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Isms in ArchitectureSHAIKH SAAD ALLANA COLLEGE OF ARCHITECTUREFOURTH YR.B. ARCH

THE FIVE TYPES OF ISMS

ANCIENT & PRE-RENAISSANCE PRE CLASSICISMRENAISSANCE REGIONAL CLASSICISM

EARLY MODERN

MODERNISMBEYOND MODERNISM

EARLY ISMS : ARTS AND CRAFT MOVEMENTArts and crafts movement :

Period: This idea of this movement originated in the wake of 1851 great exhibition in London, and matured by 1860.

Pioneers of the movement : It began as a search for authentic and meaningful style of the 19th century.

This movement was inspired by John Ruskin and William Morris Architecture of his own home, the Red House in Bexleyheath, England, designed in 1859 by Philip Webb have said to mark the start of this movement by its depiction of informality, modesty and structural integrity.

The philosophy :The arts and crafts movement was reformist in its nature and mainly it revived handicrafts and tailor made artifacts as an opposition to the standardized and mass produced monotonous goods and buildings of industrial period and also rejected the concept of revivalism at its height during this period, for its superficial and false nature.Started as a reaction to the industrial world it inspired the progressive and the rational thinkers of that period.It catered to the theory of perceptional of aesthetics of man as a individual living being and was based on the taste of beauty of an individual living being. This marked the revival of medieval crafts tradition.

EARLY ISMSJohn Ruskin a thinker and a writer, tried to establish and the "styles he propagated as the principles. In terms of the Arts and Crafts aesthetic, Ruskin's Seven Lamps of Architecture (1849) was particularly important. His "lamp of truth" prohibited the use of machines for handiwork. Inspired by his writings and a romantic idealization of the craftsman taking pride in his personal handiwork, it was at its height between approximately 1880 and 1910.

It catered to the individuality in perception and design of arts. It was a movement to track back the spirit of arts and crafts as against the drab spiritless machine made aesthetics. It was as well applicable to socialistic theory to improve towns, buildings and designed products.It was a thought process that influenced British, Canadian, and American architecture, decorative arts, cabinet making, crafts, and even the "cottage" garden designs of William Robinson or Gertrude Jekyll.

Stuart garden at Owlpen Manor

William Morriss ideas were particularly influential in the decorative arts with promotion of his firm Morris, Marshall and Faulkner. It designed dealed with wallpapers, stained glass, carpets, furnishings, and books and advocated simplified, well-crafted models. A devoted socialist (see his book New from Nowhere, 1890), Morris believed that labour could be made more enjoyable and that well designed objects should be within the reach of all people. In architecture, we see Morris' influence in places like Bedford Park, where houses were designed in the so-called Queen Anne style or the English Domestic Revival.

Bedford Park pioneered a number of concepts that were later used and formalized by the designers of the Garden City movement. It is the result rather than the process that sets it apart, and makes it an important landmark of suburban planning.

English Domestic Revival.Bedford ParkThe principles of art and crafts movement :Free planning

Assymmetrical, non formal, functional planning in non-urban settings

Simplicity and honest use of vernacular materials with traditional medieval craftsmanship.

Rejection of superficial and false ornamentation of revival styles.

Influences and impacts:Formation of arts workers guilds in 1884with Edward Prior and William Lathaby as founder members.

In America - formation principles of Organic architecture by F.L. Wright. Which were manifested in his Prairie style housing.

In Germany arts and crafts movement initiated the national obsession of values for honesty in use of materials, simplicity, and rationality of design which ultimately led to formation of Bauhaus school of thoughts by Walter Gropius.

In Spain Antonio Gaudi was inspired by Arts and Crafts movement.

Marked the Scandinavian furniture style in 1930s in Dutch region.

Scandinavian furnitureReasons for fall: Main objective was to provide handmade products to common man But the prices increased due to skilled craftsmanship and thus the decorated and such tailor made exquisite designs could only be afforded by the wealthy segment of the society. Thus the movement faded due to sustainability issues but led to many more new school of thoughts and movements in =architecture.Organic Architecture:Origin: Early 19th century.Founder : Frank Lloyd Wright.

