DOCSLIB.ORG

Theories of Architecture Lecture-11- Architecture After World War I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theories of Architecture Lecture-11- Architecture After World War I Theories of Architecture Lecture-11- Architecture after World War I ART DECO & Rationalism Prepared by Tara Azad Rauof 1 This lecture Context: The Origin of ART DECO Key Ideas Characteristics of ART DECO Famous Art Deco Building Rationalism Rationalism in Architecture Pioneer of Rationalism in Europe 2 ART DECO [The Origin]: Art Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. Art Deco practitioners were often influenced by such as Cubism, De Stijl, and Futurism. Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the bright colors of de Stijl. The Art Deco style originated in Paris, but has influenced architecture and culture as a whole. Art Deco works are symmetrical, geometric, streamlined, often simple, and pleasing to the eye. This style is in contrast to avant-garde art of the period Key Ideas: * Art Deco, similar to Art Nouveau, is a modern art style that attempts to infuse functional objects with artistic touches. This movement is different from the fine arts (painting and sculpture) where the art object has no practical purpose or use beyond providing interesting viewing. * With the large-scale manufacturing, artists and designers wished to enhance the appearance of mass-produced functional objects - everything from clocks to cars and buildings. * The Art Deco extends from the Art Nouveau and Arts and Crafts styles, which emphasized the uniqueness and originality of handmade objects and organic forms. * The American version of the Art Deco style was a trimmed version of the more elaborate and often bespoke European Art Deco style. 3 Characteristics of ART Deco: * When Art Nouveau fell out of fashion in the 1920s and 1930s, it was replaced by the clean, simple geometries of Art Deco. * The extravagant curves of Art Nouveau were seen as old-fashioned. * This movement was a combination of many different styles and movements of the early 20th century, including Constructionism, Cubism, Modernism, Bauhaus, Art Nouveau, and Futurism. Famous Art Deco Building: 1- The Chrysler Building in New York City, by William Van Alen (1928–1930) 4 2- The American Radiator Building in New York City by Raymond Hood (1924) Rationalism: Many historians claimed, neo-Rationalism was an evolution of 18th century Enlightenment Architecture. Modernism was the dominant rationalist movement of the 1900s. It basically aimed to employ new materials suited to the spirit of industrialization and free architects from the bondage of styles, which limit individual touches. The works of early Modernists Ludwig Mies van der Rohe and Walter Gropius in Germany and Frenchman Le Corbusier were mostly products of socio-political revolutions. Following World War I, the German Modernist ventured into new structures that meet social needs. The Bauhaus design school resulted from this venture. 5 Rationalism in Architecture: * Rationalism means the practice or principle of basing opinions and actions on reason and knowledge rather than on religious belief or emotional response. * New concepts of space, reflected the changed of functional requirements. * New constructional materials. * New construction methods which were suitable with massive energies of those materials. * Confirmed on the functions of building. * Architectural works of 19th century rationalists didn't leave a direct trace on the evolution of architecture. * Focusing on the structure, old and new constructional materials, without any covering. *The decorative elements disappear in favour of the straight & nude form. * The façades are no longer a support element but reduced to light skin for closing with huge number of windows and opening to allow ultimate entrance of air and lighting. Conclusions 1- Rationalists were generally non-ornamental and useful in structure, design and theme. 2- they used geometrical shapes, and projecting cultural and individual sentiments. 3- 18th century Rationalists were unified in advocating truth and beauty in architecture while neo-Rationalists had individual contradictions. 4- Nevertheless, both strands justified Architecture's major roles in society and in people's lives. 6 Pioneer of Rationalism in Europe: 1- Mies Van Der Rohe 2- Walter Gropius 3- Le Corbusier 7 8 .
