Modernism

19th century modern era in Europe, America & other parts of the world.

1. 20 th century MODERN Submitted by: Mitali Gondaliya 1301 -Rahul Asodariya 1303 - Darshan Bavadiya 1304 - Urmila Dhameliya 1309 - Nikhilesh Dhaduk 1310 - Vatsal Gadhiya 1311 - Darshan Savsaiya 1334 - Ridham Vekariya 1339 ARCHITECTURE

2. What is MODERNITY ? it means present, or current, implying as its opposite the notion of earlier, of what is past. A second meaning of the word is the new, as opposed to the old. New materials, technology & needs were drastically changing the profession of architecture. Breaking free from ancient Greek & Roman Prototypes (rejection of the traditional neoclassical architecture) The changing face of the growing cityscape. The rise of skyscrapers. America comes into focus as a budding center of modern design (Empire State Building 1931) Birth of Modern Architecture

3. MODERN ARCHITECTURE Geometry to live in: - Victorian homes were bulky & complicated & Modernist architects changed all that. - Gone were the historical ornament designs. The goal was now ‘simple’ & clean designs. - Science & industry was the new ‘religion’. The house became a ‘machine for living’. - Rise of an International Style. - The common characteristics of the Style includes: i ) a radical simplification of form ii) a rejection of ornament iii) adoption of glass, steel & concrete.

4. Population increase Industrialization led Urbanization and massive building exercise New materials for building World War I (1914-18) & World War II (1939-45) World War II and End of Colonialism New Typologies – Railway Station, Department Store, Office, Apartment towers, Factories, Dams and Airports… New Clients – Municipalities, cooperatives, institutions, social groups… What led to MODERNISM ?

5. START OF A MOTOR AGE

6. NEW MATERIAL AND TEC H NOLOGY

7. NEW MATERIAL AND TEC H NOLOGY

8. ORIGINS The revolution in materials came first, with the use of  cast iron plate glass reinforced concrete, to build structures that were stronger, lighter and taller. The cast plate glass process was invented in 1848, allowing the manufacture of very large windows.  The Crystal Palace, 1851 (iron and plate glass construction & metal curtain wall) These developments together led to the first steel-framed skyscraper, the ten-story Home Insurance Building in Chicago, built in 1884. The iron frame construction of the Eiffel Tower, then the tallest structure in the world

9. EARLY MODERNISM IN EUROPE At the end of the 19th century, a few architects began to challenge the traditional Neoclassical styles that dominated architecture in Europe and the United States.

10. The Glasgow School of Art by Charles Rennie MacIntosh  (1896–99) RCC building by  Auguste Perret , Paris (1903) The Théâtre des Champs-Élysées in Paris by Auguste Perret (1911-1913) Stepped RCC building in Paris  (1912-1914) Austrian Postal Savings Bank in Vienna by Otto Wagner (1904-1906) The Steiner House in Vienna by Adolf Loos  (1910)

11. ART AND CRAFT MOVEMENT The arts and crafts movement was made up of English designers and writers who wanted a return to handcrafted goods instead of mass-produced . Artists tried to re - establish the ties between work and the worker . The Arts and Crafts Movement initially developed in Britain around 1880 and quickly spread across America and Europe before emerging finally as the Mingei (Folk Crafts) movement in Japan . I t established a new set of principles for living and working. It turned the home into a work of art .

