Theory of modern movement

Architecture- School of thoughts, Modern masters

1. Modern movement: Introduction Modern movement masters: Le Corbusier ,Frank llyod wright Chicago school: Influence of new material and techniques, demand for new types of building, influence of technology-Louis sullivan Eclectism Art and Crafts movement Art Nouveau

2. AVANT - GARDE In French,  avant - garde  means the “vanguard” or the “advance guard”- people or works that are experimental, radical, or unorthodox with respect to art, culture, or society. EUROPEAN AND AMERICAN ARCHITECTURE Le Corbusier  and  Robert Mallet-Stevens  in France.  Frank Lloyd Wright  independent American architect. THE BIRTH OF THE SKYSCRAPER Louis Sullivan , who pioneered the first tall steel-frame office buildings in Chicago, and who famously stated "form follows function."  MODERNISM IN EUROPE AND RUSSIA  Walter Gropius  and  Ludwig Mies van der Rohe  in Germany, Konstantin Melnikov  in the new  Soviet Union ,  The Bauhaus was founded by  Walter Gropius  in  Weimar . The German term  Bauhaus —literally "building house"—was understood as meaning "School of Building", but in spite of its name and the fact that its founder was an  architect

3. EARLY MODERNISM IN EUROPE

4. EARLY MODERNISM IN EUROPE

5. EXPRESSIONIST ARCHITECTURE In Germany, two important modernist movements 

6. Constructivist architecture   abstract  non-objective 'constructions' with a  kinetic  element

7. They rejected ornament as frivolous and outdated, seeking instead to create an entirely new aesthetic based on the needs and opportunities of new materials and structural approaches such as reinforced concrete and steel frames STRUCTURAL INNOVATIONS THE AESTHETICS OF FUNCTION

8. The modern movement includes a series of architectural movements and advancements that derives from the stylistic and creative remnants of the Art Nouveau, Cubist and Art Deco periods The main storyline of architecture in the twentieth story is that of the development of Modernism , and various reactions to it. But from the 1920s or so in avant-garde circles, the term “Modern” came to refer to a particular approach by a group of architects who sought to cast off historical precedent and develop something entirely new and different for their own time. The carnage of World War I having convinced them that the ways of old Europe were a failure, Modernist architects saw historical styles—developed in response to earlier conditions—as anachronistic, irrelevant, and potentially decadent.

9. INTRODUCTION  Modern architecture is a term applied to a period in architectural history during the 20th century.  Modern architecture began with advancement and the modernization of efforts to reconcile the principles Underlying architectural design with rapid technological society. Modernism is broadly characterized by SIMPLIFICATION OF FORM AND SUBTRACTION OF ORNAMENTATION from the structure and theme of the building. Modern architecture, emerged in many western countries in the decade after world war i . It was based on the "rational" use of modern materials, the principles of functionalist planning, and the rejection of historical precedent and ornament. MODERN ARCHITECTURE EVOLUTION OF THE STYLE Increasingly, during the 1950s, modern architecture was criticized for its sterility, its "institutional“ anonymity, and its disregard for regional building traditions. More varied modes of expression were sought by architects of the next generation, although the basic Emphasis on structure and materials continued. This tendency was evident in the works of louis kahn , edward durell stone, and philip cortelyou johnson in the united states, and the architects of the so-called new brutalism movement in england . A dynamic sculptural unity distinguished the buildings of eero saarinen and the late works of le corbusier .

10. CHARACTERISTICS •The notion that "FORM FOLLOWS FUNCTION", meaning that the result of design should derive directly from its purpose • SIMPLICITY AND CLARITY OF FORMS and elimination of "unnecessary detail" • MATERIALS AT 90 DEGREES to each other •Visual expression of structure (as opposed to the hiding of structural elements. •The related concept of "TRUTH TO MATERIALS", meaning that the true nature or natural appearance of a material ought to be seen. •Use of INDUSTRIALLY-PRODUCED MATERIALS. •A visual EMPHASIS ON HORIZONTAL AND VERTICAL LINES . •Use of NEW TECHNOLOGIES AND NEW MATERIALS. •Implementation of ― SKIN AND BONE ARCHITECTURE ‖. • MINIMUM WASTAGE of materials, materials generally consists of glass and steel. •Fully UTILIZATION OF SPACES externally and internally

