Jaffer AA Khan & Team - HTC Project 1

COURSE INSTRUCTORS PROF. JAFFER AA KHAN B.Arch.,M.Sc.Arch(Bartlett,UCL,London).,RIBA.,RAIA.,FRSA.,FIV.,MRICS.,ASIA.,AIIA Director MARG Institute of Design and Architecture Swarnabhoomi -MIDAS TAMIL EZHIL G B.Arch., M.Plan (SAP, Anna University) Assistant Professor MARG Institute of Design and Architecture Swarnabhoomi -MIDAS

ARTICLES Batch 2011, MIDAS FRONT COVER PAGE Raj Narayan S Photograph: Revisiting Mondrian by MIDAS Batch 2013 BACK COVER PAGE Swarna Prabha G T S EDITORIAL TEAM Anil Kumar E Afzan M Anbuselvan T Deepashika S Keerthana M Mira R Raaghavi S Sunil Karthick E Note: The document is a MIDAS students effort on compilation of articles from various resources on relevant topics as part of academic assignment.. Image copyrights as relevant

TABLE OF CONTENTS

1

Adolf Loos and C iti ue o

O a e tatio

2 Jeyashri C, Mira R Prasanna Gopal S

2

Peter Behrens and Werkebund

9 Anne Rose Baranidharan s Srija N

3

Modern Architecture and Art – Expressionism

13 Akshayaa.V Geeva Chandana.B Treasa Koriakose

4

Modern Architecture and Art – Constructivism

18 Anbuselvan.T Koushik Krishna.N Vishal Gowtham.B

5

Modern Architecture and Art – Futurism

24 Deepashikha. S Don Paul Remigious Pinky.k

6

Modern Architecture and Art – Cubism

28 Cayser Hussain.H Kannammai Sundara Rajaganesh S R

7

Modern Architecture and Art – De Stijl

31 Donie Prasad Harini T Sivaranjani C

8

Modern Architecture and Art – Suprematism

36 Kavipriya.S Raaghavi.S Sunil Karthik.E

9

Modern Architecture Development : Nationalism – Nazi Architecture

45 Jeganathan S Suseel Kumar K

10

Bauhaus School – Weimer

49 Aishwarya.Pai Prithivraj.S Vijay Rathod.D

11

Bauhaus School – Dessau

54 Harshini.S Karthikeyan D Supraja.T

12

Bauhaus School – Berlin

58 Ginkhy.R.V Neslin Rose Joseph Rajnarayan.S

13

CIAM and Team X

66 Anusha.S Archana Nazreen.J Swarna Prabha .G.T.S

14

Alvar Alto

73 Afzan.M Sai Harshini.M Yamini.T

15

Frank Lloyd Wright - Later works

78 Divya.S Pooja.S Pratheepa.N

16

International Style - Growth and Development

82 Divya.S Pooja.S Pratheepa.N

17

Le Corbusier - Early works

87 Anilkumar.E Priyadharshini.G Tessa Martin

18

Le Corbusier - Post WWII Scenario

91 Manjistha.D Shruthi Athreya Swetha.R.V

19

Louis I Kahn

97 Abinaya. M Rohith Raj.M Samyuktha B

20

Later Modernists - Paul Ruldolph & Eero Saarinen

104 Divya.S Pooja.S Pratheepa.N

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ADOLF LOOS MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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ADOLF LOOS MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

JEYASHRI C MIRA R PRASANNA GOPAL S

INTRODUCTION "Everyting that serves a purpose can be excluded from the realm of art'' - Adolf Loos

Adolf Loos was born the son of a stonemason at Brunn, Austria. His initial brush with architecture involved an apprenticeship under Louis Sullivan (which was to influence his later works significantly), a brief stint at London and the Viennese Secession. As a result, he was very much taken in with the Chicago School, the British aristocratic lifestyle and the Secessionist philosophies.

However, he later chose to opt out of the Secession, owing to a clash of opinions with other Secessionists.

Nevertheless, this did not deter Loos from deriving significant inspiration from the Secessionist style. The combination of all these factors had a huge impact on all of Loos’ works. His buildings had indelible traces of these various styles and ideologies, brought together in the perfect proportion to define Loos’ exclusive technique.

Besides the boldly unique buildings of his time, Loos also indulged in writing critical essays that established his philosophies to the world. In all of his literary endeavours, Loos sought to ‘enlighten the world with his discovery and remove the pain of ornament’, as he would later put it.

His most famous pieces include ’Ornament and Crime’, ‘Architektur’, ‘The poor little rich man’ and certain ironically titled pieces such as ‘Spoken into the void’.

Amongst these, the most famous and seminal work remains the ‘Ornament and Crime.’’

In this essay, he notes how ‘modern ornament has no forbearers, no descendants, no past, no future. He criticizes the world of being stuck in the eighteenth century, while it must have rightfully progressed on to the twentieth. Loos strongly believed that the shedding of ornament in all utilitarian objects was the key to cultural evolution. He also maintained that if modern man was unable to produce any ornament of his own, it was because he had outgrown it and reached the pinnacle of cultural evolution; thus, he had to be proud of it. Despite all these attempts to educate the world about the futility

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of ornament, he was seen as an eccentric who was not clear about his own ideologies.

“I tell you that the time will come when the furnishing of a prison cell by Professor Van de Velde will be considered an aggravation of the sentence.”

- Adolf Loos, 1930, Trotzdem Loos’ architecture boasted of a few remarkably telling characteristics. Some of these were the glaringly cubic forms, plain white facades and terraced family houses.

However, the most important feature which brought Loos a unique identity was the concept of Raumplan.

Raumplan or spatial plan deals with allocating heights to individual spaces, besides defining them in terms of length and breadth. “ The house should be silent to the outside; inside it should reveal all its wealth.”

- Adolf Loos Loos was infamous for the derision and criticism he had for his contemporaries, particularly his nemeses at the Secession. His blatant remarks were as much a Page 4

controversy as were his ideals themselves. Of all those who bore the brunt of Loos’ censure, the most notable were Henry van de Velde and Olbrich, both of whom he mentioned by name and criticized in many a context.

However, there were also a few architects, whom Loos shared views with.

Two such important personalities were Otto Wagner and Le Corbusier. Wagner and Loos concurred on the view that ‘Modern life (is) the foundation of a new aesthetic interpretation. ‘Similarly, Corbusier is said to have described Loos’ critical essay ‘Ornament and Crime’ as an influence on the world’s architectural destiny.

LOOS’ WORKS LOOSHAUS Location Function Architect Client

- Vienna - Commercial space, housing - Adolf loos - Goldman & Salatsch

The Looshaus in Vienna (also known as the Goldman Salatsch Building) is regarded as one of the most

important structures built in the "Wiener Moderne". The building marks the rejection of historicism, as well as the ornaments used by the Wiener Secession. Its appearance shocked Vienna's citizens, since their overall taste was still very much historically oriented. Because of the lack of ornaments on the façade, people called it the ‘House without eyebrows'.

ARCHITECTURE There is a sharp contrast between the marble-lined facade used at the ground floor (Cipollino of Evia and Skyros marble) and the plain plaster facade of the residential floors above. The deeper problem was that this building of them attached to a building previously done and not as part of the design.

STEINER HOUSE

was secretive. Baroque architecture is garrulous and revealing. Rooftop statues strike poses to announce what lies inside. But the gray marble pillars and plain windows on the Loos House said nothing.

In 1912, when the building was completed, it was a tailor shop. But there were no symbols or sculptures to suggest clothing or commerce. Why, the building could just as

Architect - Adolf Loos Location - Vienna, Austria map Date - 1910 Type - House Climate - Temperate Context - Urban Style,

Early Modern

It was the architect’s Adolf Loos’ goal to maximize the space at his disposal without violating the building regulations of suburban Vienna. At the time, only one floor above street level was allowed. Loos’ solution was an arched tin roof which contains two additional floors giving the structure its somewhat austere and futuristic look.

easily be a bank. Indeed, it did become a bank in later years.

The only ornament that is placed in front of this section are the bronze shields of the firm that occupies the site, the name and street lamps that illuminate the street. All Page 5

the first example of the new style of Raumplan. The house is an almost cube like volume and the internal space is 10m by 10m.

ARCHITECTURE OF STEINER HOUSE This house is a manifestation of Ornament and Crime written in 1908, in which he repudiated the florid style of the Vienna Secession. The house shows the architectural principles of Loos, a design to exclude all tools of arts to emphasize function. The facades are the public part of the house, Loos designed them smooth and unadorned.

The interior is the private side and reflects the personal taste of the owners. Symmetry and the total lack of ornamentation defined the building. It could be called an architecture based on the economy and the rigour of the function.

.

The exterior walls are load bearing leaving the interior walls to partition space. A central column runs through the house hiding the plumbing and also acting as a framing device on the second floor. This central column is a grounding agent, connecting the entire house and acting as a point of reference.

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ARCHITECTURE OF RUFER HOUSE Loos was very adamant about the pure form of the cube and decoration kept to a bare minimum. The walls are a stark white and the window frames contain the least amount of structure. This, however, is balanced by the frieze and cornice that runs along the top of the building, and a replica of some portions of the Parthenon frieze positioned on the street side low enough for viewing.

RUFER HOUSE Architect - Adolf Loos Year of construction-1922 Location -Vienna, Austria The Rufer House was designed by architect Adolf Loos in 1922 for Joseph and Marie Rufer. It is considered to be Page 6

Another key part of the Rufer house is the seemingly random arrangement of windows. With the blank white walls giving no distraction, the most noticeable aspect of the house are the windows. While from the exterior the windows make no sense to the casual viewer, from the interior the windows make perfect sense. These interiorly programmed windows give light and views where they make sense on the inside.

RAUMPLAN Raumplan is embodied amongst other things by Loos understanding of economy and functionality and Loos applied it in his designs for social housing. These plans are

rather complex as they have to rely on a close relationship between structure and room enclosure to develop the raumplan idea. At the same time, there is a flow of spaces (in parts) similar to what can be found in free plans.

"My architecture is not conceived in plans, but in spaces (cubes). I do not design floor plans, facades, sections. I design spaces. For me, there is no ground floor, first floor etc.... For me, there are only contiguous, continual spaces, rooms, anterooms, terraces etc. “ From the site programming diagram, it shows how the living room is located at the more private side of the site.

The relationship of Villa Muller to its surrounding area, as well as the relationship of the parts of the house and different function areas of the villa, eg Public, Private and Servant areas is well established. It is obvious to see that

The use of Raumplan in Loos’ architecture is evident, particularly in Villa Muller. It is seen in the difference in height of the ceiling in different rooms, which is strongly linked to the privacy provided in the room.

Raumplan rests on the stepped heights of the individual rooms according to their function and symbolic importance. The organisation and division of interior space delineated by "Raumplan" can also be traced in the outer walls, on the facades.

Loos wants the functions of the villa to be defined very clearly, public spaces to be very public and private spaces to be very private.

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The diagram shows how different rooms are connected and elaborates the lighting system in the house. The more private annexes with lower ceilings are spatially connected through stairs with higher public rooms. In this, the first level main hall is higher than second level bedroom, indicating a strong difference of privacy. The second set of diagrams explains the building through a broader sense.

This attempts to show the envelope of the house - the enclosure and structure. The hatched part shows how people move through rooms achieved by simple geometry.

The programming of the house is mainly about the difference between private space and service space. From the section, a clear circulation of service space is highlighted both in staircases and lifts.

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Every space requires a different height: the dining room is higher than the pantry, thus the ceilings are set at different levels. Thus, the key aim is to join these spaces in such a way that the rise and fall are not only unobservable but also practical.

PETER BEHRENS & WERKBUND MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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PETER BEHRENS & WERKBUND MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

ANNE ROSE A BARANIDHARAN S SRIJA N

ABSTRACT During the period before World War I, the German Werkbund was at the center of attempts to forge new theories of architecture and design in light of the momentous technological and economic developments of modernity. The concerns of the group went far beyond aesthetics as design became a major testing ground for a new self-cpnsciousness about the effects of consumerism and commodifications in modern culture.

WERKBUND Deutscher Werkbund, English German Association of Craftsmen, important organization of artists influential in its attempts to inspire good design and craftsmanship for mass-produced goods and architecture. The Werkbund, which was founded in Munich in 1907, was composed of artists, artisans, and architects who designed industrial, commercial, and household products as well as practicing architecture.

The group’s intellectual leaders, architects Hermann Muthesius and Henry van de Velde, were influenced by William Morris, who, as leader of the 19th-century English Arts and Crafts Movement, proposed that industrial crafts be revived as a collaborative enterprise of designers and craftsmen. Van de Velde and Muthesius expanded Morris’ ideas to include machine-made goods. They also proposed that form be determined only by function and that ornamentation be eliminated.

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Soon after the Werkbund was founded, it divided into two factions. One, championed by Muthesius, advocated the greatest possible use of mechanical mass production and standardized design. The other faction, headed by van de Velde, maintained the value of individual artistic expression. The Werkbund adopted Muthesius’ ideas in 1914.

The Werkbund exerted an immediate influence, and similar organizations soon grew up in Austria (Österreichischer Werkbund, 1912) and in Switzerland (Schweizerischer Werkbund, 1913). Sweden’s Slöjdföreningen was converted to the approach by 1915, and England’s Design and Industries Association (1915) also was modeled on the Deutscher Werkbund.

The Werkbund’s influence was further enhanced by its exhibition of industrial art and architecture in Cologne (1914). Among the buildings exhibited were some of the most notable examples of modern architecture in steel, concrete, and glass. These included a theatre by van de Velde and an administrative office building, the Pavilion for Deutz Machinery Factory, and garages by the architect Walter Gropius.

Key Dates – Werkbund 1907 - Establishment 1910 - Salon d'Automne, Paris 1914 - Cologne Exhibition 1920 - Lily Reich becomes the first female Director 1924 - Berlin Exhibition 1927 - Sttuttgart Exhibition 1929 - Breslau Exhibition 1938 - Werkbund closed by the Nazis 1949 – Re-establishment

PETER BEHRENS Peter Behrens was a German architect and a designer. He attended Christianeum Hamberg from 1877-1882. He worked as a painter, illustrator and a book-binder. He frequented the Bohemian circles and was interested in subjects related to reform of Life-styles. Bohemian people had a Non-conventional lifestyle. He was a major designer of factories and office buildings in brick, steel and glass. In 1922, he accepted to teach at Academy of fine arts, Berlin. Later, he remained HOD of architecture in Prussian

academy of arts, Berlin. He was a pioneer in everything he did in the first half of the 20th century and his ideas were spread around the world by his students, especially by Walter Gropius, Mies van der Rohe and Le Corbusier.

Key Dates 1898 - First Furniture Design 1899 - Joined Artist's Colony in Darmstadt 1900-01 - Behren's House 1905 - Designed Northwestern German Art Exhibition at Oldenburg 1907 - Behrens succeeded Alfred Messel, Found Werkbund 1909 - Turbine Factory 1910 - High Tension Factory 1910-11 - The Small Motors Factory 1911-12 - Large Machine Assembly Hall 1920-24 - I G Farben Company Building 1922 - Behrens became Professor of Architecture 1926 - Designed New Ways , a private dwelling 1938 - New Headquarters AEG in Berlin 1940 - Passed away

BEHRENS HOUSE In Darmstadt Artist's colony he built his own house. He conceived all the interiors including furniture, towels, paintings, pottery, etc.. The house receiving widespread critical attention at the 1901 Darmstadt exhibition for his furniture, fittings, interiors which, although moving away from the more flowing Art Noveau forms that had characterized much of his earlier design output, utilized expensive materials and finishes.

INDUSTRIAL BUILDINGS BY BEHRENS AEG FACTORY, BEHRUN The AEG turbine factory was built around 1909, in Berlin district of Mabit, the best known work of architect Peter Behrens. It is an influential and well-known example of industrial architecture. Its revolutionary design features 100m long and 15m tall glass and steel walls on either side. A bold move and world first that would have a durable impact on architecture as a whole.

PRODUCTS DESIGNED BY BEHRENS An instance is found in Peter Behrens’s title page for O.J. Bierdaums’s Den Bunte Vogel of 1899 in which the tail of a peacock changes into a border for the type on the page. Before he became an architect he was a painter in his youth and Art Nouveau designer of decorative and graphic design.

Some of the products designed by Peter Behrens include Vase, 1903 Electric kettle,1908 Plate, 1901

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Porcelain cup and saucer, 1901 Side Chair,1902 Flying Lady Table lamp goblets A grand piano

He designed many exclusive products for AEG which include New logo for AEG and Advertisement Posters Electric Fan Industrial Clock

FONTS DESIGNED BY BEHRENS Behrens-Schrift (1901-7) Behrens-Antiqua (1907-9) Behrens Mediaeval (1914).

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EXPRESSIONISM MODERN ARCHITECTURE: AND ART

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EXPRESSIONISM MODERN ARCHITECTURE AND ART

GEEVA CHANDHANA B AKSHAYAA V TREASA KURIAKOSE

EXPRESSIONISM Expressionism was a modernist movement, initially in literature and art, originating in Germany at the beginning of the 20th century. It soon spread to other parts of the world and to other fields such as music, architecture, cinema etc. The main objective was to perceive everything in a subjective MANNER, distorting it radically for emotional effect in order to evoke moods or ideas. This movement emerged as a response to the discordant relationship of humanity with the world and a loss of emotions and feelings associated with authenticity and spirituality.

'The Scream', 1893 (oil, tempera and pastel on board)

JAMES ENSOR (1860-1949) He was a Belgian painter and printmaker. He depicted realistic scenes in a sombre style. His palette was subsequently brightened and he favored increasingly bizarre subject matter.

EXPRESSIONISM IN ART (1905-33) "I do not believe in the art which is not the compulsive result of man's urge to open his heart"-- Edvard Munch Art was meant to come forth from within the artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the artist's feelings rather than an analysis of the composition. Expressionist artists often employed SERPENTINE STROKES in the depiction of their subjects AND BOLD COLOURS.

EDVARD MUNCH (1863-1944) He was a Norwegian painter and printmaker. His subjects were matters of human mortality such as chronic illness, sexual liberation, and religious aspiration. Munch’s painting of ‘The Scream’ (1893) was VERY influential. It provides a psychological blueprint for Expressionist art: distorted shapes and exaggerated colors that amplify a sense of anxiety and alienation.

The Entry of Christ into Brussels, 1888, oil on canvas

AUGUSTE MACKE (1887-1914) He was one of the leading members of the German Expressionist group Der Blaue Reiter (The Blue Rider). He had mystical and symbolic interests and he concentrated primarily on expressing feelings and moods rather than reproducing objective reality, usually distorting colour and

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form.

symbolism which recognized that the qualities of modern building materials should dictate a new architecture. In later designs, Mendehlson moved away from his earlier expressionist architecture, designing a series of buildings in a more linear fashion.

EINSTEIN TOWER [ 1919 - 1921 ]

‘Girls Under Trees’, 1914 (oil on canvas)

EXPRESSIONISM IN ARCHITECTURE: [ 1910 2003 ]

It is one of the best-known examples of German expressionist architecture. Designed as an amorphic structure of reinforced concrete, Mendelsohn wanted the tower to represent as well as facilitate the study of Einstein’s radical theory of relativity – a groundbreaking theorem of motion, light and space. Light from the telescope is directed down through a shaft to the basement where the instruments and laboratory are located. It has a centralised observatory tower banded by rings of windows raised on top of a wave like platform that would house the laboratories.

ERICH MENDELSOHN [ 1887 - 1953 ]

HAT FACTORY [ 1919 - 1920 ]

Erich Mendelsohn was born in Allenstein, East Prussia (now Poland) in 1887. He studied in Berlin and Munich where he became involved with Expressionism. These early experiences generated a personal philosophy of "Dynamism" that demonstrated an attitude that was both expressionistic and personal in nature.

Mendelsohn used no historical precedents in formulating his designs. As a result, his early buildings avoid the eclectic borrowing that mark so many of his contemporaries. Indeed, his architectural ideas were derived from expressionistic sketches and romantic

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The two biggest hat-making ateliers merged (Herrman and Steinberg) & decided that a large new factory in Luckenwalde would be built. The contract was awarded to Erich Mendelsohn, who was friends with Gustav Herrmann. On an area of 10,000 square meters, four production halls, a boiler, turbine house, a dyeing hall and two gatehouses were designed and built. The genius of Mendelsohn was particularly evident in the construction of the dyeing hall, shaped with a modern, shaft-like hood allowing ventilation. The dyeing hall funneled the toxic fumes out of itschute, it was considered a breakthrough design. The tower also resembled a hat, eventually becoming a trademark of Luckenwalde. On the industrial estate were two parallel production courses for both hair

and wool hats to be made. The dyeing and power station were two strands of the work and were therefore in a symmetrical axis to the system. The factory construction used new and modern materials - steel, concrete, glass and wood.