12. “to re-establish a harmony between architect, designer and craftsman and to bring handcraftsmanship to the production of well-designer, affordable, everyday objects .” Inspired by socialist principles and led by William Morris, the members of the movement used the medieval system of trades and guilds to set up their own companies to sell their goods. Unfortunately, it had the reverse effect and, apart from the wealthy middle classes, hardly anyone could afford their designs . Visually, the style has much in common with its contemporary art pl a y ed a r ol e i n the f ou n din g o f B a u haus and ARTIST AND A R CHIT E C T S William Morris John Ruskin Philip web C r Ashbee Change in Working condition Belief in restorative power of craftsmanship Simple life Art as a way of life nouvea u and it modernism. o Principle of art craft movement Honesty Design unity Joy in labour Individualism Regionalism (use of local material and crafts men) o Social reforms intended o Characteristics with movement handmade simple forms with little ornamentation beauty of natural materials copper and pewter - often with a hammered finish stylised flowers, allegories from the Bible and literature, upside down hearts, Celtic motifs

13. RED HOUSE - PHILIP WEB

14. T he Red House was merely the first of a series of houses in which he endeavoured to engender an authentic historical style, through the direct expression of local materials and craftsmanship . Webb adopted the Gothic Revival , that is, clay tiling, corbelled brick work, rubbed brick arches and circular openings, as a way of articulating an open-ended form of vernacular expression .“ RED HOUSE - PHILIP WEB

15. The house was built of deep red brick laid in the English bond . It had two storeys and was L shaped. The roof was steep with tall chimney stacks . In the halls were cupboards painted by Burne- Jones with stained glass by Morris and Burne-Jones . Dark red tiles covered the floor . The walls of the principal bedroom were hung with embroidered serge, a craft Morris taught his wife . RED HOUSE - PHILIP WEB

16. Art Nouveau is French and means New Art. It is characterized by its highly decorative style and by the dedication to natural forms. Art Nouveau was popular from about 1880 to 1910 and was an International art movement. Siegfried Bing (later called Samuel Bing) was the founder in 1895 of " La Maison de l'Art Nouveau " in Paris : It was his art gallery and exhibition hall that gave its name to the famous artistic Style Art Nouveau. The movement was committed to abolishing the traditional hierarchy of the arts, which viewed so- called liberal arts, such as painting and sculpture , as superior to craft-based decorative arts. The practitioners of Art Nouveau sought to revive good workmanship , raise the status of craft, and produce genuinely modern design. ART NAUVEAU (1860-1910)

17. ART NAUVEAU It was characterized by an elaborate ornamental style based on asymmetrical lines, frequently depicting flowers, leaves, or in the flowing hair of a female. It can be seen most effectively in the decorative arts, for example interior design, glasswork and jewelry. H o w ev e r , i t w as also seen i n po s t e r s and pai n t i n g s and illu s t r a t i o n as w ell as c er t a i n sculptures of the period. Art Nouveau did not survive maybe because of the high W o rl d W ar I, pri c es f o r A r t Nouveau objects. With the philosophical roots in high quality handicraft, Art Nouveau was nothing for mass production. Inspirations Arts and Crafts Movement Japanese Art

18. o PRINCIPALS OF ART NOUVEAU STYLE flat, decorative patterns; intertwined organic forms such as stems or flowers; an emphasis on handcrafting as opposed to machine manufacturing; the use of new materials; and the rejection of traditional styles o CHARACTERISTICS: Asymmetrical shapes Extensive use of arches and curved forms Curved glass Curving, plant-like embellishments Mosaics Stained glass Japanese motifs ART NAUVEAU

19. Mackintosh school Glasglow, Scotland 1897-1909 -dependent on the straight line Pierre Francastel divides Art Nouveau into two main tendencies that could broadly termed the organic and the rationalist. Rationalist: Organic: Gaudi, Barcelona , Spain1903 -gives precedence to the curved line and floral shapes CLASSIFICATION:

20. CLASSIFICATION: 2. A floral approach focuding on organic plant forms (Galle, Majorelle, Vallin, gaudi) 1. An abstract, structural style with a strong symbolic and dynamic tendency (France & Belgium) (Horta, Guimard, Van de Velde) Aquarium Pavillion Henry Van de Velde’s house

21. 4. A structured, geometric style (Austria & Germany,usa) ( Wagner, olbrich, hoffmann, loos ,sullivan ) 3. The linear, flat approach, with a heavy symbolic element (Glasglow group, Mackintosh) Majolikahaus in Vienna by Otto Wagner Glasgow School of Art by Charles Rennie Mackintosh CLASSIFICATION:

