book-history of modern architecture 2
TRANSCRIPT
ART NOUVEAU
Art nouveau, which flourished in Europe between 1890 and 1914, was one of the earliest efforts to develop an original style for the modern age.
Represented in painting, architecture, furniture, glassware, graphic design, jewelry, pottery, metalwork, and textile and sculpture.
This was a sharp contrast to the traditional separation of art (ceramics, furniture, and other practical objects)
This STYLE was also called : - JUGENDSTIL IN GERMANY. - EL MODERISME IN SPAIN. - STILE LIBERT IN ITALY - “L” INNOVATION IN BELGIUM. ARCITECT :-
1. Antonio Gaudi- Sagrada Família / Church of the Holy Family, 1883-1929
2. Victor Horta -Hôtel Tassel (1892-1893)in Brussels
3. Hector Guimard - entrances for the Métro subway system (1899-1904
4. Otto Wagner- Stadtbahn (city railway system, 1894-1899) in Vienna, Austria
5. Charles Rennie Machintosh - Willow Tea Room (1903-1904) in Glasgow, Scotland
6. Van De Velde – rocking chair in 19037. Guimard’s iron gate way to the castel
baranger in Paris 1894 In the three centers of art nouveau—
Barcelona, Spain; Brussels, Belgium; and
Paris, France—architects struggled to define a style with distinctly local characteristics
In Barcelona, one of the most ambitious projects of architect ANTONIO GAUDI was the Templo Expiatorio de la Sagrada Família (Church of the Holy Family, 1883-1929, 1979 to present).
Gaudí turned to nature for a rich variety of animal and plant forms to decorate the towering façades of the Sagrada Família.
He stood somewhat on the edge of the movement
His style in art nouveou grew out his Spanish past
He also used natural forms structurally: columns shaped like bones, undulating walls in brick, a roofline resembling the profile of an armadillo.
His wide use of ceramic tile, a local building material, gave color and texture to his designs.
He on the background of Mila House. This was Gaudi’s last great civil building,
completed in 1910. Very well known architect, his body buried
under SAGRADA FAMILIA
architect VICTOR HORTA of Brussels.
Sagrada Família (Church of the Holy Family, 1883-1929, 1979 to present
Like Gaudí, Horta reacted against prevailing styles with an architecture that responded to local traditions and materials, although Horta transformed iron and glass as well as Belgian brick into slender, graceful forms inspired by flowers.
One of masters of the Belgium movement. His masterpiece was the Hotel Tassel, Brussels. The decoration of the main iron staircase was
the forest flowing curves.
Staircase Details - Hôtel Tassel (1892-1893) in Brussels
Staircase Details - Hôtel Tassel (1892-1893) in Brussels
The Atrium - Hôtel Tassel (1892-1893) in Brussels
Among the major achievements of these art nouveau offshoots were the Elvira Photo Studio (1896-1897) in Munich, Germany, by German architect August End ell; and the Stadtbahn (city railway system, 1894-1899) in Vienna, Austria, by Otto Wagner
Perhaps the greatest of these achievements is the Willow Tea Room (1903-1904) in Glasgow, Scotland, designed with sinuous, willowy lines by Scottish architect and graphic designer Charles Rennie Mackintosh.
In Paris, HECTOR GUIMED produced entrances for the Métro subway system (1899-1904), rendering fanciful plantlike forms in iron and glass.
As art nouveau’s influence spread throughout Europe and North America, regional variations developed: stile Liberty in Italy, Jugendstil in Germany, sezessions in Austria, and modernisme in Spain.
Métro Subway System (1899-1904)
Willow Tea Room (1903-1904) in Glasgow, Scotland
The detail of his building different fromthe tough, plain character of traditionalarchitecture
All oriel window framed in decorative bronze work which form rich&dramatic of stones work
The front has large airy studio window withwrought iron bracket.Iron filial above the enterance
CHARLES RENNIE MACKINTOSH
-His famous work is the Glasgow School of Art. His building were also very Personal as those Gaudi’s
Between 1890-1910 flourished in Europe, was one of the earliest(and shortest-lived)
efforts to develop an original style for the modern age
Design to futurelistic look like steel and so on Not practical on that time PHILOSOPHY:
transformed modern industrial materials such as iron and glass into graceful, curving forms often drawn from nature, though with playful elements of fantasy
interested in architecture as a form of stylistic expression rather than as a structural system
Frank Lloyd Wright
Born June 8, 1867 Richland center, Wisconsin, USA Deceased April 9, 1959 1966 U.S. postage stamp honoring Frank
Lloyd Wright Wright was awarded the RIBA Royal Gold
Medal in 1941. projects:
- Falling Water, Pennsylvania- Solomon R. Guggenheim Museum, New York- Imperial Hotel- Price Tower, Bartlesville, Oklahoma.- Unity Church, Oak Park, Illinois.- Robie House, Chicago- Prairie House
Personal Style & Conceptsi. Uses horizontal & vertical architecture in
most of his design.
ii. Transitions more to grow naturally from the earth like.
iii. Usage of timber and brick for weather proof are naturally produced.
iv. Wide roof that closed up the interior gives the symbol of family secure.
v. Base that looks hard and fixedvi. Open floor plan with up walls and bright
lighting.vii. The usage of more than 1 axis on the building
design.viii. Established basic spatial principles that soon
follow on are prairie house design.ix. More to organic:-
An architecture that evolves naturally out of the context, most importantly for him the relationship between the site and the building and the needs of the client.
