Architectural Styles - الاتجاهات المعمارية

Architectural Design Lectures

Architectural Styles By: Dr. Yasser Mahgoub

The following presentation briefly covers the architectural styles throughout its history. The timeline will give you a better visual overview.

• Antiquity • Classicism • Early Christianity • Romanic • Gothic • Islamic • Renaissance • Historicism • Engineer Architecture • Naturalism • Constructivism and Futurism • Bauhaus • Modernistic Architecture • Postmodernism • High-Tech • Deconstruction • Current tendencies

Architectural Styles Evolutionary Tree May you be condemned to live in interesting times.

A Chinese Proverb This is a brief coverage of the development of architectural styles throughout history using a timeline to provide a better visual overview.

Architectural Styles Evolutionary Tree

Antiquity Architecture

Giza Pyramids

Stone Henge

Petra

Abu Simbel Temple

Islamic Architecture

Mecca

Muhamad Ali Mosque

Dome of the Rock

Al Hambra

Wikalat Al Ghuri

Sultan Hassan

Architecture of the Late 20th Century

Frank Gehry

Shtutgart Museum

Mario Botta

Peter Eisenman

Zaha Hadi

Tado Ando

Renzo Piano

Jean Nouvel

Architectural Movements: Modern Architecture The Modern movement was an attempt to create a nonhistorical architecture of functionalism in which a new sense of space would be created with the help of modern materials. A reaction against the stylistic pluralism of the 19th century, believing that the 20th century had given birth to "modern man," who would need a radically new kind of architecture.

Le Corbusier

F. L.. Wright

Walter Gropius

Mies Van Der Rohe

Architectural Movements: Post-Modern Architecture The postmodernist movement began in America around the 1960’s/70’s and then it spread to Europe and the rest of the world. Postmodernism or Late-modernism began as a reaction to Modernism; it tried to address the limitations of its predecessor. Its list of aims extended to include communicating ideas with the public often in a then humorous or witty way. Often, the communication was done by quoting extensively from past architectural styles, often many at once. In breaking away from modernism, it strived to produce buildings that were sensitive to the context within which they are built.

This trend became evident in the last quarter of the 20th century as architects started to turn away from modern Functionalism which they viewed as boring, unwelcoming and unpleasant. They turned towards the past, quoting past aspects of various buildings and melding them together to create a new means of designing buildings. For example, pillars and other elements of premodern designs were adapted from Greek and Roman examples but not simply by recreating them, as was done in neoclassical architecture.

Another return was that of the “wit, ornament and reference” seen in older buildings in terra cotta decorative façades and bronze or stainless steel embellishments of the Beaux-Arts and Art Deco periods. In post-modern structures this was often achieved by placing contradictory quotes of previous building styles alongside each other, and even incorporating furniture stylistic references at a huge scale.

Contextualism influenced the ideologies of the postmodern movement in general. Contextualism was centered on the belief that all knowledge is “context-sensitive”. This idea was even taken further to say that knowledge cannot be understood without considering its context. This influenced Postmodern Architecture to be sensitive to context.

Robert Venturi

Philip Jonson

Michael Graves

Cesar Pelli

Architectural Movements: High-Tech Architecture The high tech style emerged in the 1980s and remains popular. It involves the use of the materials associated with high tech industries of the 1980s and 1990s, such as space frames, metal cladding and composite fabrics and materials. High tech buildings often have extensive glazing to show to the outside world the activity going on inside. Generally their overall appearance is light, typically with a combination of dramatic curves and straight lines.

In many ways high tech architecture is a reaction against Brutalist architecture, without the features of post-modernism.