Load more

Recommended publications
  • The Graduate School and University Center of the City University of New York Ph.D
    The Graduate School and University Center of The City University of New York Ph.D. Program in Art History FALL 2003 - COURSE DESCRIPTIONS N.B. Lecture classes are limited to 20 students, Methods of Research is limited to 15 and seminar classes are limited to 12 students. Three overtallies are allowed in each class but written permission from the instructor and from the Executive Officer and/or the Deputy Executive Officer is required. ART 70000 - Methods of Research GC: Tues., 11:45 A.M.-1:45 P.M., 3 credits, Prof. Bletter, Rm. 3416, [45689] The course will examine the power of visual imagery over text first as a pre-literate, then as a populist, seemingly non-elitist system of information that dominates our culture today. It will deal with the impact of scientific rationalism (the role of perspective and axonometric projections) and Romanticism on the understanding of perception in general (Goethe, Friedrich, and Schinkel will be used as case studies). Notions of mimesis will be introduced through an analysis of the panorama, diorama, photography, and theories of polychromy. The psychological and social developments of perception and their formative influence on theory and practice of art in the nineteenth century will be stressed, as well as the impact of phenomenology and Gestalt psychology in the twentieth century. Jonathan Crary’s approach in Techniques of the Observer will be problematized through examples that contradict his thesis, such as the central place of emotive states in Charles Fourier’s social utopianism, the anti-rationalist program of the 19th c. pre-school and education reform movement (Pestalozzi, Froebel, Montessori) through its emphasis on the emotive (Cizek’s and Itten’s art classes for children in Vienna, Frank Lloyd Wright’s Froebel toys); and the influence of synaesthesia (Symbolism, Art Nouveau, Expressionism), and primitivism (Fauves, New Brutalists, etc.).
    [Show full text]
  • National Register of Historic Places Inventory Nomination
    NPS Form 10-900 (3-82) OMB No. 1024-0018 Expires 10-31-87 United States Department off the Interior National Park Service For NPS use only National Register of Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections____________ 1. Name historic Rockefeller Center and or common 2. Location Bounded by Fifth Avenue, West 48th Street, Avenue of the street & number Americas, and West 51st Street____________________ __ not for publication city, town New York ___ vicinity of state New York code county New York code 3. Classification Category Ownership Status Present Use district public x occupied agriculture museum x building(s) x private unoccupied x commercial park structure both work in progress educational private residence site Public Acquisition Accessible _ x entertainment religious object in process x yes: restricted government scientific being considered yes: unrestricted industrial transportation no military other: 4. Owner of Property name RCP Associates, Rockefeller Group Incorporated street & number 1230 Avenue of the Americas city, town New York __ vicinity of state New York 10020 5. Location of Legal Description courthouse, registry of deeds, etc. Surrogates' Court, New York Hall of Records street & number 31 Chambers Street city, town New York state New York 6. Representation in Existing Surveys Music Hall only: National Register title of Historic Places has this property been determined eligible? yes no date 1978 federal state county local depository for survey records National Park Service, 1100 L Street, NW ^^ city, town Washington_________________ __________ _ _ state____DC 7. Description Condition Check one Check one x excellent deteriorated unaltered x original s ite good ruins x altered moved date fair unexposed Describe the present and original (iff known) physical appearance The Rockefeller Center complex was the final result of an ill-fated plan to build a new Metropolitan Opera House in mid-town Manhattan.