E.g. Houses in wooded regions, for instance, made heavy use of wood, desert houses had rambling floor plans and heavy use of stone, and houses in rocky area.
Wright fully embraced glass in his designs and found that it fit well into his philosophy of organic architecture . Glass allowed for interaction and viewing of the outdoors while still protecting from the elements.
Wright sought to achieve a balance between the lightness and airiness of the glass and the solid, hard walls.
Attributed his new architectural concepts to : - educational building blocks he had played with
as a child- to Japanese architecture- And to the prairie landscape on which many of
his houses were built. Some of his famous projects:
- Falling Water, Pennsylvania Falling water, also known as the Edgar J.
Kaufmann Sr. Residence. Is a house designed by American architect Frank Lloyd Wright in 1935 in rural southwestern Pennsylvania
50 miles southeast of Pittsburgh, and is part of the Pittsburgh Metro Area.
The house was built partly over a waterfall in Bear Run at Rural Route 1 in Mill Run, Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains.
Falling water (The Kaufmann House) is now a museum. Since 1964, when it opened to the public, nearly four million have visited the house (as of July 2006).
“ few dividing walls separated rooms and one room seemed to flow into the next”
FALLING WATER, Pennsylvania- Guggenheim Museum, New York
Founded in 1937, is a modern art museum located on the Upper East Side in New York City.
It is the best-known of several museums owned and/or operated by the Guggenheim Foundation, and is often called simply The Guggenheim.
In Wright’s eyes a spiral, evolving in a continuous stream epitomized the idea of organic architecture.
As if it were plastic, Wright molded his material into museum as abstract as art it was designed to display.
Based on his revised plan of 1956, it finally opened after his death.
Guggenheim Museum, New York
- Imperial Hotel Tokyo's Imperial Hotel was the best-
known of Frank Lloyd Wright's buildings in Japan.
The original Imperial Hotel in Tokyo was built in 1890.
To replace the original wooden structure, the owners commissioned a design by Wright, which was completed in 1923.
Imperial Hotel
- Price Tower, Bartlesville, Oklahoma. The Price Tower is a nineteen story,
221 foot high tower in Bartlesville, Oklahoma.
It is the only realized skyscraper by Wright, and is one of only two vertically-oriented Wright structures extant (the other is the S.C. Johnson Wax Research Tower in Racine, Wisconsin).
The Price Tower was commissioned by Harold C. Price of the H. C. Price Company, a local oil pipeline and chemical firm. It opened to the public in February 1956.
- Unity Church, Oak Park, Illinois. Unity Temple is a Unitarian
Universalist church in Oak Park, Illinois, and the home of the Unity Temple Unitarian Universalist Congregation.
It was designed by the American architect Frank Lloyd Wright , and built between 1905 and 1908. It is located at 875 Lake Street, Oak Park Illinois.
Was the “first significant American architectural statement in poured concrete”
Wright’s use of concrete was truly original and unity church introduced this type of construction on a grand scale.
Unity Church, Oak Park, Illinois
- Robie House, Chicago The Frederick C. Robie House or
simply the Robie House is a Registered Historic Place in the city of Chicago, Illinois. Built in 1910, it is located near the campus of the University of Chicago in Hyde Park.
LUDWIG MIES VAN DER ROHE
Real name is Ludwig Mies Born in Aachen, Germany-American, on
March 27, 1886. Date of death- augustn17, 1969 at
Chicago. at 19 he moved to Berlin In 1908 he began working for the architect
peter Behrens. He studied the architecture of the
Prussian Karl friedrich schinkel and frank Lloyd Wright.
He opened his own office in Berlin in 1912, and married in 1913.
In 1921, when his marriage ended, he changed
his name, adding the Dutch 'van der' and his
mother’s maiden name, 'rohe': Ludwig Mies became Ludwig Mies Van Der Rohe.
In 1927 he designed one of his most famous buildings, the German pavilion at the international exposition in Barcelona
Concept:-- concept of fluid space with a seamless flow
between indoors and outdoors and designed two innovative steel-framed towers encased in glass
- Less is more Building:-
- Barcelona Pavilion- Tugendhat House- Crown Hall- Farnsworth House- IBM Plaza- Lake Shore Drive- Seagram Building- New National Gallery- Barcelona and Brno Chair
-Farnsworth house, Plano, Illinois(fox River)-One-room weekend retreat in a once-rural setting-steel and glass-Built= 1945-1951
Lakeshore drive apartment building
Seagram building, New York (1954-1958), 1958
Sky-scraper project, friedrich strasse Berlin, 1921
German pavilion, Barcelona, 1929
-The Barcelona chair
New National Gallery, Berlin
- Mies designed modern furniture pieces using new industrial technologies that have become popular classics, such as the Barcelona chair and table, and the Brno chair.
- His furniture is known for fine craftsmanship, a mix of traditional luxurious fabrics like leather combined with modern chrome frames
- And a distinct separation of the supporting structure and the supported surfaces, often employing cantilevers to enhance the feeling of lightness created by delicate structural frames.
- During this period, he collaborated closely with interior designer and companion Lilly Reich.
-Barcelona Pavilion, German- Was the German Pavilion for the 1929
International Exposition in Barcelona.- Its simple form and extravagant materials, such
as marble and travertine.- The building stood on a large podium alongside
a pool.- The structure itself consisted of eight steel posts
supporting flat roof, with curtain glass walling and a handful of partition walls.
- The overall impression is of perpendicular planes in three dimensions forming a cool, luxurious space.