Sir. Norman Foster

London City Hall

Millennium Dome

Hong Kong Bank

Lloyd's of London

Reichstag Dome

Renzo Piano

Richard Rogers

Jean Nouvel

Institut du Monde Arabe

Pompidou Centre

Munich Stadium

Architectural Movements: Deconstruction Deconstruction is a school of philosophy that originated in France in the late 1960s, has had an enormous impact on Anglo-American criticism. Largely the creation of its chief proponent Jacques Derrida, deconstruction upends the Western metaphysical tradition. It represents a complex response to a variety of theoretical and philosophical movements of the 20th century, most notably Husserlian D. Libeskind phenomenology, Saussurean and French structuralism, and Freudian and Lacanian psychoanalysis. In her book The Critical Difference (1981), Barbara Johnson clarifies the term: "Deconstruction is not synonymous with "destruction", however. It is in fact much closer to the original meaning of the word 'analysis' itself, which etymologically means "to undo" -a virtual synonym for "to de-construct."

In the 1980's a new tendency was born: the deconstruction, which was also called "new modern architecture" in its beginning. It was meant to replace post modern architecture.

The new slogan was "form follows fantasy" analogous to the tradition formula pronounced by Sullivan "form follows function". In 1988 Philip Johnson organized an exposition called "Deconstructive Architecture" which finally brought these ideas to a larger audience. The idea was to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics.

These buildings can be seen as a parallel to other modern arts, which also became more and more abstract, questioning whether a certain object is still art or not. Thanks to their significant differences to all other buildings, the deconstructive ones made clear to the observer, that architecture is an art and not just an engineering discipline.

Frank Gehry

Peter Eisenman

Zaha Hadid

Architectural Movements: Minimalism Architecture Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. The term Minimalism was coined as a means of describing the works by protagonists of the American scene in the late Fifties and Sixties.

In the field of architecture, the term Minimalism was used to connote the works of architects from profoundly different origins and cultural backgrounds, who had based their own work on a reduction in expressive media, a rediscovery of the value of empty space and a radical elimination of everything that does not coincide with a programme, also with minimalistic design overtones, of extreme simplicity and formal cleanliness. Architect Mies van der Rohe adopted the motto "Less is More" to describe his aesthetic tactic of arranging the numerous necessary components of a building to create an impression of extreme simplicity, by enlisting every element and detail to serve multiple visual and functional purposes.

In minimalism, the architectural designers pay special attention to the connection between perfect planes, elegant lighting, and careful consideration of the void spaces left by the removal of three-dimensional shapes from an architectural design.

Mies - Barcelona Pavilion

Siza - Home

Tadao Ando

Luis Barrag‡n

Álvaro Siza

John Pawson

"Less is more“ Ludwig Mies van der Rohe “Clarity and comfort do not depend on quantity but on an absolute quality of space.

John Pawson "Gravity builds space, light builds time, and gives reason to time. These are the central questions of architecture: control of gravity and dialogue with light."

Alberto Campo Baeza

Ando - Historical Museum

Pawson- Tetsuka House - Tokyo

Barrag‡n - Entrance

Architectural Movements: Critical Regionalism Critical regionalism is an approach to architecture that strives to counter the placelessness and lack of meaning in Modern Architecture by using contextual forces to give a sense of place and meaning.

The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later more famously by Kenneth Frampton. Frampton put forth his views in "Towards a Critical Regionalism: Six points of an architecture of resistance." He evokes Paul Ricoeur's question of "how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual. Frampton draws from phenomenology to supplement his arguments.

As put forth by Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways. Here the aim is to make aware of a disruption and a loss of place that is already a fait accompli through reflection and self-evaluation.

Critical regionalism is different from regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.

Critical regionalism is considered a particular form of post-modern (not to be confused with postmodernism as architectural style) response in developing countries. It can be argued that the following architects have used such an approach in some of their works: Alvar Aalto, Jørn Utzon, Studio Granda, Mario Botta, B.V.Doshi, Charles Correa, Alvaro Siza, Rafael Moneo, Geoffrey Bawa, Raj Rewal, Tadao Ando, Mack Scogin / Merrill Elam, Ken Yeang, William S.W. Lim, Tay Kheng Soon, Juhani Pallasmaa, and Tan Hock Beng.

