "Form follows function".

While the notion that structuraland aesthetic considerationsshould be entirely subject tofunctionality was met with both

popularity and scepticism, it hadthe effect of introducing theconcept of "function" in place ofVitruvius "utility".

"Function" came to be seen asencompassing all criteria of theuse, perception and enjoyment

of a building, not only practicalbut also aesthetic, psychologicaland cultural.

Nunzia Rondanini stated,"Through its aesthetic dimensionarchitecture goes beyond thefunctional aspects that it has in

common with other humansciences.

To restrict the meaning of (architectural)formalism to art for art's sake is not onlyreactionary; it can also be a purposeless quest

for perfection or originality which degradesform into a mere instrumentality.

Ivar Holm points out that the values andattitudes which underly modern architecturediffer both between the schools of thoughtwhich influence architecture and betweenindividual practising architects.

Among the philosophies that have influenced

modern architects and their approach tobuilding design are rationalism, empiricism,structuralism, poststructuralism, andphenomenology.

In the late 20th century a new concept wasadded to those included in the compass ofboth structure and function, the considerationofsustainability.

To satisfy the modern ethos a building shouldbe constructed in a manner which isenvironmentally friendly in terms of theproduction of its materials, its impact uponthe natural and built environment of itssurrounding area and the demands that itmakes upon non-sustainable power sourcesfor heating, cooling, water and wastemanagement and lighting.

There is also a concept among architects thatalthough architecture does not exist in a
http://en.wikipedia.org/wiki/Louis_Sullivanhttp://en.wikipedia.org/wiki/Form_follows_functionhttp://en.wikipedia.org/wiki/Rationalismhttp://en.wikipedia.org/wiki/Empiricismhttp://en.wikipedia.org/wiki/Structuralismhttp://en.wikipedia.org/wiki/Poststructuralismhttp://en.wikipedia.org/wiki/Phenomenologyhttp://en.wikipedia.org/wiki/Sustainabilityhttp://en.wikipedia.org/wiki/Sustainabilityhttp://en.wikipedia.org/wiki/Phenomenologyhttp://en.wikipedia.org/wiki/Poststructuralismhttp://en.wikipedia.org/wiki/Structuralismhttp://en.wikipedia.org/wiki/Empiricismhttp://en.wikipedia.org/wiki/Rationalismhttp://en.wikipedia.org/wiki/Form_follows_functionhttp://en.wikipedia.org/wiki/Louis_Sullivan


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Chicago Schools: Beginning ofSkyscrapers

"Chicago School" can refer to eitherthe architects who were working in

Chicago from about 1875 to 1910, or the

buildings constructed during that time.

Beginning in 1885, it flourished until the

First World War.

Following a disastrous fire in 1871,

Chicago experienced a massive

boom in new housing, warehouses,and commercial buildings. The collective

response of a diverse group of architects

to the reconstruction of the city led to the

development of the skyscraper.

the Chicago School emphasized

simplicity of design and became the

forerunner of modernism.

The construction of buildings taller than

Perrets was made possible by the safety

elevator.

Architects in Chicago, Illinois, were thefirst to exploit the possibilities offered bythe elevator in combination with the newsteel and concrete technologies.

Chicago architecture has influenced andreflected the history of Americanarchitecture.

This new form of architecture, by Jenney,

Burnham, Sullivan, and others, becameknown as the "Commercial Style,"but it was called the "Chicago School" bylater historians.

Since most buildings within the downtownarea were destroyed (the most famousexception being the Water Tower) bythe Great Chicago Fire in 1871, Chicago

buildings are noted for their originalityrather than their antiquity.

One of the element of Chicago Schoolwas the Chicago Window. The"Chicago window" is one in which a widefixed central pane has narrowermovable sash windows on either side.


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Home Insurance Building

The Chicago Building

CHICAGO WINDOW
http://en.wikipedia.org/wiki/Image:2004-06-09_1200x1600_chicago_chicago_building.jpghttp://en.wikipedia.org/wiki/Image:Home_Insurance_Building.JPGhttp://images.google.co.in/imgres?imgurl=http://www.windowsnec.com/images/windowsPage/images/windowTypesDrawing.gif&imgrefurl=http://www.windowsnec.com/windows.htm&h=424&w=525&sz=93&hl=en&start=11&sig2=-99mNTioJFrJhOk3kr2LOQ&tbnid=1TY6bqUBK5xgxM:&tbnh=107&tbnw=132&ei=ZMU7R-frHomKiQGb7OzuBw&prev=/images?q=chicago+window&gbv=2&svnum=10&hl=en


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Reliance Building


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The De Stijl influence on architecture remained

considerable, long after 1931.

Mies van der Rohe as among the most

important proponents of its ideas.

Between 1923 and 1924, Rietveld designed the

Rietveld Schrder House, the only

building to have been created completelyaccording to De Stijl principles.
http://en.wikipedia.org/wiki/Image:Rietveldschroderhuis.jpg


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Art NouveauArt Nouveau, which flourished in

Europe between 1890 and 1910, was one

of the earliest (and shortest-lived) efforts todevelop an original style for the modern

age.