Organic Architecture is a term Frank Lloyd Wright used to describe his approach to architectural design. The philosophy grew from the ideas of Frank Lloyd Wright's mentor, Louis Sullivan, who believed that "form follows function." Wright argued that "form and function are one."Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so sympathetic and well integrated with its site that buildings, furnishings, and surroundings become part of a unified, interrelated composition.

Organic Architecture is also translated into the all inclusive nature of Frank Lloyd Wrights design process. Materials, Motifs, and basic ordering principals continue to repeat themselves throughout the building as a whole. The idea of Organic Architecture refers not only to the buildings literal relationship to the natural surroundings, but how the buildings design is carefully thought about as if it were a unified organism.

Geometries throughout Wrights buildings build a central mood and theme. Essentially Organic Architecture is also the literal design of every element of a building: From the windows, to the floors, to the individual chairs intended to fill the space. Everything relates to one another, reflecting the symbiotic ordering systems of nature.

Robie house, Chicago completed 1909.

Harold Bradley house. Louis SullivanPrairie school concept by F L W.The Prairie School houses (characterized by open plans, horizontal lines, and indigenous materials) were related to the American Arts and Crafts movement (hand craftsmanship, simplicity, function), an alternative to the then-dominant Classical Revival Style (Greek forms with occasional Roman influences). Some firms, like Purcell & Elmslie, however, consciously rejected the term "Arts and Crafts" for their work, which accepted the honest presence of machine worked surfaces. The Prairie School was also heavily influenced by the Idealistic Romantics (better homes would create better people) and the Transcendentalist philosophy of Ralph Waldo Emerson.Prairie School architecture was usually marked by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornament. Horizontal lines were thought to evoke and relate to the native prairie landscape.Example : Robie house, Chicago completed 1909.

Robie house, Chicago completed 1909.The main design features of prairie houses are

An asymmetrical ground plan A faade reflecting arrangement of rooms within Strong horizontal elements to relate to surrounding landscapes Shallow roofs with overhanging evesScreen like windows A unified quality achieved by interior detailingBuilt in furniture to give maximum comfort and space it also became an integrated part of the house as whole.Fireplace became the focal point of the houses.Main access of the house continued in garden and terracesLiving rooms were planned as wide space to accommodate informal gatherings Corners were treated as voids with enclosing walls and screens

PRE-CLASSICISM1. Despite generic similarities early civilizations tended to emerge in isolation.2. The Middle East were in such close proximity that they began to interact from an early date, and eventually contributed to, and accepted, influences from Hellenic Classicism.Pre Classical architectureusually denotesarchitecturewhich is more or less consciously derived from the principles ofGreekandRoman architectureofclassical antiquity, or sometimes even more specifically, from the works ofVitruvius.Differentstyles of classical architecture have arguably existed since theCarolingian Renaissanceand prominently since theItalian Renaissance. Although classical styles of architecture can vary greatly, they can in general all be said to draw on a common "vocabulary" of decorative and constructive elements. In much of the Western world, different classical architectural styles have dominated the history of architecture from the Renaissance until the second world war, though it continues to inform many architects to this dayClassicism in architecture developed during theItalian Renaissance, notably in the writings and designs ofLeon Battista Albertiand the work ofFilippo Brunelleschi. It places emphasis onsymmetry,proportion, geometry and the regularity of parts as they are demonstrated in the architecture of Classical antiquity and in particular, the architecture ofAncient Rome, of which many examples remained.Orderly arrangements ofcolumns,pilastersandlintels, as well as the use of semicircular arches, hemisphericaldomes,nichesandaediculesreplaced the more complex proportional systems and irregular profiles ofmedievalbuildings. This style quickly spread to other Italian cities and then to France, Germany, England, Russia and elsewhere.In the 16th century,Sebastiano Serliohelped codify theclassical ordersandPalladio's legacy evolved into the long tradition ofPalladian architecture. Building off of these influences, the 17th-century architectsInigo JonesandChristopher Wrenfirmly established classicism in England.For the development of classicism from the mid-18th-century onwards, seeNeoclassical architecture.11THE GREAT PYRAMIDS, GIZA, OUTSIDE CAIRO, EGYPT. 2631-2498BC