Jorn Utzon

Botta -

Alvar Aalto

Mario Botta

K. Frampton

Aalto - Finlandia Hall

Utzon - Sydney Opera House

Architectural Movements: Sustainable Architecture The 1987 Brundtland Report, defined sustainable development as development that "meets the needs of the present generation without compromising the ability of future generations to meet their needs".

Sustainable Architecture describes an approach to architectural design that minimizes sustenance or resource consumption so as to prolong the availability of natural resources. The real power of the concept of sustainability lies in its integration of economic, social, and ecological systems, previously studied and dealt with separately.

What is a sustainable building?

• Uses key resources more efficiently – energy, water, materials and land.

• Reduces ecological loading – greenhouse gases, ozone-depleting substances, wastes.

• Creates healthier environments for people - to live, work and learn • Has lower overall lifecycle costs

Ballard Library & Neighborhood Service Center

Solar Umbrella House

Westcave Preserve

Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE Charles Jencks A new paradigm in architecture will reflect changes in science, religion, and politics. one can discern the beginnings of a shift in architecture that relates to a deep transformation going on in the sciences - in time, permeate all other areas of life. The new sciences of complexity - fractals, nonlinear dynamics, the new cosmology, self-organizing systems - have brought about the change in perspective.

We have moved from a mechanistic view of the universe to one that is self-organizing at all levels, from the atom to the galaxy.

Illuminated by the computer, this new worldview is paralleled by changes now occurring in architecture.

Several key buildings show promise - those by Americans Frank Gehry, Peter Eisenman, and Daniel Libeskind. There is also a vast amount of other work on the edge of the new paradigm by the Dutch architects Rem Koolhaas, Ben van Berkel, and MVRDV; or the Europeans Santiago Calatrava and Coop Himmelblau; or those who have moved on from high-tech in England, such as Norman Foster. These architects, as well as those that flirted with Deconstruction - Hadid, Moss, and Morphosis - look set to take on the philosophy. In Australia, ARM (Ashton Raggatt MacDougall) has been mining the territory for many years and another group, LAB, is completing a seminal work of the new movement, Melbourne's Federation Square.

Soon there will be enough buildings to all this is more than a fashion, or change of style. The emergent grammar is constantly provoking. It varies from ungainly blobs to elegant waveforms, from jagged fractals to impersonal datascapes. It challenges the old languages of classicism and modernism with the idea that a new urban order is possible, one closer to the evervarying patterns of nature. One may not like it at first, and be critical of its shortcomings, but second glance it may turn out to be more interesting, more intune with perception than the incessant repetition of colonnades and curtain walls.

Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002

Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008

LAB with Bates Smart Federation Square Melbourne 1997-2002

MVRDV Dutch Pavilion EXPO 2000 Hannover

Santiago Calatrava City of Arts and Sciences Valencia 1991–2000

Architecture of the early 21st Century

Nano Materials

Cybertecture

Parametric Design

ARCHITECTURAL MOVEMENTS

Architecture Styles

Modernism

Modernism • Modern Design begins in real sense after the First World War (19141918).

• The forces of the Industrial Revolution, the theories and practice of the engineers, Arts & Crafts, Art Nouveau, the Rationalism of the Classical Tradition, the endless mass production of the factories and, unfortunately, the catastrophe of the First World War brought about an emergence of a new, non-historical design approach Modern design or its essence, Functionalism.

• The arguments about design philosophy raged on but it was clear that the Past - in the form of historical styles - could no longer offer a model upon which an industrial society could base its products.

Modern Design in this sense can be seen as a merger of all these traditions - STRIPPED OF THEIR HISTORICAL ASSOCIATIONS.

Modernism The essential Modern concepts were: 1. Truth to materials and to the idea of Functionalism (`form follows function`).

