theories of architecture 09102
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Theories of Architecture 2009/2010 Syllabus
i. Modern ism 1920's-1960'sii. Post Modern ism 1980's
a. High t ec hb. Bru talismc. Decon st ruc tion d. Func tion alism
I.M odernismOne of th e do minan t expre ssion s of de sign . Practice, produc tion a nd th eory in th e 20 th cen tury cha ra cter ized visually by th e use of m odern
mat er ials s uc h as t ubu lar st ee l and glass. Th e ma n ipu lati on of abst ra ct
for ms , spa ce a nd light.CIAM Con gre s In tern ati on al d 'Arc hit ec tureModerne
The a rbit er a nd d isse minat or of th e th eory and do gma of In tern ati on al
Modern ism (1928 1959)
It pro m o ted Func tion alism , sta nd a rd izati on and rati on alizati on . It em p hasiz ed th e m odern ism m ove m en ts , by pu tti n g th e mai n fund am en tals for citie s t o bu ild upon .
Alvar Aalto (Finnish Architect)
He ne ver used for ms that w ere m ere ly ae sth e tic or cond itioned by
tec hn ical f a ct or bu t looked to th e m ore per ma nen t m ode ls of nat ure and nat ur al for ms.
Be lieved that t ec hno logy cou ld be huma n ized to beco m e th e ser van t of huma n be ings.
His goal was t o huma n ize m ec ha n ical for ms a nd this is still st ud ied to this day. ( )
Opera Berlin (Music
produced the shape of
the construction)
Opera Aalto 1959
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Un like Le Cor busier and Grop iu s, th ey fo llowed th e concep t of
cen tralizing on th e a rc hit ec ture its e lf with ou t con sider ing th e huma n
living in th e space . Stati ng that th ey a re uneduc at ed or don 't kno w
what's b e st for th e m.
Modern ism ba cked do wn bec ause it cou ldn 't connec t t o th e huma n
living in th e spa ce, so it cou ldn 't f a ce th e t e st of tim e . It d ied by th e end
of th e 60's-
Byker house,
Newcastle, England,
UK
By Ralph Erkine inthe mid 1970's
Wh y d id Modern ism Fail?
In th e US th e apa r tm en t b u ild ings that w ere bu ilt like "Marsille ia"cre at ed un sa fe Ne ighb or hood s. Peop le sta r ted dy ing with ou t a nyone no ticing excep t wh en th e ir st enc h was ou t.
The concep t of Ma rse illia t o connec t f amili e s t oge th er sta rted t o de ter ior at e .
In th e end, e veryone living th ere alon g with th e a rc hit ec ts v o ted to blow up th e p lace and it was docu m en ted as a n off icial
stat e m en t of th e de ath of MODERNISM .
-Modernism was like fashion, and it just died-
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What is Ma rse illa?
Kno wn t o th e Ma rse illais as le CitRadieuse (The Rad ian t Cit y), or sim p ly
Le Corbusier , th e
Un it d 'Habitati on was erec ted
be tw een 1947 a nd 1952 t o hou se th e f amili e s of
con st ruc tion worker s re bu ild ing
Ma rse ille 's wa r-damag ed por t.
Its de sign was s o rad ical for th e
day that th e
in tended
inhabita n ts refu sed t o m ove in . Inst e ad, th e city's
educ at ed e lite, its doc tor s, a rc hit ec ts , soc ial w orker s a nd
teacher s f locked to what was th en a n East ern subur b , t o snap up th e owner -occup ied f lats , ca pabl e of hou sing
1,600 peop le .
II.P ost- M odernismSince th e e a r ly 80's end of 70's
Postm odern ism i nf luenced all t ype s of
f ie lds (lit er at ure, pho t ography, a rt , e tc..)It
sta rted to beco m e in sp ired by hist ory to
inf luence th e psycho logy of th e peop le
living inside th e space .
It is deeper tha n th e ou tsi de cru st.
AT&T Shoebox
Post-Modernist Philip Johnson
M ichael Graves .
M icha e l Grav e s is cred ited with m oving Am er ica n a rc hit ec t ur al th ou ght
fro m abst ra ct m odern ism t o po st-m odern ism.
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Borr ing he avily fro m th e past , Grave s u se s co lum ns , ped imen ts , a rche s,
and o th er hist or ical de tails. His b u ild ings of ten co mbi ne whims y a nd
sop histi cati on .
