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Home , Design, Form follows function, Modern architecture

HISTORY OF :

SEM.: 5TH

Characteristics of modern architecture

• A rejection of historical styles as a source of architectural form () • An adoption of the principle that the materials and functional requirements determine the result • An adoption of the aesthetic • A rejection of • A simplification of form and elimination of "unnecessary detail" • An adoption of expressed structure • Modern concepts of architecture  The great 19th century of  To restrict the meaning of (architectural) formalism to , , promoted an for art's sake is not only reactionary; it can also be a purposeless quest for perfection or originality which overriding precept to architectural : degrades form into a mere instrumentality“. "Form follows function".  Ivar Holm points out that the values and attitudes which  While the notion that structural and underly modern architecture differ both between the aesthetic considerations should be entirely schools of thought which influence architecture and between individual practising . subject to functionality was met with both popularity and scepticism, it had the effect  Among the philosophies that have influenced modern architects and their approach to design are of introducing the concept of "function" in rationalism, , structuralism, poststructuralism, place of Vitruvius "utility". and phenomenology.  "Function" came to be seen as  In the late a new concept was added to encompassing all criteria of the use, those included in the compass of both structure and function, the consideration of . perception and enjoyment of a building,  To satisfy the modern ethos a building should be not only practical but also aesthetic, constructed in a manner which is environmentally psychological and cultural. friendly in terms of the production of its materials, its  Nunzia Rondanini stated, "Through its impact upon the natural and built environment of its surrounding area and the demands that it makes upon aesthetic dimension architecture goes non-sustainable power sources for heating, cooling, beyond the functional aspects that it has in water and waste management and lighting. common with other human .  There is also a concept among architects that although  Through its own particular way of architecture does not exist in a vacuum, architectural form cannot be merely a compilation of historical expressing values, architecture can precedent, functional necessities, and socially aware stimulate and influence social life without concerns, but that to achieve significance, a of presuming that, in and of itself, it will architecture must be a transcendent synthesis of all of promote social development. the former and a creation of worth in and of itself.

Chicago Schools: Beginning of Skyscrapers

• " School" can refer to either the  Architects in Chicago, Illinois, were the architects who were working in Chicago first to exploit the possibilities offered by from about 1875 to 1910, or the the in combination with the new constructed during that time. steel and concrete . • Beginning in 1885, it flourished until the  Chicago architecture has influenced and reflected the history of American First World War. architecture. • Following a disastrous fire in 1871,  This new form of architecture, by Jenney, Chicago experienced a massive boom in Burnham, Sullivan, and others, became new housing, warehouses, and known as the "Commercial Style," but it commercial buildings. The collective was called the "Chicago School" by later response of a diverse group of architects historians. to the reconstruction of the led to the  Since most buildings within the downtown development of the . area were destroyed (the most famous • the Chicago School emphasized exception being the Water Tower) by the simplicity of design and became the Great Chicago Fire in 1871, Chicago forerunner of . buildings are noted for their originality rather than their antiquity. • The of buildings taller than Perret’s was made possible by the  One of the element of Chicago School safety elevator. was the ‘Chicago Window.’ The "Chicago window" is one in which a wide fixed central pane has narrower movable sash windows on either side.