LE-COBUSIER
Real name Charles-Edouard Jeanneret. Born as October 6,1887 in La Chaux-De-
Fonds, Switzerland. Date of death as August 27,1965 Early training:-
- Art Education, La Chaux De Fonds.- Studied Modern Building Construction with,
Auguste Perret Pans.
- Work with Australian Architect, Josef Hoffman. Famous building:-
- Notre-Dame-du-Haut, Ronchamp France.- Villa Savoye, France.- Swiss Building, Cite Universitaire, Paris. - The Secretariat at the United Nation Headquaters,
New York Other important works:-
- Ozenfant House and Studio, Paris.- Unite d’Habitation, Marseilles, France.- Museum at Ahmadabad, India.- High Cort Building, Chandigarh, India.- Maison Jaoul, Neuilly-suz-Seine, Paris.- Convent of La Fouvette ,Lyon, France.- Philips Pavilion, Brussels.- Carpenter Centre, Cambridge.- Centre Le Corbusier Zurich, Switzerland
Writing :-- Vers Une Architecture (Towards a new
Architectural)- La Maison des Hommes (The Home of Man).- Quand les Cathedrals etaient blanches (when the
cathedrals were white) Theories:-
- “5 points of architecture” i. Lifted off the ground ii. Open floor plan independent from the supports.iii. A free façade, meaning non-supporting walls that
could be designed as the architect wished.iv. long strips off ribbon windows v. Roof garden to compensate the green area
consumed by the building and replacing it on the roof.
Quotes:-- The House is a machine for living in”, (Ves Une
Architecture, 1923).
- “By Law, all building should be White”.- PHILOSOPHY: Modulor.
VILLA SAVOYE, FRANCE
Lifted off the ground long strips off ribbon windows
Chaise longue ‘LC4’ LC2 chair, ‘cushion basket’
UNITE D’HABITATION, MARSEILLES, FRANCE
-Location: Marseilles, france
- Building type: multifamily housing
- Construction system: concrete
Free façade
RONCHAMP
Thick walls sail roof‘Here we will build a monument dedicated to nature and
we will make it our lives’ purpose’
Unsymmetrical windows with “jewels lighting colors”
WALTER GROPIUS
Real name is Walter Adolph Gropius Born in Berlin, German, on Mei 18,1883 Death on July 5,1969 in Cambridge,
Massachusetts Work:-
- Practice name:- Peter Behrens (1908–1910) The Architects' Collaborative (1945–1969) Fagus Factory
- Significant buildings:- Factory Buildings at the Werkbund Exhibition (1914) Bauhaus Village College Gropius House Harvard Graduate Center University of Baghdad
Walter Adolph Georg Gropius (May 18, 1883 – July 5, 1969) was a German architect and founder of Bauhaus. Along with Ludwig Mies van der Rohe and Le Corbusier, he is widely regarded as one of the pioneering masters of "modern" architecture.
John F. Kennedy Federal Office Building Pan Am Building Interbau Wayland High School Embassy of the United States, Athens
Design philosophy:-- Usage of steel, glass, and precast concrete- Implementation of modernism in to building- Functionalist design
Building:-- Fagus works with Adolf merey- Werbund exhibition in cologne, German- Office building Chicago tribune in Chicago Illinois- Bauhaus faculty quarters in Dessau, German- Toerten houses in Dessau- Build-in weissenhof, Werbund exhibition in
Stuttgart- Municipal employment in Dessau- Houses in Berlin, siemensstadt in, German- Werbund exhibition in Paris, France
German building exhibition in Berlin, German- Copper house Finow in German- Exhibition “Non-Ferrous Metal” in Berlin, German- Inspington college, cambrigeshire with Maxwell
fry in cambrigeshire, England- Gropius house in Lincoln, Mass- Chamberlain house in Sudbury, Mass- New Kensington House with Marcel Braver in
Pennsylvania- House Howlett in Belmot, Mass
Harvard University Graduate Center in Cambridge, Mass
- Work place for American association, for the advancement of science with the architect’s collaborative in Washington, D.C
- High Commission of United States, Athens, Greek- University Baghdad in Baghdad, Iraq
- Houses in bucknow- Rudow in Berlin, German- Grand Central Building City in New York
Design for Projects:-- Academy of philosophy, Enlarger- Theather project- Project of school of engineering- 11 stories building projects- Ukrainian State theater, kharko- Wannsee Building Project- Soviet Castle in Moscow- Mc Cormik office work building & Co.
Boston Back Bay Project Center Fagus Factory:-
o The Fagus Factory (German: Fagus Fabric or Fagus Werk) was constructed between 1911 and 1913 (with additions and interiors completed in 1925) in Alfeld on the Leine in Germany
o It was a shoe last factory owned by Carl Benscheidt (1858-1947). It is said to be an important example of early modern architecture
o For the first time a complete facade is conceived in glass. The supporting piers are reduced to narrow mullions of brick.
o The corners are left without any support, a treatment which has since been imitated over and over again. The expression of the flat roof has also changed.