The aims of po st-m odern ism , inc lud ing so lving th e pro ble ms of
m odern ism , co mm un icati ng m e a n ings with ambig u ity and sen sitivit y for th e bu ild ing's con tex t a re surpr isingly un if ied for a per iod of bu ild ings
de signed by a rc hit ec ts wh o la rge ly ne ver co llab or at ed with ea ch o th er .
The aims do, howe ver, le av e roo m for va riou s im p le m en tati on s as ca n
be illust rat ed by th e d iver se bu ild ings cre at ed dur ing th e m ove m en t.
1) How t o de sign?
There a re pu blicati on s b y de signer s on how t o de sign that dat e ba ck to
th e Roma n Emp ire . (Vir tuo so 1 st Cen t ury )
HARMONY SYMM ETRY PROPORTIONS
2) What is de sign?
To exp lore th e th eor ie s of de sign syn th e sis.y Simp licity y Clarity y Gra ce y Beau ty
Architecture as Engineering
British "High tech"
The new
headquarters
buildings for Lloyds
of London (1986)
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So ewhe e betwee ar t dec o and blad e Runn e r, the Lloyd' s of Lond onhe adquar te rs is a ri sky de sign fo r an in suran ce co pan y sh imm e ring
stee l, glitte ring gla ss
Se rvice po ds and AC du ct s
"T h bu d ng n gh h a h u a o n d ou ho ng o
h h p
o
a o pu ."
T h H ong- ong and Shangha Ban
h adqua ! " ! # b $ No ! % an F o # " !
The ma st stru ct ur e allow s push ing
the se rvice core s t o the pe rim ete r so
as t o cre a te dee p plan f loo rs ar ound
a 10 st orey a t rium.
Serv i& e ce nt er s
Hi h-t ec h Archit ec tu re (7 0's
The e ' po nen t s of h igh -tech be lie ve th a t the re is such a th ing a s the "sp irit of the ag e " and th a t ar ch itect ur e has a m oral du ty to
e ' pre ss th a t sp irit . Th is sp irit re side s in ADVANCED
TECHN( L( GY. Arch itect ur e the re fo re mu st use th a t tech nology
the tech nology of indu st ry, t ran spo rt , communi ca t ion, f light ,and sp ace t ra ve l.
W hy the n d o we con t inu e to ma ke building s of cumb e rso m e ,m e ss y, im prec ise ma te rial s, such as bri cks , m ortar, concrete , and
t imb e r?W he n we could b e ma king the m ou t of light , prec ision
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co m ponen ts of m e tal a nd glass f ab r icat ed in f actor ie s a nd
qu ickly bo lted toge th er on sit e!
The high t ec h a rc hit ec t s ee s a rchit ec ture as a b ranc h of indu st rial t ec hno lo gy. He claims no soc ial or a rtisti c pr ivile ge s.
He wish e s his b u ild ings b e ing jud ged by th e sam e cr iter ia of perfor ma nce as a ny of th e o th er t oo ls of e veryd ay life he wa n ts
th e m t o be Func tion al and eff icien t rath er tha n a r tisti c or
symb o lic.
Howe ver, a rchit ec t ure, it s ee ms , can ne ver pure ly be on ly
func tion al , no matt er how ha rd it t rie s.
The typ ical High-t ec h b u ild ing symb o lize s a nd repre sen ts
tec hno logy rath er tha n sim p ly using in th e m ost eff icien t wa y
po ssibl e .It ma y be che aper a nd qu icker to bu ild a loa d -be a ring b r ick
wall , bu t th e high t ec h Arc hit ec t will alwa ys prefer th e st ee l fram e
and th e light w e ight m e tal pane l bec a use this is a t ec hn ique m ore in
tune with th e sp irit of th e ag e .
The m o ti f s of high t ec h expo sed st ee l st ruc t ure visible air
cond ition ing duc ts , p lug-in ser vice pads a nd so on - a re alm ost ne ver
th e m o st econo mical s o lu tion s. Bu t this is a rc hit ec ture NOT
en gineer ing.
B rutalism (1960 s)
"Sh or t on th eory and lon g on dr a u ghtma nshi p" Arc hit ec tur al cr itic
Reyner Banham.