Fruhlicht as part of a Berlin planning magazine. The next year, after he accepted a position as city architect for Berlin, Taut published a "Glass Chain" publication. In 1923 he returned to Berlin where he worked in partnership with Franz Hoffman and his brother Max Taut. In the late 1920s Taut gained

recognition as a leader of the 'New Objective' architecture

HAT FACTORY (Elevation)

BRUNO TAUT 1880 - 1938 Bruno Taut was born in Konigsberg, Germany in 1880.

He opened his own office in Berlin in 1910 where he maintained a busy practice until the advent of the First World War. In 1918 he accepted chairmanship of the Arbeitstrat fur Kunst. A year later he published drawings depicting a visionary Utopia under the title Alpine Architektur.

In 1920 Taut issued his Expressionist supplement

It was a prismatic glass dome structure at the Cologne Deutscher Werkbund Exhibition. The structure was a brightly colored landmark of the exhibition, and was constructed using concrete and glass. The concrete structure had inlaid colored glass plates on the facade that acted as mirrors. Taut built it for the association of the German glass industry specifically for the 1914 exhibition. The purpose of the building was to demonstrate the potential of different types of glass for architecture. It also indicated how the material might be used to orchestrate human emotions and assist in the construction of a spiritual utopia. The structure was made at the time when expressionism was most fashionable in Germany. The building was destroyed soon after the exhibition since it was for exhibition and not built for practical use.

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HANS POELZIG 1869 - 1936 Hans Poelzig was born in Berlin, Germany in 1869. In 1899 Peolzig moved to Breslau where he taught at the Academy until he became its director.

A distinctive architect, Poelzig designed several projects in an unique, expressionistic mode. At the end of the First World War he became closely associated with the general artistic movement of Expressionism. Active as the vice president of the German Werkbund in post-war Germany.

GROSSES SCHAUSPIELHAUS 1919 The GroĂ&#x;es Schauspielhaus (Great Theater) was a theatre

the vaulted ceiling took on another concept - the night sky.

in Berlin, Germany, often described as an example of expressionist architecture, designed for theatre impresario Max Reinhardt. The dome and pillars were decorated with maquernas, a honeycombed pendentive ornament, which resembled stalactites. When illuminated, the ceiling's lightbulbs formed patterns of celestial constellations, and

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CONSTRUCTIVISM MODERN ARCHITECTURE AND ART

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CONSTRUCTIVISM MODERN ARCHITECTURE AND ART

ANBUSELVAN T KOUSHIK KRISHNA VISHAL GOWTHAM B

INTRODUCTION Constructivist architecture was considered to be a part of modern architecture that flourished during 20th century.

Constructivism started by 1920's and came to an end by 1940s, but using this concept is prevalent even at present.

The style combines straight lines and various forms such as cylinders, squares, rectangles, cubes. The Constructivist architecture combined minimal, geometric, spatial, architectonic, and experimental elements which were considered the base for the concept. Constructivism explores opposition between different forms as well as the contrast of different surfaces like seen in walls and windows. The windows present are always seen with usage of glass. Windows are usually square or rectangular. There are round windows as well, usually at the top of the building.

Vladimir Tatlin who is called the father of Constructivism, produced sketches and a model for what was projected to be a Monument to the Third International. This utopian design, so typical for the frenzied mood of Russians in the years immediately following the Bolshevik revolution, was in theory, had been taller than that great symbol of modernity

ARCHITECTURE

design. Few of the pioneers of Constructivism were Vladimir Tatlin El Lissitzky, Alexander Rodchenko, and Varvara Stepanova. The first and most famous Constructivist architectural project was by 1919. The new forms of the Constructivists began to symbolize the project for a new everyday life of the Soviet Union, then in the mixed economy of the New Economic Policy.

THE MOSSELPROM BUILDING The Mosselprom building is a monument to Russian Constructivism and avant-garde architecture. It is located in the center of Moscow on an intersection between Kalashny, Nizhny Kislovksy and Maly Kislovky side streets.

It was designed by architect N. D. Strukov and is notable for its painted panels by the artists Alexander Rodchenko and his wife Varvara Stepanova. The building was originally intended as a seven-story apartment house with restaurant, built in 1912-13 by Strukov; however, it was hastily constructed and collapsed on March 22, 1913. A part of the structure was rebuilt by 1917; in 1923-1925 two more floors were added for storage and offices for Mosselprom, the Moscow Rural Cooperative Administration which combined flour confectionery, and chocolate factories, breweries, and tobacco companies. In the 1930s it reverted to an apartment building. It was restored in 1997, and it currently houses a branch of the Russian Academy of Theatre Arts.

NOVO-RYAZANSKAYA STREET GARAGE (MELNIKOV) Novoryazanskaya Street Garage, also spelled NovoRyazanskaya Street Garage, and known as "Horseshoe garage", was designed by Konstantin Melnikov and Vladimir Shukhov (structural engineering) in 1926 and completed in 1929 at 27, Novoryazanskaya Street in Krasnoselsky District, Moscow, Russia, near Kazansky Rail Terminal.

Constructivist architecture movement emphasized and took advantage of the possibilities of new materials. Steel frames were seen supporting large areas of glass. Joints between various parts of buildings were exposed rather than concealed. Many buildings had balconies and sun decks. Large windows in order to let in as much light as possible. The concept mainly focused on the constructional, functional and the aesthetic aspect of any Page 19

The main building of this truck garage has a semi-circular

DERZHPROM BUILDING IN KHARKIV The building was one of a few showcase projects designed when Kharkiv (Kharkov) was the capital of the Ukrainian SSR. Built by architects Sergei Serafimov, S.Kravets and M.Felger in only three years, it was to become the tallest structure in Europe for its time. The building also became the most spacious single structure in the world by the year of its completion in 1928, to be surpassed only by New York's skyscrapers in 1930s. Its unique feature lies in the symmetry which can only be felt at one point - in the center of the square.

The use of concrete in its construction and the system of overhead walkways and individual interlinked towers made it extremely innovative. It was rated by Reyner Banham as one of the major architectural achievements of the 1920s in his ‘Theory and Design in the First Machine Age’ and comparable in scale only to the Dessau Bauhaus and the Van Nelle factory in Rotterdam.

form, with service workshops and office in a standalone building between the tips of a "horseshoe". Each of two levels could store 110 trucks; unlike Bakhmetevsky Bus Garage, these had to be parked conventionally, using reverse gear. Each tip of the horseshoe has a V-shaped protrusion with entry and exit gates set at an angle to the street line; this was supposed to simplify entry and exit from a narrow street.

This allowed the structure to fully survive any destruction attempts during the Second World War.

This garage is still used as such, and houses Moscow's Fourth Bus Park. However, since modern articulated buses are longer than 1920s trucks, present-day parking arrangement differs from Melnikov’s efficient layout.

Derzhprom building in Kharkiv

NARKOMFIN BUILDING (MOISEI GINZBURG)

Novo-Ryazanskaya Street Garage, Melnikov

The Narkomfin Building is a block of flats in Moscow, Russia, designed by Moisei Ginzburg with Ignaty Milinis in 1928, and finished in 1932. Only two of four planned buildings were completed. The building is squeezed between old and new territories of United States Embassy at 25, Novinsky Boulevard. A fine example of

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Constructivist architecture and avant-garde interior planning, it is presently in a dilapidated state; most units were vacated by resident’s years ago. Proposed reconstruction, in the best case, will retain only exterior walls.

Prom of Textile Institute, Moscow

CONSTRUCTIVIST ART

Narkomfin Building (Moisei Ginzburg)

TEXTILE INSTITUTE, MOSCOW

Constructivism as a concept refers to the optimistic and abstract designing that emerged in Europe in the 1900's.

It was considered the influential modern art movement to flourish in Russia by 20th century. The ideas were evolved from Cubism, Suprematism and Futurism, but at its heart was an entirely new approach to making objects, one which sought to abolish the traditional artistic concern with composition, and replace it with 'construction.'

Constructivism called for a careful technical analysis of modern materials, and it was hoped that this investigation would eventually yield ideas that could be put to use in mass production, serving the ends of a modern, Communist society. The movement foundered in trying to make the transition from the artist's studio to the factory.

Some continued to insist on the value of abstract, analytical work, and the value of art.

The Constructivists proposed that this movement would focus exclusively on construction. Objects were to be created not in order to express beauty, or the artist's outlook, or to represent the world, but to carry out a fundamental analysis of the materials and forms of art, one which might lead to the design of functional objects.

Constructivist art often aimed to demonstrate how materials behaved - to ask, for instance, what different properties defined materials such as wood, glass, and metal. The form an artwork would take would be dictated by its materials (not the other way around, as is the case in traditional art forms, in which the artist 'transforms' base materials into something very different and beautiful). For some, these inquiries were a means to an end, the goal being the translation of ideas and designs into mass production; for others it was an end in itself, a

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new and archetypal modern style expressing the dynamism of modern life.

Counter relief-Vladimir Tatlin

Figure 6: Reconstruction-Ivanpuni

Vladimir Tatlin is said to be the father of Constructivism. A contemporary of the Suprematist Kazimir Malevich, he had collaborated on the preceding Cubo-Futurist movement. But his interests fundamentally shifted during a visit to Paris in 1913, where he saw a series of wooden reliefs by Picasso. Tatlin appreciated that the reliefs were not carved or modeled in a traditional manner but composed in an entirely different way put together from pre-formed elements. On his return to Russia, Tatlin began to experiment with the possibilities of threedimensional relief, and to use new types of material with a view to exploring their potential. These factors led to the Constructivism in art.

Figure 7: Relief – Valdimirlebedev

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The seventh dimensional supremacist stripe reliefiliachashnik

LITERATURE

The book: Looking Closer 3, classic writing on graphic.

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FUTURISM MODERN ARCHITECURE AND ART

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FUTURISM MODERN ARCHITECTURE AND ART

DON PAUL REMIGIOUS DEEPASHIKHA P PINKY K

INTRODUCTION Some of the futurist architects are, Umberto Boccioni Antonio Sant Elia

UMBERTO BOCCIONI (1882-1916) He was an Italian Painter and Sculptor by profession, who was one of the principal figures involved in the futurism movement. UMBERTO BOCCIONI’s approach to dynamism and deconstruction of form has mass influenced many artists after he passed. He was a student of Giacomo Balla whose focus was modern Divisionism painting technique.

He wrote about the Germanic obsession with Hellenized Gothic style which was industrialized in Berlin and enervated in Munich. His philosophy stated that the search for naturalistic form removes sculpture (and painting also) from both its origin and its ultimate end: ARCHITECTURE. Boccioni developed a plastic aesthetic that was based on pure plastic rhythm and construction of the action of bodies. He advocated the use of heterogeneous materials like transparent panes of glass and celluloid, strips of metal, wire interior or exterior electric lights indicating planes, tendency, half tones and tones.

In 1906, he moved to Paris to study Impressionist and Post-Impressionist styles and in 1907 he met fellow futurist FILLIPO TOMMASO MARINETTI, the result was the manifesto on futurism. In total, he published two manifestos on painting and one on sculpting termed “Manifesto Tecnico Della Scultura Futurista” or the Technical Manifesto Of Futuristic Sculpture.

Another Italian revolutionary involved in futurism movement, Marinetti authored “Le Futurism” in Le Figaro newspaper. Boccioni’s manifesto and Marinetti’s La Splendour Geometrique Et Mecanique were used as Page 25

references within which futurist architecture theoretically originated.

Marinetti’s quotes give us an exclusive insight on his philosophy such as, when his car overturned in a factory ditch in an impromptu race in Milan, he expressed a racing car is more beautiful than the winged victory of Samothrace, idealizing speed and war glory.

age of 17, Sant’ Elia got his diploma as a master builder from technical school of Como. He worked for Villoresi Company in the initial years and took architectural courses at the Bera academy around 1911.

Industrialist Romeo Longatti had his small villa designed by Sant’ Elia in the same year. 1912, Sant’ Elia participated in a competition for central station design in Milan and also with Ugo Nebia , Mario Chiaottone and others, he formed the group Nuove Tendenze. His drawings of the “CITTA NUOVA” the new city were placed at the group’s first exhibit. This was the point, where he met Marinetti who influenced so much as to come out with his “MESSAGIO” which, without using the word futurist, describes the rigorous form future should adopt in the future, he designed Casa a Gradinata 1914, Manifesto Dell’ Architettura Futurista 1914 Italian pride. He died in 8th Battle of Isonzo near Gorizia.

ANTONIO SANT’ ELIA (1888-1916) Antonio Sant’ Elia’s power station designs projected mechanical splendor. Before 1912 Sant’ Elia wasn’t involved with futurists but was a part of the Italian Secessionist movement (Stile Floreale). Sant’ Elia’s inspiration seems to have been Giuseppe Sommaruga.

Sommaruga’s hotel at Campo De’ Fiori seems to have influenced the Dinamismo Architettonico by Sant’ Elia.

Sant’ elia’s design of cemetery at Monza (1912) was inspired by Sommaruga’s Faccanoni Mausoleum. At the

Futurist architecture is an early 20th century form of architecture born in Italy, characterized by anti-historicism, strong chromatics, long dynamic lines, suggesting speed, motion, urgency and lyricism.

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The movement attracted not only poets, musicians, and artists (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini), but also a number of architects.

A cult of the machine age and even a glorification of war and violence were among the themes of the Futurists (several prominent futurists were killed after volunteering to fight in World War I). The latter group included the architect Antonio Sant’Elia, who, though building little, translated the futurist vision into an urban form.

Maison de la Radio residential building, Paris, Ferro house in Zurich, graduate center- oral Roberts University; Portland building in Portland by Michael Graves respectively.

It was part of the Futurism, an artistic movement by the poet Filipo Tommaso Marinetti who produced its first manifesto, the Manifesto of Futurism in 1909.

Some ideal examples include University of California library, theme building- Los Angeles airport, Cathedral of Brasilia by Oscar Niemeyer, McGaugh Hall University of California. Lingotto factory in Turin with the test track of the roof 1934.

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FUTURISM in architecture could be classified as Italian Futurism, Art Deco, Googie Architecture, Neo Futurism and Post Modern Futurism. Some of the modern day futurist architects are Tadao Ando, Eero Saarinen, Zaha Hadid, Le Corbusier, Michael Graves, Santiago Calatrava, Oscar Niemeyer, etc.

CUBISM MODERN ARCHITECTURE AND ART

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CUBISM MODERN ARCHITECTUREAND ART

CAYSER HUSSAIN H KANNAMAI M SUNDARA RAJA GANESH

PAVEL JANAK (1882 – 1956) Pavel Janák became one of the pioneers of cubism in architecture. In 1911, he sketched crystals from the National Museum's collection of mineralogy and tried to create something like a 'crystalline' architecture with many motifs of prisms and pyramids, very dynamic architecture, closer to Expressionism. He was the architect of Prague Castle, participated in the reconstruction Míčovny, Belvedéru or Riding School. He proposed numerous alterations to the Old Town Hall and summer star.

CUBIST ARCHITECTURE 1911-28 Cubism was an early 20th century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music and literature. It was a revolt against the excessively decorative style. Similar to modernism,World War I affected the development of cubist architecture, and we can still find the cubist or cubism-influenced works in the post war years.

In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form.

The Cubists had technology on their side. Reinforced concrete was making its way into construction, and enabled them to design open floor plans.

In cubism, the architects would evoke feelings of dynamism.

Achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mostly triangular.

Sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, that are reminiscent of the panes of late Gothic cavern vaults.

In this way, the entire surfaces of the facades including even the gables and dormers are sculpted.

The grilles, as well as, other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors (hexagonal windows) were also created.

Cubist villas were both costly and demanding, given that most of them were made of brick, which is difficult to cut into geometric shapes.

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JASEF GOCAR Josef Gočár was a Czech architect, one of the founders of modern architecture in Czechoslovakia. Josef Gočár received his early instruction at the StateTechnicalSchool in Prague. At the age of 23 he went to study under Jan Kotera at the Prague School of Applied Arts. He decided to join the Mánes Union of Fine Arts, but left it in 1911 to join the Cubist Group of Visual Artists. Gočár joined Pavel Janák, Josef Chochol and Odoln Grege in founding the Prague Art Workshops in 1912.

ARCHITECTURAL FEATURES Angulated bay windows were designed for two affiliations.

Iconic capitals between windows Cubist railing of the balcony This very modern building style of reinforced concrete skeletons allowed for large interior spaces without ceiling support that more complimented cubist aesthetics

Grand Café Orient, which encompassed the entire first floor without supporting pillars, was a revolutionary feat of engineering.

Králíček was a Czech architect who studied at Prague Industrial Arts School. He began designing in Prague around 1900 in the office of MatějBlecha,

and worked in the styles of classicism, Art Nouveau, Czech Cubism and Czech Rondo cubism successively.

Beginning as draftsman Králíček worked himself into a position of project manager, and Chocol developed collaborations with a number of Czech sculptors like Celda Klouček, AntonínWaigant and Karel Pavlík. He studied architecture at the polytechnic in Prague (1908–24), then at the academy in Vienna, under guidance of Otto Wagner (1907–09). Three buildings he designed in Vyšehrad are considered masterworks of cubist architecture. In 1914 he abandoned the Cubist style and began working in the internationally oriented constructivist style.

Crystal-like ornamentation in the facades The small polygonal garden with its Cubist fences the house is a Gesamtkunstwerk. ?

The interpretation of fine arts French Cubism is visible through slicing planes, broken ornamentation and fences that are cast as crystals.

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DE-STIJL MODERN ARCHITECTURE AND ART

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Gerrit Rietveild Jjp Oud Robert Van’t Hoff

DE-STIJL MODERN ARCHITECTURE AND ART

THEO VAN DOESBURG

DONIE PRASAD HARINI T SIVARANJANI

ABSTRACT The De Stijl movement encompassed a new addition in modern art – architecture. This art movement used their artistic talent by designing homes, buildings, and furniture.

Unlike most architects during the time, the De Stijl movement signified a new trend its own name, meaning "The Style”.

The De Stijl movement was originally founded in 1917 by an aspiring group of young Dutch architects.

INTRODUCTION There were three periods of De Stijl: 1917 to 1921 - early period 1921 to 1925 - middle period 1925 to 1931 - final phase The key to creating art within the movement’s views was to follow the theory of scaling down formal components of art – using only primary colors and straight lines.

Mondrian followed the principles of neo-plasticism whereas Van Doesburg attempted to broaden the movement’s research projects in architecture he wanted to recreate the entire living space within a home.

The artists of the movement Theo Van Doesburg Piet Mondrian Vilmos Huszar Bart Van Der Leck

Theo van Doesburg, was a Dutch artist, who practised painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl.

Although De Stijl was made up of many members, Van Doesburg was the "ambassador" of the movement, promoting it across Europe. He moved to Weimar in 1922, to make an impression on the Bauhaus principal, Walter Gropius, in order to spread the influence of the movement.

While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism, Dadaism and De Stijl.

PIET MONDRIAN Piet Mondrian, was a Dutch painter. He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed neoplasticism. This consisted of white ground, upon which was painted a grid of vertical and horizontal black lines and the three primary colors.

While Mondrian was visiting home in 1914, World War I began, forcing him to remain in The Netherlands for the duration of the conflict. During this period, he stayed at the Laren artist's colony, there meeting Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward Abstraction. Van der Leck's use of only primary colors in his art greatly influenced Mondrian. With Van Doesburg, Mondrian founded De Stijl (The Style), a journal of the De Stijl Group, in which he published his first essays defining his theory, for which he adopted the term Neoplasticism.

The architects of the movement:

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representational images. His painting Tryptich is an example, in which he transformed sketches of a mine in Spain into seemingly abstract shapes.

VILMOS HUSZAR Vilmos Huszár was a Hungarian painter and designer. He lived in The Netherlands, where he was one of the founder members of the art movement De Stijl. Vilmos was born in Budapest, Hungary. He emigrated to The Netherlands in 1905, settling at first in Voorburg. He was influenced by Cubism and Futurism. He met other influential artists including Piet Mondrian and Theo van Doesburg, both central figures in establishing the De Stijl movement with Vilmos in 1917.