o Only in the buildings by Adolf Loos which was done one year before the Fagus Factory, have we seen the same feeling for the pure cube. Another exceedingly important quality of Gropius's building is that, thanks to the large expanses of clear glass, the usual hard separation of exterior and interior is annihilated
Fagus Factory
Fagus Factory
Gropius Houseo The Gropius House was the family residence
of noted architect Walter Gropius at 68 Baker Bridge Road, Lincoln, Massachusetts. It is now owned by Historic New England and is open to the public
o This house was his first architectural commission in the United States. He designed it in 1937, when he came to teach at Harvard University's Graduate School of Design, and it was built in 1938
o Set amid fields, forests, and farmhouses, the Gropius House mixes up the traditional materials of New England architecture (wood, brick, and fieldstone) with industrial materials such as glass block, acoustical plaster, and chrome banisters
o He chose the area because of its proximity to Concord Academy which his daughter, Ati, was going to attend
o The house caused a sensation when built. In keeping with Bauhaus philosophy, every aspect
of the house and its surrounding landscape was planned for maximum efficiency and simplicity
o Striking as it is, the house was built with economy in mind, and total construction costs were $18,000
Gropius houses
Bauhaus School and Faculty
o Bauhaus is the common term for the Staatliche Bauhaus a school in Germany that combined crafts and the fine arts
o It operated from 1919 to 1933, and for the approach to design that it publicized and taught
o The name Bauhaus stems from the German words for "to build" and "house." Ironically, despite its name and the fact its founder was an architect, the Bauhaus did not have an architecture department for the first several years of its existence
o Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1]
o The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design and typography
o The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932, Berlin from 1932 to 1933),
o under three different architect-directors (Walter Gropius from 1919 to 1927, Hanne’s Meyer from 1928 to 1930, Ludwig Mies van der Rohe from 1930 to 1933
Bauhaus School and Faculty
Interior Bauhaus School and Faculty
Interbau Apartmento In the south-west corner of the Hansaquarter
lies the eight-story building by Oscar Niemeyer and Soares Filho, Brazil's contribution to the International Builders Fair of 1957
o The facade consists of rectangular loggias whose uniformity is broken up by a band of windows in the 5th story, which was intended as the common room of the building. This shared story was to create a feeling of community by providing space for events - an idea called 'conjunto' (free story) in Brazil.
o The concrete frame construction rests on V-shaped pillars and is 27m high, 72m long and 15m wide. Its longitudinal axis runs north-south. There are 78 apartments with altogether 5089m².
Interbau Apartment
SCULPTURAL DESIGN
It was an individual vision of the modern age. expressionist believe that building
Should not be confined to function but create sensation of freely shape abstract sculpture.
In design, their methodology was intuitive rather than science
Example:-- Erich Mendelssohn Einstein tower- The Schoken Store
Human monument in this tower
Libery, New York.
Have a road crossing between a two buildings
KLCC
In 1889 French engineer Gustave Eiffel carried forward Paxton’s daring ideas for iron construction in his 300-m (984-ft) tall Eiffel Tower in Paris
Shell husk is adapted to make a concept.
EIFFEL TOWER, PARIS
The sculptures have no skinIt’s like a torch inverted
The expose structure make this structure more to sculpture
OPERA HOUSE, SYDNEY
-Designed by Jorn Utzon-2003 Pritzker Prize Laureate-Completed in 1973 under the direction of Peter Hall Bennelong Point.
It’s like a snail.
CCTV HQ, BEIJING CRYSTAL PALACE
THE PARIS EXPOSITION
DEFINATION OF SCLUPTURE FROM DICTIONARY IS ARCH
DE-STIJL
A lot of architects started working closely with painters’ and sculptors.
Notable among them were the Dutch architects know from the title of their magazines which were established in 1918 called “De-Stijl” (De-Stijl means the new)
Their objectives:o To reject the old this was based on the
individual and discover a harmony thru the purity of colors and forms which was universal.
Their architecture was made of rectangular forms.o The building look “dynamited”, “space
call” were thrown away from the centre.
o Aesthetic concern tended to take priority over functioned and structural ones.
o This bias is very clear in the first de-stijl products.
o Example:-- Gezrit Rietveld’s wonderful but
uncomfortable chair The colors they used were black and
white and also the 3 primary colors (red, yellow, blue). As architect which best represent this movement is Reitveld.
Example: - the Schroeder house, Utrecht, (1923-1924) Holland.
The exterior looked like a piet Mondrian painting. Reitveld used a light weight steel frame for the house so that the walls were no longer load bearing.
This meant that internal wall could be positioned where desired rather that where they were necessary.
Panels of reinforced concrete were used to create balconies and overhangs. Colors were used on the exterior walls and on handrails.
This could transform in just a couple of minutes’ without much cost.
DECONTRUCTIVISM
This movement started in Soviet Union in 1918.
It as led by the Vesnin brother- Victor, Leoned and Alexander.
Is a development of postmodern architecture that began in the late 1980s
Important events in the history of the deconstructive movement include the 1982 Parc de la Villette architectural design competition the Museum of Modern Art’s 1988 Deconstructive Architecture exhibition in New York, organized by Philip Johnson and Mark Wigley, and the 1989 opening of the Wexner Center for the Arts in Columbus, designed by Peter Eisenman.
The New York exhibition featured works by Frank Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelb (l) au, and Bernard Tschumi.
Some of the architects known as Deconstructive were influenced by the ideas of the French philosopher Jacques Derrida.
Eisenman developed a personal relationship with Derrida, but even so his approach to architectural design was developed long before he became a Deconstructive.
For him Deconstructive should be considered an extension of his interest in radical formalism.
Some practitioners of deconstructive were also influenced by the formal experimentation and geometric imbalances of Russian constructivism.
There are additional references in deconstructive to 20th-century movements: the modernism/postmodernism interplay, expressionism, cubism, minimalism and contemporary art.
The attempt in deconstructive throughout is to move architecture away from what its practitioners see as the constricting 'rules' of modernism such as "form follows function," "purity of form," and "truth to materials."