11. LE CORBUSIER FRANK LLOYD WRIGHT LOUIS SULLIVAN LUDWIG MIES VAN DER ROHE WALTER GROPIUS Barcelona Pavilion by Ludwig Tel Aviv by Walter Gropius Saddam Husein Gymnasium by le corbuseir Wainwright Building by Louis Sullivan

12. LE CORBUSIER “MACHINES FOR LIVING“ experimented with a series of highly utopian urban planning concepts, The Modulor Man LE CORBUSIER- 1896-1967 It was developed as a visual bridge between two incompatible scales, the Imperial system and the Metric system. golden ratio in human proportions Chandigarh open hand monument has been designed in the form of a giant hand made from metal sheets that rotates like a weathercock, indicating the direction of wind. This giant hand is 14 metres high and weighs around 50 tonnes Arm Chair Chaise Lounge

13. VILLA SAVOYE- 1928-31 The Villa Savoye is an elevated white concrete box cut open horizontally and vertically. The plan was set out using the principle ratios of the golden section: in this case a square divided into sixteen equal parts, extended on two sides to incorporate the projecting façades and then further divided to give the position of the ramp and the entrance. FIVE POINTS OF ARCHITECTURE Use of pilotis i.E. Reinforced concrete stilts. – Free façade i.E non-supporting walls that could be designed as the architect wished. – Open floor plan , meaning that the floor space was free to be configured into rooms without concern for supporting walls. – Long horizontal ribbon windows that allow unencumbered views of the large surrounding. – Roof garden to compensate for the green area consumed by the building and replacing it on the roof

14. Ramp – stretches from the lawn to the sky, like a majestic “architectural promenade”, extending from the entrance through the apartment on the second floor to the roof terrace. The dwelling is arranged in the form of an “L” that cleanly separates the public areas from the bedrooms.

15. Notre-Dame-de-Haut, Ronchamp , France, 1950-54

16. Notre-Dame-de-Haut, Ronchamp , France, 1950-54 On one side the walls are immensely thick, with deep irregular windows filled with coloured glass; on other walls, tiny windows are tunnels punctured through at different angles. The whole chapel is a study in light. Le Corbusier, Legislative Assembly, Chandigarh, India, 1957 Responding to the location, he set the windows deep into the walls, creating “ brises‐soleils ,” or sunbreaks , to shade the interior from the hot Indian sun. used rough concrete, poured in place in expressionist curves and following the contour of the hill on which the building stands. The thick walls, pierced by windows of different shapes and sizes, create a mysterious and emotive interior very appropriate for a pilgrimage church.

17. LUDWIG MIES VAN DERROHE, 1886-1969 Head of the architecture department at the Illinois Institute of Technology. the Barcelona Chair The absence of any decorative treatment was fundamental. • His buildings radiate the confidence, rationality & elegance of their creator • His buildings were free of ornamentation . He strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. • He called his buildings "skin and bones" architecture. • Mies found appeal in the use of simple rectilinear and planar forms, clean lines, pure use of color , and the extension of space around and beyond interior walls.

18. The German Pavilion, Barcelona Expo Raised on a podium made of travertine are a series of separate wall planes and two pools of water, creating a succession of spaces that flow into one another. The indoor and outdoor spaces are interwoven The walls are made of sumptuous materials including Roman travertine, green polished Tinian marble and Vert antique the building makes use of green and grey glass, frosted glass as well as black opaque glass for the table tops.

19. The Seagram Building, 1957 Mies Van der Rohe 516 Feet Tall Or 157 Meters- 39-story the steel frame structure, curtain wall, the luxurious materials used bronze coated beams, amber tinted glass, marble, travertine, slender office tower The hung curtain wall façade is made of bronze. The bronze tint of the glazing lends the skin of the building a sense of unity.