Vilmos also co-founded the De Stijl magazine and designed the cover for the first issue.He left the De Stijl group in 1923. He collaborated with Gerrit Rietveld on an exhibition interior for the Greater Berlin Art Exhibition.

From 1925, Vilmos concentrated on graphic design and painting.

THEO VAN DOESBURG – PIET MONDRIAN FRIENDSHIP The friendship between Van Doesburg and Mondrian remained strong in these years, although their primary way of communication was by letter. In 1923 Van Doesburg moved to Paris together with his later wife Nelly van Moorsel. Since the two men got to see each other on a much more regular basis the differences in character became apparent: Mondrian was an introvert, while van Doesburg was more flamboyant and extravagant. During 1924 the two men had disagreements, which eventually led to a split in the same year. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism.

BART VAN DER LECK Bart van der Leck was a Dutch painter, designer, and ceramacist. With Theo van Doesburg and Piet Mondrian he founded the De Stijl art movement. After having met Mondrian and van Doesburg and having founded the de Stijl movement with them, his style became completely abstract, as did Mondrian's. But after disagreements with Mondrian his abstract style became based on

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GERRIT REITVELD (1888 -1960) Gerrit Thomas Rietveld was born in Utrecht in 1888 as the son of a joiner. He left school at 11 to be apprenticed to his father and enrolled at night school before working as a draughtsman for C. J. Begeer, a jeweller in Utrecht, from 1906 to 1911.By the time he opened his own furniture workshop in 1917, Rietveld had taught himself drawing, painting and model-making. He afterwards set up in business as a cabinet-maker. He was a Dutch furniture designer and architect. One of the principal members of the De Stijl, Rietveld is famous for his he Rietveld Schröder House, which is a UNESCO World Heritage Site.

REITVELD SCHRODER HOUSE Location :Uterchy, Netherlands Type: Cultural Architect :Gerrit Rietveld Client: Mrs.Truus Schröder-Schräder The Rietveld Schröder House in Utrecht was built in 1924

by Dutch architect Gerrit Rietveld for Mrs.Truus SchröderSchräder and her three children. She commissioned the house to be designed preferably without walls. Rietveld worked side by side with Schröder-Schräder to create the

house. He sketched the first possible design for the building; Schroder-Schrader was not pleased. She envisioned a house that was free from association and could relate a connection between the inside and outside.

The house is one of the best known examples of De Stijlarchitecture and arguably the only true De Stijl building.

Inside there is no static accumulation of rooms, but a dynamic, changeable open zone.

The ground floor can still be termed traditional; arranged around a central staircase are kitchen and three sit/bedrooms. The living area upstairs, stated as being an attic to satisfy the fire regulations of the planning authorities,in fact forms a large open zone except for a separate toilet and a bathroom. Upper floor was achieved with a system of sliding and revolving panels. When entirely partitioned in, the living level comprises three bedrooms, bathroom and living room.

Windows are hinged so that they can only open 90 degrees to the wall, preserving strict design standards about intersecting planes, and further blurring the delineation of inside and out. Each component has its own form, position and color. Colors were chosen as to strengthen the plasticity of the facades; surfaces in white and shades of grey, black window and doorframes, and a number of linear elements in primary colors. The facades are a collage of planes and lines whose components are purposely detached from, and seem to glide past, one another. This enabled the provision of several balconies.

J J P OUD

Jacobus Johannes Pieter Oud, commonly called J. J. P. Oud was a Dutch architect. His fame began as a follower of the De Stijl movement.

Oud was born in Purmerend, the son of a tobacco and wine merchant. As a young architect, he was influenced by Berlage, and studied under Theodor Fischer in Munich for some time. He worked together with W.M. Dudok in Leiden, which is where he also met Theo van Doesburg and became involved with the movement De Stijl.

In 1927, he was one of the fifteen architects who contributed to the influential modernist Weissenhof Estate exhibition. In America Oud is perhaps best known for being lauded and adopted by the mainstream modernist movement, then summarily kicked out on stylistic grounds.

As of 1932, he was considered one of the four greatest modern architects (along with Ludwig Mies van der Rohe, Walter Gropius and Le Corbusier), and was prominently featured in Philip Johnson's International Style exhibition.

By then, he had mostly let go of any Stijl influences. He continued to take a highly individualistic stance against mainstream modernism. He designed projects such as the Spaarbank in Rotterdam, office-building De Utrecht in Rotterdam and the Children's health-centre in Arnhem.

CAFÉ DE UNIE Location: Rotterdam Function: cafe, restaurant

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Cafe de Unie in Rotterdam designed by J.P.P. Oud in 1925. This cafe is based on de stijl moment, where he used primary colour. Aside from being an architectural gem in itself, De Unie is also a podium for debate, art and culture. It has a café-restaurant, a hall and a theater with a diverse cultural programme.

ROBERT VANT HOFF (1887 – 1979) Robbert Vant Hoff, was a Dutch architect and furniture designer. His Villa Henny, designed in 1914, was one of the earliest modernist houses and one of the first to be built out of reinforced concrete. From 1917 he was an influential member of the De Stijl movement and for a while was able to subsidise the publication of the De Stijl journal.

Vant Hoff met De Stijl founder Theo van Doesburg in mid-1917. Their radical views on art and society had a natural affinity and by the end of the year Vant Hoff was in regular correspondence with van Doesburg. Over the next two years he was to write five articles for the De Stijl journal – three radical essays on the future of architecture and two critical pieces on buildings by Jan Wils and Antonio Sant' Elia.

VILLA HENNY In 1914, Vant Hoff designed Villa Henny in Huister Heide, which became known as the first concrete house in the Netherlands. After becoming acquainted with Theo van Doesburg and J.J.P. Oud, he joined the avant-garde movement De Stijl in 1917. De Stijl showed insufficient social engagemen;, Vant Hoff broke off this association just one year later. The consequences of the First World War, the housing shortage and poor living conditions reinforced his belief that radical changes in society were needed. Starting off as a socialist, he went on to embrace communism.

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SUPREMATISM MODERN ARCHITECTURE AND ART

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SUPREMATISM MODERN ARCHITECTURE AND ART

KAVI PRIYA S RAAGHAVI S SUNIL KARTHIK E

INTRODUCTION Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded in Russia during the First World War. The first hints of it emerged in background and costume sketches that Kazimir Malevich designed in 1913 for Victory over the sun, a Futurist opera performed in St. Petersburg.

While the drawings still have a clear relationship to CuboFuturism (a Russian art movement in which Malevich was prominently involved), the simple shapes that provided a visual foundation for Suprematism appear repeatedly.

SUPREMATISM It’s the invention of Russian artist Kazimir Malevich, was one of the earliest and most radical developments in abstract art. Its name derived from Malevich’s belief that Suprematist art would be superior to all the art of the past, and that it would lead to the “supremacy of pure

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feeling or perception in the pictorial arts.”

MALEVICH Malevich became fascinated with Impressionism, Symbolism, Fauvism, the painting of Cezanne and Matisse and Neo-Primitivism.

In 1913 he turns to Alogism where his works composed of abstract signs, symbols, shapes , and word fragments that form a bridge between his prior Cubist phase and the breakthrough to non-objective art.

Malevich created the stage for the Cubo-Futurist opera titled The Victory Over The Sun (1913) and gave birth to the idea of non-figurative art. At the “0.10” exhibition in 1915, he showcased his Black suprematist square for the first time, it was the work that unfurled Suprematism.

Later Malevich went through white and coloured Suprematist period.

BLACK SQUARE In his book The Non-Objective World, published abroad as a Bauhaus Book in 1927, Malevich described the

inspiration which brought about the powerful image of the black square on a white background : “I felt only night within me and it was then that I conceived the new art, which I called Suprematism”.

Architektons followed as an architectural development of

Suprematism: “Consciousness has surmounted surface and has advanced to the art of spatial design”.

The black square of his first Suprematist work was not empty, as his critics claimed. Instead it was “filled with the spirit of non-objective sensation,” according to the artist who described the areas of white in his compositions as “the free white sew” of “infinity”. This liberation from finite earthly existence reached a fitting climax in his White-on-white paintings, where the square finally lost its physical presence and merged with its brilliant white background.

Malevich’s Suprematism is fundamentally opposed to the post revolutionary positions of Constructivism and Materialism. Suprematism,in sharp contrast to Constructivism, embodies a profoundly anti-materialist, anti-utilitarian philosophy. In “Suprematism” (Part II of The Non-Objective World), Malevich writes : Art no longer cares to serve the state and religion, it no longer wishes to illustrate the history of manners, it wants to have nothing

ARCHITEKTONS Following the Revolution Malevich taught a great deal and reformed artistic education using new principles. in Vitebsk he supervised the UNOVIS school which realized his ideas in its teaching. In the mid 1920’s he worked on the prototypes for Suprematism architecture, at the Planites and Architectronics. The artist wrote theoretical works explaining his artistic innovations (”From Cubism and Futurism to Suprematism.The New painting Realism”, 1915;” Suprematism. The world as Non-Figurative”).

Suprematism was also deployed into the relam of the pratical, with Malevich experimenting with it as a means for social transformation through radical architectural form, in plaster studies he called Architektons.

further to do with the object, as such, and believes that it

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can exist, in and for itself, without “things”(that is, the “time-tested well-spring of life”).

FUTURIST EXHIBITION (1915) The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Liubov Popova, Nikolai Suetin, Ilya Chashnik, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. Lissitzky spread Suprematism

his mentor Kazimir Malevich, Lissitzky helped found Suprematism in 1915.

His art often employed the use of clean lines and simple geometric forms, and expressed a fascination with Jewish culture. Lissitzky was also a major influence on the Bauhaus school of artists and the Constructivist movement. In 1920 Malevich and Lissitzky co-founded the MOLPOSNOVIS a proto-suprematist association of students, professors, and other artists, which was later named as UNOVIS. During this period Lissitzky developed a suprematist style of his own by using abstract, geometric paintings called PROUN which he stated as "The station where one changes from painting to architecture'' It was essentially Lissitzky's exploration of the visual language of suprematism 2D forms and shapes into 3D concepts.

In Proun Room the artist is given a small room in which to display his work, render the ideas he had explored in 2 dimensions into 3 navigating and circumscribing the walls

ideas abroad in the early 1920s, but Malevich himself announced the end of Suprematism in1922.

EL LISSITZKY(1890-1941) El Lissitzky(1890-1941) was a Russian avant-garde painter, photographer, architect and designer. Along with

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with wooden constructions. His Proun works would lay the foundation for his later experiments in architecture. In these works, the basic elements of architecture - volume, mass, color, space and rhythm - were subjected to a fresh formulation in relation to the new Suprematist ideals.

This painting reveals propagandistic intentions in its representation of the struggle between the revolutionary "reds" and the conservative "whites" in Russia.

LYUBOV POPOVA (1889-1924)

in painting as a projection of material reality than as the personal expression of a metaphysical reality.

OLGA ROZANOVA (1886-1918) Olga Rozanova was a Russian avant-garde artist who painted in the styles of Suprematism, NeoPrimitivism, and CuboFuturism. In 1916, she joined the Supremus group that was led by Kazimir Malevich. In 1917–1918 she created a series of non-objective paintings which she called tsv'etopis'. Her Non-objective composition, 1918 also known as Green stripe anticipates the flat picture plane and poetic nuancing of colour of some Abstract Expressionists.

In 1916 joined the Supremus group with Kazimir Malevich and she began to paint completely abstract Suprematist compositions, but the title 'Painterly Architectonics' (which she gave to many of her paintings)suggests that, even as a Suprematist, Popova was more interested

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IVAN PUNI (1892-1956) Ivan Puni was a Painter, illustrator and designer Born in Finland. In 1916 he joined Supremus group led by the founder of Suprematism, Kazimir

In 1916 he worked with the other Suprematist artists at Verbovka Village Folk Centre. From 1917 to 1921 Kliun was Head of the Central Exhibition Bureau of the Fine Arts Department of Narkompros.

Malevich and Puni together with other Suprematist artists, worked at Verbovka Village Folk Centre. Puni was concerned more with relief constructions and art works in Suprematist and Cubist styles. In 1924 he began to paint interiors and street scenes. He adopted the name ;Jean Pougny' in the later years.

ILYA CHASHNIK Ilya Chashnik was one of the foremost disciples of Kazimir Malevich and espoused the Suprematist principles advocated by the latter. He was born into a humble Jewish family in Latvia and spent his childhood in Vitebsk, where he was introduced to the world of painting by a local artist.

IVAN KLIUN (1873-1943) Ivan Kliun(1873-1943)was a Russian painter, avant-garde artist (Suprematist, Constructivist), graphic artist and sculptor. In 1915 joined the group of artists "Supremus' by participating in the exhibitions of the group Tramway.

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Chashnik developed his own style within the Suprematist idiom, evolving from Malevich’s white compositions to paintings in which he used red, blue and black as the predominant elements. In his works the crossing shapes had a tendency towards rythm and symmetry.

Archipenko, Vadym Meller, Sonia Delaunay-Terk and other French and Russian artists in 1914. In 1915 she joined the group of avant-garde artists Supremus.

NADEZHDA UDALTSOVA

NIKOLAI SUETIN Nikolai Suetin was Kazimir Malevich‘s most devoted disciple along with Ilya Chashnik. He first came under the great master’s tutelage during his studies at the Vitebsk School of Art in 1918.

Suetin authored numerous remarkable works. Perhaps his most striking pieces came in the form of Suprematist plateware commemorating the Bolshevik revolution in October 1917.

Nadezhda Udaltsova joined the movement of Kazimir Malevich's followers Supremus in 1915, and in 1915–1916, together with other Suprematist artists (Kazimir Malevich, Aleksandra Ekster, Liubov Popova, Nina Genke, Olga Rozanova, Ivan Kliun, Ivan Puni, Ksenia Boguslavskaya and others) worked at the VerbovkaVillage Folk Centre. She did one Suprematism composition in the year 1916. In the 1920s, under the influence of her

Typically considered an Abstract artist, his work is very geometrical, and can be compared to that of Kandinsky and the work of Bauhaus artists. Suetin worked in a number of mediums from oil and watercolor as well as a number of materials such as paper, linen and ceramics.

Because of his highly graphic style, Suetin would also work in Cubism from time to time.

ALEKSANDRA EKSTER Aleksandra Ekster participated in the Salon des Indépendants exhibitions in Paris, together with Kazimir Malevich, Alexander

husband and notable Russian avant-garde painter, Alexander Drevin, she returned to figurative art.

MIES VAN DER ROHE Mies van der Rohe designed a conceptual project The Brick Country House project in 1924 the possible location was Neubabelsberg, Germany.

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In this project the individual rooms were no longer the units of composition; instead individual wall planes are freely arranged and space flows continuously between them, which was a suprematist influences on Mies work.

YAKOV CHERNIKOV (1889-1959) Yakov Chernikov was a constructivist architect and graphic designer who was greatly interested in futurist movements and the Suprematism of Malevich with whom he was acquainted.

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ZAHA HADID Zaha Hadid, a post modernist architect was inspired from Malevich's seminal Arkitecton as a beginning point.

Hadid explored fragments floating in space in this painting , as we see in the separation of layers, as well as in the bits and pieces of smaller geometric shapes in the lower left of the painting, which make up the larger composite structures. She is conveying a structure that is not solid and static, but rather transformative and fluid.

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NATIONALISM- NAZI ARCHITECTURE MODERN ARCHITECTURE: DEVELOPMENT

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NATIONALISM – NAZI ARCHITECTURE

had the function of housing art, but through its form, style and design it had the purpose of being a community structure built using an Aryan style, which acted as a kind of temple to acceptable German art.

EX :THE HOUSE OF GERMAN ART – TROOST

MODERN ARCHITECTURE AND ART

JEGANATHAN S SUSEEL KUMAR K

ABSTRACT Nazi architecture was an architectural planning concept which played a role in the Nazi party's plans to create a cultural and spiritual rebirth in Germany as part of the Third Reich.He was inspired by the neo classism and art of rome.

The Nazis believed architecture played a key role in creating their new order. Architecture had a special importance to the politicians who sought to influence all aspects of human life.

The new building style may have been intended to give the idea to the rest of the world and to the unconverted Germans that the era of the thousand-year Reich had dawned.

Hitler had fostered an appreciation of the fine arts since his youth; his particular interests were in architecture. He was proud of his German heritage, extending this belief into his view of the arts, and often compared Munich to Vienna, two cities in which he resided. In his dictated autobiography Mein Kampf, he commented that Munich was "the metropolis for German art" and stressed the fact that it was a purely German city.ex :Reichtag building

INTRODUCTION Nazi architecture has three primary roles in the creation of its new order: (i) Theatrical; (ii) Symbolic; (iii) Didactic In addition, the Nazis saw architecture as a method of producing buildings that had a function, but also served a larger purpose. For example, the House of German Art

Fig 1: THE DIET RICH EKART THEATRE

HITLERS MAUSOLEUM The mausoleum was to be connected to the Halle der Partei at Munich by a bridge over Gabelsbergerstrasse, to become a party-political cult centre in the city regarded by Hitler as the home of the Nazi party. The dimensions were slightly smaller than the Pantheon. The oculus in the centre of the dome was to be one metre wider in diameter than that of the Pantheon (8.92 metres) to admit more light on Hitler's sarcophagus, placed immediately under it on the floor of the rotunda. The modest dimensions of the structure and its lack of rich decoration are at first sight puzzling in light of Hitler's predilection for gigantic dimensions, but in this case the focal point of the building was the Führer's sarcophagus, which was not to be dwarfed by dimension out of all proportion to the size of the sarcophagus itself. Likewise, rich interior decoration would have distracted the attention of "pilgrims". Giesler's scale model of the building apparently pleased Hitler, but the model and plans, kept

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by Hitler in the Reichskanzlei, are now probably in the hands of the Russians or have been destroyed.[36] It was perhaps because Hitler was so pleased with the design of his own mausoleum that in late autumn 1940 he asked Giesler to design a mausoleum for his parents in Linz.

Giesler gives no details of the structure, but it is clear from the photograph of his model that once more Hadrian's Pantheon was the model.

THE BROWN HOUSE, 1935 The Brown House (German: Braunes Haus) was the national headquarters of the National Socialist Party (Nationalsozialistische Deutsche Arbeiterpartei) in Germany.

ARCHITECTS Berthold Konrad Hermann Albert Speer. (March 19, 1905 – September 1, 1981) Albert Speer was a German architect who was, for a part of World War II, Minister of Armaments and War Production for the Third Reich. Speer was Adolf Hitler's chief architect before assuming ministerial office.

Hitler instructed him to design and construct a number of structures, including the Reich Chancellery and the Zeppelinfeld stadium in Nuremberg where Party rallies were held. Speer also made plans toreconstruct Berlin on a grand scale, with huge buildings, wide boulevards, and a reorganized transportation system.

Another legacy was the (Working group on Reconstruction of destroyed cities), authorized by Speer in 1943 to rebuild bombed German cities to make them more livable in the age of the automobile.

PAUL LUDWIG TROOST (1879-1934).

Troost, a member of the Nazi party since 1924, had made a name for himself in 1931, when he remodelled the former Palais Barlow into the Munich headquarters of the NSDAP (the building came to be known as the "Brown House"). Construction on his most famous work, the House of German Art, began in 1933. Troost's enormous, colonnaded, neo-classical museum was the Reich's first representative monumental structure. neo-classical stylebecame for a time the official architecture of the Third Reich. His work filled Hitler with enthusiasm, and he planned and built state and municipal edifices throughout Germany.Troost was not oblivious to modernist developments, as can be seen from the almost cubist forms and the flat unornamented surfaces of the museum. Brown House, Munich

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Fig.2 : The Brown House, 1935

A large impressive stone structure, it was located at 45 BriennerStraße in Munich, Bavaria. It was named for the color of the party uniforms.

By 1930, party headquarters at Schellingstrasse 50 were too small (with the number of workers increasing from four in 1925 to 50 that year). In April 1930, Elizabeth Stefanie Barlow (widow of William Barlow, an English wholesale merchant) offered the Barlow Palace (built in 1828) for purchase toFranzXaver Schwarz, party treasurer. A sales contract was signed on May 26, with the purchase price of 805,864 marks. Funds for renovation of party headquarters were provided by industrialist Fritz Thyssen. The house was converted from an urban villa to an office building by the architect Paul Troost. He and Adolf Hitler also re-decorated it in a heavy, anti-modern style. It opened on 1 January 1931.