Home Building CHICAGO WINDOW

The Chicago Building • The influence on architecture remained considerable, long after 1931. • Mies van der Rohe as among the most important proponents of its ideas. • Between 1923 and 1924, Rietveld designed the Rietveld Schröder House, the only building to have been created completely according to De Stijl principles. • Art Nouveau, which flourished in Europe  In , one of the most ambitious projects of architect Antoni Guadí was the between 1890 and 1910, was one of the Templo Expiatorio de la Sagrada Família earliest (and shortest-lived) efforts to (Church of the Holy Family, 1883-1929, 1979 develop an original style for the modern to present). Gaudí turned to nature for a rich age. variety of animal and plant forms to decorate the towering façades of the Sagrada Família. • Art nouveau artists and He also used natural forms structurally: transformed modern industrial materials columns shaped like bones, undulating walls such as iron and into graceful, in brick, a roofline resembling the profile of an armadillo. His wide use of ceramic tile, a local curving forms often drawn from nature, building material, gave color and texture to though with playful elements of fantasy. his . • In contrast to both Perret and the  Like Gaudí, Horta reacted against prevailing architects of the Chicago School, art styles with an architecture that responded to nouveau designers were interested in local traditions and materials, although Horta transformed iron and glass as well as Belgian architecture as a form of stylistic brick into slender, graceful forms inspired by expression rather than as a structural flowers. Horta’s flowing lines became the system. hallmark of art nouveau and were rendered by others in iron, glass, and plaster as well as • In the three centers of art nouveau— in . Barcelona, ; , Belgium; and  The creation of these organic forms Paris, —architects struggled to depended not on mass-production or modern define a style with distinctly local , but on craftsmanship, thereby characteristics. restoring to architecture what many feared was being lost to an increasingly technological mentality.

ART NOUVEAU BOOK RACK and Movement

and Crafts Movement, which  A Japanese movement that began in around 1860 and arose in 1920 demonstrates the global continued into the first decade of the reach of architectural ideas in the 20th 20th century, shared many of the ideas century. of art nouveau.  This fledgling organization, composed of  The movement’s earliest proponents architects Mamoru Yamada, Sutemi reacted against cheap manufactured Honiguchi, Mayumi Takizada, and Kikuji goods, which had flooded shops and Ishimoto, signaled the first appearance of filled houses in the second half of the the modern movement in , where 19th century. modernization inevitably was connected with westernization.  The Arts and Crafts ideal they offered was a spiritual, -based alternative,  The group was also influenced by Frank intended to alleviate industrial . production’s degrading effects on the  The (German Work souls of laborers and on the goods they Union), founded in 1907 by Hermann produced. Muthesius, , and Fritz  It emphasized local traditions and Schumacher, differed from the other Arts materials, and was inspired by and Crafts movements by allying artists vernacular design—that is, characteristic and architects with industrialists. local building styles that generally were  The Werkbund's ambition was to bring the not created by architects. talents of artists to bear on industrial  English William Morris, who led products. the , sought to  The Werkbund also worked to transform restore integrity to both architecture and the of craftspeople so a body of the . skilled artisans would be available to carry out its designs.

Bahuas – Heightened Functionality

is the common term for the  The design commonly Staatliches Bauhaus a school in associated with Gropius and the that combined crafts and the Bauhaus -- the radically simplified fine arts. forms, the rationality and functionality,  The Bauhaus school was founded by and the idea that mass-production was . reconcilable with the individual artistic spirit -- were already partly developed  The name Bauhaus stems from the in Germany before the Bauhaus was German words for "to build" and founded. "house.―  The Bauhaus had a major impact on  Bauhaus style became one of the art and architecture trends in Western most influential currents in Modernist Europe, the United States and Israel architecture and modern design. (particularly in City, ) in  The Bauhaus had a profound influence the decades following its demise, as upon subsequent developments in art, many of the artists involved fled, or architecture, graphic design, interior were exiled, by the Nazi regime. design, and .  One of the main objectives of the Bauhaus was to unify art, craft, and .

Form Follows Function : Louis Sullivan  Form follows function is one of the long-  Sullivan actually said 'form ever follows standing slogans of modern architecture. function', but the simpler (and less emphatic)  It is an important concept in architectural phrase is the one usually remembered. For design. Sullivan this was distilled wisdom, an aesthetic credo, the single "rule that shall permit of no  When Louis Sullivan, the mentor of Frank exception". Lloyd Wright, made this statement, he was saying that the function of the building  Sullivan developed the shape of the tall steel skyscraper in late 19th Century Chicago at the determines the form of the building. very moment when technology, taste and  So the principle states that the shape of a economic forces converged violently and building or object should be predicated or made it necessary to drop the established based on its intended function or purpose. styles of the past. If the shape of the building wasn't going to be chosen out of the old  In the context of design professions form pattern book something had to determine follows function seems like good sense form, and according to Sullivan it was going to but on closer examination it becomes be the purpose of the building. It was 'form problematic and open to interpretation. follows function', as opposed to 'form follows Linking the relationship between the form precedent'. of an object and its intended purpose is a  This credo, which placed the demands of good idea for designers and architects, but practical use above was later taken it is not always by itself a complete design by influential designers to imply that solution. decorative elements, which architects call "ornament," were superfluous in modern buildings.  But Sullivan himself neither thought nor designed along such dogmatic lines during the peak of his career.