2. Rejection of historical styles and decoration ( ie. `truth' to the 20th century) 3. The idea of a DYNAMIC new and `modern' age: The Machine Age 4. The search for a unified style for all designed items (Total design) 5. Design driven by rational analysis of problems and by mass production techniques. The link with industry. In an industrial society the artist becomes designer.

Modernism "First of all we have to analyze carefully the essence of an object, why it functions correctly, and then it has to fit perfectly with its purpose, in other words, fulfill its practical function, be easy to handle, economic and beautiful".

(Walter Gropius, Director of the Bauhaus, 1927)

Modernism • • • • •

The basic philosophy of the Bauhaus as defined by the architect Gropius and the artists Itten and Kandinsky can be outlined as follows: 1. An integration of all the arts (to produce a totally designed and unified environment).

2. Design for mass production methods/standardization.

3. The teaching of 'creativity', basic design principles and rational analysis.

4. The integration of art/craft and industrial methods.

Architectural Movements: Modern Architecture

Le Corbusier

The Modern movement was an attempt to create a nonhistorical architecture of functionalism in which a new sense of space would be created with the help of modern materials.

A reaction against the stylistic pluralism of the 19th century, believing that the 20th century had given birth to "modern man," who would need a radically new kind of architecture.

F. L.. Wright

Walter Gropius

Mies Van Der Rohe

Architecture Styles

Postmodernism

Postmodernism • Architecture of the 60's, 70's and 80's tried to get away from the philosophical, ethical and formal dictation of the rationalism by a playful and ironical association with construction forms, architectural historical quotations and stylistically contamination. This lead to postmodernism.

Postmodernism • Robert Venturi created with the "Guild House" in 1960 in Philadelphia something like the foundation of postmodernism. • Venturi declared that "less is a bore" in contradiction to Mies van der Rohe who said that "less is more". He criticized the modernism in his work "Learning from Las Vegas" (1972-1978), and praised the trivial, close to public architecture.

Postmodernism • The term postmodernism was first used in literature to describe the returning tendency of assembling organic narration. The term was used for architecture mainly through the architectural historian Charles Jencks and Robert A. M. Stern. • According to Jencks original definition postmodernism describes anything that was build after 1972, this is the year in. which the Pruitt-Igoe project in St Louis for low-income families was declared a failure and the experiment in high-rise public housing was eventually destroyed with dynamite. This was for Jencks a symbol of the end of modern architecture. Everything before 1972 was modern, what comes after is postmodern architecture.

Postmodernism • Pluralism describes one of the main points of postmodernism, namely the idea 'that an architect has to consider different cultural tastes in his blueprints. And that is why Jencks took up an earlier definition in the same article, by describing the postmodernism as double coded, 'one half modern the other one as something different (which refers to the traditional style), linked with an attempt to communicate with both a wide public and a dedicated minority, mostly architect.’

Postmodernism • The marking of the postmodernism , like Jencks, is sure only one under many. Heinrich Klotz does not see in the pluralism style the sufficient marking, but in the "demand of the fictional character of architecture against the abstraction of the modernism." Whereby certainly the postmodernism wholly differs from modernism is the proclaimed availability of different styles to illustrate a certain idea.

Postmodernism • The Public Service Building (1980- 83) in Portland, Ohio,

by Michael Graves who is one of the most important developers of the postmodern language, is one of the first public buildings of the postmodern era. It is classically three-pieced: a structured base with arcades made out of dark granite, artificial light square with regularly little squared windows and as a conclusion a secluded roof. It also contains a "hole" facade and endlessly decor-quotations like garlands or pilasters.

Postmodernism • Humana Building • Louisville; 1982-1985

by Michael Graves

Postmodernism •

Stirling's new national gallery in Stuttgart, Germany shows ambivalent forms like arches, heavy jutting out projections but also horizontal windows of the 20's and the High Tech of the present are like quotations of collage architecture. He binds the language of modern high-tech with classical romanticism, i.e. the high-tech like glass elevator, romanticized-anecdotal like the garage ventilation-openings as wall breakthrough, where in front the "broken-out� stones still lay or the bizarre entrance to the hall of changing exhibitions which looks like an Egyptian tomb entrance. In general it is the heterogenousness of colors, forms and materials which is typical of postmodernism.