Adolf Hitler kept a life-size portrait of Henry Fordnext to his desk in the Brown House since Ford and Adolf Hitler admired each other's achievements.[1] Hitler maintained an office in the Brown House, as did Hans Frank, Heinrich Himmler, Hermann Göring, Rudolf Hess, Philipp Bouhler, and Franz Xaver Schwarz. Also stored there was the so-called Blutfahne, or "blood flag" or "blood banner." This was the National Socialist flag that

was carried at the head of the parade during the 1923 Beer Hall Putsch. When Munich police opened fire on the marchers, it was spattered with the blood of the wounded and became a sacred relic of the National Socialist Party.

The Brown House was damaged in October 1943 and largely destroyed in an allied bombing raid late in World War II. The rubble was cleared away in 1947, leaving an empty lot.

In December 2005 the government of Bavaria announced that the site would soon become the home of the future NS-Dokumentationszentrum(Documentation Centre for the History of National Socialism).[2]

HERMANN GIESLER (APRIL 2, 1898, SIEGEN JANUARY 20, 1987) Hermann Giesler was a German architect during the Nazi era, one of the two architects most favoured and rewarded by Adolf Hitler (the other being Albert Speer)

Giesler joined the Nazi Party in 1941 for the OrganisationTodt (OT): as head of the "Assembly for the Baltic States Giesler", as head of the Einsatzgruppe Russia North of the OT (1942-1944), and as Director of the OTEinsatzgruppe VI (Bavaria and Danube gaue).

Concentration camp prisoners built weapons in the factories underground (1944-1945).

Throughout the war, Giesler and Speer had several heated arguments about architectural styles. In September 1944 he was named one of the Reich's most important artists in the Gottbegnadeten list.

REFERENCES : http://en.wikipedia.org/wiki/Nazi_architecture#H itler.27s_mausoleum http://en.wikipedia.org/wiki/Nazi_architecture#R eferences

Hermann Giesler completed his architectural study at the Academy for Applied Arts in Munich. Starting from 1930 he worked as an independent architect. In 1933 he became master of building of districts in Sonthofen and 1937, became a professor.

Up to 1938 he designed the "Ordensburg" in Sonthofen, planned Gau Forums in Weimar and Augsburg, and the "university" for the NSDAP at Chiemsee. Also, Giesler refurbished different buildings (such as the "Hotel of the Elephant" in Weimar). In addition, he was commissioned to build Hitler's house in Munich.

In 1938 he was ordered by Hitler to the "General Building Inspector" for the reorganization of the city of Munich.

Later he became also a director in the Organisation Todt, then one of the directors of the Group of Works of VI (Bavaria, Donaugaue).

Starting from 1941, after fellow architect Roderich Fick fell out of political favour, Giesler was entrusted by Hitler with the reorganization of the entire city of Linz. Starting from 1942 he worked on plans and a large model for the Danube Development of the Banks. In August 1943, Giesler became a member of the Reichstag.[1] Starting from 1944, he also worked on designs for the cultural center, which Hitler regarded with particular interest.

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BAUHAUS - WEIMER MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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BAUHAUS, WEIMER MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

AISHWARYA PAI PRITHIVRAJ VIJAY RATHOD

ABSTRACT

elements of the avant-garde came together and looked at typography, products, painting, advertising and architecture.

It became synonymous to advanced thinking in design.

Johannes Itten, Laszlo Moholy-Nagy, Paul Klee, Josef Albers and Wassily Kandinsky were among the few, who helped the Bauhaus school, at Weimar, reach great heights. De Stijl and Constructivism merged along with Bauhaus, influencing in its typography. However, in 1925, the Bauhaus school lost its support from the Weimar government and moved on to the city of Dessau. Bauhaus was the product of an endless effort to reform the applied art education in Germany. Bauhaus stressed on a boundary-less education between sculpture, painting,

Bauhaus, German for “House of Building” or “Building School”, was one of the first proper design schools whose instructions were functional yet interesting.

It began when Walter Gropius became head of a composite institution, consisting of the Academy of Art and School of Arts and Crafts, known as Bauhaus. It focused on merging the different fields together - painting, crafts and architecture - to come up with a wholesome product.

INTRODUCTION It began in the 19th Century where reformers, led by English designer, William Morris who tried to bridge the difference between crafts, art and design by making highend handicrafts which went hand in hand with the design that was appropriate to it. By the end of the 19th Century, the Arts and Crafts Movement was in full swing.

crafts and architecture.

Bauhaus had two important goals – Aesthetic Synthesis and Production, keeping into account the needs of the greater population. Integration of all art forms and mass production became essential as all the designers felt that

After a short period of uncertainty where the head of Grand Ducal Academy of Fine Art, Fritz Mackensen’s and Walter Gropius’s ideas clashed, causing Gropius to become the director of a composite institution, consisting of the Academy of Art and the School of Arts and Crafts, now known as Bauhaus.

THE BAUHAUS SCHOOL In 1919, as the dust of World War I settled down, the Bauhaus School began. Headed by Walter Gropius, the school was started to teach the students art and to guide them to understand the future, which rested in universal laws of reason. Bauhaus was a place where diverse

the separation of architecture with the forms of art made it a disadvantage for all the disciplines. They believed that

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architecture would fuse the rest of the art disciplines together, to help students serve the broader segment of the population by using the trades and tools of the

industry.

Bauhaus’s theories rested on three pillars – Craft was the first pillar, Drawing and painting formed the second and science and theory – the last. Bauhaus’ approach rested on its Basic course taught in the first year – primarily by Johannes Itten in Weimar. Its goal was to release the creative forces in the students, allowing them to explore their individual talents.

release their creativity and to enable them to judge their own ability.

In 1920, while he taught four separate art courses at Bauhaus, .he placed emphasis on spiritual openness and peace of mind and believed that a foundation in colour, material and compositionwas crucial for any designer.

While Itten was focused on polishing the young minds of Bauhaus to focus on individuality with no thought of the outside world, Gropius was embracing new technologies and took an interest in mass production.

Gropius’s direction for the school, forced the highlyprincipled Itten to resign and was replaced by the photographer Laszlo Maholy-Nagy.

PAUL KLEE Paul Klee created the controversial Die ZwitscherMaschine in 1922, a year after working at Bauhaus.

Other works of Paul Klee are Red/Green Architecture, 1922; Senecio, 1922; der Goldfisch (The Goldfish) from

JOHANNES ITTEN Bauhaus’ beginning years were shaped by the Swiss painter, Johannes Itten, who started teaching in 1919.

Itten, was influenced by Friedrich Frobel, the pioneer behind the “Kindergarten” theory which spoke about honing the skills of a child’s desire for creative expression and tendency to learn through play. Itten taught the foundation course to enable the students at Bauhaus to

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1925.

SCHLEMMER Schlemmer was offered a job at Weimar by Walter Gropius to teach at the mural-painting and sculpture

departments at the Bauhaus school. He went on to teach the theatre workshop in 1923. His Triadisches Ballett in 1922 was internationally acclaimed. His influential ideas made him one of the most famous teachers at Bauhaus.

Using Cubism, he understood the relationship of figures and their backgrounds, thereby creating 'Egocentric Space Lines' (1924). In 1929, however, he resigned from his post after Hannes Meyer succeeded Gropius as the head of Bauhaus school.

Pottery workshop was discontinued and Marcks was left without a job.; Joost Schimdt was the typographer and graphic designer behind the famous poster of the 1923 Bauhaus Exhibition at Weimar.

WALTER GROPIUS Other artists and architects who were a part of Bauhaus’ Weimar school were Josef Albers, Lyonel Feininger, who designed the cover of the Bauhaus manifesto; Naum Gabo, who taught at Bauhaus in 1928. Gabo and Antoine Pevsner had a joint exhibition at the Galerie Percier, Paris in 1924; Wassily Kandinsky, taught at Bauhaus from 1922 till 1933.

His works include the two meter wide Yellow – red – blue (1925). He was also a part of the Die Blaue Vier (which included Klee and Feininger) in touring and lecturing across the US.; Gerhard Marcks, who began teaching when Gropius began the school, as the Form Master.

However, when the school moved on to Dessau, the

The head of one of the most influential schools of design, Bauhaus, Walter Gropius believed in the idea of a “total” work of art where painting, sculpture and architecture came together. Under his leadership, the Bauhaus school undertook many students and created a new guild of craftsmen without the differentiation between artists and craftsmen. He had a great interest towards machinery and fast cars and eventually his style in architecture related to the mass production, in that industrial era.

He designed the famous F51 chair, the Bauhaus doorknob

and the design for the competition of Chicago Tribune

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building. The Monument to the March Dead was also designed by Gropius, commemorating the dead workers at Weimar. The aim of Bauhaus, according to him, was to bring together all the creative fields into one, unifying handicrafts, painting, crafts and sculpture into inseparable forms of architecture. The instruction at Bauhaus was divided into three Painting Architecture Sculpture The students were trained in all the crafts so that there is no distinction between monumental and decorative art.

The training at Bauhaus was divided in such a way that the students were trained separately as apprentices, journeymen and junior masters.

Walter Gropius was the one of the reasons that Bauhaus became the most significant school, with him calling artists and craftsmen from all around the world to teach the students enrolled in the school. He believed that post World War II, the world had changed for the better, and wanted to unite the art and crafts to come up with highend functional and artistic products. After releasing a magazine called Bauhaus, and due to the lack of designers, the school realized the need for a new type of art education. But within a year, due to its controversial nature of the work done at Bauhaus, the school was closed in 1925 and shifted to Dessau. Gropius remained the head of the institute, even at Dessau.

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BAUHAUS, DESSAU MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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BAUHAUS - DESSAU MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

HARSHINI KARTHIKEYEN SUPRAJA

ABSTRACT The Bauhaus school encouraged its students to be independent in thought and spirit, and to enrich their whole life through creative experiment. The school’s approach was centered on unlocking the creative potential of individuals so that they could work at their best on collaborative projects. Their ideas helped change our world.

Vertical rows of windows on the side façades provide lighting for the stairways; the houses are painted in light tones and the window frames, the undersides of balconies and down pipes in stronger colours. Each half of the semidetached house shares the same floor plan, albeit mirrored and rotated by 90°. The artists Klee and Kandinsky have done their works in the arrangement of colours inside the building.

Torten Estate Housing (1927-1928), Dessau The shortage of affordable housing was the intention of building affordable housing for the masses. Gropius designed an estate of terraced houses with kitchen gardens supporting self-sufficiency. In three phases of construction, 314 terraced houses were built. The cubes, put back-to-back, form semidetached houses, and are combined in groups of from four to twelve units. In the construction of the houses the structural components prefabricated on- site, such as the so-called Rapidbalken (precast concrete joists) and they are inexpensive hollow slag-concrete blocks. He also designed the ceilings with reinforced concrete joists which are experimented during that period.

WALTER GROPIUS WALTER GROPIUS was the founder of the Bauhaus and remained committed to the institution that he invested in throughout his life. He was a Bauhaus impresario in the best possible sense, a combination of speaker and entrepreneur, a visionary manager who aimed to make art a social concern during the post-war upheaval.

HIS BELIEF Architects and Artists should be considered as craftsmen and their creation should be practical and affordable.

“Architecture begins where Engineering ends”

Works of Gropius – Master’s House, Dessau (1925-26) In 1925, the city of Dessau asked Walter Gropius with the construction of three semidetached houses for the Bauhaus masters and a detached house for its director.

Gropius used industrially prefabricated and simple “building block” construction elements, to put the principles of efficient construction into practice – both in relation to the architecture and the building process itself.

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THE BAUHAUS SCHOOL Bauhaus is a vocational school built with concrete construction and it also has office building. The different parts of the bauhaus building is designed according to different functions. It has glass curtain wall in front of the load bearing frame work defining the exterior of the workshop. It is well known for its transparency. The building is designed with asymmetrical wings. The ultimate goal of Bauhaus school and legacy was to bring art and design into the domain of daily life. The mantra states “The Unity of Arts and Life” Bauhaus started many different arts and craft courses such as,painting, sculpture, architecture, film, photography, furniture, graphics, product design, textiles, ceramics and theatre by Bauhaus masters including Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Wassily Kandinsky, Paul Klee, Hannes Meyer, Ludwig Mies van der Rohe, László Moholy-Nagy, Oskar Schlemmer, loost Schmidt, Gunta Stölzlas well as students such as Anni Albers, Marianne Brandt, T. Lux

Feininger, Kurt Kranz, Xanti Schawinsky and Alma Buscher

1925 Gropius's complex for the Bauhaus at Dessau has come to be seen as a landmark in modern, functionalist design.

Although the design seems strongly unified from above, each element is clearly divided from the next, and on the ground it unfolds a wonderful succession of changing perspectives. The building consists of an asphalt tiled roof, steel framework, and reinforced concrete bricks to reduce noise and protect against the weather. In addition, a glass curtain wall – a feature that would come to be typical of modernist architecture - allows in ample light. Gropius created three wings that were arranged asymmetrically to connect different workshops and dormitories within the school. The asymmetry expressed the school's functionalist approach and yet retained an elegance that showed how beauty and practicality could be combined.

1926 The Bauhaus Nesting Side Tables were designed by Josef Albers in 1926, for the so-called Moellenhof House in Berlin . Nesting Tables combine clear geometrical shapes with use of colour derived from Albers' painterly oeuvre.

1927 Department of Architecture opens, architect Hannes Meyer is named department chair. The simple elegance of Brandt's tea infuser exemplifies the functionality of Bauhaus design. In the 1920s Klee started to spray paint onto the surface of his work with an atomiser. In 1927, he used this technique to make a number of works which depicted landscapes or figures. This technical innovation resulted in hazy, atmospheric backgrounds over which Klee would paint his subject. This landscape shows his interest in architectural forms rendered in a mysterious fairy-tale setting..

1928 Joseph Albers takes over the whole of preliminary course.

The Frankfurter Register is published. This catalogue of products exemplifying the “new objectivity” is a treasure trove for architects. The first edition shows lamps by Christian Dell. – The Opel “Rocket Car” breaks speed records at the Avus track in Berlin.

1929 Designed in 1929 by Ludwig Mies van der Rohe and partner Lily Reich, the gentle, swooping lines Barcelona chair served as a precursor of what was to come with the mid-century modern furniture movement. The German pavilion at the World Exposition in Barcelona, built by Ludwig Mies van der Rohe and furnished with his own designs, declares Neue Sachlichkeit as the official style of the republic. In Frankfurt the exhibition The Chair shows modern seating from various countries.

The Neue Typografie is exhibited in Magdeburg. There is no need to visit a museum to see it, however: clear-cut typefaces are now also being used in advertising.

The first Cologne Furniture Fair is held in the new trade fair building.

The stock market crash in New York plunges the world into an economic crisis.

1930 Ludwig Mies van der Rohe becomes the new director.

Light Prop for an Electric Stage (Light Space Modulator) ( 1930) is one of the most famous early examples of kinetic art. It went on to be presented in many different ways: as a free-standing and immobile sculpture.

1931 The completely revised edition of Die Schöne Wohnung is a panorama of “Neues Wohnen” (New Design for Living).

– Neue Sachlichkeit reaches its zenith – and department store shelves. Porcelain dishware such as the service 1382

by Hermann Gretsch and Urbino by Trude Petri show that the new style has also found a place on the dining table.

Clarity is the code for progress. – A Jewish synagogue is built in Plauen in the style of the “Neues Bauen” (New Building).

The training is divided into three courses of instruction: I. course for apprentices, II. course for journeymen, III. course for junior masters. The instruction of the individual is left to the discretion of each master within the framework of the general program and the work schedule. In order to give the students as versatile and comprehensive a technical and artistic training as possible, the work schedule will be so arranged that every architect, painter, and sculptor-to-be is able to participate in part of the other courses.

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1932 Bauhaus Stairway depicts the Bauhaus, Although Schlemmer made this painting three years after he left his teaching position at the Bauhaus, the works gridded structure, streamlined modular bodies and predominant palette of primary colors capture the school’s vibrant design spirit. The carefully choreographed arrangement of the figures and the man en pointe at the top of the stairs reflects Schlemmers role as the creator of many important dance and theatrical productions at the Bauhaus.

1933 The auditorium seating is a masterpiece of ingenuity in terms of functionality and production. The seating is made up of four parts. The two vertical supports complete with the arm rests are attached to the floor, while the horizontal members span half way to either side of the seats, and connected to each other by tongue inserts and screws. The rotating pivoting seat is the other entity that is secured to the vertical supports. Finally the canvas sling back completes the makeup of the seating.

REFERENCES http://www.ronenbekerman.com/bauhaus-at-dessauby-walter-gropius/ http://www.bauhaus-dessau.de/masters-houses.html http://www.meisterhaeuser.de/en/ http://dessaubauhaus.wordpress.com/projectsites/the-masters-houses/ http://efrat-kowalsky.co.il/files/from-torten-to-tlv.pdf http://dessaubauhaus.wordpress.com/projectsites/torten-estate/ http://www.bauhaus-dessau.de/toerten-estate.html

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BAUHAUS, BERLIN MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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BAUHAUS, BERLIN MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

modern, unadorned architectural language that could be used to represent the new era of technology and production. Mies though willing to compromise himself, lost the first major public competition held by Nazi germany. The next competition held by Hitler was the Reinsberg design. Hitler opposed modern architecture in the competition.

GINKHY R V NESLIN ROSE JOSEPH RAJ NARAYAN S

INTRODUCTION The Bauhaus School was founded by the architect Walter Gropius, who combined two schools, the Weimar Academy of Arts and the Weimar School of Arts and Crafts, into what he called the Bauhaus, or “house of building,” a name derived by inverting the German word Hausbau, “building of a house”. Walter Gropius The first director and founder was a man named Walter Gropius, the second director was Hannes Meyer, and lastly, for a short period Ludwig Mies van der Rohe led the school.

The Bauhaus school was in three places namely in Weimar, Dessau and finally to Berlin. When Mies became the director of Bauhaus he sent all the students and the faculty out of Bauhaus who involved themselves with the political issues in the country. Mies wanted Bauhaus to be free from all political issues. The Nazi Party considered the Bauhaus style un-German and by 1933 the Berlin Bauhaus closed. During the 1930’s numerous Bauhaus students and faculty began to emigrate to the United States and other countries. Members who emigrated include Walter Gropius, Mies van der Rohe, Herbert Bayer, Moholy-Nagy and Josef Albers. They eventually maintained influential careers as educators and practitioners at colleges and universities.

BAUHAUS , BERLIN Mies liked the design theories of Adolf Loos particularly the ideas of eradication of the superficial and unnecessary. Loos had famously declared, in the tonguein-cheek humour of the day that "ornament is a crime".

He pursued an ambitious lifelong mission to create a

In 1934, Mies joined a Nazi sponsored welfare organization in an attempt to become “Hitler’s Architect”, however, Hitler did not condone modern architecture. By 1935 Mies’ financial situation had deteriorated such that he had to borrow money from Lilly Reich. Then in 1936, John Holabird invited Mies to head the Architectural School of the Armour Institute of Chicago (later Illinois Institute of Technology, IIT) in a letter dated March 20th, 1936. At that time the school was housed at the Art Institute of Chicago. However, Mies did not take up the offer.

LUDWIG MIES VAN DER ROHE Mies, during his early age of 15, helped his father on various construction sites but never received any formal architectural training. He was later apprenticed to several Aachen architects for whom he sketched outlines of architectural ornaments, which the plasterers would then form into stucco building decorations. This task developed his skill for linear drawings, which he would use to produce some of the finest architectural renderings of his time.

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In 1905, at the age of 19, Mies went to work for an architect in Berlin. But he came out and joined Bruno Paul, a leading furniture designer following Art Nouveau style.

Mies got a chance to design a sub urban house and it

impressed Peter Behrens who gave a job opportunity in his office. Throughout his life, the elegant clarity of Schinkel’s buildings seemed to Mies to embody most perfectly the form of the 20th-century urban environment. Another decisive influence was Hendrik Petrus Berlage. Berlage’s work inspired Mies’s own love for brick and the Dutch master’s philosophy inspired Mies’s credo of “architectural integrity” and “structural honesty”.

Mies early works were generally based on the German Gothic Neo-Classical style of design. Some of his early works includes the following Riehl House, Potsdam GermanY Perl house, Zehlendorf Werner House, Zehlendorf Urbig House, Potsdam Kempner House, Charlottenburg Eichstaedt House, Wannsee Mosler House, Babelsberg

The architect’s views on the relationship between industry and craft were enhanced by his association with the Deutscher Werkbund, which Mies would serve as vice president from 1926-1932. Mies was selected to coordinate the Weissenhofsiedlung, a multi-dwelling project organized by the Werkbund to manifest, in three dimensions and at full scale, the most novel architectural thinking of the day, as it related to the problem of housing.