    [Show full text]
  • Vol IV No 1 2018.Pages
    Vol. IV, No. 1, 2018 The Chrysler Building at 405 Lexington Avenue. Created by William Van Alen, it is considered Manhattan’s “Deco monument.” See “New York City’s Art Deco Era—with Anthony W. Robins,” p. 2. Photo credit: Randy Juster. "1 Vol. IV, No. 1, 2018 Contents New York City’s Art Deco Era— with Anthony W. Robins P. 2 New York City’s Art Deco by Melanie C. Colter Era—with Anthony W. Robins, by Melanie C. Colter After the Paris World’s Fair of 1925, Art Deco and Style P. 8 R.I. Inspires the Visual Moderne principles spread rapidly across the globe. Between Arts: Edward Hopper’s 1923 and 1932, Art Deco transformed the New York City Blackwell’s Island skyline into its present iconic spectacle, thrusting our city into the modern era. P. 9 Announcing the Roosevelt Island Historical Society 40th Anthony W. Robins is a 20-year veteran of the New York City Anniversary Raffle Landmarks Preservation Commission, and has worked extensively with the Art Deco Society of New York to bring P. 10 Metropolitan Doctor, New York’s modern architectural legacy to the attention of Part 4 city dwellers and visitors alike. In December, as a part of the Roosevelt Island Historical Society’s public lecture series, P. 12 RIHS Calendar; What Are Robins discussed the origins of the Art Deco style and gave Your Treasures Worth? Become an overview of some of New York’s finest Deco buildings. a Member and Support RIHS We encourage you to discover more of our city’s Art Deco period with Robins’ recent book, New York Art Deco: A Guide to Gotham’s Jazz Age Architecture, (SUNY Press, Excelsior Editions, 2017), which features fifteen thoughtful, self-guided walking tours (available at the Roosevelt Island Visitor Center Kiosk).
    [Show full text]
  • BEAUX-ARTS APARTMENTS, 310 East 44Th Street, Borough of Manhattan
    Landmarks Preservation Commission July 11, 1989; Designation List 218 LP-1669 BEAUX-ARTS APARTMENTS, 310 East 44th Street, Borough of Manhattan. Built 1929-30; Kenneth M. Murchison and Raymond Hood of the firm of Raymond Hood, Godley & Fouilhoux, associated architects. Landmark site: Borough of Manhattan Tax Map Block 1336, Lot 40. On July 12, 1988, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Beaux Arts Apartments and the proposed designation of the related Landmark Site (Item No. 7). The hearing had been duly advertised in accordance with the provisions of law. Sixteen witnesses spoke in favor of designation. Many letters and other expressions of support in favor of designation have been received by the Commission. The owner has expressed certain reservations about the proposed designation. DESCRIPTION AND ANALYSIS summary Designed by Raymond Hood, among the most prominent American architects of the twentieth century, and built in 1929-30, The Beaux-Arts Apartments is one of the earliest examples in New York City to reflect the trend toward horizontal emphasis in the aesthetic of modern European architecture of the 1920s. Conceived as a corollary to the neighboring Beaux-Arts Institute of Design (a designated New York City Landmark), the Beaux-Arts Apartments at 310 East 44th Street and its twin building on the opposite side of the street were intended to provide residential and studio accommodations for architects and artists, as well as others interested in living in what was anticipated as a midtown artistic community. The Beaux-Arts Development Corporation, a syndicate of architects associated with the Institute and allied professionals, joined forces to finance, build, and manage their own real estate venture.
    [Show full text]
  • The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920S America
    2020 volume 17 | issue 1 In Search of a Cultural Background: The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920s America Mario Canato Abstract The modernist architect and critic, Alfred Lawrence Kocher, proposed and commented on many bibliographical ref- erences in the Architectural Record in the years 1924-25. Recent studies on American architecture of the 1920s and 1930s have recognized the peculiar character of modernism in the United States and have gone in search of its cultural and social roots. However, Kocher’s extensive lists have so far been completely overlooked. They were based for the most part on the correspondence he exchanged with a number of American and British architects and George Bernard Shaw: he had sent to them a circular letter, asking for recommendations on texts on background literature that a young architect should know. The unpublished correspondence that Kocher had with Louis Sullivan and the 19 texts on “Aesthetics and Theory of Architecture” are analyzed in particular by the author. Although from 1927 onwards Kocher became a passionate supporter of European rationalist architecture, his bibli- ographies cannot be considered a conscious foundational literature on modernism and modernity. They rather give an idea of the ‘cultural trunk’ on which the discussion on modern European architecture was going to be grafted; they help to illuminate the scene on which American architects moved in the mid-1920s. In some of the texts, the pragmatic notion of utility shines through, as − sometimes connectedly − does the concept of a creative act as a free, ‘natural’ act, which derived from American transcendentalism.
