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outdated, seeking instead to create an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 bysteel-
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".

24. 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

26. 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

27. 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

28. 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)

29. 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

30. 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 aestheticsand 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.

31. 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.

32. 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

33. 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

34. 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.

35. 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

36. 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.

37. ■ 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

38. 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