LATER WORKS OF MIES Ludwig Mies arrived at Chicago in 1938 in request of Philip Johnson. In 1936, Karl Reed resigned as director of Department of Architecture at Armour Institute .The search committee headed by John Holabird recruited Mies. As Mies entered Armour Institute his first task was to rationalize architectural curriculum. According to Mies architecture students must first learn to draw, then gain thorough knowledge of the features and the use of builder’s materials, and finally master the principles of design and construction. Mies was the one who merged Armour Institute and Lewis Institute to form Illinois Institute of Technology. He even expanded the size of the school to 120 acres.

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Ludwig Mies became American citizen in 1944 and his works were completely based on glass and steel. His renowned list of works in Chicago includes Barcelona Pavilion, Barcelona, Spain.

Villa Tugendhat, Brno, Czech Republic Farnsworth House, Plano, Illinois Lake shore Drive apartments, Chicago Crown Hall, Illinois Institute of Technology Seagram building Office tower, New York City.

Chicago Federal Center, Chicago West Mount Square, Canada Toronto Dominian Center, Toronto, Canada.

IBM Plaza Chicago.

Barcelona Pavilion Barcelona Pavilion was going to be bare with no trade exhibits, and just the structure accompanying a single

sculpture and purpose-designed furniture. The design was predicated on an absolute distinction between structure and enclosure. Mies wanted this building to become "an ideal zone of tranquillity.” The walls not only created space, but also directed visitors’ movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that

became narrower or wider. Another unique feature of this building is the exotic materials Mies chose to use, as well

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as tinted glass of grey, green, white, and translucent glass, perform exclusively as spatial dividers.

Crown Hall S.R. Crown Hall is, by all accounts, a masterpiece. Since its completion over 50 years ago, Mies van der Rohe’s “home for ideas and adventures” has inspired students, architects, and admirers.

The project to build a new home for the School of Architecture and Institute of Design came about more than a decade after IIT's campus development initiative began in 1943. The minutes of the IIT Buildings and Grounds Committee tell us that Mies’ plans were understood early on to be “of the most advanced design, incorporating only steel and glass in its exterior design.”

The cost of such a structure was daunting, and

construction was delayed.

The translucent glass at floor-level speaks to contemplation and curiosity, while the clear glass higher up encourages visitors to lift their gaze upward and outward.In order to creatively realize the clear span of this building, Mies conceived an innovative structural system composed of “esoskeletal plate girders,” which signified the structure of the exterior plate girders.The term esoskeletal originates from esoskeleton, implying the hard outer shell of an insect that provides structural support for an organism. By hanging a 120-by-220-foot roof plate under the esoskeletal plate girders, Mies was able to realize a unitary volume of clear span, which is a pure

clear space enclosed with full glazing that brings outer nature into inner space.

In Crown Hall, Mies further developed the idea of the relationship between framing architecture and framed nature in that he not only painted the frame with charcoal gray, a neutral color that brings out the saturation of the sky, but also glazed exterior walls with two kinds of glass, glazing the large upper panes with transparent glass and the lower panes with translucent glass. One can see the sky and the upper part of trees from inside the building through transparent glass while one can experience calm space owing to translucent glass that obscures the urban busy activity of the outside. To extend this calm and clear space to the changing sky outside, Mies innovatively

armchair designed for the building, the Tugendhat chair and the Brno chair, are still in production)

The New National Gallery , Berlin The plan of the New National gallery only comprises a small portion of the total gallery space; the exhibition pavilion stands boldly as the building’s primary architectural expression. The lower story serves permanent collection, though it also shows the artwork, its

ordered both the structure and the details of Crown Hall.

Intending to create poetic space, he understood the nuanced void of architecture, which architects can achieve by understanding material requirements and reducing functional elements to a relatively unnoticeable minimum, that is, by making the functional part of architectural frames look like almost nothing for an extroverted view.

Accordingly, after having recognized the existence of the void through glazed walls, Mies was able to consciously create a new order constituting his poetic building.

Villa Tugendhat The free-standing three-story Villa Tugendhat is situated on a sloped terrain. Mies Design principle of less is more and the usage of the revolutionary iron framework which enabled him to dispense with supporting walls and arrange the interior in order to achieve a feeling of space and light. One wall is a sliding sheet of plate glass that descends to the basement the way an automobile window does. Mies also designed all of the furniture (two types of

sole glazed façade

Fransworth House, Illinois The Farnsworth House, built between 1945 and 1951 for Dr. Edith Farnsworth as a weekend retreat, is a platonic perfection of order gently placed in spontaneous nature in Plano, Illinois. Just right outside of Chicago in a 10-acre secluded wooded site with the Fox River to the south, the glass pavilion takes full advantage of relating to its natural surroundings, achieving Mies’ concept of a strong relationship between the house and nature.

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The single-story house consists of eight I-shaped steel columns that support the roof and floor frameworks, and

therefore are both structural and expressive. In between these columns are floor-to-ceiling windows around the entire house, opening up the rooms to the woods around it. The windows are what provide the beauty of Mies’ idea of tying the residence with its tranquil surroundings. His idea for shading and privacy was through the many trees that were located on the private site. Mies explained this concept in an interview about the glass pavilion stating, “Nature, too, shall live its own life. We must beware not to disrupt it with the color of our houses and interior fittings. Yet we should attempt to bring nature, houses, and human beings together into a higher unity.”

Mies intended for the house to be as light as possible on the land, and so he raised the house 5 feet 3 inches off the ground, allowing only the steel columns to meet the ground and the landscape to extend past the residence. In order to accomplish this, the mullions of the windows also provide structural support for the floor slab. The ground floor of the Farnsworth House is thereby elevated, and wide steps slowly transcend almost effortlessly off the ground, as if they were floating up to the entrance. Aside from walls in the center of the house enclosing bathrooms, the floor plan is completely open exploiting true minimalism

SEAGRAM BUILDING OFFICE TOWER, NEW YORK Seagram building stands 515 feet (157 m) tall with 38 stories, and was completed in 1958. It stands as one of the finest examples of the functionalist aesthetic and a masterpiece of corporate modernism. The commercial office building in this instance has been endowed with

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monumentality without equal in the civic and religious architecture of our time.

The positioning of the Seagram Building on the site and its additive forms at the rear, which visually tie the building to adjacent structures, make for a frontal-oriented composition. The tower is no longer an isolated form. It addresses itself to the

context of the city.

IBM PLAZA, CHICAGO IBM plaza was a technologically advanced building for its time. The building has a powerful electrical system to handle the room sized computers of the era, but the floors were extra strong, the ceilings extra tall, and the heasting and cooling systems speciallt created to control and distribute all of the computer generated heat. Four banks of

eight sophisticated elevators provided for non stop vertical movement. Windows were designed with thermal breaks to insulate the structure and minimize the oven effect of earlier glass buildings.

The structure of the building is expressed in the large stiltlike columns – pilotis – left bare at the ground level. These columns are also visible behind the windows – as is the Miesian way – as they extend all the way up through the building. I-beams are welded to the anodized aluminum exterior of the building to emphasize its structure and verticality, while adding pattern and texture to the building’s curtain wall. Beyond the arcade formed by the pilotis is the 26-foot tall, glassy lobby, which gives the building a sense of weightlessness

CHICAGO FEDERAL The Chicago Federal Center, designed by Ludwig Mies van der Rohe and completed in 1974, actually consists of three buildings which are arranged around and define the Chicago Federal Plaza. On the eastern side of South Dearborn Street sits the 30-story Everett M. Dirksen U.S. Courthouse. On the western side, the 42-story John C. Kluczynski Federal Building and the single story Post Office define the plaza.

The complex as a whole was completed in 1974, five years after Mies’s death.

It unifies two themes that he repeated throughout his career: the two high-rise blocks, which flesh out ideas suggested in his Seagram Building in New York; and the large, open space of the Post Office building, which is similar to other low-rise projects such as the nearby S.R. Crown Hall.

This building is referred to "the ultimate expression of the second Chicago school of architecture". This style was one

that Mies attempted to canonize during his twenty years as head of the IIT School of architecture, which made use of rigid rectilinear geometry, minimalistic detailing and double height ground floors which try to reduce the barriers between in and outdoors. The vertical I-beam mullions, a technique Mies famously employed on the Seagram building, combine with black paint and bronze curtain glass as the key expressive elements.

This is a perfect example of Mies uncompromised devotion to principle, together with his vaunted sensitivity to proportion and detail and in this case, the organisational scale combine to give the complex, a monumental urban presence.

ILLINOIS INSTITUTE Of TECHNOLOGY Mies arrived in Chicago in 1938 to become the Director of Architecture at the Armour Institute (now Illinois Institute of Technology) with the understanding that he would redevelop the curriculum. Soon after, he was awarded the commission to redesign the campus and its buildings, an unexpected opportunity to shape a university that no other modern architect was given.

The campus excels in defining the relationships of campus to city, buildings to campus, and voids to buildings. The first scheme of 1939 required the removal of State Street to allow for a central open plaza with perimeter buildings raised on steel columns. In the realized plan, clusters of buildings placed on a grade create a series of informal open spaces through a playful shifting of solid (i.e. buildings) and void (i.e. green space). A 24-foot square grid invisibly overlays the campus to guide its order. Then, by sliding the building volumes beyond one another rather than aligning them, Mies created expanding and

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contracting views, which offer a variety of unexpected experiences, reflecting the spatial concepts in the Barcelona pavilion on a much larger scale.

ARCHITECTURAL PRINCIPLES At the risk of oversimplifying his work, the list below provides a general introduction to the kinds of approaches and elements common to Mies van der Rohe’s mature work, including the Farnsworth House. Quotations by Mies are included to enhance this list.

Articulated Structure Reduced palette of materials Highest Quality craftsmanship “Open Space” Exclusion of applied ornament Modularity for structural and spatial planning Expression of industrial materials and methods “Building, when it became great, was almost always indebted to construction, and construction was almost always the conveyor of spatial form. (1933).[ “From] genuine building elements…a new, richer building art can arise. They permit a measure of freedom in spatial composition that we will not relinquish any more.

Only now can we articulate space, open it up and connect it to the landscape, thereby filling the spatial needs of modern man. Simplicity of construction, clarity of tectonic means, and purity of materials shall be the bearers of a new beauty.” (1933) [The free or open plan] is a new concept and has its own ‘grammar’ – just like a language. Many believe that the variable ground plan implies totally freedom. That is a misunderstanding. It demands just as much discipline and intelligence from the architect as a conventional plan.

(1952) When one looks at nature through the glass walls of the Farnsworth House, it takes on a deeper significance than when one stands outside. More of Nature is thus xpressed – it becomes part of a greater whole.

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CIAM AND TEAM X MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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CIAM AND TEAM X MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

SWARNA PRABHA ANUSHA.S ARCHANA

BEGINNING OF TIME CIAM was founded in Switzerland in 1928, primarily by Helen de Mandrot, Siegfried & Le Corbusier. The cause was the new architecture that was developed in Europe in early 1920's. CIAM intended to create an international standard for the modern architecture.

CIAM's early attitudes towards town-planning were stark: "Urbanization cannot be conditioned by the claims of a pre-existent aestheticism; its essence is of a functional order… the chaotic division of land, resulting from sales, speculations, inheritances, must be abolished by a collective and methodical land policy."

At this early stage the desire to re-shape cities and towns is clear. Out is the "chaotic" jumble of streets, shops, and houses which existed in European cities at the time; in is a zoned city, comprising of standardized dwellings and different areas for work, home, and leisure.

MEETINGS AND CONCLUSION (CIAM 1, 1928 1930: CHATEAU OF LA SARRAZ, SWITZERLAND) The first CIAM Congress was the result of efforts from several directions, most significantly including the international campaign in favor of Le Corbusier’s League of Nations design, and the Weissenhof meetings, involving members of the Berlin Ring and the Swiss Werkbund in 1927. From its inception, CIAM was conceived as an instrument of propaganda to advance the cause of the new architecture that was developing in Europe in the 1920’s.

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SET GOALS Giedion the CIAM secretary wrote that the goals of CIAM were: to formulate the contemporary program of architecture to advocate the idea of modern architecture to forcefully introduce this idea into technical, economic and social circles to see to the resolution of architectural problems The congress concluded that the future, whether as capitalist or a communist technocracy, was to be organized from above along the lines thought to be best for the general welfare of industrial societies everywhere.

CIAM 2, 1929 (FRANKFURT, “DIE WOHNUNG FUR DAS EXISTENZMINIMUM”) The intent throughout Frankfurt was to demonstrate the use of assembly-line methods for socialist (or at least social democratic) ends. In the midst of this, the proposed second CIAM Congress was given the theme “the Minimum Subsistence Dwelling" the focus being on design solutions to the problem of high rents for low wage earners.

The organs of CIAM were defined as the “Congress” itself, the “General Assembly” that would meet every year or two, as called together by the president; and the CIRPAC, which had been proposed by Le Corbusier and created at La Sarraz. The CIRPAC members were to be called “Delegates,” with at least one from each CIAM national group. The CIRPAC was to plan each Congress and to carry out the decisions of the congress, though the latter proved to be difficult.

CIAM 3, 1930: (BRUSSELS “RATIONELLE BEBAUUNGSWEISEN”) The real theme of CIAM 3 was a discussion of Gropius’ question, “Low-, Mid- or High-Rise Building?” an investigation which paralleled Le Corbusier's views.

Following findings from Bohemia and Kaufman however, Gropius and Giedion shifted the debate over building heights away from the strictly economic justifications toward the collective social and spiritual advantages of each type. So Gropius’ lecture “Low-, Mid- or High-Rise

Building?” which could be considered the keynote address of the congress, began with the argument that reasoning in city planning should not be strictly economic but also should take into account “Psychological and Social Demands.”

The Functional City 1931 - 1939 - This was the most significant theoretical approach of CIAM, and began to dominate its discourse immediately following the Brussels Congress. The underlying concept was a simple one, Cornelius van Easteren asserted that “districts for the masses, with their high population densities, suffer the consequences of incorrect development.”He declared that the “many disadvantages” of these districts based on the medieval “block form of street walls and lot lines, were unnecessary.” The CIAM “Die Wohung fur das Existenzminimum” had demonstrated the fundamental importance of favorable solar orientation in low - cost apartments with their “intensely used rooms.”

Consequently arguing that the best position for sunlight for a particular housing type should ensure the “direction of the whole apartment series.” He concluded that what are needed are not axial city plans, but new national development methods that could be extended to the planning of entire cities.

CIAM 4, 1933: (ATHENS: “THE FUNCTIONAL CITY”) Le Corbusier gave an address containing the most concise statement of his position on the idea of the Functional City. As he saw it, CIAM's task was to create forms, human truths and certainties, and to establish a prism to judge them. He insisted on the fundamental principle that urban-ism was a three-dimensional science, and stressed that height was an important one of those dimensions. Through the bodily movement the three dimensions imply the notion of time, and our lives are regulated by the “solar regime” of twenty-four hours and the year, which “commands distances and heights.” The urbanist, he continued, must choose between two tendencies, to extend or to contract the city. If the latter was chosen, concrete and steel must be used to preserve the “essential joys” of the sky, trees and light. He emphasized that CIAMs judgements must be “Dwelling,” the first of a hierarchy of four functions; Dwelling, Work, Leisure and Circulation.

While the Garden City pattern satisfies the individual, he argued that it loses the advantages of collective organization. The Concentrated City, favored with modern techniques, assures the liberty of the individual within the housing fabric and organizes the collective life in relation to recreation.

After 1933 CIAM began to define itself as an International “building movement” with its own ideology of the Functional City. Rejected by both National and Socialism in Germany and Stalinism in the Soviet Union, the ideology was available to any modernizing “Authority” willing to risk its application.

CIAM 5, 1937: (PARIS: “LOGIS ET LOISIRS”) Conditions for CIAM had changed dramatically for the worse since the first La Sarraz meeting eight years previously. National socialism had ended most of the new architectural directions in Germany, Le Corbusier had not been able to see his urbanistic ideas adapted in France, and the members who had gone to the Soviet Union in 1930 to apply CIAM methods there, were beginning to leave.

The program for CIAM 5 consisted of three talks, by Le Corbusier, on “Theoretical Solutions,” Sert, on “Application Case: Cities” and SzymonSyrkus, on “Application Case: Rural Areas.” The twenty other “Interventions and Communications” at CIAM 5 were a mixture of reports by CIAM members and national groups, syndicalist friends of Le Corbusier, and other French political and intellectual figures.

CIAM 6, 1947: (BRIDGE WATER, ENGLAND: “REUNION CONGRESS”) MARs (Modern Architectural Research) after 1945 was a very different group than its prewar namesake. No longer a small Avante-Garde group, it had become a large club like institution with many prominent members well within the new mainstream of British Architecture and Town Planning. It was felt that MARs should not be primarily concerned with publicizing the principles of the ‘Athens Charter,‘ but should instead move on to examine “the impact of contemporary conditions upon architectural expression. This was proposed as a possible

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theme for the first congress to be held after the war.

At the Zurich CIRPAC meeting it was formerly declared that “the final aim of CIAM is to facilitate the practical application of its principles in each represented country,” to “give to communities a truly human aspect,” but added “we intend to enlarge the subject to include ideological and aesthetic problems.”

CIAM 7, 1949: (BERGAMO, ITALY) In contrast to the ambitious hopes for CIAM expressed at Bridge water, the Bargamo Congress revealed that CIAM was not going to regain its prewar elan as an avante-garde organization, owing to internal conflicts within. In contrast to the ambitious hopes for CIAM expressed at Bridge water, the Bargamo Congress revealed that CIAM was not going to regain its prewar elan as an avante-garde organization, owing to internal conflicts within.

RESOLUTION Officially CIAM 7 issued a resolution, whose 7 points concerned: The Dwelling, which should be orientated to the sun, quiet and efficiently organized Laboratories for research in new construction techniques Scale, which should always be indicated [on drawings] Land-use Legislation Unity of visual groups Necessity of punctual Automobile and pedestrian circulation Free disposition of the ground plane

CIAM 8, 1951: (HODDESDON, ENGLAND: “THE HEART OF THE CITY”) Of the talks presented at CIAM 8, the most significant was Serts’ opening talk entitled “The Theme of the Congress: The Core.” He argued that in developing countries, the cores could be placed where new technologies such as television screens would soon be available, and this could “put these people in immediate contact with the world.” People without access to radios could “listen to the old speaker on the public square,” and “could see the images on the television screen,” which would enhance the importance of these places.

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Such civic centers would consolidate [democratic] governments; for the lack of them and the dependence of the people on controlled means of information makes them more easily governable by the rule of the few. The creation of these centers is a government job (Federal, State or Municipal). These elements cannot be established on a business basis. They are necessary for the city as a whole and even for the nation, and they should be publicly financed.”

SIMILAR POINTS The MARs group established commissions to prepare for the congress which mirrored those of the CIAM itself: Town Planning Visual Art New Building Techniques Social Background of the Core

CIAM 9, 1953: (AIX-EN-PROVENCE, FRANCE: “THE CHARTER OF HABITAT”) The work program for CIAM 9 stated that “CIAM 9 will not resume the study of.... [the] four functions but will concentrate upon Living and everything that man plans and constructs for living.” The group comprising of Howells, Smithsons and John Voelcker concluded that the lack of a definite conclusion from Aix was the fault of the administration of CIAM, and that “the accepted definitions and methods of work within CIAM are not adequate for dealing with the problems with which we are faced today.”

They acknowledged that the Athens Charter was of great historical importance, but also stated, “it is clear that the contents of charter are no longer instruments for creative development.” Nor did they find the titles of the permanent commissions “relevant to the problem with which we are concerned.” rather than these “analytic” categories, the group proposed new “synthetic” categories, based on the terminology of Patrick Geddes’s Valley Section.

TASK The CIAM 10 Program, Commission Structure, and Schedule were finally set at a last minute meeting in Padua. The group in attendance agreed that CIAM 10

had three tasks: To prepare the Charter of Habitat To Extract New Material on Relationships from the New Grids for the Charter To determine the Future of CIAM Sert opened the Congress proceedings by reading a “message of Le Corbusier” to CIAM 10, It posed the question of “crisis or evolution?” for CIAM and contrasted the “generation of 1928” which had formulated the Athens Charter, with the “generation of 1956” which will now “take command.” this generation should now enter into “practical action” taking account of “urgent worldwide needs... To design, express and even predict” the future. He concluded, “Act so that the CIAM continue in their creative passion, in disinterest, reject the opportunists or hot head.Good luck, long live the SECOND - CIAM! Your friend LE CORBUSIER” The final CIAM meeting was held in September of 1959 in Otterlo where it was announced the name CIAM would longer be used. No further meetings where ever held or publications ever issued, however due to the lack of clarity concerning CIAM's fate it is quite difficult to say precisely where CIAM ends and Team 10 (officially formed in 1945) begins.

and early years, the CIAM seemingly lost its focus in later years and became impeded by bureaucracy, culminating in the disintegration of CIAM.