20. Low-pitched roof  Overhanging eaves Horizontal lines Central chimney Open floor plan PRAIRIE STYLE Johnson Wax Research Tower (1944-1951) andthrough a low parking lot, which is supported by steel -reinforced  " dendriform " (tree-shaped) concrete columns. FRANK LLOYD WRIGHT

21. FALLINGWATER – Mill Run, Pennsylvania Frank Lloyd Wright - 1937 Horizintal & vertical lines are distinctive features of the building, series of very bold reinforced concrete cantilevered balconies  Rock outcroppings as structural feature and walls built directly out of rock bed of rushing stream • Deep toned polished walnut fashioned into book shelves, ledges, low and wide tables • Stone paved interiors • Rugs of oriental fabrics, furs and skin

22. THE GUGGENHEIM MUSEUM • Its design was inspired by a "Ziggurat" Babylonian temple pyramid, inverted. • The Museum Guggenhein exhibits a great difference to the buildings in the vicinity because of its spiral shape, marked by the mergeing of triangles, ovals, arcs, circles and squares, which correspond to the concept of organic architecture • Its unique ramp gallery extends up from ground level in a long, continuous spiral along the outer edges of the building to end just under the ceiling skylight. • The materials used in its construction were basically precast concrete blocks. The white paint used on the internal walls makes the works of art stand out. The skylight is supported by steel joints, the cylindrical building, wider at the top than the bottom, was conceived as a "temple of the spirit".

23. the French technique of placing the iron  pilaster on the inside of the masonry piers on the Wells Street side to support its timber floor-girders. This sleight of hand feature rendered the masonry piers unnecessary for carrying any floor loads. It also allowed them to be thinner, maxi-  mizing window size for more light. The resulting façade, though small, appeared as one large unit—almost making the building a glass box Chicago School pioneered steel-frame construction and, in the 1890s invention of the safety elevator The Chicago window combined the functions of light gathering and natural ventilation; a single central pane was usually fixed, while the two surrounding panes were operable. double-hung sash windows • Use of new material, new building techniques • Elimination of historical ornaments • Inventive and fresh surface decoration • Expression of structure • Abundance of antique styles

24. floor to ceiling, filled large rectangular areas. Bricks surrounded by cast-iron mullions framed the windows. The remaining walls served no weight-lifting function. These windows are the direct predecessors of what by the mid-1880s came to be called the “Chicago window. LOUIS SULLIVAN FATHER OF SKYSCRAPERS "form follows function," massive, semi-circular arch Base ,Shaft & Attic

25. Auditorium Building Chicago Illinois semi circular arches -inspired from the roman arches. Granite masonry for first 2 floors Ashlar masonry for upper storeys. Thicker foundations. 10 floors+tower (water tank) 4250 seats broke away from traditional horse shoe plan - no side seats. But stage comparatively small and lacking in storage space- Stage-system to fly out the sides of the proscenium arch to make stage area continuous with rest of the auditorium

26. WAINWRIGHT BUILDING- St.Louis , Missouri The Wainwright Building is among the first skyscrapers in the world. Construction System: steel frame clad in masonry The two-storey base of the classical tripartite composition is faced in fine red sandstone set on a two-foot-high string course of red Missouri granite.  While the middle section consists of red brick pilasters with decorated terra cotta spandrels, the top is rendered as a deep overhanging cornice faced in an ornamented terra cotta skin to match the enrichment of the spandrels and the pilasters below." (BASE-SHAFT-ATTIC)

27. The base contained retail stores that required wide glazed openings. Above it the semi-public nature of offices up a single flight of stairs are expressed as broad windows in the curtain wall. A cornice separates the second floor from the grid of identical windows of the screen wall, where each window is "a cell in a honeycomb, nothing more". The building's windows and horizontals were inset slightly behind columns and piers, as part of a “vertical aesthetic” bull's-eye windows that light thetop -story floor, originally containingwater tanks and elevator machinery

28. Eclecticism in architecture Eclecticism  is an  architectural style  that flourished in the 19th and 20th-centuries. It refers to any design that incorporates  elements  of traditional motifs and styles, decorative  aesthetics and ornaments, structural features, and so on, that originated from other cultures or architectural periods  mixture of elements from previous historical styles to create something that is new and original The styles were typically  revivalist , and each building might be mostly or entirely consistent within the style selected, or itself an eclectic mixture.  Gothic Revival architecture , especially in churches, was most likely to strive for a relatively "pure" revival style from a particular medieval period and region, while other revived styles such as  Neoclassical ,  Baroque ,  Palazzo style ,  Jacobethan ,  Romanesque  and many others were likely to be treated more freely.