Stirling's new national gallery in Stuttgart, Germany

Postmodernism • Eventually postmodernism became a reproduction of historical buildings of the 19th century, which had already vanished. Since architects orientated themselves at the mainstream taste, the level of the design sank respectively. The wish to recall an approval of the hasty observer drove the architects to a more effect catching and pleasing-addicted design. Because architects put there own vanity above functionalism, postmodern buildings are often nice to look at but rather bad for use.

Postmodernism

There were bizarre and senseless gewgaws: staircases that lead nowhere or living rooms with inclining walls. Zaha Hadid was a member of a group of architects who constructed the Follies 1982-1990, other members of this group were Bernhard Tschumi and Frank O. Gehry which are little red pavilions in a park next to Paris containing little cafĂŠs and restaurants.

The Follies 1982-1990 by Bernhard Tschumi Little red pavilions in a park next to Paris containing little cafĂŠs and restaurants.

Postmodernism • In addition there was a tendency to monumentality, i.e.

Ricardo Bofills housing area "Les Arcades du Lac" in Paris (1975-1981) or "Taller de Architectura" in Marne-la-Vallée (1978- 83).

• In conclusion, the mental substance of this style proved so poor that it was very short-lived, ending around the late 80's.

Architectural Movements: Post-Modern Architecture The postmodernist movement began in America around the 1960’s/70’s and then it spread to Europe and the rest of the world.

Postmodernism or Latemodernism began as a reaction to Modernism; it tried to address the limitations of its predecessor. Its list of aims extended to include communicating ideas with the public often in a then humorous or witty way. Often, the communication was done by quoting extensively from past architectural styles, often many at once. In breaking away from modernism, it strived to produce buildings that were sensitive to the context within which they are built.

Robert Venturi

Philip Jonson

Michael Graves

Cesar Pelli

Architectural Movements: Post-Modern Architecture This trend became evident in the last quarter of the 20th century as architects started to turn away from modern Functionalism which they viewed as boring, unwelcoming and unpleasant.

They turned towards the past, quoting past aspects of various buildings and melding them together to create a new means of designing buildings. For example, pillars and other elements of premodern designs were adapted from Greek and Roman examples but not simply by recreating them, as was done in neoclassical architecture. Another return was that of the “wit, ornament and referenceâ€? seen in older buildings in terra cotta decorative façades and bronze or stainless steel embellishments of the Beaux-Arts and Art Deco periods.

Robert Venturi

Philip Jonson

Michael Graves

Cesar Pelli

Architectural Movements: Post-Modern Architecture In post-modern structures this was often achieved by placing contradictory quotes of previous building styles alongside each other, and even incorporating furniture stylistic references at a huge scale.

Contextualism influenced the ideologies of the postmodern movement in general.

Contextualism was centered on the belief that all knowledge is “contextsensitive�. This idea was even taken further to say that knowledge cannot be understood without considering its context. This influenced Postmodern Architecture to be sensitive to context.

Robert Venturi

Philip Jonson

Michael Graves

Cesar Pelli

Architecture Styles

High-Tech

High-Tech • While most architects where still building with organic structures there was a tendency back to the ideas of the engineer architecture from the 19th century. The main materials these architects used where glass and steel like Joseph Paxton has shown with his Crystal Palace in 1851. The idea was not to hide the construction but to make significant design elements out of constructional necessities according to the principle "form follows function" from L. H. Sullivan.

High-Tech • The first spectacular building of this rediscovered and improved style was the stadium for the Olympic games in Munich 1972. Especially the gigantic roof over the tribune that is designed like a spider net shows how Frei Otto makes a design feature out of an engineering necessity. In fact these roofs are optimized to lower the forces that lay on every element.