TEAM X TEAM 10 originated within CIAM. After the war, CIAM became the venue or a new generation of modern architects. CIAM IX, held at Aix-en-Provence, France on 19-26 July 1953, was the first congress to have so-called ‘younger’ CIAM members. Organized by the CIAM oldguard. Many were dissatisfied with the proceedings and results of the congress which had failed to produce even an outline for a Charter of Habitat, and the younger members in particular were left with a profound disappointment with CIAM as an institution. CIAM X was organized by Team 10. Gropius, Le Corbusier and other pioneer members stayed away. A message from Le Corbusier to the congress meeting 10, states ‘problem of the generations’. And by 1959 the legendary organization came to an end at a final congress in Otterlo. An independent Team 10 with a partly changed composition

THE CONCLUSION OF CIAM: By researching and reviewing not just the congress meetings themselves, but also the preparatory meetings, Eric Mumford affords us a greater understanding of the groups complexities.

The CIAM delegates were often working in ever changing political environments and came from vastly contrasting cultural backgrounds. Despite a large number of highly successful collaborations between delegates from varying national groups, it often proved difficult focusing their collective efforts towards a single goal. This was further hindered, on numerous occasions, by individual members attempting to steer the CIAM to suit their own agenda.

Although highly influential, the majority of CIAM's proposals remain unrealised or incomplete and a number of publications based on their collaborative works failed to even materialise. Whilst highly successful in its formative

subsequently started holding its own meetings without declaring a formal new organization.

TASK The group in attendance agreed that CIAM 10 had three tasks: To prepare the Charter of Habitat To Extract New Material on Relationships from the New Grids for the Charter To determine the Future of CIAM

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SMITHSONS’ GOLDEN LANE PROJECT 1952 Alison and Peter Smithson’s competition entry for the reconstruction of post-war ruins in The City of London was a bold, brash vision of new urban form. The plan intended to bring together high densities of people in a way that

flexibility, adaptability, and pedestrians is laudable, the decoupling of residential life from the streets ultimately has proven disastrous for cities.

TOULOUSE-LE-MIRAIL, FRANCE_1960

created “an infinitely richer and more satisfactory way of living in cities.” To achieve this, they proposed a series of “streets in the air” which connected clusters of flats accessible above and below each mid-air street. They believed that concentrating pedestrian circulation would create communityand bring a kind of humanity back to some of the more bombastic and monumental CIAM

The architects, Shadrach Woods and Georges Candilis found local precedent for the ‘stem-to-cluster’ concept in Toulouse’s developmental morphology.

The ‘web’ organizes Toulouse-Le-Mirail’s commercial center. Described as, “non-centric initially, poly-centric through use,” the web provides a structural and technical base for urban practices to develop. It is a rudimentary platform pierced by vertical circulation, service cores, and open spaces.

The platform, lifted one level above the ground, provides cover for car parking and delivery zones. It allows the development of an intricate and varied pattern of retail spaces. Shadrach Woods explains, “the process of planning from stem to cluster will tend to re-establish

modernist housing projects.

Clustered and networked approach, a flexible system, was a rejection of the imposition of the prior high modernist grid. Although the emphasis on community,

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density and scale‌The principle of equalization of spaces in the occupying of a given site will disappear and exterior

space can again be small or medium as well as big and empty.�

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ALVAR AALTO MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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ALVAR AALTO MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

AFZAN M SAI HARSHINI M YAMINI T

In 1921, he set up his 1st architectural office in Jyväskylä.

His early works followed the tenets of Nordic classism, the predominant style at that time. Furthermore this was the period when Aalto was prolific in his writings, with articles for professional journals and newspapers. Among his most well- known essays from this period are the “URBAN CULTURE” “TEMPLE BATHS ON JYVASKYLA RIDGE” and “FROM DOOR STEP TO LIVING ROOM”.

Meanwhile, Aalto busied himself with a number of singlefamily homes, all designed in the classical style, such as the manor-like house for his mother's cousin Terho

ALVAR AALTO Hugo Alvar Henrik Aalto (3 February 1898 – 11 May 1976) was a Finnish architect and designer. His work includes architecture, furniture, textiles and glassware.

Aalto's early career runs in parallel with the rapid economic growth and industrialization of Finland during the first half of the twentieth century. The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work, ranging from Nordic Classicism of the early work, to a rational International Style Modernism during the 1930s to a more organic modernist style from the 1940s onwards.

Manner in Töysa in 1923, a summer villa for the Jyväskylä chief constable in 1923 and the Alatalo farmhouse in Tarvaala in 1924. During this period he also completed his first public buildings, the Jyväskylä Workers' Club in 1925, the Jyväskylä Defence Corps building in 1926 and the Seinajoki Defence Corp building in 1924-29. Also, the Finnish pavilion that brought many accolades to Aalto is actually a work of Nordic classism style. It brought fame to both Finland and architecture.

FUNCTIONALISM What is typical for his entire career, however, is a concern for design as a Gesamtkunstwerk, a total work of art; would design not just the building, but give special treatments to the interior surfaces and design furniture, lamps, and furnishings and glassware.

NORDIC CLASSICISM

In the late 1920’s and 1930’s he travelled around Europe and got inspired by the new trends of Modernism – The International style.

The shift in Aalto's design approach from classicism to modernism is epitomised by the Viipuri Library (1927– 35), which went through a transformation from an originally classical competition entry proposal to the Page 74

A.

completed high-modernist building. Yet his humanistic approach is in full evidence in the library: the interior displays natural materials, warm colours, and undulating lines and during that same time he also designed the TurunSanomat Building (1929–30) and Paimio Sanatorium (1929–32). Thus, the TurunSanomat Building first heralded Aalto's move towards modernism, and this was then carried forward both in the Paimio Sanatorium and in the on-going design for the library. Although the Turun Sanomat Building and Paimio Sanatorium are comparatively pure modernist works, they too carried the seeds of his questioning of such an orthodox modernist approach and a move to a more daring, synthetic attitude.

EXPERIMENTATION Aalto's early experiments with wood and his move away from a purist modernism would be tested in built form with the commission to design Villa Mairea (1939) in Noormarkku. The building forms a U-shape around a central inner "garden" the central feature of which is a kidney-shaped swimming pool. Adjacent to the pool is a sauna executed in a rustic style, alluding to both Finnish and Japanese precedents. The design of the house is a synthesis of numerous stylistic influences, from traditional Finnish vernacular to purist modernism, as well as influences from English and Japanese architecture. While the house is clearly intended for a wealthy family, Aalto nevertheless argued that it was also an experiment that would prove useful in the design of mass housing.

The BAKERS house in MIT by Aalto is a classic example of his experimentation. The dormitory is a curving snake slithering on its site and reflects many of Aalto’s ideas of formal strategy, making it a dormitory that is both inhabited and studied by students from all over the world.

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PAIMIO SANATORIUM

Paimio Sanatorium is a former tuberculosis sanatorium in Paimio, Finland, designed by Alvar Aalto. The building was completed in 1932, and soon after received critical acclaim both in Finland and abroad. The building served exclusively as a tuberculosis sanatorium until the early 1960s, when it was converted into a general hospital. The sanatorium was nominated to become a UNESCO World Heritage Site.It was the first building Alvar aalto designed that was furnished entirely with his own factory-made furniture.

According to the design, the buildings are grouped in a neo-classical manner with the sun balconies representing a

more modern architectural approach. Lying in the sun on a balcony was part of the treatment for tuberculosis, so balconies like these were an essential part of sanatorium architecture. It was basically a design competition in which Aalto’s entry was selected among 13 other entries.

The original interior furnishings of the foyer including the pigeon-holes for patients' slippers, emphasized the feeling of homeliness created for the long-stay patients. The stacking metal stool designed for the sanatorium is in all probability the handwork of aalto himself.

Alvar Aalto's tuberculosis sanatorium, now a general hospital, remotely situated in thick forest about 29km (18 miles) east of Turku, is the building that first put Finland on the modern architectural map. It is informally planned, each department occupying a separate wing and the wings radiating from the centre at different angles, determined by the direction of sunlight and view. The reinforced concrete frame construction is fully exposed

and fully exploited aesthetically: taut and muscular yet gracefully modulated."

B.

VIIPURI LIBRARY

The Library in Vyborg (Viipuri Library), which was designed

by Alvar Aalto is completed in 1935.It is a masterpiece of International Modernism in both European and global terms. In 1927, Aalto actually moved decisively towards ROMANTIC CLASSICSM in his VILLPURI library competition entry. It was influenced by Asplund with its form and features directly taken from Stockholm library.

Light was taken as a primary consideration.

Light is streamed through round, conical sky-light about 6ft in diameter. The main reading rooms of the library were indirectly lit all times- by day through funnel-shaped roof lights and at night through retractable spot lights which bounced their light off the opposite walls. The building is composed of two rectangular volumes, on intersection creates a common area of circulation. This clear separation of the volumes gives a functional differentiation of the program. The main block was designed for the act of reading, and special attention is given to insulation and lighting of the spaces through a successful manipulation of light and the use of thicker exterior walls. The other smaller block, located north, contains the administrative services.

C.

VILLA MAIREA FACADE

Villa Mairea is a villa, guest-house, and rural retreat designed and built by the Finnish modernist architect Alvar Aalto for Harry and Maire Gullichsen in Noormarkku, Finland. The Gullichsens were a wealthy couple and members of the Ahlström family. They told Aalto that he should regard it as 'an experimental house'.

The plan of the Villa Mairea is a modified L-shape. It is created a semi-private enclosure to one side, and a more exclusive, formal edge to confront the public world on the other. The lawn and the swimming pool are situated in the angle of the L, with a variety of rooms overlooking them. Horizontals and overhangs in the main composition echo the ground plane, and the curved pool weds the nearby forest topography. In contrast to these softening devices, the main facade has a more rigid, formal mood, and even possesses a canopy restated in a garden pergola vocabulary of bindings, poles and slats.

D.

FINLANDIA CONCERT HALL

Finlandia Hall is a concert hall with a congress wing in Helsinki, Finland, by Töölönlahti bay. The building was Page 76

designed by Alvar Aalto. The work began in 1967 and was completed in 1971.The main concert hall called FINLANDIA hall seats 1700 people and features Aalto’s distinctive marble balconies and cobalt blue walls with bent-wood decorations. The smaller auditorium, HELSINKI hall seats 340. The congress hall seats 450-900 depending on the configuration and is equipped with simultaneous interpretation, television and press.

The main features of the building's exterior are the great horizontal mass of the building proper and the towering auditorium that rises above it. The main external wall material is Carrara marble and with copper roofs, which have acquired a green patina, and teak window frames. The marble continues in the interior, and is supplemented by details in hardwoods, and ceramic. Apart from the auditorium, the main feature of the interior is the shallow and broad 'Venetian' staircase leading from the ground-floor foyer to both the main auditorium and chamber music hall.

OTHER WORKS Aalto has also experimented with designing furnitures.

Most of the structures he has designed have a purpose made furniture like the Paimio chair in sanatorium, the stool in Viipuri library and so on.

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FRANK LLOYD WRIGHT – LATER WORKS MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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FRANK LLOYD WRIGHT – LATER WORKS

the inherent plasticity of organic forms in architecture. His

MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

AISHWARAYA K.V KEERTHANA M VINUSHA K

SOLAR HEMICYCLE HOUSE In 1943, Wright pioneered the idea of a house that uses the sun as a natural source of light and heat, that is to say an intentional source of light and heat. The solar hemicycle houses are intentionally oriented and shaped in a manner that maximises suns exposure. Oddly enough , the first solar hemicycle house was built for the Jacobs family - the very same family that commissioned the first Ussonian house. The north side of the house is a earth berm to block the cold winds. Like the original Usonians the house is essentially a big one room with bedrooms

inverted ziggurat dispensed with the conventional approach to musem design which let the visitors through a series of interconnected rooms and forced them to retrace their steps when exiting.

PRICE TOWER The Price Tower was commissioned by Harold C. Price, for use as a corporate 'headquarters for his Bartlesville

GUGGENHEIM MUSEUM Location : New york Established year : 1937 Type : Art Museum Style : Modern In 1939 Guggenheim foundations first museum , the museum of non- objective painting’ Opened in rented quarters at 24th East 54th St in New York city and showcased the art by early Mordernists such as Rudolf Bauer , Rebay ,Wasiily Kandinsky , Paul Klee , Piet Mondrian.

Their building instantly polarised architecture critics through today it is widely praised. The Guggenheim museum is an embodiment of wrights attempt to render Page 79

company. His wife, Mary Lou Patteson Price, and his two sons, Harold, Jr., and Joe, rounded out the building committee.

The prices were directed to Frank Lloyd Wright by architect Bruce Goff, who was then dean of architecture

in bartlesville and two later additions following his marriage to Etsuko Yoshimochi.

USONIAN HOUSE Usonian' is a term usually referring to a group of approximately sixty middle-income family homes designed

by Frank Lloyd Wright beginning in 1936 with the Jacobs House.

The "Usonian Homes" were typically small, single-story dwellings without a garage or much storage. Often Lshaped to fit around a garden terrace on unusual and inexpensive sites. Constructed with native materials, flat roofs and large cantilevered overhangs for passive solar heating and natural cooling, natural lighting with clerestory windows, and radiant-floor heating. A strong visual connection between the interior and exterior spaces is an important characteristic of all Usonian homes. The word carport was coined by Wright to describe an overhang for sheltering a parked vehicle.

JOHNSON WAX BUILDING Johnson Wax Headquarters is the world Headquarters and administration building of S. C. Johnson & Son in Racine, Wisconsin. at the University of Oklahoma, where the Price sons had studied. That relationship bonded into a lifelong patronage

of both architects by the price family.

Wright designed an Arizona home for the senior Prices and a bartlesville home for Harold, Jr., his wife Carolyn Propps Price, and their six children. Goff, who was also a tenant at price tower, became the favored architect of Joe Price, designing a bachelor studio on his family's property

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Designed by American architect Frank Lloyd Wright for the company's president, Herbert F. "Hib" Johnson, the building was constructed from 1936 to 1939. Also known as the Johnson Wax Administration Building, it and the

nearby 14-story Johnson Wax Research Tower (built 1944–1950) were designated as a National Historic Landmark in 1976 as administration Building and Research Tower, S.C. Johnson and Son.

FALLING WATER Fallingwater or Kaufmann Residence is a house designed by architect Frank Lloyd Wright in 1935 in rural Southwestern Pennsylvania, 43 miles (69 km) south-east of Pittsburgh. The home was built partly over a waterfall on Bear Run in the Mill Run section of Stewart Township, Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains.

Hailed by Time shortly after its completion as Wright's "most beautiful job", it is listed among Smithsonian's Life List of 28 places "to visit before you die." It was designated a National Historic Landmark in 1966. In 1991, members of the American Institute of Architects named the house the "best all-time work of American architecture" and in 2007, it was ranked twenty-ninth on the list of America's Favorite Architecture according to the AIA.

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INTERNATIONAL STYLE – GROWTH & DEVELOPMENT MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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INTERNATIONAL STYLE- GROWTH AND DEVELOPMENT MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

The ideology of Lovell exercised a decisive influence over the rest of Neutra’s career. The central theme of both Neutra’s work and his writings became the beneficial impact of a well-designed environment upon the general health of the human nervous system. Thus the primary concern for Neutra and Schindler alike, both of whom had served their apprenticeships under Wright, was not abstract form as such, but rather the modulation of sun, light and the sensitive articulation of the screens of plants between the building and its general context.

Health House

IDENTIFICATION ARAVIND V ROSHNI KANNAN VARUN VENU

ABSTRACT In many respects, the International Style was little more than a convenient phrase denoting a Cubistic mode of architecture which had spread throughout the developed world by the time of the Second World War. The style implied a universality of approach which generally favoured light-weight technique, synthetic modern materials, and standard modular parts so as to facilitate fabrication and erection.

ORIGIN Richard Neutra and Rudolf Schindler are remembered as the pioneers who initiated the apotheosis of the International Style.

The catalyst that brought these minds together was Dr. Philip Lovell, a successful physician who wished to be considered progressive, whether in physical culture or architecture. This mindset is observed in the first example of the International Style - The Lovell Health House, Los Angeles, 1972, designed by Richard Neutra - its architectural expression deriving directly from a skeleton steel frame, clad in a light weight synthetic skin. The openplan form of the house was an appropriate reflection of Dr. Lovell’s expansive personality.

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For Alfred Roth, practising in Zurich throughout the 1930s, the essential touchstone of the International Style was a sensitive and strictly doctrinaire approach to the creation of built form. In this remarkable anthology of 1940, ‘The New Architecture’, he attempted to show that the public reaction to Weimar was at its best where neither advanced technique nor the free-plan was allowed to become an end in itself. A well-formulated programme and a concern for the environmental impact of detailing seem to have been more highly valued by Roth than the achievement of spectacular solutions in either spatial or technical terms. Roth’s anthology featured works from Czechoslovakia, England, Finland, France, Holland, Italy and Sweden, thereby acknowledging the establishment of the New Architecture (Roth’s own term) in all these countries, by the late 1930s.

In 1932, two New York architects and writers looked back at the European achievements of the 1920s and recognized a common style. Henry-Russell Hitchcock and Phillip Johnson entitled this style the “International Style”.

European architects objected to the idea that they were all acting upon the same principles, but the label stuck.

Hitchcock and Johnson identified three aesthetic principles in the International Style: ARCHITECTURE AS ENCLOSED SPACE - modern materials allowed an open flexible interior space. The load bearing structure was a concrete or steel skeleton frame, which allowed more open spaces and removed the significance of load bearing masonry elements. The exterior shell is now simply a shield against the weather; it has no load bearing function.

MODULAR REGULARITY - the cost efficiency of standardized, mass-produced components resulted in skeleton frames which were visually regular grids.

This system invited rectangular volumes, but the artistic challenge lay in using the new order elastically, especially in interior spaces, which determined how people would move and view their surroundings.

AVOIDANCE OF SUPERIMPOSED DECORATION ornamentation was now focused on the detailing of structural elements, without laying other decorative forms over the top of them.

was neither an architect nor a member of CIAM.

“The prime architectural symbol is no longer the dense brick, but the open box.” <quote> - Henry-Russell Hitchcock & Philip Johnson, ‘The International Style’, 1932

NOTABLE EXAMPLES- FRANCE France was represented by two works: by the open-air school built at Suresnes outside Paris to the design of Beaudouin and Lods, and by Le Corbusier’s proto-Brutalist rubble- walled and timber roofed house built at Mathes in 1935 Plan of Open Air School, Suresnes

ENGLAND Britain was accounted for in the singular masterwork of the engineer Owen Williams, the famous Boots Pharmaceutical Plant, built at Beeston in 1932.

Williams was an outsider in the whole anthology since he

Nonetheless, his reinforced-concrete and glass factory made an impact with ease. William’s audacious use of giant mushroom columns, supporting bays upto 9.75 x 11metres in plan, gave to this four-storey industrial shed a sculptural form of remarkable precision and energy.

[Boots Pharmaceutical Plant, Beeston] By far the most influential architect to enter England at this moment was the Russian architect Berthold Lubetkin, whose impact on the development of modern architecture Page 84

in England has never been adequately appreciated.

were lost when its archives were destroyed by fire during the German bombing in 1940.

CZECHOSLOVAKIA The one country which has always been inadequately represented in any account of the International Style is Czechoslovakia. ‘The International Style’ did however include noteworthy buildings such as Otto Eisler’s‘Double house’ of 1926 and Ludvik Kysela’s eight-storey Bata shoe store in Prague, built in 1929 and faced entirely in plate glass.

SPREAD After the Hitchcock and Johnson exhibition of 1932 the International Style expanded outside Europe and North Lubetkin, who came from a modest but brilliant career in Paris, brought a capacity for logical organization which has rarely graced English architecture. His 1935 block of flats in Highgate, London, Highpoint 1, remains a masterpiece even by standards of today, its internal layout and disposition on an awkward site being a model of both formal and functional order.

HOLLAND

America and began to emerge in areas as far flung as South Africa and Japan.