Example of constructivism architecture- Palace of the people, Moscow, 1922- Pravda building, Moscow, 1924
Bur even the constructivism was supposed, it has lived on, till the present days truth its influence of modern architecture.
The exhibition stressed that the de-constructivist architecture was no a new style, nor was creed or even a movement. Instead is stated that this architecture harked back to the Russian constructivist of the 1920’s and 1930’s.
Therefore, many of the buildings never make the transition from the drawing board to the building site.
Deconstructive and building design- Frank Owen Gehry, CC (born Ephraim
Owen Goldberg, February 28, 1929) is a Pritzker Prize winning architect based in Los Angeles, California.
- His buildings, including his private residence, have become tourist attractions.
- Many museums, companies, and cities seek Gehry's services as a badge of distinction, beyond the product he delivers.
- His best known works include the titanium-covered Guggenheim Museum in Bilbao, Spain, Walt Disney Concert Hall in downtown Los Angeles, Dancing House in Prague, Czech Republic, and his private residence in Santa Monica, California, which jump-started his career, lifting it from the status of "paper architecture", a phenomenon which many famous architects have experienced in their formative decades through experimentation almost exclusively on paper before receiving their first major commission in later years.
- One example of deconstructive complexity is Frank Gehry's Vitra Design Museum in Weil-am-Rhein.
- Remment Koolhaas (born November 17, 1944 in Rotterdam) is a Dutch architect, architectural theorist, urbanist
- "Professor in Practice of Architecture and Urban Design" at the Graduate School of Design at Harvard University, USA.
- Koolhaas first studied scriptwriting at the Dutch Film Academy, and was then a journalist for the Haagse Post before starting studies, in 1968, in architecture at the Architectural Association School of Architecture in London, followed, in 1972, by further studies at Cornell University in New York.
- Koolhaas is the principal of the Office for Metropolitan Architecture, or OMA, and of its
research-oriented counterpart AMO, nowadays based in Rotterdam, The Netherlands.
- In 2005 he co-founded Volume Magazine together with Mark
SEATTLE CENTRAL LIBRARY
- Peter Eisenman (born August 11, 1932 in Newark, New Jersey) is one of the foremost practitioners of deconstructive in American architecture.
- Eisenman's fragmented forms are identified with an eclectic group of architects that have been, at times unwillingly, labeled deconstructivists.
By Rem koolhaas.
The Seattle Central Library is the flagship library of the Seattle Public Library system.
The 11-story (185 feet or 56 meters high)
Glass and steel building in downtown Seattle, Washington opened to the public on Sunday, May 23, 2004.
- Although Eisenman shuns the label, he has had a history of controversy aimed at keeping him in the public (academic) eye.
- His theories on architecture pursue the emancipation and autonomy of the discipline and his work represents a continued attempt to liberate form from all meaning, a struggle that most find difficult to understand.
- He always had strong cultural relationships with European intellectuals like his English mentor Colin Rowe and the Italian historian Manfredo Tafuri.
- The work of philosopher Jacques Derrida is a key influence in Eisenman's architecture.
- He is often seen in a bowtie and a black sweater with a small hole.
- Eisenman first rose to prominence as a member of the New York Five, five architects (Eisenman, Charles Gwathmey, John Hejduk, Richard Meier, and Michael Graves) some of whose work appeared in an exhibition at MoMA in 1967.
- Eisenman received a number of grants from the Graham Foundation for work done in this period.
- These architects' work at the time was often considered a reworking of the ideas of Le Corbusier.
- Subsequently, the five architects each developed unique styles and ideologies, with Eisenman becoming more affiliated with the Deconstructive movement.
CASTELVICCIO By Perter Eisenman Castelvecchio Museum (Italian: Museo
Civico di Castelvecchio) is a museum in Verona, northern Italy, located in the eponymous medieval castle.
Restoration by the architect Carlo Scarps, between 1959 and 1973, has enhanced the appearance of the building and exhibits.
Scarp’s unique architectural style is visible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork.
The museum displays a collection of sculpture, statues, paintings, ancient weapons, ceramics, gold works, miniatures and some old bells.
ROSENTHAL CENTER for CONTEMPORARY ART
-Zaha Hadid (Arabic: حديد CBE (زها
-Born October 31, 1950, Baghdad, Iraq
-Is a notable Iraqi-British deconstructive architect.
-Building: Vitra fire station, WFM state center, Rosenthal Center for Contemporary Art
WFM state center
Vitra fire station
Coop Himmelb (l) au is a cooperative architectural design firm primarily located in Vienna, Austria and which now also maintains offices in Los Angeles, United States and Guadalajara, Mexico.
The firm's name Himmelblau translates from German into English as 'sky blue', Himmelbau translates to 'heaven construction'.
The term in the title is pronounced as is the business abbreviation for cooperative, co-op.
Coop Himmelblau was founded by Wolf Prix, Helmut Swiczinsky and Michael Holzer and gained international acclaim alongside Peter Eisenman, Zaha Hadid, Frank Gehry and Daniel Libeskind with the 1988 exhibition,
"Deconstructive Architecture" at the Museum of Modern Art. Their work ranges from commercial buildings to residential projects.
DRESDEN UFA CINEMA CENTER
DRESDEN UFA CINEMA CENTER
The Groninger Museum, north Netherlands.
Not as famous as the Rijksmuseum, Amsterdam
It nevertheless is considered to be one of the best museums in The Netherlands.
Opened in 1994 the building became a well known highlight in the world of art.