    [Show full text]
  • Lecture Handouts, 2013
    Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #1 INTRODUCTION & OVERVIEW Introductions Expectations Textbooks Assignments Electronic reserves Research Project Sources History-Theory-Criticism Methods & questions of Architectural History Assignments: Initial Paper Topic form Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #2 ARCHITECTURE OF WWII The World at War (1939-45) Nazi War Machine - Rearming Germany after WWI Albert Speer, Hitler’s architect & responsible for Nazi armaments Autobahn & Volkswagen Air-raid Bunkers, the “Atlantic Wall”, “Sigfried Line”, by Fritz Todt, 1941ff Concentration Camps, Labor Camps, POW Camps Luftwaffe Industrial Research London Blitz, 1940-41 by Germany Bombing of Japan, 1944-45 by US Bombing of Germany, 1941-45 by Allies Europe after WWII: Reconstruction, Memory, the “Blank Slate” The American Scene: Pearl Harbor, Dec. 7, 1941 Pentagon, by Berman, DC, 1941-43 “German Village,” Utah, planned by US Army & Erich Mendelsohn Military production in Los Angeles, Pittsburgh, Detroit, Akron, Cleveland, Gary, KC, etc. Albert Kahn, Detroit, “Producer of Production Lines” * Willow Run B-24 Bomber Plant (Ford; then Kaiser Autos, now GM), Ypsilanti, MI, 1941 Oak Ridge, TN, K-25 uranium enrichment factory; town by S.O.M., 1943 Midwest City, OK, near Midwest Airfield, laid out by Seward Mott, Fed. Housing Authortiy, 1942ff Wartime Housing by Vernon Demars, Louis Kahn, Oscar Stonorov, William Wurster, Richard Neutra, Walter Gropius, Skidmore-Owings-Merrill, et al * Aluminum Terrace, Gropius, Natrona Heights, PA, 1941 Women’s role in the war production, “Rosie the Riverter” War time production transitions to peacetime: new materials, new design, new products Plywod Splint, Charles Eames, 1941 / Saran Wrap / Fiberglass, etc.
    [Show full text]
  • AMERICAN RADIATOR BUILDING (Now American Standard Building) Excluding the Five­ Story Extension, 40 Nest 40Th Street, Borough of Manhattan
    Landmarks Preservation Commission November 12, 1974, Number 7 LP-0878 AMERICAN RADIATOR BUILDING (now American Standard Building) excluding the five­ story extension, 40 Nest 40th Street, Borough of Manhattan. Built 1923-24.; architect Raymond M. Hood. Landmark Site: Borough of Manhattan Tax Map Block 841, Lot 71 in part, consisting of the land on which the described building is situated. On October 8, 1974, the Landmarks Preservation Commission held a public hear­ ing on the proposed designation as a Landmark of the American Radiator Building and the proposed designation of the related Landmark Site (Item No. 11). The hearing had been duly advertised in accordance with the provisions. of law. One witness spoke in favor of designation. The representative of the owner spoke in opposition to designation. DESCRIPTION AND ANALYSIS The American Radiator Building, a striking twenty-.three story black and gold tower, is one of the finest and most significant skyscrapers in Manhattan. Design­ ed by Raymond M. Hood and built in 1923-24, the American Radiator Building initiated a new trend in skyscraper design in New York City with its bold cubic massing of .forms--often associated with the Art Deco style--and.. its .. freedorn from the Beaux-Arts classical details that had previously encumbered New York City skyscrapers. In the period following World War I, architects continued to use classical details and principles of proportion for their skyscraper designs, although these were often ill-adapted to high buildings. Hood's design. broke with tradition and utilized new forms. Raymond Mathewson Hood (1881-1934), who had received architectural training at the Ecole des Beaux-Arts in Paris, worked for the firm of Cram, Goodhue & Ferguson--noted for its neo-Gothic architectural designs--in 1906.