Otto made a lot of experiments with water bubbles and spider nets he plastid in order to find out how nature optimizes surfaces. Concentrating on the scientific facts he simply took these organic structures to optimize the roofs and created in the same moment a wonderful aesthetic tension for his work.

Frei Otto

High-Tech

The stadium for the Olympic games in Munich 1972

High-Tech • One of the most important architects building in high-tech style, Sir Norman Foster built from 1979 to 1986 the Hongkong and Shanghai Bank in Hongkong.

High-Tech • He placed 8 huge pylons supporting the 179m (587ft) tall building with it's 47 floors. Then several "bridges" containing the office surfaces were hung between these pylons. • This way Foster could fulfill the task to build in a very short period and to leave the ground floor completely empty. An enormous glass ceiling 12m (39ft) above the ground floor splits it from the main atrium, which is another 10 floors high.

High-Tech

High-Tech • Breaking with the tradition to use mainly elevators to bring the people to the floor, Foster constructed elevators which only transport people to 4 different floors in the building(11, 20, 28, 35).

High-Tech • Then several escalators, which are traditionally rather used in shopping environments than in office buildings, are available for the transport to the specific floor. This way the building is separated in 5 sections that also represent the administrative structure of the bank.

High-Tech • To assure that the atrium is always lighted by enough daylight, he fixed a huge mirror on the south facade of the building and hung a second mirror on top of the atrium.

These mirrors can be moved with the sun in order to position them always in an optimal angle to get the wanted quantity of light in the atrium, and through the glass roof also in the piazza below.

High-Tech • This shows Foster's special interest in high-tech natural lightning techniques, which he also employed for the new dome of the Reichstag in Berlin. The latter is not specially a building in the high-tech style but the dome surely is. While Foster fulfilled all the conditions imposed by the bank and developed new ideas on how to divide skyscrapers other than simply by floors, he created an interesting building that does not try to hide its construction but exposes its technology and its supporting skeleton to the observer.

High-Tech Sir Norman Foster

1979 to 1986 the Hongkong and Shanghai Bank in Hongkong

The new dome of the Reichstag in Berlin.

High-Tech • Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79) • The design for the Centre Nationale d'Art et de Culture Georges Pompidou was selected after a competition in 1971. The winners were the young practice of, and then unknown Richard Rogers and Renzo Piano, along with engineers Ove Arup. The building had many critics upon completion but is now universally hailed as one of the masterworks of "high tech" architecture. The building has its services and structure on the exterior to allow for larger exhibition spaces. The rising escalators along the exterior have some of the best views in Paris.

High-Tech • Renzo Piano and Richard Rogers developed these ideas even further. For the "Centre Pompidou" in Paris (1971-79) they decided to put all the technology needed by the building outside of the actual glass facade. Thus the building equipment became the real visual facade. They placed the stairways, cables and all kinds of tubes mounted in a complex steel skeleton right before the eye of the visitor. To make this appearance even stronger they even colored the pipes in very intense colors. This way they created a new and unique style that breaks with all old traditions of facade design. This marks the absolute opposition to the tendency to hide steel constructions by classic facades like 19th century architects did for their gigantic trains stations and skyscrapers. Even though the "Centre Pompidou" was built quite early in the high-tech period it marked a peek and also a turning point in high-tech architecture. The maximal dependency between form and function was reached.

High-Tech

Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79)

High-Tech

Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79)

High-Tech

Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79)

High-Tech

Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79)

High-Tech

Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79)

High-Tech

Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79)

High-Tech

Centre Pompidou, Renzo Piano and Richard Rogers, Paris (1971-79)

High-Tech

Lloyds Building, by Richard Rogers, at London, England, 1979 to 1984.

High-Tech

Lloyds Building, by Richard Rogers, at London, England, 1979 to 1984.

High-Tech

Lloyds Building, by Richard Rogers, at London, England, 1979 to 1984.