Designed by the architects Philippe Starck, Alessandro Mendini and Coop Himmelblau, the museum is built on the opposite of the railway station in the water, and consists of three pavilions, one (the circular) made by Philippe Starck, one (the yellow tower) by Mendini himself and one (the deconstructivist part) by Coop Himmelb(l)au.
The Groninger Museum, north Netherlands
Has designed many prominent and celebrated buildings, including the Jewish Museum in Berlin, Germany, the Denver Art Museum, United States, and the Imperial War Museum North, Manchester, United Kingdom.
Michael Lee-Chin Crystal at the Royal Ontario Museum in Toronto, Canada, the Felix Nussbaum Memorial Museum in Osnabruck, Germany, the Jewish Museum in Copenhagen, Denmark, the Wohl Centre at the Bar-Ilan University in Tel Aviv, Israel .
As well as many more commercial and residential projects around the world.
In 2003, Libeskind won the competition for the masterplan to rebuild the World Trade Center site in Lower Manhattan
-Daniel Libeskind
-Born May 12, 1946 in Nod, Poland
-Is a Polish-born Jewish American architect.
The Imperial War Museum North
Is a war museum in Trafford Park, Greater Manchester, England
Opened on 5 July 2002, it is one of five branches of the Imperial War Museum, and the first outside the southeast of England.
And was carried out by Sir Robert McAlpine, with engineering by Arup.
Has a highly complex geometry with sloping floors, ceilings and few perpendicular surfaces
Designed to induce disorientation reminiscent of that caused by war.
The large tower is known as the air shard, and has a viewing/observation platform at the top, accessed by a lift, with a good view of The Lowry and Salford Quays.
Bernard Tschumi
Born January 25, 1944, French and Swiss parentage
He is an architect, writer, and educator. He works and lives in New York and
Paris. He studied in Paris and at ETH in Zurich,
where he received his degree in architecture in 1969.
Has taught at Portsmouth Polytechnic in Portsmouth, UK, the Architectural Association in London, the Institute for Architecture and Urban Studies in New York, Princeton University, the Cooper Union in New York and Columbia University where he was Dean of the Graduate School of Architecture, Planning and Preservation from 1988 to 2003.
Tschumi is a permanent U.S. resident.
GUGGANHEIM BILBAO
Post-modernism
Introduction- Postmodern architecture evolved from the
modernist movement, yet contradicts many of the modernist ideas.
- Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse.
- Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer.
- Philip Johnson's AT&T Headquarters is often cited as an example of postmodernism.
- Like many buildings in the International Style, the skyscraper has a sleek, classical facade. At the top, however, is an oversized “Chippendale" pediment.
- The key ideas of Postmodernism are set forth in two important books by Robert Venture: Complexity and Contradiction in Architecture and Learning from Las Vegas.
Postmodern architect:-Robert Venture and Denise Scott BrownMichael Graves Philip Johnson
Influence and distinction from post-modernity
- Starting in the late fifties until eighties- After the modernism disappear from architecture
designing- Evolved from the international style (modernism)- Evolved a more accessible laguable of form- Looks towards unity, simplicity and anonymity
(impersonal)
- Disappointment with modernism caused them to reject pure abstraction
- Post modern look for complexity and fun- Post modern buildings were part vernacular- The buildings are also part modern- Consideration of form and function- Extension of modern:-
Art History Material Philosophy Construction Design
- Borrowed from historical element especially from classicism.
Aims and Characteristics- Communicating meanings with ambiguity, and
sensitivity for the building’s context, are surprisingly unified for a period of buildings designed by architects who largely never collaborated with each other.
- The aims do, however, leave room for various implementations as can be illustrated by the diverse buildings created during the movement.
- These characteristics include the use of sculptural forms, ornaments, anthropomorphism and materials which perform tromped L’Oreal. These physical characteristics are combined with conceptual characteristics of meaning
- These characteristics of meaning include pluralism, double coding, irony and paradox, and contextualize
PHILOSOPHY:-
- Beauty is in the fact that the geometry in the building reflects the "natural laws".... no-ornamentation.
- Buildings may incorporate symbols to make a statement or simply to delight the viewer
Post-modernism building:-- Piazza d'Italia by Charles Willard Moore, New
Orleans.- Portland Public Service Building. - Transamerica building, downtown San
Francisco, CA, USA. - Abteiberg Museum. - San Antonio Public Library, Texas. - de-la-gauchetiere
Piazza d'Italia by Charles Willard Moore, New Orleans
Portland Public Service Building
Transamerica building, downtown San Francisco, CA, USA
Abteiberg Museum
San Antonio Public Library, Texas
Ancient ruyi symbol adorning Taipei 101 (Taiwan)
de-la-gauchetiere
HIGH-TECH
In architecture, high-tech design involves the use of the materials associated with high tech industries of the 1980s and 1990s, such as space frames, metal cladding and composite fabrics and materials. High tech buildings often have extensive glazing to show to the outside world the activity going on inside. Generally their overall appearance is light, typically with a combination of dramatic curves and straight lines. In many ways high tech architecture is a reaction against Brutalist architecture, without the features of post-modernism.
The high tech style emerged in the 1980s and remains popular. In the United Kingdom, two of its main proponents are Richard Rogers and Norman Foster
High-tech architecture, or Late Modernism, is an architectural style that emerged in the 1970s, incorporating elements of high-tech industry and technology into building design. High-tech architecture appeared as a revamped modernism, an extension of those previous ideas aided by even more advances in technological achievements. This period serves as a bridge between modernism and post-modernism, however there remain gray areas as to where one period ends and the other begins. In the 1980s, high-tech architecture became more difficult to distinguish from other post-modern architecture. Many of its themes and ideas were absorbed into the language of the post-modern architectural schools.