The most famous, and certainly the largest of the monuments to have survived from antiquity, Cheops is almost 150m tall.The Giza Pyramids were royal tombs, and their organization reflects Egyptian Beliefs about the transition to an afterlife.It is believed the pyramid was built as a tomb forfourth dynastyEgyptianpharaohKhufuand was constructed over a 20 year period. Khufu'svizier,Hemon, orHemiunu, is believed by some to be the architect of the Great Pyramid.It is thought that, at construction, the Great Pyramid was originally 280 Egyptiancubitstall, 146.5 metres (480.6ft) but witherosionand absence of itspyramidion, itspresentheight is 138.8 metres (455.4ft). Each base side was 440cubits, 230.4 metres (755.9ft) long. The mass of the pyramid isestimatedat 5.9milliontonnes. The volume, including an internal hillock, is roughly 2,500,000cubic metres.Based on these estimates, building this in 20 years would involve installing approximately 800 tonnes of stone every day. Similarly, since it consists of an estimated 2.3million blocks, completing the building in 20 years would involve moving an average of more than 12 of the blocks into place each hour, day and night. The first precision measurements of the pyramid were made byEgyptologist Sir Flinders Petriein 188082 and published asThe Pyramids and Temples of Gizeh.Almost all reports are based on his measurements. Many of the casing stones and inner chamber blocks of the Great Pyramid were fit together with extremely high precision. Based on measurements taken on the northeasterncasing stones, the mean opening of the joints is only 0.5 millimetres wide (1/50th of an inch).

ISHTAR GATE, BABYLON, MESOPOTAMIA

Dedicated to theBabylonia goddess Ishtar, the gate was constructed using glazed brick with alternating rows ofbas-relief andaurochs.The roof and doors of the gate were ofcedar, according to the dedication plaque. Through the gate ran the Processional Way, which was lined with walls covered inlionson glazed bricks (about 120 of them). Ishtar Gate has only gods and goddesses which include Ishtar Adad and Marduk.

Originally the gate, being part ofthe Walls of Babylon, was considered one of theSeven Wonders of the worlduntil it was replaced by theLighthouse of Alexandria in the 3rd century BCAreconstructionof the Ishtar Gate and Processional Way was built at thePergamon MuseuminBerlinout of material excavated byRobert Koldeweyand finished in the 1930s. It includes the inscription plaque. It stands 47 feet high and 100 feet wide (14 meters by 30 meters). The excavation ran from 1902 to 1914, and, during that time, 45 feet of the foundation of the gate was uncoveredREGIONAL ISMRenaissance architectureis the architecture of the period between the early 15th and early 17th centuries in different regions of Europe, demonstrating a conscious revival and development of certain elements ofancient GreekandRomanthought and material culture. Stylistically, Renaissance architecture followedGothic architectureand was succeeded byBaroque architecture. Developed first in Florence, withFilippo Brunelleschi as one of its innovators, the Renaissance style quickly spread to other Italian cities. The style was carried to France, Germany, England, Russia and other parts of Europe at different dates and with varying degrees of impact.Renaissance style places emphasis onsymmetry,proportion, geometry and the regularity of parts as they are demonstrated in the architecture ofclassical antiquityand in particularancient Roman architecture, of which many examples remained. Orderly arrangements ofcolumns,pilastersandlintels, as well as the use of semicircular arches, hemisphericaldomes,nichesandaedicule's replaced the more complex proportional systems and irregular profiles ofmedieval buildings.CHARACTERISTICS :-The obvious distinguishing features of Classical Roman architecture were adopted by Renaissance architects. However, the forms and purposes of buildings had changed over time, as had the structure of cities. Among the earliest buildings of the reborn Classicism were churches of a type that the Romans had never constructed. Neither were there models for the type of large city dwellings required by wealthy merchants of the 15th century. Conversely, there was no call for enormous sporting fixtures and public bath houses such as the Romans had built. The ancient orders were analysed and reconstructed to serve new purposes.PLANThe plans of Renaissance buildings have a square, symmetrical appearance in which proportions are usually based on a module. Within a church, the module is often the width of an aisle. The need to integrate the design of the plan with the faade was introduced as an issue in the work ofFilippo Brunelleschi, but he was never able to carry this aspect of his work into fruition. The first building to demonstrate this wasSt. Andreain Mantua byAlberti. The development of the plan in secular architecture was to take place in the 16th century and culminated with the work ofPalladio