    [Show full text]
  • Raymond Hood : City of Towers
    RAYMOND HOOD M' in \i t .it v Philip Morris .mini . -March V. I":: I t \ j>U *TO- *V^- r Raymond Hood : City of Towers In the 1920s, an explosive decade of city growth, Raymond M. Hood close friends as Ely Jacques Kahn and Ralph Walker. Despite the was America's most celebrated skyscraper architect. His colleagues 1916 New York City zoning law that made setbacks almost unavoid- and critics were stunned by his errant eclecticism and calculated able. Hood turned each of his buildings into a freestanding tower. recalcitrance; he was described as a "brilliant bad boy" 1 and a The Art Deco approach then in fashion treated the skyscraper as a "flame of vigor, imagination, daring." 2 Summarizing Hood's ca- series of stacked boxes with horizontal bands of ornament accenting reer, his contemporary Thomas Tallmadge wrote: "Perhaps it was the setbacks. Hood, in contrast, emphasized the uninterrupted ver- Hood's personality, reflected so acutely by this period of architec- tically of the structure and its coherence as a single mass either ture, that makes him the symbol of an era, unexampled alike for through uniform color or strong pattern. 3 its brevity and brilliance." But while Hood typified the new twenties Like many of his American and European contemporaries, Hood architect, he was also highly individual in his design approach. was fascinated by the concept of an architect-designed urban future, In 1922, at age forty-one. Hood rose from obscurity to national and he believed that the skyscraper should be the defining structure. notoriety with his winning design for the Chicago Tribune Tower, Beginning in 1924, he published a series of visionary proposals for a competition he entered in association with an older, established a rationalized city of towers in which he argued that widely spaced architect, John Mead Howells.
    [Show full text]
  • Modern Architecture: International Exhibition” (Exhibition
    1 Modern Architecture, Once More In 1992, the historical show “Modern Architecture: International Exhibition” (Exhibition 15/1932)1 was restaged in Arthur Ross Architecture Gallery, Columbia University, New York, partly as a commemoration of its 60 years anniversary but mostly as a critical reevaluation of the show which gave birth to the International Style. It was not simply an exhibition about the history of the exhibition. As written in the exhibition fact sheet produced by Columbia University as the organizer, the Exhibition 15/1932 would be “accurately recreated for the first time,” from its content to its display configuration.2 This unprecedented method in encountering an established historical narrative is claimed as a milestone in the history of American architectural theory and practice.3 Yet, this statement carries doubt. It evokes question of what relevance the reenacted content of modern architecture could bring in the much different context of time and discourse of the 1990s. At the same time, this method is problematic as it could be easily misinterpreted as an apologia for modern architecture or as a romanticization of history. How would a critical reevaluation can be produced through this complete redux? 1 The exhibition was held in the the Museum of Modern Art (MoMA) and was recorded in the archives as “Exhibition 15.” 2 Columbia University GSAPP, ​Exhibition Fact Sheet: The International Style: Exhibition 15 and the Museum of Modern Art​, 1992, 1. 3 Ibid. 2 I attempt to show that, on the contrary, Exhibition 15/1992 should be deliberately read within the context of media debate that was flourishing in architectural discourse during the Nineties.
    [Show full text]
  • 7 Lessons of Painting for Architecture
    262 .\KC HITECTt'RE MATERIAL AND IMAGINED 7 Lessons of Painting for Architecture - JEF7REY HILDNER University of Virginia The basis of my research and my intellectual produc- tlon has its secret in the uninterrupted practice of painting. - Le Corbusier 1. Threshold: It is said that the idea of art as research, specifically research into fonn. started with Paul Cezanne. One need only look, for example. at Bricige at Mairzcy, c. 1879-80. or at flower:^ in a L'ase, c. 1885-8. Le Corbusier. I believe. was directly influenced by Cezanne's visual discoveries. And I am intensely influenced by both. Thus. the following represents so~ncrough notes on my research of the interrelationship between architecture and painting. I hope to give a more lucid and thorough explana- tion in a future article. Right now my purpose is sinlply to stake out the intellectual territory. Excellent articles have been written on the topic of architecture and painting. such as those by Schumacher, McCarter, Sekler, Hejduk, and Rowe and Slutzky. But I haven't discovered a text that Fig. I. Richard Diebenkorn, Oceon Park Series #49, 1972 identifies in a systematic way the particular instruction that the study and practice of painting has provided me. The 7 as to architecture's identity as a visual art. For example, how, Lessons of Painting for Architecture that I identify here are on what basis, does one decide what a building should look the beginning of my attempt to do just that. like? That is to say, what is one's starting point, one's intellectual, theoretical premise, by which to make and 2.
