post modern architecture
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ARTS AND CRAFTS MOVEMENT
Rejecting excess aesthetic eclectismPromoted handmade
CONSERVATIVE IDEALS
JOHN RUSKINWILLIAM MORRISPHILIP WEBBWILLIAM LETHABYGUSTAV STICKLEYCHARLES AND HENRY GREENE
PRINCIPLES
1. LEARNING & RESPECTING TRADITIONAL CRAFTS
2. CORRECT RELATIONSHIP OF DESIGN TO MATERIALS
3. RELATIONSHIP OF BUILDINGS TO THEIR SITE
4. REVERENCE FOR VERNACULAR ARCHITECTURE AND ITS BUILDING TECHNIQUES.
LEARNING & RESPECTING TRADITIONAL CRAFTS
DID NOT DEMAND EXACT FINISH OR REFINEMENT
Wood, stone, or stucco siding
Low-pitched roof ; Wide eaves with triangular brackets
Exposed roof rafters
Porch with thick square or round columns
Stone porch supports
Exterior chimney made with stone
Open floor plans; few hallways
Numerous windows ;Some windows with stained or leaded glass
Beamed ceilings
Dark wood wainscoting and moldings
Built-in cabinets, shelves, and seating
Beaux Arts
1885-1925
classical Greek and Roman architecture with Renaissance
École des Beaux Arts in Paris
aesthetic principles of classical design supported
Or Academic Classicism, or Classical Revival
a late and eclectic form of neoclassicism
characterized by order, symmetry, formal design, grandiosity, and elaborate ornamentation.
eg:United States, the Beaux Arts style led to planned neighborhoods with large, showy houses, wide boulevards, and vast parks.
Style commonly used for public buildings like museums, railway stations, libraries, banks, courthouses, and government buildings.
VIENNA SCHOOLOTTO WAGNER
Guilded globe at entrance Higher jugendstil(counterpart of art nouveau)
Postal savings bankVienna1904-06
SPANISH MODERNISM
BARCELONA
Casa batllo1904-7
Roots fromSpanish gothic, baroque,Art nouveau,tile vaulting,Catalan crafts(metal),Glass ceramics
Imbricated roof,PlasticOvoid stone surroundsSlender bony columnsWall surface-blue,green glass
Sagrada familia basilca1882 planned1906-design completed
BUILDINGS SHOULD FIT THE PURPOSE , HABIT AND EMOTIONS OF MODERN LIFE
ADOLF LOOS-PROMOTED RICH SIMPLIFIED SURFACES,OPEN PLANS AS CORRECT SETTING
DUETSCHER WERKBUND(1907)-TO PROMOTE LINK BETWEEN INDUSTRY AND ARTS -HERMAN MUTHESIUSSTYLELESSNESS
INDUSTRIAL BUILDINGS BY PETER BEHRENS, HANS POELZIG
FLAT ROOFED, FREEPLAN, USE OF NEW INDUSTRIALISED BUILDING MATERIALS
They believed that the greatest beauty could be found in nature.
Art Nouveau (French for "New Style")
Maison de l'Art Nouveau, a Paris art gallery
Against formal, classical approaches to design
flourished in major European cities between 1890 and 1914.
Art Nouveau in US - Louis Comfort Tiffany, Louis Sullivan, and Frank Lloyd Wright.
Art Nouveau
Otto wagner Appartments 1898-99Vienna austria
Behrens House, by Peter Behrens, at Darmstadt, Germany, 1901.
Casa Batllo, by Antoni Gaudi, at Barcelona, Spain, 1905 to 1907.
Casa Mila, by Antoni Gaudi, at Barcelona, Spain, 1905 to 1910.
Castel Beranger, by Hector Guimard, at Paris, France, 1890 (circa).
Glasgow School of Art, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1897 to 1909.
Hill House, by Charles Rennie Mackintosh, at Helensburgh, Scotland, 1902 to 1903.
Horta House, by Victor Horta, at Brussels, Belgium, 1898.
Hotel Guimard, by Hector Guimard, at Paris, France, 1912.