22. VICTOR HORTA (1861 –1947 )

23. VICTOR HORTA (1861 –1947 )

24. ANTONI GAUDÍ (1852 –1926 )

25. ANTONI GAUDÍ (1852 –1926 )

26. CHARLES RENNIE MACKINTOSH (1868 –1928 )

27. EARLY MODERNISM IN EUROPE

28. PLAN SECTION AEG Turbine Factory (Peter Behrens)

29. EARLY MODERNISM IN AMERICA 1 2 3 4 5 6 1 – Verandah 2 – Reception Hall 3 – Dining Hall 4 – Living Room 5 – Kitchen 6 – Rear Verandah Larkin Administration Building, New York (1904-1906) The  Robie House, Chicago (1909)

30. INFLUENCE ON USA- ORGANIC ARCHITECTURE “The idea that every country should have an architecture that reflects its own particular history, geography and climate was central to the Arts and Crafts movement” “ It is building the way nature builds.” The term ORGANIC ARCHITECTURE was invented by great Architect Frank Lloyd Wright (1867-1959). Although the word “Organic” usually refers plants or animals or anything related to nature but his interpretation was an idea which was to promote harmony between man made structure and nature around through design approach as a unified composition. He believed that building should complement its environment , building should work as a cohesive organism . How he defined Organic Architecture changed often, as he refined it, and also as the situation demanded. Integral to Site - houses designed to rise up out of the site as it belonging. Integral to environment - built appropriately to climate. Integral to Individual - Each building built to accommodate the lifestyle of the inhabitants way of life and needs. Integral to Materials - details of the building were the materials themselves

31. MILLARD HOUSE - F .L . W .

32. MILLARD HOUSE - F .L . W .

33. MILLARD HOUSE - F .L . W .

34. EARLY MODERNISM IN AMERICA

35. The Woolworth Building and the New York skyline in 1913. It was modern on the inside but neo-Gothic on the outside.

36. CHICAGO SCHOOL OF ARCHITECTURE late 19 th century Also K n o wn as Comm e r ci a l s ty l e, the Chi c a g o school was a school of architects active in Chicago at the turn of the 20 th century . T o promote the new technologies of steel- frame construction in commercial buildings . A r c hi t ects w e r e en c ou r a g ed t o b u il d h i gher structures because of the escalating land prices . I s o l a t ed f oot i n g s u p p or t ed a s k el e t o n o f i r on encased in masonry There were: fireproof floors, numerous fast elevators and gas light The traditional masonry wall became curtains, full of glass, supported by the metal skeleton The first skyscrapers were born.

37. Adler Sullivan Le Baron Jenney Burham INFLUENTIAL ARCHITECTS

38. Bold geometric facades pierced with either arched or lintel-type openings. The wall surface highlighted with extensive low-relief sculptural ornamentation in terra cotta. Buildings often topped with deep projecting eaves and flat roofs. The multi-story office complex highly regimented into specific zones or ground story, intermediate floors, and the attic or roof. Large arched window or Vertical strips of windows Decorative band Pilaster-like mullions Projecting eaves (the under part of a sloping roof overhanging a wall) Highly decorated frieze Decorated terra cotta spandrels Capital of pilaster strips Foliated and linear enrichments along jambs or entry . CHARACTERISTICS

39. much larger windows used - daylight reaching interior spaces. Interior walls became thinner - which created more usable floor space. Sullivan changes that came with the steel frame , creating a grammar of form for the high rise (base, shaft, and pediment) The mass production of steel This new way of constructing buildings, so-called " column-frame ” construction

40. Chicago’s Auditorium

41. Carsons Pirie Scott & Co

42. THE RISE OF MODERNISM (1919-1930) By the late 1920s, modernism had become an important movement in Europe. Architecture, which previously had been predominantly national, began to become international. The architects traveled, met each other, and shared ideas. Several modernists, including Le Corbusier, had participated in the competitions.