Art nouveau artists and designers

transformed modern industrial materials

such as iron and glass into graceful,

curving forms often drawn from nature,

though with playful elements of fantasy. In contrast to both Perret and the

architects of the Chicago School, art

nouveau designers were interested in

architecture as a form of stylistic

expression rather than as a structural

system.

In the three centers of art nouveauBarcelona, Spain; Brussels, Belgium; and

Paris, Francearchitects struggled to

define a style with distinctly local

characteristics.

In Barcelona, one of the most ambitiousprojects of architect Antoni Guad was theTemplo Expiatorio de la Sagrada Famlia

(Church of the Holy Family, 1883-1929, 1979to present). Gaud turned to nature for a richvariety of animal and plant forms to decoratethe towering faades of the Sagrada Famlia.He also used natural forms structurally:columns shaped like bones, undulating wallsin brick, a roofline resembling the profile ofan armadillo. His wide use of ceramic tile, alocal building material, gave color and texture

to his designs. Like Gaud, Horta reacted against prevailing

styles with an architecture that responded tolocal traditions and materials, although Hortatransformed iron and glass as well asBelgian brick into slender, graceful formsinspired by flowers. Hortas flowing linesbecame the hallmark of art nouveau andwere rendered by others in iron, glass, and

plaster as well as in graphic design. The creation of these organic forms

depended not on mass-production or modernmachines, but on craftsmanship, therebyrestoring to architecture what many fearedwas being lost to an increasinglytechnological engineering mentality.


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Arts and Crafts Movement

The Arts and Crafts Movement, whichbegan in England around 1860 andcontinued into the first decade of the

20th century, shared many of the ideasof art nouveau.

The movements earliest proponentsreacted against cheap manufacturedgoods, which had flooded shops andfilled houses in the second half of the19th century.

The Arts and Crafts ideal they offeredwas a spiritual, craft-based alternative,intended to alleviate industrialproductions degrading effects on thesouls of laborers and on the goods theyproduced.

It emphasized local traditions andmaterials, and was inspired byvernacular designthat is,characteristic local building styles thatgenerally were not created byarchitects.

English designer William Morris, wholed the Arts and Crafts movement,sought to restore integrity to botharchitecture and the decorative arts.

A Japanese Secession movement thatarose in 1920 demonstrates the globalreach of architectural ideas in the 20th

century. This fledgling organization, composed of

architects Mamoru Yamada, SutemiHoniguchi, Mayumi Takizada, and KikujiIshimoto, signaled the first appearance ofthe modern movement in Japan, wheremodernization inevitably was connectedwith westernization.

The group was also influenced by FrankLloyd Wright.

The Deutscher Werkbund (German WorkUnion), founded in 1907 by HermannMuthesius, Peter Behrens, and FritzSchumacher, differed from the other Artsand Crafts movements by allying artistsand architects with industrialists.

The Werkbund's ambition was to bring thetalents of artists to bear on industrialproducts.

The Werkbund also worked to transformthe education of craftspeople so a body ofskilled artisans would be available to carryout its designs.


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Bauhuas HeightenedFunctionality

Bauhausis the common term for theStaatliches Bauhausa school inGermany that combined crafts andthe fine arts.

The Bauhaus school was foundedby Walter Gropius.

The name Bauhaus stems from theGerman words for "to build" and"house.

Bauhaus style became one of themost influential currents inModernist architecture and moderndesign.

The Bauhaus had a profoundinfluence upon subsequent

developments in art, architecture,graphic design, interior design,industrial design and typography.

One of the main objectives of theBauhaus was to unify art, craft, andtechnology.

The design innovations commonlyassociated with Gropius and theBauhaus -- the radically simplifiedforms, the rationality andfunctionality, and the idea thatmass-production was reconcilablewith the individual artistic spirit --were already partly developed in

Germany before the Bauhaus wasfounded. The Bauhaus had a major impact on

art and architecture trends inWestern Europe, the United Statesand Israel (particularly in White City,Tel Aviv) in the decades following itsdemise, as many of the artists

involved fled, or were exiled, by theNazi regime.


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Characteristics of bahuas:

It was a major composition with rectangularprisms.

It was a non axial building.

Functionality of the building takes over the visualcomposition.

The functionality gives the building a machinelike quality.

No one could say that one block of the buildingis bigger or more prominent than the other.

There was no ordering principle in the design ofthe building.

Building was not placed within a plot but it goeson to encompass a whole lot of area.

The blocks seemed to be floating in the space.

Every building of the campus had commandover certain area.

It looked like a community of buildings but at thesame time they belonged to the same campus.

Functionality was dominant; as in every buildinghad a specific function to perform.

There was a dominantfeature of multi-functionality.

The building was functional

because :

There was deliberately no

sequence kept.No ordering principle was

used; but there is a

proximity, conjointness,

approachability, thus

function responding tocertain needs in terms of

size and there is a

grouping. But at the same

time there is certain

connectivity between two

blocks.


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Form Follows Function :Louis Sullivan

Form follows function is one of the long-standing slogans of modern architecture.