Hotel Solvay, by Victor Horta, at Brussels, Belgium, 1895 to 1900.
Hotel van Eetvelde, by Victor Horta, at Brussels, Belgium, 1895 to 1898.
Majolica House, by Otto Wagner, at Vienna, Austria, 1898 to 1899.
Paris Metro Entrances, by Hector Guimard, at Paris, France, 1899 to 1905.
School in Glasgow, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1904 to 1906.
Sezession House, by J. M. Olbrich, at Vienna, Austria, 1896.
Tassel House, by Victor Horta, at Brussels, Belgium, 1892 to 1893.
The Willow Tea Rooms, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1902 to 1904.
Werkbund Theater, by Henry van de Velde, at Cologne, Germany, 1914.
Whitechapel Art Gallery, by C. Harrison Townsend, at London, England, 1897 to 1901.
Darmstad ,Germany
Art Nouveau buildings have many of these features:
Asymmetrical shapes
Extensive use of arches and curved forms
Curved glass
Curving, plant-like embellishments
Mosaics
Stained glass
Japanese motifs
Other Names for Art Nouveau:
Style Moderne, in France
Style Nouille (Noodle Style), in France
Jugendstil, in Germany
Sezession, in Austria
Stile Liberty, in Italy
Arte Noven, in Spain
Eg:
in St. Louis, Missouri, by Louis Sullivan and Dankmar Adler
Parque Güell in Barcelona, Spain by Antoni Gaudí
Majolika Haus in Vienna, Austria by Otto Wagner
The Marquette Building in Chicago, Illinois, by William Holabird and Martin Roche with Coydon T. Purdy
The Municipal House in Prague, Czech Republic
`
EXPRESSIONISM
Sculpted curvesFunctionalStation for astraunomicalObservation
Einstein Tower
Potsdam(1920)
Erich Mendelsohn.
distorted shapes
fragmented lines
organic or biomorphic forms
massive sculpted shapes
extensive use of concrete and brick
lack of symmetry
many fanciful works rendered on paper but never built
Chicago School
Steel frame blgMasonry cladding or terracotta cladFacade-gridbaywindows,oriel windows
"Chicago window"
three-part window
of a large fixed center panel flanked by two smaller double-hung sash window
Architects
Henry Hobson RichardsonWilliam Le Baron JenneyMartin RocheLouis SullivanFL Wright
Carson, Pirie, Scott & Co. Building
Louis Sullivan
BAUHAUS
Germany 1919-33
BetweenWorld wars
Architecture of the new era
absence of ornamentation
harmony between the function of an object or a building and its design.
functional, economical and consistent with mass production
unify art, craft, and technology.
machine considered a positive element
industrial and product design were important components.
Vorkurs "Basic Design" course- foundational courses offered
no teaching of history in the school because- design and create according to first principles rather than by following precedent.
Weimer- 1919-25 ; Walter Gropius
Desau – 1925 – 32; Hannes Meyer
Berlin – 1932- 33 ; Ludwig Mies van der Rohe
3 CONNECTED WINGS/BRIGES- PI.N WHEEL CONFIG
2 STOREY STSPAN APPROACH ROAD FROM DESSAU
LOWER ADMINISTRATIONUPPER -PVT. OFFICE
DORMITORIES,SCHOOL BIDGATTCHED AS WINGS
ASSEMBLE HALL,DINING SPACE AND STAGE BETWEEN
RCC FRAMEWORK,BRICK WALLSMUSHROOM SHAPES CEILING AT LOWER LEVELS
ASPHALT TILE ROOFING
STRUCTURAL TRANSPERANCY
Chrysler Building
NY
William Van Alen
Year: 1928-1930
Height: 319 meters / 1,047 feet
Stories: 77
Stainless steel exteriorhood ornaments, hubcaps,and abstract images of cars.
AIG BUILDING, NY(1932 COMPLETED)
ART DECO
POST MODERN
BRUTALIST STYLE
Alison and Peter Smithson,
AT&T Headquarters
Philip Johnson
INTERNATIONAL STYLE
1984
Height: 197 meters / 647 feet
Stories: 37
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