43. GERRIT RIETVELD Rietveld Schröder House, Nederlands (1924)

44. PURISM 1918 -1925 Purism & Le Corbusier In collaboration with the artist Amédée Ozenfant, he developed a new theory called Purism where architecture would be as efficient as a factory assembly line . The code of purist rules would be to refine and simplify design, dispensing with ornamentation . Many of his ideas were documented in his book "Towards a New Architecture", He called his private homes “machines to be lived in” and their importance was based on a balance of aesthetics, the mental and social well being of humans, light, air and harmony . Designed furniture that was lines are clean, straight and precise. The golden ratio was the ideal shape, and that is reflected in their work. Le Corbusier Amédée Ozenfant

45. Corbusier was the pioneer of modernism in architecture and laid foundation to what is known as Bauhaus Movement or International style. He formed the five points of architecture which were the guiding principles for many architects. PURISM 1918 -1925 Greek Pantheon Villa Savoye

46. STUTTGART HOUSE , LE CORBUSIER

47. BAUHAUS 1919 - 1933 The Bauhaus, an innovative German school of art and design was founded in 1919 by Walter Gropius . The name Bauhaus stems from the German words for "to build" and " house .” Bauhaus is a school in Germany that combined crafts and the fine arts . 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 . The school uses a foundations course and workshop experiences to train students in theory and form, materials, and methods of fabrication.

48. WALTER GROPIUS LUDWIG MIES VAN DER ROHE HANNES MEYER F OUNDE R S

49. The goal was to unify art and technology . Building Types: schools, offices, and government buildings . The most important construction materials include steel, glass, and reinforced concrete, sometimes a brick masonry applied on the face of the concrete . CHARACTERISTIC Bauhaus Is Enclosed By Glass Curtains The Whole Cube Seems Like To Immense Horizontal Plains Floating On The Ground. Bauhaus Is Enclosed By Glass Curtains. The High Glass Walls Revealing The Light Steel Structure…. Delineated In All Its Transparency By The Iron Grid Of Its Exterior Structure.

50. Smooth surfaces Grid forms Horizontal planes Simple facades without any ornamentation Primary colors, black, gray, beige, white

51. Language of German buildings The new Bauhaus building in Dessau (1926)

52. WALTER GROPIUS BAUHAUS

53. WALTER GROPIUS BAUHAUS

54. “ You must walk around the building to understand its materiality and function of its various elements.” Gropius

55. Bauhaus Door Knob Arguably the most famous piece designed by Walter Gropius, the Bauhaus doorknobs geometric forms and industrial flourishes, such as exposed screws, set the tone for what the Bauhaus aesthetic was about Bauhaus Lamp Probably the most iconic piece of lighting to come out of the Bauhaus, William Wagenfeld's lamp, constructed of precisely cut glass and metal, is among the first objects to emerge under the Bauhaus' technology-focused regime. PRODUCT DESIGNING:

56. Bauhaus Tea Infuser Designed in 1924 by Marianne Brandt, the Bauhaus tea infuser has a built-in strainer, non-drip spout, and heat-resistant handle made of ebony, embracing the school's principals of combining functionality and aesthetic. Barcelona Chair Designed in 1929 by future Bauhaus head Ludwig Mies van der Rohe and partner Lily Reich, the gentle, swooping lines Barcelona chair served as a precursor of what was to come with the mid-century modern furniture movement

57. GROPIUS CHAIR Bauhaus Wasilly Chair Of all the chairs to come out of the Bauhaus, this is the one that commonly comes to mind. Designed my Marcel Breuer, the Wasilly chair is a mix of steel and leather, using no more material than is absolutely needed, while providing maximum comfort. It's a design you'll still find in homes today. Marcel Breuer chair, one of the very first tubular steel chairs, designed in 1925.