Kirby Hallis anElizabethan country house located nearGretton, Northamptonshire,England. (Nearest town beingCorby Kirby was owned by SirChristopher Hatton Lord Chancellor to Queen Elizabeth I. Construction on the building began in 1570 based on the designs in French architectural pattern books and expanded in the classical style over the course of the decades. The house is now in a semi-ruined state with many parts roof-less although the Great Hall and state rooms remain intact.KIRBY HALL, NORTHAMPTONSHIREHISTORY TO THE PRESENT DAYBegun bySir Humphrey Stafford, it was purchased by Sir Christopher Hatton, one of Queen Elizabeth's 'comely young men' and later her Lord Chancellor. Hatton hoped in vain to receive the Queen here during one of her annual 'progresses' around the country. Although this vast mansion is partly roofless, most of its walls survive to their full impressive height: so does the prodigious three-tier inner porch, begun following French pattern books and later embellished in the Classical style by the sculptor Nicholas Stone.Kirby Hall's exceptionally rich decoration proclaims that its successive owners were always in the forefront of new ideas about architecture and design.The Great Halland state rooms remain intact, refitted and redecorated to authentic 17th- and 18th-century specifications.Sir Christopher Hattonthe Fourthadded the great gardens (described as 'ye finest garden in England') in the late 17th century. The gardens andground floorof the mansion are easily accessible by wheelchair users

The royalChteau de ChambordatChambord, Loir-et-Cher, France, is one of the most recognizablechteauxin the world because of its very distinctFrench Renaissance architecture which blends traditional French medieval forms with classical Renaissance structures.The building, which was never completed, was constructed byKing Franois I.Chambordis the largest chteau in theLoire Valley; it was built to serve as a hunting lodge for Franois I, who maintained his royal residences atChteau de BloisandChteau d'Amboise. The original design of the Chteau de Chambord is attributed, though with several doubts, toDomenico da Cortona Some authors claim that the French Renaissance architectPhilibert Delormehad a considerable role in the chteau's design,and others have suggested thatLeonardo da Vinci may have designed it.Chambord was altered considerably during the twenty-eight years of its construction (15191547) during which it was overseen on-site by Pierre Nepveu. With the chteau nearing completion, Franois showed off his enormous symbol of wealth and power by hosting his old archnemesis,Emperor Charles Vat Chambord.In 1792, some of the furnishings were sold and timber removed. For a time the building was left abandoned, though in the 19thcentury some attempts were made at restoration. Duringthe Second World War art worksfrom the collections of the LouvreandCompignewere moved to Chteau de Chambord. Now open to the public, in 2007 the chteau received 700,000visitorsCHTEAU DE CHAMBORD

RATIONALISM, THE ENGINEERING TRADITION

THE GARABIT VIADUCT (VIADUC DE GARABIT IN FRENCH) IS A RAILWAY ARCH BRIDGE SPANNING THE TRUYRE RIVER NEAR FRANCE.THE BRIDGE CONSTRUCTED BETWEEN 1880 AND 1884 BY GUSTAVE EIFFEL WAS OPENED IN 1885. IT IS 565 M IN LENGTH AND HAS A PRINCIPAL ARCH OF 165M

A SCULPTURAL TRIUMPH AS WELL AS A PRACTICAL SOLUTION TO THE PROBLEM OF BRIDGING A RAVINE.