    [Show full text]
  • A Century of Futurist Architecture: from Theory to Reality
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 27 December 2018 doi:10.20944/preprints201812.0322.v1 A century of Futurist Architecture: From Theory to Reality Farhan Asim Venu Shree M.Arch Student (Sustainable Architecture) Assistant Professor NIT Hamirpur, India NIT Hamirpur, India +91-8948318668 +91-7018620827 [email protected] [email protected] Abstract— The Italian Architect Antonio Sant’Elia is considered the father of Futurist Architecture, the one who envisioned the future II. FUTURISTIC ARCHITECTURE: IDEAS, ORIGIN & FATE of cities on the basis of the native population’s work culture and habitual traits. It has been a century since his ideas were introduced The new generation of futurists hypothesized about in his ‘L-Architettura Futurista - Manifesto’ and later circulated by the vision for new metropolises and megalopolis with F.T. Marinetti, today they are making a prodigious impact on the flexible and more useful urban environments. The Avant- architecture style of the entire world. His revolutionary ideas Garde ideas of futurists stayed as an inherent part of modern percolated through the murky aftermath of 19th & 20th century art movements. His out-worldly pre-modernist principles gave rise to the architectural edification. The futurist idea of development notion of exclusive habitats for generations and started the post-war was to disregard history and come up with new ideologies trend of housing typologies as an industrialized and fast track and structure that could formulate the future cities and medium
    [Show full text]
  • History of New York City Architecture
    History of New York City Architecture 1915-1940 Dichotomy: Tradition and Avant Garde • Racquet & Tennis Club, McKim, Mead & White, 1918 • St. Bartholomew’s Church, Bertram G. Goodhue, 1919. • Tudor City, Fred F. French & H. Douglas Ives, 1925-8. • New York Central Building (aka Helmsley Building), Warren & Wetmore, 1929. • Equitable Building, Ernest Graham, 1913-1915 • Barclay-Vesey Building, McKenzie,Voorhees & Gmelin, 1923-7. • American Radiator Building, Hood & Fouilhoux, 1924. CHARACTERISTICS Art Deco not a classical style of building. • Art Deco was not limited to architecture but was a style of decoration applied to jewelry, clothing, furniture, handicrafts, graphics. A time of collaboration between architects, painters, sculptors and other artists • Type of ornamentation was geometrical (parallel straight lines forming zigzags, chevons and stylized floral motifs. basically geometric but used curves, rounded forms • Ornamentation was frequently in low-relief, subtle or perhaps eroded • Materials generally preferred concrete or smooth stone However many times used brick • First extensive use of metals • Use of polychromy many colors terra cotta but also anodized metals • Forms were simplified and streamlined - futurist • Emphasized verticals also used mountain images for skyscrapers • Introduction of horizontal emphasis in skyscrapers • Interplay of verticals and horizontals • Western Union Building, Voorhees, Gmelin & Walker, 1928-1930. • Bank of New York/ originally Irving Trust Company, Ralph Walker of Voorhees, Gmelin & Walker, 1928- 1932. • Empire State Building, Shreve, Lamb & Harmon, 1929-31. • Chrysler Building, William van Alen, 1930. • The Daily News Building, Howells & Hood, 1930. • McGraw Hill Building, Raymond Hood, Godley & Fouilhoux, 1930-1931. • Rockefeller Center, The Associated Architects: Reinhard & Hofmeister; Corbett, Harrison & MacMurray; Raymond Hood, Godley & Fouilhoux, 1932-1940.
    [Show full text]