58. Bauhaus Chess Set Designed in 1922 by Josef Hartwig, the best part about the chess pieces is that the design of each also indicates the type of movement it is capable of Bauhaus Nesting Tables Nothing quite says "smart" like five separate tables that fit into the footprint of one. And the use of colors with each table is something that would be revisited by Ray and Charles Eames decades later

59. D esklamp Mies Van de Rohe’s Cantilevered Chair Bauhaus Cradle The Bauhaus Cradle emerged in the early days of the German design school, but the simplicity of this magazine holder, both with regard to the form and colors used, doesn't undermine the inherent playfulness of the design.

60. ART DECO Art Deco, is an eclectic artistic and design style that began in Paris in the 1920s and flourished internationally throughout the 1930s and into the World War II era . The style influenced all areas of design, including architecture and interior design, industrial design, fashion and jewellery, as well as the visual arts such as painting, graphic arts and film . Art Deco is characterized by use of materials such as aluminium , stainless steel, lacquer, Bakelite, Chrome and inlaid wood. The use of stepped forms and geometric curves (unlike the sinuous, natural curves of Art Nouveau), chevron patterns, ziggurat- shapes, fountains, and the sunburst motif are typical of Art Deco.

61. La Samaritaine Department store facade The Mossehaus

62. THE CHRYSLER BUILDING , William Van Alen; built 1928–30

63. WORLD WAR II – Wartime innovation & Postwar Reconstruction (1939-45) Destroyed by Bombing due to war (Le Havre) -1943-44 The center of Le Havre as reconstructed by August Perret  (1946-1964)

64. WORLD WAR II – Wartime innovation & Postwar Reconstruction (1939-45) This war was a major factor in driving innovation in building technology, and in turn, architectural possibilities.  The wartime industrial demands resulted in shortages of steel and other building materials, leading to the adoption of new materials, such as aluminum. The war and postwar period brought greatly expanded use of prefabricated building; largely for the military and government. The postwar housing shortages in Europe and the United States led to the design and construction of enormous government-financed housing projects, usually in run-down center of American cities, and in the suburbs of Paris and other European cities, where land was available.

65. INTERNATIONAL STYLE OF ARCHITECTURE Illinois Institute of Technology campus. Designed by Ludwig Mies van der

66. INTERNATIONAL STYLE OF ARCHITECTURE INTERNATIONAL STYLE that developed in Europe and the United States in the 1920s and ’30s and became the dominant tendency in Western architecture during the middle decades of the 20th century International Style . The most common characteristics of International Style buildings are rectilinear forms; light, taut plane surfaces . The term International Style was first used in 1932 Architecture Since 1922, which served as a catalogue for an architectural exhibition held at the Museum of Modern Art . HENRY RUSSEL HITCHCOCK AND PHILIP JOHNSON INTRODUCED THIS AND ENTITELD THIS STYLE. Moma (museum of modern art)modern architecture international style exhibition in 1932 is known as the most influential event in the history of architecture .

67. CHARACTERISTIC The typical characteristics of International Style buildings include rectilinear forms; plane surfaces that are completely devoid of applied ornamentation; and open, even fluid, interior spaces. This early form of minimalism had a distinctively "modern look", reinforced by its use of modern materials, including glass for the facade, steel for exterior support, and concrete for interior supports and floors. A style which is a elegant mixer of various USA and Europe architecture styles Seagram Building, New York,

68. Farnsworth House, Illinois

69. LUDWIG MIES VAN DER ROHE SEAGRAM BUILDING New York , 1958

70. IDEOLOGY AND ARCHITECTURE : “LESS IS MORE.” “GOD IS IN THE DETAILS.” Architect Ludwig Mies van der Rohe (1886–1969) adopted the motto "Less is more" to describe his aesthetic tactic of arranging the necessary components of a building to create an impression of extreme simplicity—he enlisted every element and detail to serve multiple visual and functional purposes . He called his buildings "skin and bones" architecture. He sought an objective approach that would guide the creative process of architectural design . Mies's second famous dictum is that 'God is in the details.' expressing the idea that whatever one does should be done thoroughly .