THE STRUCTURAL FORMS WERE DRAMATIZED IN VISUAL TERMS:THE DYNAMICS OF THE ARCH; THE STRONG HORIZONTAL OF THE UPPER RAFT HOLDING THE RAILWAY LINE AS A VIRTUALLY INDEPENDENT ELEMENT FLOWING IN SPACE;

THE HIERARCHIES OF GIRDERS EMBEDDED IN A CLEAR OVERALL ORDER OF VISUAL STRESSES;

THE TRANSPARENT LATTICES AND SPANS THROUGH WHICH THE SKY AND THE LANDSCAPE CAN BE SEEN.

GUSTAVE EIFFEL, PONT DU GARABIT, NEAR ST.FLOUR, 1880-1884

JOHN A.ROEBLING, BROOKLYN BRIDGE, NEW YORK, 1869-1883

ST.-JEAN-DE-MONTMARTRE, PARIS

CONSTRUCTED WITH R.C.C.

A SYSTEM WAS ADOPTED WHICH MADE CLEAR THE DISTINCTION BETWEEN SUPPORTS AND INFILL PANELS.

THE POINTED ARCHES AND THE EXPRESSION OF THE RIBS SUGGESTED MEDIEVAL PROTOTYPES.

IS AN ODD HYBRID OF MEDIEVAL AND EXOTIC SOURCES , A LOOSELY ART NOUVEAU ACCENTUATION AND ENTIRELY NOVEL IDEAS RELATED TO CONSTRUCTION.

VISUAL EXPRESSION OF THE STRUCTURE IS INDECISIVE.LESSONS OF EARLIER STYLES APPLIED TO MODERN SITUATION-VIOLLET-LE-DUC

MINIMALISMStyle inspired by severe Modern architecture ,traditional Japanese architecture , and Zen Buddhist gardens. Minimalist seeks to avoid clutter ,ornament, and even color, while possessions were stored away . It has sometimes been adopted to suggest exclus

1) Simplicity2) Formal Reduction3) Pureness of line.4) Absence of the manual in favor of the use of industrial processes & Material.

5) It is an abstract style of art which came about as a reaction against the subjective elements of abstract expressionism.

Mies van der rohe: less is more iveness and luxury's. A feature of the *Modern Movement since

CASE STUDY AZUMA HOUSE TADAO ANDOINTRODUCTIONOne of the earliest works of the self-taught architect Tadao Ando is the Azuma House in Sumiyoshi, where the house is split into a spaces devoted to daily life (composed of an austere geometry) by the insertion of an abstract space for the games of wind and light. His goal, he says, was to introduce a question on the inertia that has invaded human dwellings.Thanks to the Azuma House, Ando received an award from the Japan Association of Architecture in 1976.LOCATIONLocated in Sumiyoshi, Osaka, Azuma House replaces one of the traditional houses in the area built in wood. While this area is not the most chaotic of the city, there is a clear contrast between this "concrete box" and its surrounding buildings.CONCEPTBuilt between medians, this apartment is perched on a lot of 57.3 m. The total square frottage of 64.7 m is divided into three equal sections: two floors and a patio.This box of concrete occupies the entire site. The building, centripetal as far as its organization, has a tripartite structure centered around an uncovered patio.

SITE PLAN

GROUND FLOOR PLAN

FIRST FLOOR PLAN

On the ground floor are located the living room and a kitchen, separated by the central outside courtyard and the staircase that leads to the upper floor, where the two bedrooms are joined by a walkway. The central uncovered area is the only source of natural light throughout the house.The courtyard, which acts as the hub of daily life in the house, separates the living room located at one end of the ground floor from the kitchen-dining room and bathroom, located in another end. On the top floor, the children's rooms on one side face the master bedroom on the other side of the central courtyard, which is reached by a bridge. The building shows a blind or solid facade to the street. SECTIONSPACESThe reinforced concrete used in this house is presented as the ornamentation for the facade.