Background
Buildings in this architectural style were constructed mainly in Europe and North America. After the destruction of many
historic buildings in Europe during World War II, repairing them was a difficult matter. Architects had to decide between replicating the historic elements or replacing it with new modern materials and aesthetics.
The scientific and technological advances had a big impact on societies in the 1970s. The Space Race climaxed in 1969 with Neil Armstrong’s landing on the moon, and came along with excessive military developments. These advances set people’s minds thinking that much more can be achieved with advancing technology. Technological instruments became a common sight for people at the time because of the use of ramps, video screens, headphones, and bare scaffolds. These high-tech constructions became more visible everyday to the average person.
Name
The style got its name from the book High Tech: The Industrial Style and Source Book for The Home, written by design journalists Joan Kron and Suzanne Slesin and published in November 1978 by Clarkson N. Potter, New York. The book, illustrated with hundreds of photos, showed how designers, architects, and home owners were appropriating classic industrial objects—library shelving, chemical glass, metal deck plate, restaurant supply, factory and airport runway light fixtures, movers' quilts, industrial carpeting etc.—found in industrial catalogues and putting these to use in residential settings. The foreword to the book by architect Emilio Ambasz, former curator of design at the Museum of Modern Art, put the trend in historical context.
As a result of the publicity and popularity of the book, the decorating style became known as "High-Tech", and accelerated the entry of the still-obscure term "high-tech" into everyday language. In 1979, the term high-tech appeared for the first time in a New Yorker magazine cartoon showing a
woman berating her husband for not being high-tech enough: "You're middle-, middle-, middle-tech." After Esquire excerpted Kron and Slesin's book in six installments, mainstream retailers across the United States, beginning with Macy's New York, started featuring high-tech decor in windows and in furniture departments. But credit should go to a shop on 64th Street and Lexington Avenue in New York, Ad Hoc Housewares, which opened in 1977, for marketing these objects to a residential audience before anyone else. The book went on to be reprinted in England, France, and Japan, and like the original, each edition included a directory of local sources for the objects.
Aims
High-tech architecture was, in some ways, a response to growing disillusionment with modern architecture. The realization of Le Corbusier’s urban development plans led to cities with monotonous and standardized buildings. Enthusiasm for economic building led to extremely low-quality finishes, with subsequent degradation countering a now-waning aesthetic novelty. High-tech architecture created a new aesthetic in contrast with standard modern architecture. In High Tech: The Industrial Style and Source Book for The Home, when discussing the high-tech aesthetic, the authors emphasized using elements "your parents might find insulting". This humour so aptly demonstrates the rebellious attitude.
Kron and Slesin further explain the term "high-tech" as one being used in architectural circles to describe an increasing number of residences and public buildings with a "nuts-and-bolts, exposed-pipes, technological look". There is no need to look further than Roger’s Pompidou Centre for an example of this. This highlights the one of the aims of high-tech architecture, to boast the technical elements of the building by externalizing them. Thus, the technical aspects
create the building's aesthetic.
For interior design there was a trend of using formerly industrial appliances as household objects, e.g. chemical beakers as vases for flowers. This was because of an aim to use an industrial aesthetic. This was assisted by the conversion of former industrial spaces into residential spaces. High-tech architecture aimed to give everything an industrial appearance.
Another aspect to the aims of high-tech architecture was that of a renewed belief in the power of technology to improve the world. This is especially evident in Kenzo Tange’s plans for technically sophisticated buildings in Japan's post-war boom in the 1960s, but few of these plans actually became buildings. High-tech architecture aimed to achieve a new industrial aesthetic, spurred on by the renewed faith in the progression of technology.
But however prominent the industrial look appeared, the functional element of modern architecture was very much retained. The pieces still served a purpose in the building’s function. The function of the building was also aimed as not being set. This dynamic property means that a building should be a "catalyst", the "technical services are provided but do not become set."
Characteristics
The HSBC Hong Kong headquarters is one example of high-tech architecture
Characteristics of high-tech architecture have varied somewhat, yet all have accentuated technical elements. They included the prominent display of the building's technical and functional components, and an orderly arrangement and use of pre-fabricated elements. Glass
walls and steel frames were also immensely popular.
To boast technical features, they were externalized, often along with load-bearing structures. There can be no more illustrious example than Roger’s Pompidou Centre. The ventilation ducts are all prominently shown on the outside. This was a radical design, as previous ventilation ducts would have been a component hidden on the inside of the building. The means of access to the building is also on the outside, with the large tube allowing visitors to enter the building.
The orderly and logical fashion in which buildings in the high-tech architectural style are designed to keep to their functional essence is demonstrated in Norman Foster’s Hong Kong and Shanghai Bank HQ. Besides the technology being the overriding feature of the building, its design is very much functionally orientated. The large interior open space and the easy access to all floors very much enhance the function of being a bank. Also, the elements of the buildings are very neatly composed to achieve optimal orderliness in order to logically solve the problem of the needs of a bank. This can be seen in the levels' structure and in the escalators.
The high-tech buildings make persistent use of glass curtain walls and steel structure. It is greatly indebted to modern architecture for this, and influenced by Mies van der Rohe’s corporate buildings. The SOM Sears Tower demonstrates that with glass walls and skeleton pipe structure of steel, a very tall building can be built. Many high-tech buildings meant their purposes to be dynamic. This could best be explained by Günther Behnisch and Frei Otto’s Munich Olympic Stadium. This structure made sport in the open possible and is meant to be used for many purposes. Originally an abandoned airfield, it is now a sport stadium, used for various disciplines.