BRAZIL Modern architecture had its origins in Brazil in the mid1920s under the partnership of Lucio Costa and Gregori Warchavchik. With the revolution heading up and Costa being made the head of the school of Fine Arts (Rio de Janeiro), modern architecture was welcomed in Brazil as a Holland was represented by the work of the Opbouw group (a Dutch wing of CIAM), a Dutch association of architects, based in Rotterdam between 1920 and 1940.

It was founded on 31st January, 1920 by the Rotterdam architect Willem Kromhout as an alternative to the existing group Bouwkunst en Vriendschap; precise details of the establishment of De Opbouw, however,

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matter of national policy. The most promising and brilliant exponent of the rhetorical architecture in Brazil was Oscar Niemeyer.

He had worked under Lucio Costa and others on the design for the Ministry of Education. World recognition for the Brazilian movement was brought about by Niemeyer's freely planned Brazilian Pavilion for the 1939 New York World's Fair. He brought in a new level of fluidity and impenetration to Le Corbusier's concept of the "free plan".

It was one of the first occasions on which a concrete frame was detailed so as to recall traditional Japanese wooden construction, a mannerism which was to become the architectonic touchstone of Japanese architecture after the Second World War.

Though he was recognised earlier for his brilliance, Niemeyer's genius reached its peak in 1942 when he

Source: “Modern Architecture; A Critical History”, Kenneth Frampton

achieved accolades in the Casino at Pampulha design.

Here, he re-interpreted the Corbusian ideology of a 'promenade architecturale' in a spatial composition of stunning balance and vivacity. This narrative building had, in short, an explicit promenade articulating the space of the building while drawing analogies to an elaborate game. It has lavish interiors tastefully combined with function in a modernistic way. Rendered obsolete as a casino through a subsequent interdiction on gambling, the building now serves as an art museum.

TOKYO Japan, susceptible to Western influence for over 50 years, was well prepared for the assimilation of the International Style, whose arrival may be dated to 1923, with the realization of Antonin Raymond’s first reinforced-concrete house, built in Tokyo for his own occupation.

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LE CORBUIER – EARLY WORKS MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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LE CORBUSIER – EARLY WORKS MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

ANIL KUMAR E PRIYADARSHINI G TESSA MARTIN

LE CORBUSIER Le Corbusier was born Charles Édouard Jeanneret-Gris in La Chaux-de-Fonds, Swiss. Corbusier taught in Charles L'Éplattenier's industrial art school (École des Arts Décoratifs) where he learnt art history, drawing and the naturalist aesthetics of art Nouveau.)

LE CORBUSIER AND AT NOUVEAU Corbusier’s nature and Art Nouveau inspirations are mostly seen in his early villas of La Chaux-de-Fonds like Villa Fallet, Villa Stotzer, Villa Jaquemet, Villa JeanneretPerret, Villa Favre-Jacot, and Villa Schwob.

VILLA FALLET, LA CHAUX-DE-FONDS, SWITZERLAND, 1905 This city dwelling from 1906 bears witness to the pupils of Charles L'Eplattenier, who were seeking a regionalist style in Art Nouveau spirit : one that was later to be called the "Style sapin" (pine tree style). Charles Edouard Jeanneret was placed in charge of drawing up the plans and supervising the construction site with the architect René Chapallaz.

VILLAS JACQUEMENT AND STOTZER In form and program as well as in their historical circumstances, Villas Jacquement and Stotzer can be grouped as a single entry in Le Corbusier’s work.

Jacquement rejected the Art Nouveau aspects of Le Corbusier’s first design which incorporated typical Jura elements. Le Corbusier began to think of the hillside as a potential extended site of an artisan colony.

Le Corbusier designed the Villa Fallet, set on a hill north of La Chaux-de-Fonds. This chalet-style house, with a steep roof and balconies overlooking the city, takes its inspiration from the encircling pine forest. The south facade has a frieze of stylized pine trees; pine motifs are carved into roof brackets; and window mullions angle heavenward like pine boughs.

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enclosed terrace. Although the retaining wall is faced with stone, the white stucco walls and expansive windows make the house look clearly Modernist.

For economic reasons both clients requested houses containing two apartments designed to appear as a substantial single residence. The solution called for flats with a living-dining room on the south, bedrooms on the north, service wings on the east and west under hooded bay windows, and entrance half submerged with the main block of the house.

The difference between the villas is related to their sites and siting. Jacaquement on the gentler slope has the more placid appearance. the curved profile of its stone piers ease its transition to the ground. The horizontal coursing and windows on its south side and folded peak of its roof counteract the thrust along the major axis down the hill.

Stotzer, the composition exaggerates the verticality of its slope, from the tilted roof to the cut in the high stone podium leading to an elaborate stair.

THE VILLA JEANNERET The Villa Jeanneret, known by locals as the White House, was built for Le Corbusier's parents in 1912. It is the exterior that is important, reflecting his travels and his evolution from Art Nouveau. The entrance is mysterious, leading up a staircase that winds through a garden to an

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LE CORBUSIER AND MODERNISM Corbusier also worked in the offices of Auguste Perret and Peter Behrens which induced mordernism in him.

Purism (1918- 1926), in painting, a variant of Cubism developed in France about 1918 by the painter Amédée Ozenfant and Le Corbusier. They neglected what they perceived to be a decorative trend in Cubism, advocated a return to clear, precise, ordered forms that were

expressive of the modern machine age .

In an essay entitled “Purism,” they defined painting as “an association of purified, related, and architectured elements.” This concept is reflected in their still life paintings, in which both artists presented clean, pure, integral forms. In his painting Still Life (1920).He purified the colour scheme to include only the neutrals—gray,

black, and white—and monochromes of green. He applied the paint smoothly to enhance the sense of impersonal objectivity”.

In such works, Le Corbusier and Ozenfant were attempting to create a “symphony of consonant and architectured forms.” A noticeable difference between a Cubist painting and Purist painting is the integrity of form, round shapes being displayed as a square. They reveal the world of depth and space. They are the layering of forms from the front to back that provides the painting with depth.

Purism, Painting and architecture is the admiration for the beauty and purity of the form of the machine Characterized by the geometrical simplicity of outlines and by the search for pure forms. Le Corbusier along with Pierre Jeanerette and Charlotte Perri and designed furniture around 1928-1930. These furniture followed the modernist style. The materials used are chrome plated steel tubular frames and leather cushions.

LE CORBUSIER’S MODERNISM IN ARCHITECTURE The modern villas of Corbusier were designed based on the principle ‘Five Points’ that Le Corbusier had developed as guiding principles for his modernist architectural style: Pilotis, such as columns or pillars, which elevate the building and allow an extended continuity of the garden beneath.

Functional roof, serving as a garden and terrace, reclaiming for nature the land occupied by the building.

Open floor plan relieved of load-bearing walls, allowing walls to be placed freely and only where aesthetically needed.

Ribbon windows (Long horizontal windows) ,providing illumination & ventilation.

Freely designed façades, serving as only as a skin of the wall and Windows and unconstrained by loadbearing considerations

VILLA ROCHE

The primary design principles were relatively clear: the building would occupy a strategic position in the center of the site and the views would be further maximized by means of pillars that would raise the house by one level.

Unlike his earlier town villas Le Corbusier was able to carefully design all four sides of the Villa Savoye in response to the view and the orientation of the sun.

VILLA SAVOYE Architectural style : Modernist, International Town or city : Poissy, Yvelines , France Construction: 1928 - 1931 Structural system : Reinforced concrete

On the first floor he placed the main entrance hall, the ramp and the stairs, the garage, and rooms for the chauffeur and maids. On the second floor were the master bedroom, a bedroom for the Savoyes’ child, a guest bedroom, kitchen, living-room and external terraces.

The living-room was orientated towards the northwest, while the terrace faced south. The son’s bedroom faced south-east, and the kitchen and service terrace were on the north-eastern side. On the third floor level there were a series of sculpted spaces that formed a solarium.

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LE CORBUSIER – POST WWII MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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LE CORBUSIER – POST WWII MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

sensation over the ‘thing’ itself. Such sensation became the essence of Le Corbusier’s 1946 theory of architecture in which a synthesis of the arts would result in what he termed as “ineffable space”, the four dimensional equivalent of the sensation of illusion. With illusion, the basis of a new architecture, a dialectical relationship with material reality itself was established. Example – Notre Dame Du Haut, Ron Champ. Planning of city beautifulChandigarh United de Habitation

MANJISTHA D SHRUTI ATHREYA SWETHA R V

ABSTRACT This document is about Le Corbusier’s later works, post World War II. Here we have discussed three works done

by Le Corbusier.

INTRODUCTION Beton brut – Brutalism architecture – 1940s Flourished in 1950s – “RAW CONCRETE” – Most of Corbusier’s post World War 2 buildings were of this style. Typically linear and blockish in form with the predominance of concrete

construction. It is even referred to as “cold” by the critics.

Some of the buildings of this style include – Unite de habitation 280 Boulevard Michelet, Marseilles.

United de Habitation

ACROBAT – INEFFABLE SPACE – 1950s Corbusier begins to show sudden interest in sculptures – writes on synthesis of plastic art. While working with sculptures he quotes ‘to the glory of wood’. An architecture of illusion evolved which valued phenomenal

CHANDIGARH – THE COSMIC VISION – 1951 In Chandigarh planning, a clear thought into the climatic grid andarborisation grid? is seen. It is said to be the green city. Buildings include – The Ville Virte, the parliament etc.

Planning of city beautiful - Chandigarh

Brutal skin in Pise – Brick and wood construction became his style. Some of his works included Villa for Manorama Sarabhai, Ahmedabad Machines a habitat for tropical visions climate – Shiambhai Shodhan, Ahmedabad.

Automatisms and projections of sounds and images – Atelier of Le Corbusier.

Towards stereotomy – Truth of materials – Monastery of La Tourette

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LE CORBUSIER – 1945 – 1965 Some of the works of Le Corbusier, Planning of city beautiful - Chandigarh Unite de Habitation

Planning of city beautiful-Chandigarh Chandigarh, the dream city of Sir Jawaharlal Nehru, about 114 sq. kms in size, was planned by Le Corbusier.

Corbusier’s design of Chandigarh is a response to the

Figure 1: Site plan of Chandigarh

The head: The capitol buildings in Chandigarh form the most important monumental complex in the city. The conceptual development and the detail that is evident in each building demonstrate the commitment and love he had for his work.

setting.

The hills and the two rivers, forming the natural edges, the sloping plain with mango trees, the existing roads, and rail lines – all were given due consideration in the distribution of functions. Establishing the hierarchy of the roads and giving the city its ultimate civic form. He conceived the master plan of Chandigarh as a human body.

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Figure 2: Palace of assembly

The heart: A central sector of the city is the main public congregation of the city. It houses all major shopping complexes, sports facilities and congregation spaces.

The lungs: The open spaces constitute about 800 hectares. The leisure valley is a green sprawling space in the city which acts as a breathing space in the city. It houses large public parks, botanical gardens, amphitheaters and spaces for open air exhibitions.

Corbusier has done a rational planning of the city with clear zoning. The residences are separate from the large roadway in the form of super block with ample green space and relatively self-efficient economies. This forms the central sector designed to house 15000 people. Each is an inward looking, self-contained neighborhood with its own business center.

Green spaces: A hierarchy of green spaces can be observed ranging from public gardens at city level to semi private to private areas.

The intellect:

city level public space with waterbed free flowing green space connecting the entire site, semi private green areas for neighborhood pockets private green areas for residences

The cultural & educational institutions constitute the intellect of Chandigarh. Corbusier was determined that the institutions were to be built with bricks; in this way he sought to prevent attracting too much attention from his prestige buildings of concrete.

Figure 3: <Super stock>?

Circulatory systems: The circulation within Chandigarh is a a well-defined hierarchy of circulation ranging from arterial roads (v1), major roads (v2), sector definers (v3), and the roads within the sectors (v4 – v7).

The sectors: Chandigarh was divided into 47 self-contained sectors which were inspired from the Indian ‘mohallas’ covering about 250 acres of area. Each sector was divided based on its hierarchical functions of the city Residential plans :

Figure 4: Chandigarh High-court

“The object of this edict to enlighten the present & future of Chandigarh about the basic concepts of the city so they become guardians and save it from its whims of its individuals” The city of Chandigarh is planned to human scale. It puts us in touch with the infinite cosmos and nature. It provides us with the places and buildings for all human activities by which the citizens can live a full harmonious life. Here, the radiance of nature and heart are within our reach”

B.

United de Habitation

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The Unite de Habitation is among the most famous works of Le Corbusier. As part of a larger and more radical approach, these huge housing units have influenced the development of residential projects around the world in the decades after their construction.

Le Corbusier had to adapt the design of the building to the German modulated regulatory requirements. Le Corbusier designed the community in a neighborhood with the community a mixed used, modernist, residential highrise.

integration with its pedestrian environment. The terrace was used as a garden to compensate the occupied area to nature.

Figure 5: Inside the residential unit in Marseille.

The idea was to build these large units as independent small towns, each with many different housing types, from apartments for singles to family residences for up to 10 people. Also, public facilities were to be included that allow these units to operate autonomously, such as shops, sports areas medical and educational facilities within the building. It must be said, however, that after some time, the Unites began to deteriorate and they just never worked as independent "small cities", as Le Corbusier had envisioned. His volumes are essentially elongated boxes, supported on pilots in order to achieve better spatial

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Figure 6: Garden Terrace Radieuse Cite, the United de Habitation in Marseille.

It has an internal staircase enjoying more space than many of the apartments today. Each house also has separate bathrooms forming a grid that can be seen from the exterior. this allows the light to enter but protects the inside of excessive solar radiation. Le Corbusier intended to express the individuality of each department through a series of color tones applied in the large white canvas which is the buildingâ&#x20AC;&#x2122;s façade .

Figure 7: Some views of the original apartments, expressing comfort and modernity

The idea of using color to give some character to the repetitive has been used in subsequent residential building throughout the world. Despite what one might expect, we find the building in good condition and very wellmaintained by its residents. This is because in addition to some of their original occupants, most people are architects, artists and intellectuals who are proud to live in a prestigious building by Le Corbusier.

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LOUIS I KAHN MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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LOUIS I KAHN MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

ABINAYA M SAMYUKTHA B ROHIT RAJ M

LOUIS I KAHN Louis Isadore Kahn (1901-1974), U.S. architect, educator, and philosopher, is one of the foremost twentieth-century architects. Louis I. Kahn evolved an original theoretical and formal language that revitalized modern architecture. His best known works, located in the United States, India, and Bangladesh, were produced in the last two decades of his life. They reveal an integration of structure, a reverence for materials and light, a devotion to archetypal geometry, and a profound concern for humanistic values.

Kahn can be considered one of the few architects of the 20th century to have come to terms with the problem of defining an authentic, modern monumentality.

‘Architecture’ defined kahn as a” is the thoughtful making of spaces”. Light is one of the key feature in his design and it is more evident in his projects and through symbolic geometries kahn evoked the origin of architecture and institutions. With buildings such as the National Assembly in Dhaka, Bangladesh, he interpreted the contradictions of representation in a post- colonial state and succeeded in fusing together Eastern and Western traditions.

Erdman Hall Dormitories, at Bryn Mawr, Pennsylvania, 1960 to 1965.

Esherick House, at Chestnut Hill, Pennsylvania, 1959 to 1961.

Phillips Exeter Library, at Exeter, New Hampshire, 1967 to 1972.

First Unitarian Church, at Rochester, New York, 1959 to 1967.

Institute of Public Administration, at Ahmedabad, India, 1963.

Kimbell Museum, at Fort Worth, Texas, 1967 to 1972.

National Assembly in Dacca, at Dacca, Bangladesh, 1962 to 1974.

Norman Fisher House, at Philadelphia, Pennsylvania, 1960.

Richards Medical Center, at Philadelphia, Pennsylvania, 1957 to 1961.

Salk Institute, at La Jolla, California, 1959 to 1966.

Trenton Bath House, at Trenton, New Jersey, 1954 to 1959.

University Art Center, at New Haven, Connecticut, 1951 to 1954.

Yale Center for British Art, at New Haven, Connecticut, 1969 to 1974.

DACCA, BANGALADESH – 1962 TO 1974 National assembly building, Dacca is the best example for modernism where the modernity is achieved by the fusion of the modern architecture and the vernacular Bangali style. The building stands as a prominent work of Louis kahn and a monument for the government of Bangladesh.

The national building is the symbol of democracy and pride of the bangali people. The building actually built

He designed the sacred spaces of diverse religion; he combined the idea of assembly in the sense of transcendent. Kahn’s buildings are more evident about his interest in geometry and he always gets inspired from nature like patterns of crystal, snowflakes etc. Even though he inspired from nature his designs are modern and have peculiarity in functions and spaces.

Some of his major works include Page 98

using the simplistic local material which responses to the climatic character of the country. Kahn, lover of the geometric forms has used the geometry in all sides of the façade to create a dramatic effect in the building. Light prominent factor for kahn where he creates the space with lighting source.

meters high domed amphitheatre, and the library.

Built of rough-shuttered, poured-in-place concrete, the

walls are inlaid with bands of white marble.

Jatiyo Sang Sad Bhaban is the National Assembly Building of Bangladesh, located in the capital Dhaka. The core of the composition is the assembly chamber, a 300-seat, 30-

DESIGN PHILOSOPHY External lines are deeply recessed by porticoes with huge openings of regular geometric shapes on their exterior, shaping the building's overall visual impact.

The columns as solids frame the spaces of light. Assuming that the columns are hollow,much bigger and their walls can themselves give light, the voids become the rooms.

Thus, the column is the source of light and can take on complex shapes; it canbe the supporter of spaces and give light to spaces.

Kahn explains his design experience in his own words, â&#x20AC;&#x153;In the assembly I have introduced a light-giving element to the interior of the plan. If you see a series of columns you can say that the choice of columns is a choice in light. The columns as solids frame the spaces of light. Now think of it just in reverse and think that the columns are hollow and much bigger and that their walls can themselves give light, then the voids are rooms, and the column is the maker of light and can take on complex shapes and be the supporter of spaces and give light to spaces. I am working to develop the element to such an extent that it

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becomes a poetic entity which has its own beauty outside of its place in the composition. In this way it becomes analogous to the solid column I mentioned above as a giver of light.”

SALK INSTITUTE LOCATION

: La Jolla, California

attempted to flood the laboratories with day-light.

Important to note are Kahn’s imaginative use of space and his high regard for natural light. The institute provides inspiring environment for scientific research - Kahn has

The Salk Institute was established in 1960’s by Jonas Salk, the developer of polio-vaccine. Salk selected the world renowned architect Louis I Kahn as the person who could design the facility that he envisioned. Kahn’s creation consists of two mirror-imaged structures with a grand courtyard.

Each building is 6 storeys tall. The lower 3 floors contain laboratories and the 3 levels above those provide access to utilities. Protruding into the courtyard are separate towers that provide space for individual professorial studies. At the west end are six floors of offices overlooking the ocean. Together, there are 29 separate structures joined together to form the institute.

He built all 4 walls of outer laboratory levels out of large, double strength glass panes, producing an open-air environment . Local zoning codes restricted the height of the buildings so that the first two storeys had to be underground. This however did not affect the day lighting; he designed a series of light wells 40 feet long and 25 feet wide on both sides of each building to bring daylight into the lowest level.

SOUTH ELEVATION:

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today looks much as it did in the 1960’s. The open courtyard of travertine marble, acting as a facade to the sky, adds to the monumental nature of the building, now designated as a historical site.

KIMBELL ART MUSEUM

WEST ELEVATION:

LOCATION : Fort Worth, Texas ESTABLISHED YEAR : 1972 TYPE : Art Institute CONCEPT : Silence and quality of LIGHT The preliminary design had a MUSEUM and an AUDITORIUM connected to an arcade. The SEMICIRCULAR SHELL roofs made their first appearance in this design. Geren did not like the roof design and subsequently could not get it to succeed structurally.

Komendant, who designed the CYCLOID VAULTS, had no problem in making them structurally sound.

The collaboration between Salk and Kahn produced a design for a facility uniquely suited to scientific research.

The next challenge was to realize it through the use of materials that could last for generations with only minimal maintenance.

The materials chosen for this purpose were concrete, teak, lead, glass and special steel. The poured-in-place concrete walls create the first bold impression for the visitors. Kahn actually went back to Roman times to rediscover the waterproof qualities and the warm, pinkish glow of “Pozzuolanic ” concrete. Once the concrete was set, he allowed no further processing of the finish - no grinding, no filling and above all, no painting.