MATERIALSIs Tadao Ando successful in creating a thermally appropriate environment for humans. Well, thats a difficult question to answer, as it can be interpreted from many of his works and from his own words that his intention was to make his occupants slightly uncomfortable. Ando has said that walls have often separated us from the outside world in a way that has bordered on violent. Through his design it seems he allows light and air to enter into the daily lifestyle of humans in order to disrupt the stale inertia of the modernist lifestyle. Humans are historically and genetically outdoor animals, and that our bodies thrive considerably more when we expand our temporal zone of comfort. Ando does exactly that, challenging the widespread momentum towards thermally controlled environments in residential architecture that was simultaneously taking place in America during the 1970s..CONCLUSION

MODERNISM

Modern architectureis generally characterized by simplification of form and an absence of applied decoration. It is a term applied to an overarching movement, with its exact definition and scope varying widely.In a broader sense, early modern architecture began at the turn of the 20th century with efforts to reconcile the principles underlying architectural design with rapid technological advancement and themodernizationof 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

CASE STUDY BRIDGE PAVILLION BY ZAHA HADID

Architects: Design Zaha Hadid with Patrik SchumacherConsultants: Engineers ARUP Associates Cost Consultants: ARUP Associates / IDOM Artists: Golan Levin and Zach Liebermann Size: Total Surface 6415 m2 Exhibition Surface 3915 m2Pedestrian Bridge 2500 m2INTRODUCTIONThis interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod through small in-between spaces that act as filters - or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the content within each pod. The identity of each pod remains evident inside the pavilion, almost performing as a three-dimensional orientation device.Each zone within the building has its own spatial identity. Their nature varies from completely enclosed interior spaces that focus on the exhibition, to open spaces with strong visual connections to the Ebro River and the Expo.

The body of the building evolves from the extrusion of a diamond-shaped section along a slightly curved path, projected diagonally across the shores of the Ebro River. Its dynamic shape is enveloped by a distinctive shark-scale skin,

24The pods are stacked according to precise criteria - aimed at reducing the section of the bridge as much as possible where the span is longer (approximately 185m from the island in the middle of the river to the right bank), and enlarging it where the span is shorter (85m from the island to the Expo riverbank). This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod though small in-between spaces that act as filters - or buffer zones. These zones diffuse the sound and visual experience from one exhibition CONCLUSION

sections

plans

REGIONALISMArchitecture is one of man's highest achievements, reflecting the culture of the times. Regional qualities are present but interestingly enough regionalism itself is seldom a prime determinant in architecture Formal ideas are a much more important thing Formal ideas incubate over long periods of time, sometimes centuries, bloom, speak for an age, often a very short-lived blooming period and are modified by the then known world, taking on their regional characteristics. Often regional characteristics contribute to a certain dilution of the formal ideas and in that sense you can say that regionalism has a negative side There are people who would disagree with that. Sometimes regionalism enriches and embellishes the formal idea but not always. For instance Gothic architecture which was essentially formulated in Western Europe, in France and England spread to the South where it was modified to such an extent that it became almost decorative in Milan Cathedral It lost its potentiality too in Seville Cathedral which I saw anew months ago for the first time. It's the largest Gothic church in the world and it's absolutely fascinating because it shows clearly the influence of the Great Mosque of Cordova, which of course is a continuous forest of columns. Niteri Contemporary Art Museum

TheNiteri Contemporary Art Museum is situated in the city ofNiteri,Rio de Janeiro,Brazil, and is one of the citys main landmarks. It was completed in1996.Designed byOscar Niemeyer with the assistance of structural engineer Bruno Contarini, who had worked with Niemeyer on earlier projects, the MAC-Niteri is 16 meters high; its cupola has a diameter of 50 metres with three floors. The museum projects itself over Boa Viagem(Bon Voyage, Good Journey), the 817 square metres (8,790sqft) reflecting pool that surrounds the cylindrical base like a flower, in the words of Niemeyer.A wide access slope leads to a Hall of Expositions, which has a capacity for sixty people. Two doors lead to the viewing gallery, through which can be seen theGuanabara BayRio de Janeiro andSugarloaf Mountain. The saucer-shaped modernist structure, which has been likened to aUFO, is set on a Cliffside, at the bottom of which is a beach. In the filmOscar Niemeyer, an architect committed to his century , Niemeyer is seen flying over Rio de Janeiro in aUFOwhich then lands on the site, suggesting this to be the origin of the museum.