* HSBC headquarters - Hong Kong * Žižkov TV Tower - Prague * Lord's cricket ground - London * Centre Georges Pompidou - Paris
High tech - a tentative definition
High Tech architects all agree on at least one thing: they hate the term "High Tech". Apart from a natural human unwillingness to be pigeonholed, there seem to be three main reasons for this. The first is that in the early 1970s "High Tech" was often used as a term of abuse by architects who had taken up the fashionable cause of "alternative technology". As the term passed into more general use it lost its negative connotations, but High Tech architects themselves still prefer to use some such phrase as "appropriate technology". Second, it is an ambiguous term. High Tech in architecture means something different from High Tech in industry. In industry, it means electronics, computers, silicon chips, robots, and the like; in architecture it now means a particular style of building.But as soon as we use the word style we come up against the third objection. British High Tech architects hate the word style even more than they hate the word High Tech. In the USA the term High Tech does refer mainly to a style, but in Britain it means something much more rigorous...
Most people interested in contemporary architecture know what High Tech means, at least in general terms. And if High Tech has nothing to do with high technology, well neither has Gothic anything to do with Goths. So exactly what does it mean?
For now we can simply say that its characteristic materials are metal and glass, that it purports to adhere to a strict code of honesty of expression, that it usually embodies ideas about industrial production, that it uses industries other than
the building industry as sources both of technology and of imagery, and that it puts a high priority on flexibility of use.It could, alternatively, be defined in purely personal and historical terms as the label we apply to almost any building designed in the last twenty years by Richard Rogers, Norman Foster, Nicholas Grim Shaw, or Michael Hopkins. There are other exponents of High Tech, and not all of them are British, but these four are leaders of the movement. And it is, in a sense, a movement. It holds no conferences and issues no manifestos, but most of its members share the same educational background and are known personally to one another. They have worked in each other's offices, and exchange ideas, sometimes collaborating, sometimes competing.
Function and representation - Technique or style?
The exponents of High Tech, like the pioneer Modernists of the 1920s, believe that there is such a thing as the "spirit of age" and that architecture has a moral duty to express that spirit. The spirit of our age, according to High Tech Architects, resides in advanced technology. Architecture must therefore participate in and make use of that technology-the technology of industry, transport, communication, flight and space travel. Why, they ask, should buildings be any different from the other artifacts of industrial culture? Why do we continue to make buildings out of cumbersome, messy, imprecise materials such as bricks, mortar, concrete, and timber when we could be making them out of light, precision components of metal and glass, fabricated in factories and quickly bolted together on site?
High-Tech Architecture
- 30 St Mary Axe, by Norman Foster, at London, England, UK, 2000 to 2004.
- 88 Wood Street, by Richard Rogers, at London, England, 1993 to 2001.
- Centre Pompidou, by Rogers and Piano, at Paris, France, 1972 to 1976.
- Chek Lap Kok Airport, by Norman Foster, at Hong Kong, China, 1998.
- Continental Train Platform, by Nicholas Grimshaw and Partners, at Waterloo Station, London, England, 1993.
- Ecological Center Project, by Nicholas Grimshaw, at St. Austell, Cornwall, England, 1996.
- Enerplex, North Building, by Skidmore Owings and Merrill (SOM), at Princeton, New Jersey, 1982.
- Glyndebourne Opera House, by Michael Hopkins and Partners, at England, 1994.
- Hongkong and Shanghai Bank, by Norman Foster, at Hong Kong, China, 1979 to 1986.
- Hotel du Departement, by Alsop and Stormer, at Marseille, France, 1994.
- Hysolar Research Building, by Gunter Behnisch, at Stuttgart, Germany, 1986 to 1987.
- INMOS Factory, by Richard Rogers, at Newport, South Wales, 1980 to 1982.
- IRCAM Extension, by Renzo Piano, at Paris, France, 1988 to 1989.
- Kansai Airport Terminal, by Renzo Piano, at Osaka, Japan, 1994.
- Lloyds Building, by Richard Rogers, at London, England, 1979 to 1984.
- London City Hall, by Norman Foster, at London, England, UK, 1998 to 2003.
- Menil Collection, by Renzo Piano, at Houston, Texas, 1982 to 1986.
- Millau Viaduct, by Norman Foster, at Millau, Tarn Valley, France, 2004.
- Millennium Dome, by Richard Rogers, at London, England, United Kingdom, 1999.
- Museum of Fruit, by Itsuko Hasegawa, at Yamanashi, Japan, 1996.
- PA Technology Center UK, by Richard Rogers, at Melbourn, Hertfordshire, England, 1975 to 1983.
- PA Technology Center, by Richard Rogers, at Princeton, New Jersey, 1982.
- Rue de Meaux Housing, by Renzo Piano, at Paris, France, 1988 to 1991.
- Sainsbury Centre, by Norman Foster, at Norwich, England, 1977.
- Schlumberger Centre, by Michael Hopkins, at Madingly Road, Cambridge, England, 1979 to 1981.
- Sidney Myer Music Bowl, by Yunken Freeman, architects with W. L. Irwin, engineers, at Melbourne, Australia, 1957.
- Stansted Airport, by Norman Foster, at London, England, UK, 1991.
- The Ark, by Ralph Erskine, at London, England, UK, 1990.- Tokyo International Forum, by Rafael Vinoly, at Tokyo,
Japan, 1989 competition, completed 1996.