Bru talist b u ild in gs usually a re for m ed with st riking repe titiv e angu lar geo m e tr ie s a nd wh ere concre te is used of ten re ve aling
th e tex ture of th e wooden for ms used for th e in -sit e casti ng. A
bu ild ing ma y a chie ve its B ru talism q ualit y th ou gh a rou gh , blocky
appe a rance, and th e expre ssion of its st ruc tur al mat er ials , for ms
and in som e cas e s s er vice s on its ex ter ior . As a concep t it ha d been a n ticipat ed som e ye a rs ea rlier in th e work of th e British A rchig ram g roup Arc hit ec ture m ee ts
te le gram (1961-1974)
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The bru tal expre ssion of tec hno logy a nd t ru th t o mat er ials a nd th e
m e t ropo lita n scale infr ast ruc t ure s a nd syst ems of m ove m en t w ere t o
beco m e fund am en tal pr inc ip le s for m uc h of th e a rc hit ec t ure whi ch
fo llowed .
TEAM X (te am 10)
Jam e s Sti r ling (British A rc hit ec t) Lou is Kah n (Amer ica n Arc hit ec t)
Leicester University of
Engineering Building )
Also see:
-Richards Laboratories University of P ennsylvania
-Functional and structure form of theArchigram work
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:
Systematic Layout P lanning 1961
1.
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3.
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4.
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1. :
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2. : .3. :
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:
1.
2.
Symb o lic
For mal
Sen sory
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3.
4.
Le ss is m ore (M ie s Va n de Rohe )
The hou se is a ma chine for living (Le Cor busier )
For m fo llows func tion (Frank Lloyd Wright)
Pru itt Ig oe 1972
Igoe-P ruitt
Pru itt-Ig oe was a la rge ur ba nhou sin g
pro jec t f irst occup ied in 1954 a nd
co m p le ted in 1955 i n th e U.S. city of St.
Lou is, M issour i. Shor tly a f ter its
co m p le tion, living cond ition s in Pru itt-Ig oe
bega n to dec a y; by th e lat e 1960s , th e
ex tre m e po ver ty, cr ime, a nd se gre gati on
brou ght th e co m p lex a g re at de al of inf am y
as it was co vered ex t en sive ly by th e
in tern ati on al pre ss. Th e co m p lex was
de signed by a rc hit ec tM inoru Yamasa ki,
wh o als o de signed th e Wor ld Trade Cen ter
tower s.
At 3 PM on Ma rc h 16 , 1972 l e ss tha n 20
ye a rs a f ter con st ruc tion th e f irst of th e
co m p lex 's 33 bu ild ings was de m o lish ed by
th e feder al g overn m en t. Th e o th er 3 2
bu ild ings w ere de st royed o ver th e nex t tw o ye a rs. Th e high- prof ile
f ailure of Pru itt-Ig oe has b eco m e a n e mbl e mati c icon of ten e voked by all
side s in pu blic hou sing po licy de bat e . The Pru itt-Ig oe hou sing pro jec t
was one of th e f irst de m o lition s of m odern ist a rc hit ec ture and its
de st ruc tion was claim ed by po stm odern a rchit ec tur al hist or ian Cha rle sJenck s t o ma rk "th e day Modern a rc hit ec ture d ied .
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:
y Hist or iu smy High-Tec hy Vern a cu lar ( ) y Decon st ruc tion
Argentine _ moving louvers _ concrete _ ribs
MIT dorm rooms
Con st ruc ted in th e 80's b u t till no w roo ms
a re still on waiti n g lists , e ven th ou gh
th ere a re ne w e m p ty dor mit or ie s.
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C rystal P alace London
Crystal Pala ce is a re siden tial a re a i n Sou thLondon, England nam ed fro m
th e for m er loc al la nd ma rk, The Cry stal Pala ce, whi ch occup ied th e a re a
fro m 1854 t o 19 3 6. Th e are a is l oc at ed approx imat e ly 8 mil e s s ou th east
of Cha ring Cro ss , a nd offer s im pre ssiv e vie ws over th e cap ital. A n
e lec tor al wa rd nam ed
Crystal Pala ce and Crystal
Pala ce Pa rk a re en tire ly
con tai ned withi n th e
London Borou gh of
Bro mley . Howe ver, th e wider a re a has no def ined
bound a rie s a nd st radd le sth e con ver gence of f ive
London borou ghs a nd
th ree po stal d ist ricts. It is con tig uou s with A ner ley, Du lwich W ood, Gipsy
Hill, Pen ge, Sou th N or wood, Syden ham a nd Upper Nor wood .