POST MODERNISMWhen applied to architecture , post modernism refers to various trends from the 1960 onwards that sought to broaden the range of reference and meaning architecture could convey, and that modernist orthodoxy seemed to stifle

Postmodern architecturebegan as an international style the first examples of which are generally cited as being from the 1950s, but did not become a movement until the late 1970sand continues to influence present-dayarchitecture.Post modernityin architecture is said 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. Thefunctional and formalized shapes and spaces of themoderniststyle are replaced by diverseaes thetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of building which had been abandoned by the modern style.

THE STAATSGALERIE STUTTGARTTheStaatsgalerie Stuttgart(State Gallery) is an art museum inStuttgart, Germany, it opened in 1843. In 1984, the opening of theNeue Staatsgalerie(New State Gallery) designed byJames Stirlingtransformed the once provincial gallery into one of Europe's leading museums.

TheNeue Staatsgalerie, a controversial[1]architectural design byJames Stirling, opened on March 9, 1984 on a site right next to the old building. It houses a collection of 20th-centurymodern art fromPablo PicassotoOskar Schlemmer,Joan MirandJoseph Beuys. The building layout bears resemblance toSchinkel'sAltes Museum, with a series of connected galleries around three sides of a central rotunda. However, the front of the museum is not as symmetrical as the Altes Museum and the traditional configuration is slanted with the entrance set at an angle

DECONSTRUCTIVISMDeconstructivismis a development ofpostmodern architecturethat began in the late 1980s. It is influenced by the theory of "Deconstruction, which is a form ofsemioticanalysis. It is characterized by fragmentation, an interest in manipulating a structure's surface or skin, non-rectilinearshapes which appear to distort and dislocateelements of architecture, such as structure andenvelope. The finished visual appearance of buildings that exhibit deconstructivist "styles" is characterized by unpredictability and controlled chaos.DECONSTRUCTIVIST PHILOSOPHYSome Deconstructivist architects were influenced by the French philosopherJacques Derrida. Eisenman was a friend of Derrida, but even so his approach to architectural design was developed long before he became a Deconstructivist. For him Deconstructivism should be considered an extension of his interest in radical formalism. Some practitioners of deconstructivism were also influenced by the formal experimentation and geometric imbalances of Russianconstructivism. There are additional references in deconstructivism to 20th-century movements: themodernism/postmodernisminterplay,expressionism,cubism,minimalismandcontemporary art. Deconstructivism attempts to move away from the supposedly constricting 'rules' of modernism such as "form follows function" "purity of form," and "truth to materials

GUGGENHEIM MUSEUM BILBAOMade by Frank Gehry in 2005 in Bilbao, Spain.It is very curvy, has a spider sculpture outside of it, a lot of shapes put together, no windows.Gehry rewrote all manner of architectucral convention in the worlds most famous new building of the 1990Using computer programme developed for fighter jets, he evolved the complex ,titanium clad forms, while the structure occupies an awkward zone between the outer shell and the inner gallery spaces

CONCLUSION

Nature meant not just living organisms but was the essence of materials plans and feelings. Organic was defined as relation of part to whole a symbiotic relationship as a whole. Form and function has to be unified. Romance was a creative force expressed by each individual, embodied in form of architecture.Tradition not just imitating the past but implying a sense of belonging.Ornament the emotional expression that is an integral part of architecture.Spirit it was an essential life force within the space or object.The third dimension was an intrinsic depth of a building.Space the invisible phenomenon that embodies all rhythm.

http://www.architecture-student.comhttp://architecture.about.comhttp://www.greatbuildings.comhttp://int.ask.comhttp://www.google.co.inwww.wikipedia.comhttp://www.designboom.comhttp://www.citysteelbuildings.comArchitecture Journals/Books:Metal ArchitectureConcrete Technologies world architectureBIBLOGRAPHY