It is an important concept in architecturaldesign.

When Louis Sullivan, the mentor of FrankLloyd Wright, made this statement, hewas saying that the function of thebuilding determines the form of thebuilding.

So the principle states that the shape of abuilding or object should be predicated orbased on its intended function or purpose.

In the context of design professions formfollows function seems like good sensebut on closer examination it becomesproblematic and open to interpretation.Linking the relationship between the form

of an object and its intended purpose is agood idea for designers and architects,but it is not always by itself a completedesign solution.

Sullivan actually said 'form ever followsfunction', but the simpler (and less emphatic)phrase is the one usually remembered. ForSullivan this was distilled wisdom, an aestheticcredo, the single "rule that shall permit of noexception".

Sullivan developed the shape of the tall steelskyscraper in late 19th Century Chicago at thevery moment when technology, taste andeconomic forces converged violently and made

it necessary to drop the established styles ofthe past. If the shape of the building wasn'tgoing to be chosen out of the old pattern booksomething had to determine form, andaccording to Sullivan it was going to be thepurpose of the building. It was 'form followsfunction', as opposed to 'form followsprecedent'.

This credo, which placed the demands of

practical use above aesthetics was later takenby influential designers to imply that decorativeelements, which architects call "ornament,"were superfluous in modern buildings.

But Sullivan himself neither thought nordesigned along such dogmatic lines during thepeak of his career.


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Role of steel in architecture The approach of the Modernist

architects was to reduce

buildings to pure forms,removing historical referencesand ornament in favor offunctionalist details.

Buildings that displayed theirconstruction and structure,

exposing steel beams andconcrete surfaces instead ofhiding them behind traditionalforms, were seen as beautifulin their own right.

Architects such asMies van der Rohe worked tocreate beauty based on theinherent qualities of buildingmaterials and modernconstruction techniques,trading traditional historicforms for simplified geometric

forms, celebrating the newmeans and methods made

Some of the properties ofsteel such as; light weight,ductililty, easilytransportable, easydismantling , easilyavailable, etc; could makethe construction of bridgessuch as cast iron bridge,coal brook dale bridge,etcpossible.

Due to the discovery ofsteel, palaces like theCrystal Palace was erected.

Some factories like GalleryDes Machine, Les Halle, etcwere constructed becauseof use of steel.

The Eiffel Tower,

Paddington station, St.Pracras station,& the most
http://en.wikipedia.org/wiki/Mies_van_der_Rohehttp://en.wikipedia.org/wiki/Mies_van_der_Rohe


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Cast iron bridge


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Coal brook dale


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Crystal palace


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Crystal palace


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Section of Crystal palace


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Eiffel tower


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Gallery des machine


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Gallery desmachine


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Les halle


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Paddington station


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Paddington station


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St. pracras Station


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Section of opera house


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International style-universality It was other effect of

colonial architecture.

Any design could bereadapted elsewhere.

This leads to a possibility ofuniversal design; thatmeans methods of designcould be duplicated

elsewhere. Here comes the concept of

universality.

Is the idea of universalitynew?

Yes ; certain element ofadaptibility,eg, in Indiachurches were built.

Colonialism brought aboutuniversality.

Universal qualities ofbuildings.

Recognition comes onlyafter colonial architecturecame into existence.

Universe is subjected tocriticism.eg, in India , inBhubhneshwar they didntwant modern architecture,in Banglore ; Vidhan Sabha

was opposed to be made inmodern style.

Concept of universe isalways under nonacceptance.

Development of solutionwhich either by functionbecame universal.

Certain types of functiondemanded to universality.

Universality is always

under threat by local

I fl f t l b i


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Influence of arts on le corbusier Influence of arts on

architecture:

Different perspectives

Multiplicity

Juxtapose

Abstraction of forms

Art led to distortion ofnatural things

Abstract paintings byPicasso, Mondriana, etc,had a touch of Stroposcopepicture.

Stroposcope means

multiple images seen at atime.

This led to abstraction,which finally led tosimplicity, planes shearcolours, lines, etc.

These artists then started

Eg : Utrecht, Holland ;Sohroeder House, etc, weremade up of planes, colours,

surfaces, lines, simplicity, 3Dcomposition , similar to whatMondriana used to do in 2D.

Broadway Boogie Woogie,name of a famous painting

by Mondriana was strictlybalanced, there were seriesof lines, emotional contentwas showed by him, lot oflights, cars moving here &there. There is movement in

this painting He talks about plasticism, 3D

composition.

Reitveld chair designed byhim was very comfortable &there was an attemptedcomposition of planes &


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Influence of arts onle corbusier

Influence of arts on le


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Influence of arts on lecorbusier

Claude_monel_sunrise


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corbusier

Nouve_irises



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Seurat Jatte



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Van gogh



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Paintings of the Art & Craft movement
http://en.wikipedia.org/wiki/Image:Theo_van_Doesburg_Counter-CompositionV_(1924).jpghttp://en.wikipedia.org/wiki/Image:Mondrian_CompRYB.jpg


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