29. Truth to materials : A focus on the natural qualities of the  materials   to make the objects. Simple forms: Design often focused on the actual  construction  of the object. Natural motifs: Patterns were often inspired by nature. The  vernacular : Domestic traditions & the  vernacular   provided inspiration ART & CRAFT Movement • simple forms• inspiration with natural forms, the flora and the fauna • simple linear shapes • abstract forms, inspired by movement and mystical beings • use of high quality materials • an interest in Gothic, medieval art, using bold forms and strong colours based on medieval design William Morris adjustable chair ART WORKS Rejection of Classical and Italianate architecture, the revival of the Gothic Style. Rebellion against industrialization & mass production by machines.

30. Red House- William Morris (Arts & Crafts movement) by Phillip webb The L-shaped layout of the house proved effective in maximizing the efficient and clarity of room distribution. The asymmetrical nature was also important because the house was  modeled  after traditional Gothic structures; also along this theme, there are steep roofs, prominent chimneys, cross gables and exposed-beam ceilings 

31. ART NOUVEAU Art Nouveau is a style of art and architecture that was most popular during 1890–1910, primarily in Europe. This style was inspired by natural forms and structures, not only in flowers and plants, but also in curved lines. Probably the most famous person to work in this style was Antoni Gaudí , a Catalan architect whose work can be seen in many places in Barcelona, Spain. Art Nouveau was symptomatic of the struggle between the old and the new. Whilst it rejected some of the revivalist styles of the 19th century, it did adopt some of the  elements  of  Rococo ,  Sea Serpent DRAGON FOUNTAIN

32. Casa Milà - Barcelona, Spain Antoni Gaudí - 1912 Gaudi developed a sensuous, curving, almost surreal design stylewhich established him as the innovative leader of the Spanish Art Nouveau movement. With little regard for formal order, he juxtaposed unrelated systems and altered established visual order. Gaudi's characteristically warped form of Gothic architecture drew admiration from other avant-garde artists. Expressionistic, fantastic, organic forms in undulating facade and roof line. light court.

33. The Bauhaus school was founded by Walter Gropius in Weimar. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design Walter Gropius Marcel Breuer, Wassily Chair , 1923 Mies van der Rohe , D42 Armchair , 1927 • simplicity of the forms, lines, shapes, • regular, repetitive forms, projects which give the impression of lightness, using new materials to achieve this purpose, using mostly aluminium, steel, chrome, plastic and glass, simple, beautiful, but at the same time inexpensive furniture, functionality of the product – a form derived from the function, using frequently concrete in constructions, including interiors, lack of ornamentation, regional conditions, climates, landscapes & inhabitants customs were leading into the architecture form. Grid Colour & Geometry

34. Accommodation 5 stories + basement, 28 student apartments with kitchenettes, gymnasium, laundry, lockers, bathrooms. Communal area 1 story plus basement, houses divisible dining and theatre space. The bridge 2 stories raised on stilts, lower level contains masters offices, upper level houses the architecture department. Workshop wing : 3 stories plus basement, contains printing, dying , sculpture, carpentry, weaving, mural, metal workshops, exhibition spaces . Technical School 3 stories plus basement, houses classrooms, library, administrative offices.

35. ■ open, fluid space ■ glass ‘curtain’ walls ■ windows flush with wall plane ■ functionalist, purist, industrial, machine aesthetic ■ standardised , modular components ■ lightweight, floating effect ■ exposed, utilitarian fixtures ■ metal frames ■ asymmetrical composition ■ flat roofs ■ horizontal windows ■ transparency ■ internal skeletal structures ■ white walls ■ cantilevered elements

36. GROPIUS HOUSE The Gropius house mixes up the traditional materials of new England architecture (wood, brick, and fieldstone) with industrial materials such as glass block, acoustic plaster, chrome banisters. The house structure consists of a traditional new England post and beam wooden frame, sheathed with white painted tongue and grove vertical siding. United States