Role of steel in architecture • The approach of the Modernist • Some of the of steel such as; architects was to reduce buildings to light weight, ductililty, easily pure forms, removing historical transportable, easy dismantling , easily references and ornament in favor of available, etc; could make the functionalist details. construction of bridges such as cast • Buildings that displayed their iron bridge, coal brook dale bridge,etc construction and structure, exposing possible. steel beams and concrete surfaces • Due to the discovery of steel, palaces instead of hiding them behind like was erected. traditional forms, were seen as • Some factories like Gallery Des beautiful in their own right. Machine, Les Halle, etc were • Architects such as Mies van der Rohe constructed because of use of steel. worked to create beauty based on the • The , Paddington station, inherent qualities of building materials St. Pracras station,& the most and modern construction techniques, important the Opera house are such trading traditional historic forms for other examples. simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution. • With the discovery of steel as a structural material it became quite easier for the as well as the architects to construct high rise buildings & skyscrapers. Cast iron bridge Coal brook dale Crystal palace Crystal palace Section of Crystal palace Eiffel tower Gallery des machine Gallery des machine Les halle Paddington station Paddington station St. pracras Station Section of opera house International style-universality • It was other effect of colonial • Recognition comes only after architecture. colonial architecture came into • Any design could be readapted existence. elsewhere. • Universe is subjected to • This leads to a possibility of criticism.eg, in India , in ; that means Bhubhneshwar they didn’t want methods of design could be duplicated elsewhere. modern architecture, in Banglore • Here comes the concept of ; Vidhan Sabha was opposed to universality. be made in modern style. • Is the idea of universality new? • Concept of universe is always • Yes ; certain element of under non acceptance. adaptibility,eg, in India churches • Development of solution which were built. either by function became • Colonialism brought about universal. universality. • Certain types of function • Universal qualities of buildings. demanded to universality. • Limited system of building. • Universality is always under • Structurally one is same. threat by local traditions, etc. • Inherent in any system. • Scientific analysis of things, were

common set of universal ideas.

Influence of arts on Influence of arts on le corbusier

Van gogh

Paintings of the Art & Craft movement CIAM-attempt to develop an architecture which transcends boundaries • Congress International Architecture Modernae • Its an organisation which used to release volumes of what should be modernism. • What was the affect of internationalism? – Made it easier in ways to accept improvements technically. • Established on international style of architecture. • Transcends boundaries. • Process: liked plain surfaces.

Role of engineering in development of modern

 With the emerging knowledgearchitecture in scientific  Aesthetics became a criterion for the fields and the rise of new materials and middle class as ornamented products, technology, architecture and engineering once within the province of expensive began to separate, and the architect began craftsmanship, became cheaper under to lose ground on some technical aspects machine production. of . He(architect) therefore  became concentrated on aesthetics and the increasingly ornamental. humanist aspects.  House builders could access current  Formal architectural training, in the 19th architectural design in their work by century, at, for example Ecole des Beaux combining features found in pattern Arts in France, gave much emphasis to the books and architectural journals. production of beautiful and little to context and feasibility. Effective  Engineers began to concentrate on architects generally received their training structural needs of the building designed in the of other architects, by architects. graduating to the role from draftsmen or  No doubt, even engineers could clerks. construct a building without the help of  Meanwhile, the Industrial Revolution laid architects, but they were not good at open the door for mass production and designing the which actually an consumption. architect could create.  As they were aware of the new technology, it became easier for architects to think and design high rise buildings, etc.