The Crystal Pala ce was a cast-i ron and glass b u ild ing or iginally erec ted in
Hyde Pa rk t o hou se th e Gre at E xhibiti on of 1851. F o llowing th e succe ss
of th e ex hibiti on, th e pala ce was m oved a nd recon st ruc ted in 1854 i n am od if ied a nd en larged for m i n th e ground s of th e Pen ge Pla ce e stat e at
Syden ham Hill. It att ra cted visit or s for over se ven dec ade s.
Syden ham Hill is one of th e high e st l oc ati on s in London; 109 m e t re s
ab o ve se a leve l (spo t h e ight on Ordn a nce Sur vey Ma p ); and th e size of
th e pala ce a nd pro minence of th e sit e ma de it eas y t o iden ti fy fro m
m uc h of London . This l e ad t o th e re siden tial a re a a round th e bu ild ingbeco ming kno wn as C rystal Pala ce in st e ad of Syden ham Hill. Th e pala ce
was de st royed by f ire on 3 0 N ove mb er 19 3 6 a nd th e sit e of th e bu ild ing
and its g round s is no w kno wn as C rystal Pala ce Pa rk .
, Pref ab ricat ed un ite s in th e 17 th cen tury!
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Arc hit ec tu re in B raz il
O scar Niemeyer (born D ece mb e r 15 , 1907 0 is a Brazilianar ch itect wh o is conside re d one of the m os t im po rtan t nam e s in in te rna t ional m ode rn
ar ch itect ur e . He was a pionee r in e 1 ploring the fo rmal poss ibilit ie s of
re inforce d concrete so le ly for the ir a e sthet ic impact .
His building s ar e of te n ch ara cte rize d b y be ing sp acious and e 1 pos e d,
mixing vo lum e s and e m p ty sp ace t o cre a te un conve n t ional pa tte rn s.
Both laud e d and crit icize d fo r b e ing a " sculp tor of m onum e n ts ", he ha s
bee n prai se d for b e ing a gr e a t ar t ist and one of the gre a te st ar ch itect s of
h is ge ne ra t ion b y h is suppo r te rs. Am ong h is num e rous f am ous w orks
the re ar e the man y publi c building s he de sign e d fo r the city of Bra s lia, a2
NESCOW orld H e ritag e Site , The 2
ni te d Na t ions He adquar te rs in New York City (w ith o the rs 0 , etc .
No t the st raig ht angl e th a t a tt ra ct s m e ,
nor st raig ht , hard, in f le xible , cre a te d b y
man. W ha t a tt ra ct s m e is the f ree and
se nsual cur ve , the cur ve s th a t f ind in the
m oun tain s of m y coun t ry, in the cour se of
it s w inding ri ve rs, the sea wave s, the
body of the w o man pre f e rr e d. Cur ve s is done th roug hou t the uni ve rse , the
uni ve rse of Einste in' s cur ve d." B3 az
4
5
6 Ca 7 8 d 3 a
5
M u 9 8 u d 8 Arte Con tem po r ne a M odad ori Headquar te rs
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M odernism
, . .
.
Pier Lu igi Nervi was educ at ed and pr a cticed as a n inge gnereed ile (t ranslat ed as "b u ild ing en gineer ") - in Ital y, at th e tim e (a nd to a le ss er
de gree als o t od ay), a b u ild ing en gineer might als o be con sidered a n
a rchit ec t. Af ter 19 3 2 , his a e sth e tically p le asi ng de signs w ere u sed for
maj or pro jec ts. This was due t o th e boo ming nu mb er of con st ruc tion
pro jec ts at th e tim e whi ch used concre te and st ee l in Europe and th e
a rchit ec ture as pec t t ook a st ep ba ck to th e po ten tial of en gineer ing.
Ner vi succe ss fu lly ma de re inforced concre t e th e mai n st ruc tur al mat er ialof th e day. He was one of th e peop le wh o in t roduced m odern ism.
Worked with CIA M -