71. LUDWIG MIES VAN DER ROHE BARCELONA PAVILION

72. LUDWIG MIES VAN DER ROHE BARCELONA PAVILION

73. LUDWIG MIES VAN DER ROHE BARCELONA PAVILION

74. FURN I T U RE

75. Brutalism is a style with an emphasis on materials, textures and construction, producing highly expressive forms . BRUTALISM

76. BRUTALISM Brutalist architecture is a movement in architecture that flourished from the 1950s to the mid-1970s, descending from the modernist architectural movement of the early 20th century . Consider Brutalism as architecture in the raw, with an emphasis on materials, textures and construction, producing highly expressive forms . Also called New Brutalism, it encouraged the use of beton brut (raw concrete), in which patterns created by wooden shuttering are replicated through board marking . Scale was important and the style is characterised by massive concrete shapes colliding abruptly, while service ducts and ventilation towers are overtly displayed.

77. CH A RACT E RISTIC Rough unfinished surfaces Unusual shapes Heavy-looking materials Massive forms Small windows in relation to the other parts Trellick Tower, London, 1966–1972, Ernő Goldfinger,

78. Cité radieuse, Marseille

79. habitat 67

80. Lack of ornament: Decorative mouldings and elaborate trim are eliminated or greatly simplified, giving way to a clean aesthetic where materials meet in simple, well-executed joints. Emphasis of rectangular forms and horizontal and vertical lines : Shapes of houses are based boxes, or linked boxes. Materials are often used in well-defined planes and vertical forms juxtaposed against horizontal elements for dramatic effect. Low, horizontal massing, flat roofs, emphasis on horizontal planes and broad roof overhangs: Modern homes tend to be on generous sites, and thus many, but not all, have to have meandering one-story plans. Many examples hug the ground and appear of the site, not in contrast to it. Use of modern materials and systems: Steel columns are used in exposed applications, concrete block is used as a finished material, concrete floors are stained and exposed, long- span steel trusses permit open column-free spaces, and radiant heating systems enhance human comfort. Use of traditional materials in new ways: Materials such as wood, brick and stone are used in simplified ways reflecting a modern aesthetic. Traditional clapboard siding are replaced with simple vertical board cladding used in large, smooth planes. Brick and stonework are simple, unornamented, and used in rectilinear masses and planes. CONTEXT AND CHARACTERISTIC OF MODERN ARCHITECTURE

81. Emphasis on honesty of materials: Wood is often stained rather than painted to express its natural character. In many cases exterior wood is also stained so that the texture and character of the wood can be expressed. Relationship between interior spaces and sites: Use of large expanses of glass in effect brings the building’s site into the building, taking advantage of dramatic views and natural landscaping. Emphasis on open, flowing interior spaces: Living spaces are no longer defined by walls, doors and hallways. Living, dining and kitchen spaces tend to flow together as part of one contiguous interior space, reflecting a more casual and relaxed way of life. Generous use of glass and natural light: Windows are no longer portholes to the outside, but large expanses of floor to ceiling glass providing dramatic views and introducing natural light deep into the interior of homes. Use of sun and shading to enhance human comfort: The best modern homes are efficient. They are oriented to take advantage of nature’s forces to provide passive solar heating in the winter, while long overhangs and recessed openings provide shading to keep homes cool in the summer. CONTEXT AND CHARACTERISTIC OF MODERN ARCHITECTURE

82. Pyramid of the Louvre Museum in Paris by I.M. Pei (1983–89)

83. Auditorium of the University of Technology, Helsinki, by  Alvar Aalto (1964) Sainte Marie de La Tourette  in France by Le Corbusier (1956–60) Interior of the Luis Barragán House and Studio in Mexico City, by Luis Barragan  (1948) East Wing of the National Gallery of Art in Washington, D.C., by I M. Pei (1978)