The architect chose an unfinished look for teak surrounding the study towers and west office windows, and he directed that no sealer or stain be applied to the teak. The Building’s exterior, with only minor maintenance,

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UPPER LEVEL: Gallery space, Auditorium, Library, Book store, Refreshment Area.

LOWER LEVEL: Laboratories, Shops, Shipping and Receiving.

BASEMENT LEVEL: Mechanical and electrical distribution systems.

ENTRANCE: The main public access is on west side of the upper level and there is an additional eastern entrance on the lower level from the parking lots.

SITE PLAN

GROUND FLOOR PLAN

UPPER FLOOR PLAN

MATERIALS BASIC STRUCTURAL PLAN 16 vaults. Each vault has porticoes. 6’ wide channels between the vaults for mechanical and air handling systems.

Mirrored glass slits. Double glazing - Gallery level Plexi-glass - Skylights that run down the barrel vaults.

Quarter swan Oak: Gallery Flooring, Cabinet, Doors and Frames.

ROOF: Concrete cycloid shells separated by a longitudinal skylight.

WALLS EXTERIOR: Non - Bearing and surfaced Travertine marble.

INTERIOR: Wood.

BARREL VAULT Each vault – 23’ X 100’ clear span of 2 CYCLOID concrete shells. Vaults are supported by 2’ X 2’ corner concrete columns. Each vault is separated by the concrete channels. The structure qualifies as neither pure vault nor PAGE 102

pure shell. Vaults are formed by two cycloid concrete shells that are separated by longitudinal skylight. Roof Insulation and a lead-coated copper roof are applied above.

NATURAL LIGHT CONCEPTS Each vault has a longitudinal 3’ slit at the apex: Works as a natural light fixture and filters light through reflection; gives room a silver glow.

The general plan shows a strict order in functional hierarchy with matching façade expression. The main academic wing encloses an open plaza, that includes the majestic library building. To the south, this monolith is embraced by 15 student dormitory buildings, connected by arched corridors and landscaped courts. Divided by a lawn (originally conceived as a reflecting pool, but unsustainable in the dry Indian climate)are the faculty apartments, that in turn are surrounded by staff apartments and facilities.

IIM AHMEDABAD, INDIA Designed between 1962 and his death in 1974 the extensive campus complex combines all the characteristic elements that make Kahn’s work unique. Vastly monumental, yet heart-warminglyhuman in scale the IIM is a feast of light and shade, vistas and views, connections and transitions.

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Huge open spaces depict the freedom of thought.

Distinctive of Kahn’s work, large circles are carved out of north and east façades of the main buildings and dormitories

LATER MODERNISTS – PAUL RUDOLPH AND EERO SAARINEN MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

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modernists and seeks exuberance in the use of building techniques, angles, and stylistic references.

LATER MODERNISTS â&#x20AC;&#x201C; PAUL RUDOLPH & EERO SAARINEN MODERN ARCHITECTURE: DEVELOPMENT AND INSTITUTIONALISATION

Later modernism aimed to achieve a new industrial aesthetic, spurred on by the renewed faith in the progression of technology. Characteristics of high-tech architecture have varied somewhat, yet all have accentuated technical elements. They included the prominent display of the building's technical and functional components, and an orderly arrangement and use of prefabricated elements. Glass walls and steel frames were also immensely popular.

PAUL RUDOLPH DIVYA S POOJA S PRADEEPA N

INTRODUCTION Late modernism also known as high tech architecture or Structural Expressionism, is an architectural style that emerged in the late 80s, this style became a bridge between modernisms and post-modernism. Architecture, in which, the images, ideas, and motifs of the Modern Movement were taken to extremes, structure, technology, and services being grossly overstated at a time when Modernism was being questioned.

They say that Modern architecture is primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, and glass drove the invention of new building techniques as part of the Industrial Revolution. Buildings designed in this style usually consist of glass for the facade, steel for exterior support, and concrete for the floors and interior supports.

In the 1980s, later modernism became more difficult to distinguish from post-modernism architecture. It is the simplification of form and the elimination of ornament.

Later modernism is rooted in minimal and true use of material as well as absence of ornament, while postmodernism is a rejection of strict rules set by the early

Paul Rudolph existed in the period when architecture education was dominated by three main architects, Walter Gropius at Harvard, Frank Lloyd Wright at Taliesen or Mies Van der Rohe at Chicago. All were eminent practitioners in their own right, who already had distinguished careers and were able to lead by example.

He did his masters in Harvard ,It had a clear program, Architectural Modernism was the theme led by Walter Gropius as its head. Marcel Breuer, Martin Wagner and IM Pei were all helping to forge a new design culture attempting to 'solve today's problems with today's solutions'. These devotees brought to America a new zeal and rejuvenated the original Bauhaus principles. This philosophy was translated into a desire to create a fusion between industry and architecture by using modern materials and structures, The new Modernism still sought the ultimate design objective of combining high-quality craftsmanship with the engineering techniques of mass production.

This was the new order. It was the atmosphere in which the young and talented Paul Rudolph received his architectural education, along with such contemporaries as Page 105

Ed Barnes, Bob Geddes, Ulrich Franzen, Harry Seidler, Harry Cobb and John Johansen.

PHILOSOPHY, IDEAS AND STYLE Paul Rudolph was not a complex intellectual. He preferred to let his drawings and buildings speak for themselves. To him the visual satisfaction of a design was far more important than a self-justifying intellectual debate. During a period when architectural theorists were developing their own complicated language, Rudolph described his design priorities in a refreshingly simple manner. He was easy to understand and was always trying to improve the quality and indeed beauty of architecture. He wrote very little considering he was an architectural teacher but instead his production of drawings and building was prodigious. Leaving other's to analyze his buildings, he seemed totally consumed by a burning desire to produce major works of architecture.

In one of Rudolph's few articles, 'Enigmas of Architecture', written in 1977, he said 'Architecture is used space formed for psychological and symbolical reasons. Architectural space overrides all its integrating elements and concepts by consciously forming enclosed voids to accommodate human beings in the totality of their psychic and physical life and in their various pursuits and intentions.' (3) His design ideas had matured by then. They had developed from his original formal and structural concepts elegantly expressed in his Florida houses, which were based on the Miesian principles of simplicity that 'less is more'. He had been nurtured on minimalist Bauhaus design at Harvard University, where Walter Gropius had taught him the ideas of the International Style. These early residences followed a strict adherence to function, clarity of form and the articulation of individual components of the buildings.

PRACTICE, GROWTH AND COMMERCIALISM Having consolidated his design ideals and established his international reputation as a Late-Modernist architect, Rudolph then spent the next decade in practice busily implementing numerous important projects. Major commissions came in thick and fast. There was little time

or need to review his refined ideas or re-examine the appropriate selection of materials. An impressive list of schemes for large corporate clients and authorities gave him the opportunity to apply the design philosophies which he had developed over the years by designing and then constructing these significant buildings.

These important corporate projects included the Endo Laboratories, The research facilities for IBM, The huge Boston Government Service Center, The Orange County Court Center, The Southeastern Massachusetts Institute of Technology The futuristic Burroughs Wellcome Headquarters High-density apartments at Tracey Towers and The Daiei offices in Nagoya, Japan.

All reflected Rudolph's distinctive and sculptural use of insitu and precast concrete and, where appropriate, his preference for elegantly proportioned public spaces and repetitive components representing the varying design systems developed aesthetically for each building.

He was also commissioned by the Ford Foundation to produce exploratory proposals to investigate the potential for building a megatropolis with structures over the Lower Manhattan Expressway, having previously prepared similar-sized sketch schemes for the Graphic Arts Center.

These were both grandiose concepts for high-rise high density 'cities in the sky'. Further there was also a steady flow of clients requiring large houses to be designed

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personally for them. The Green Residence, Bass house and earlier Milam Residence all showed Rudolph's confident handling of flowing interior spaces and graceful lines, which had matured his work sufficiently for him to be recognized as a natural successor to Frank Lloyd Wright in terms of housing design.

Rudolph, during this period in busy practice used concrete almost automatically for all his major projects, and became universally linked with concrete as it was the material he would naturally prefer to use. This application was intellectually justified because it was a modern material and gave infinite flexibility to create the dynamic sculptural forms, which were easily translated from Rudolph's immaculate graphic presentations.

The aesthetic character of this material was inherently cold and usually inhuman, even if it was disguised by the use of textured finishes and vibrant colors, which Rudolph often so cleverly employed. The use of natural concrete was of course unfriendly in housing and particularly in the high-density apartments, which especially needed to convey and accommodate social understanding and human characteristics. The elegant sculptural features of these residential towers could not address the public aversion to exposed concrete or the technical difficulties associated with its use. These factors all contributed to his demise and his work became unfashionable, overtaken by a wave of Postmodernism especially in America.

DECLINE AND REJUVENATION There were probably three main reasons for Rudolph's fall from favor. There was a sea change in the 1970s which saw the focus of architectural design switch to a new trend of Postmodernism which was radically different from Rudolph's minimalist philosophy. This movement produced a whole new breed of designers who applied classical principles, ornamentation and symbolism to their projects. This was fundamentally abhorrent to Rudolph whose design instincts prevented him from accepting such a superficial approach to architecture and who therefore ignored and rejected this new style of design.

RE-EVALUATION AND CONCLUSION There is a renewed recognition and interest in the architectural importance of Paul Rudolph's work as a

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Late-Modernist. As he progressed his convictions matured into a belief that architecture was functional, spatial sculpture. He never moved far from his original conviction that the internal function generated the internal and external appearance, but he also believed that the artistic talents of the individual designer created an elegant envelope for these activities with shapes, spaces and structures which were visually satisfying, exciting and indeed dynamic. In this respect he was at one with Frank Lloyd Wright who believed 'It is not the walls and roof but the space within which is architecture.'

As Paul Rudolph developed his ideas, he too responded to the external contextual influences of the surrounding environment by fitting his designs in with the characteristics and scale of the landscape and townscape.

By accommodating these features, a process which he believed constituted the essential difference between genuine architecture and mere building, he is now identified as an important Late-Modernist. In fact seen in the context of the evolution of post Miesian international design, his architectural and artistic achievements lay claim to his being recognized as the key figure in this progressive change of modern American architecture. His constancy was impressive. Throughout his career he was faithful to his fundamental principles of modern design, to his functional, sculptural and, latterly, his spatial and contextual philosophy. His prodigious energy and artistic talent produced numerous high-quality buildings, which are now independently recognized as outstanding examples of heroic Late-Modern design. No one can question his determined convictions, the dynamic sculptural quality of his architecture, the elegance of his houses or his unparalleled reputation for graphic presentations for which he is universally acclaimed. All these remain as a lasting testament to Paul Marvin Rudolph's influence on modern architecture.

EERO SAARINEN The variety and eclecticism of the Finnish-American architect Eero Saarinenâ&#x20AC;&#x2122;s built works set him apart from many of the other architects of the Modern movement.

The Gateway Arch, in St. Louis, the David S. Ingalls Hockey Rink, at Yale University in New Haven, the TWA Terminal at the John F. Kennedy Airport in New York, and the Dulles Airport, in Richmond, VA, with their voluptuous

curves and striking forms, are perhaps the most memorable of his works, but they present only a small portion of Eero’s ideas and techniques. The Stiles and Morse Colleges at Yale University, in New Haven, CT, elegant compositions of irregularly angled masonry forms, and the CBS Building, a dark, granite composition of striking verticality, among others, give a different and important message about the architect that designed them, his successes and failures, and his impact on the profession. Such works as these showcase Eero’s willingness to explore space in radically different ways and in the process illuminate the core philosophy behind much of his work.

Eero saw himself as taking the three guiding principles of the time -- functional integrity, honest structural

expression, and awareness of time, and adding his own to them: expression of purpose and meaning, relation to environment, and carrying a concept to its conclusion.

These added principles were based upon a simple and logical extension to Modernism -- that the definition of ‘function’ could be expanded to also mean the nature of expression in a building. This resulted in the idea that Modern buildings did not need to be limited with the use of the simplest possible structures or skins; instead, they could be functionally successful and structurally honest, and yet still be expressive of their purposes and meanings.

Eero was free to experiment with his buildings in very different ways, he came upon more success. The Ezra Stiles and Morse Colleges at Yale University, in New Haven, designed and built between 1958 and 1962, again required Eero to deal with an area of strong identity while at the same time allow his own buildings to express themselves in full. Eero came to the conclusion that in order to express the idea of a college rather than a dormitory, it would be necessary for the architecture of the colleges to focus on the individual.He responded to a general student dislike of the other colleges’common rooms by creating a new sort of a common room, what he called a “buttery,” the basement of the colleges.He also expressed individuality and Yale’s gothic spirit through minimal use of right angles in order to create unique rooms with the slight edge of irregularity that all good gothic architecture possesses. The colleges, rendered in a concrete-stone mixture, have an intimate feel to them, and their austere, gothically Modern esthetic helps mediate between various surrounding campus buildings.

Their spatially complex exterior terraces prove, as do all of Eero’s best works, that Modernism can have a sculptural, dramatic aspect to it.

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residential colleges took that process in three entirely different directions. And, in one his very last buildings, but first and only skyscraper, the Columbia Broadcasting Systems Headquarters took it in yet another.

As the 1950s went on, much of Eero’s work became successively more wild and daring. The David S. Ingalls Hockey Rink, also at Yale, was designed and built between 1956 and 1958. The 3,000 seat arena has a massive, dramatically curving concrete spine from which a great wood roof is suspended. The rink drew upon Eero’s love of bold structural techniques and skill with sculpture to produce a wildly memorable, striking work.

His two airports, the TWA terminal at the John F. Kennedy Airport in New York and the Dulles Airport in Richmond, VA, both utilized similarly dramatic curves and bold structures in order to best express the nature of a mobile society. Those buildings, two of his most famous to this day, show off Eero’s skills as a sculptor and his ideas about expressing movement, but they just scratch the surface of the process that Eero utilized. The GM Technical Center, MIT Auditorium and Chapel, and Yale Page 109

The building, designed by Eero from 1960-61, and completed after his death by his associates in 1964, capitalized both on Eero’s penchant for the bold and sculptural, as well as on his skill at effectively weaving modernity into a classical context. The building, a simple 38-floor box dominated by a series of dark granite triangular piers that emphasize the building’s verticality, stands out as an elegant, subtle, and yet deeply expressive work that distinguishes itself even in such an aggressively developed area as New York. The travertine-clad lobby drew upon Mies van der Rohe’s Seagram Building only a few blocks away, yet the building is no imitation. Instead, it’s one of Eero’s most successful executions of his process -- a work of ingenuity in which form and structure are combined on the exterior, creating a unique, threedimensional facade and column-free office floors.

Eero Saarinen was not afraid of failure. He particularly liked when he was referred to as a “methodical but not cautious architect,” and that phrase described him well.

He developed a unique, forward thinking approach that brought the principles of Le Corbusier and Mies van der Rohe to their logical endpoint -- the point at which ornament, embodied in expressive form, returned to

architecture. And if Eero, still in some ways grounded and restrained by the modernist, anti-ornament dogma, was not always able to bring his architecture successfully to that point, that does not diminish the accomplishments he did have.

He pursued the theory behind his architecture with intellectual rigor, and imbued modernism with a higher form of expression -- both in his famous, dramatic airports and in his subtler CBS Building, MIT Chapel, and Yale residential colleges (among many others). Eero was not just a corporate public relations man -- he was actively seeking a higher form of expression -- in effect a movement to follow modernism.

Methodically, but not cautiously, Eero developed one of the twentieth century’s most important design philosophies: "I believe that the spirit of a building should be expressed, not hidden behind a neutral curtain of glass. Buildings should have ‘guts’ and direction and make statements.

Neutral buildings do not stimulate man’s imagination or give man confidence or make him feel proud and I believe architecture should do these things."

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REFERENCE SUPREMATISM http://heindorffhus.motivsamler.dk/arthistory/frame-Style28-Suprematism.htm http://www.moma.org/collection/details.php?theme_id=10202 http://www.theartstory.org/movement-suprematism.htm http://www.moodbook.com/history/modernism/malevich-suprematism.html http://www.radford.edu/zulmer/20thcentury/ http://rosswolfe.wordpress.com/2013/03/13/tea-anyone-nikolai-suetins-ceramic-suprematism/ http://lebbeuswoods.wordpress.com/2009/03/27/zaha-hadids-drawings-2/ http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/ Kenneth Frampton - Studies in Techtonic Culture

BAUHAUS II http://www.saylor.org/site/wp-content/uploads/2012/02/ARTH208-4.4.1-Bauhaus.pdf http://www.technologystudent.com/prddes1/memphis2.html http://www.bauhaus-dessau.de/english/home.html http://www.thelearninglab.nl/resources/Bauhaus-manifesto.pdf http://www.ethanresnick.com/bauhaus.pdf http://www.barbican.org.uk/media/events/12409barbicanbauhausonlinelearningresourcefinal3. pdf

GROWTH AND SPREAD OF THE INTERNATIONAL STYLE Moder Architecture; A Critical History , Ke

eth Fra pto

INTRODUCTION TO LATER MODERNISM AND PAUL RUDOLPH http://prudolph.lib.umassd.edu/introduction#top http://en.wikipedia.org/wiki/Paul_Rudolph_(architect) http://blog.iso50.com/32237/paul-rudolph-sketches-efdemin-mix/ http://prudolph.lib.umassd.edu/introduction#top http://www.trianglemodernisthouses.com/rudolph.htm

BAUHAUS 1 http://www.designhistory.org/Bauhaus_pages/BauhausLocations.html http://bckievning.iweb.bsu.edu/Site/Historical_Movement.html http://www.pinterest.com/edahl/bauhaus/ http://www.moma.org/m/explore/collection/art_terms/10950/0/1.iphone_ajax?klass=term

BAUHAUS III Ludwig Mies van der Rohe (American architect) _ Mies in America -- Encyclopaedia Britannica Ludwig Mies van der Rohe (American architect) _ Work after World War I -- Encyclopaedia Britannica Ludwig Mies van der Rohe (American architect) -- Encyclopaedia Britannica1 Bauhaus (German school of design) -- Encyclopaedia Britannica 8 Beautiful Products of Bauhaus_ The Single Most Influential School of Design

EARLY WRKS OF LE CORBUSIER Book - Le Corbusier: Early works 1905-1916 (Architectural Monographs http://www.fondationlecorbusier.fr/ http://www.scholarsresource.com/browse/artist/722 http://www.dwr.com/category/designers/h-l/le-corbusier.do http://en.wikipedia.org/wiki/Le_Corbusier#cite_note-Choay-1 http://europaconcorsi.com/projects/199432-Villa-Stotzer

PETER BEHRENS http://designhistoryresearch.wordpress.com/category/peter-behrens/ http://en.wikipedia.org/wiki/Peter_Behrens http://www.designishistory.com/1850/peter-behrens/ http://www.aeg.com/en/About-AEG/History/ http://www.architecture.com/Awards/RoyalGoldMedal/175Exhibition/SlippedThrough/PeterBe hrens.aspx

ADOLF LOOS www.mullerovavilla.cz 'Loos' by August Sarnitz Raumplan vs Plan Libre 'Ornament and Crime' by Adolf Loos

LOUIS KAHN http://www.yatzer.com/louis-kahn-the-power-of-architecture http://www.archdaily.com/tag/louis-kahn/ http://faculty.unlv.edu/kroel/www%20731%20spring%202006/Salk%20Institute%20&%20FSEC.p df http://kahntrentonbathhouse.org/gallery/pdf/files/Things%20in%20Their%20Best%20Order.pdf http://andrewpun.files.wordpress.com/2011/12/final-paper.pdf http://designtheory.fiu.edu/documents/ExhibitBd04.pdf http://cstms.berkeley.edu/wp-content/uploads/2012/06/hsns_model.pdf

http://www.yale.edu/architectureofyale/Kahn-YUAG.html http://artgallery.yale.edu/sites/default/files/pr/pdf/projectreleasemay2012.pdf http://www.yale.edu/about/YALEFRMW.pdf http://artgallery.yale.edu/about/architecture http://www.archdaily.com/83110/ad-classics-yale-university-art-gallery-louis-kahn/ http://en.wikiarquitectura.com/index.php/Yale_University_Art_Gallery http://www.nytimes.com/2006/12/11/arts/design/11kahn.html?pagewanted=all&_r=0 http://archrecord.construction.com/projects/bts/archives/renovations/07_KahnBuilding/ http://ennead.com/#/projects/yale-university-art-gallery-renovation