High-Tech • High-tech architecture still existed afterwards but it was always trying to always make more extravagant constructions. A point was reached where many constructions were made a lot • more complex than required by the actual needs only to create buildings which looked even more futuristic and complex.

Nowadays there are still high-tech buildings but the pure high-tech style is now often mixed with more classic elements.

Architectural Movements: High-Tech Architecture The high tech style emerged in the 1980s and remains popular. It involves the use of the materials associated with high tech industries of the 1980s and 1990s, such as space frames, metal cladding and composite fabrics and materials. High tech buildings often have extensive glazing to show to the outside world the activity going on inside. Generally their overall appearance is light, typically with a combination of dramatic curves and straight lines.

In many ways high tech architecture is a reaction against Brutalist architecture, without the features of post-modernism.

Sir. Norman Foster

London City Hall

Millennium Dome

Hong Kong Bank

Lloyd's of London

Reichstag Dome

Renzo Piano

Richard Rogers

Jean Nouvel

Institut du Monde Arabe

Pompidou Centre

Munich Stadium

Architecture Styles

Deconstruction

Deconstruction • DECONSTRUCTION What is it?

Deconstruction: A school of philosophy that originated in France in the late 1960s, has had an enormous impact on Anglo-American criticism. • Largely the creation of its chief proponent Jacques Derrida, deconstruction upends the Western metaphysical tradition. It represents a complex response to a variety of theoretical and philosophical movements of the 20th century, most notably Husserlian phenomenology, Saussurean and French structuralism, and Freudian and Lacanian psychoanalysis.

[First paragraph of a seven-page explanation in the Encyclopedia of Contemporary Literary Theory (Toronto: University of Toronto Press, 1993).]

Deconstruction – Deconstruction: The term denotes a particular kind of practice in reading and, thereby, a method of criticism and mode of analytical inquiry. In her book The Critical Difference (1981), Barbara Johnson clarifies the term: – "Deconstruction is not synonymous with "destruction", however.

It is in fact much closer to the original meaning of the word 'analysis' itself, which etymologically means "to undo" -- a virtual synonym for "to de-construct." ... If anything is destroyed in a deconstructive reading, it is not the text, but the claim to unequivocal domination of one mode of signifying over another.

A deconstructive reading is a reading which analyses the specificity of a text's critical difference from itself."

– [First paragraph of a four-page definition of the term deconstruction in J.A. Cuddon, A Dictionary of Literary Terms and Literary Theory, third ed. (London: Blackwell, 1991)].

Deconstruction • Deconstruction: School of philosophy and literary criticism forged in the writings of the French philosopher Jacques Derrida and the Belgium/North American literary critic Paul De Man. Deconstruction can perhaps best be described as a theory of reading which aims to undermine the logic of opposition within texts. • [Start of a four-page definition of deconstruction in A Dictionary of Critical Theory (London: Blackwell, 1996).]

Deconstruction

In the 1980's a new tendency was born: the deconstruction, which was also called "new modern architecture" in its beginning. It was meant to replace post modern architecture. A very significant difference of this style is that it started rather from an intellectual movement than from a significant building marking it's beginning.

Deconstruction

The new slogan was "form follows fantasy" analogous to the tradition formula pronounced by Sullivan "form follows function". In 1988 Philip Johnson organized an exposition called "Deconstructive Architecture" which finally brought these ideas to a larger audience. Those ideas even had a philosophical base developed

by Jacques Derrida.

Deconstruction

The idea was to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics. The houses looked as if a bunch of parts had been thrown together and left exactly the way they fell on the floor.

Deconstruction

These buildings can be seen as a parallel to other modern arts, which also became more and more abstract, questioning whether a certain object is still art or not.

Thanks to their significant differences to all other buildings, the deconstructive ones made clear to the observer, that architecture is an art and not just an engineering discipline.

Deconstruction

This movement was also inspired by the futurists of the early 20th century in Russia who also broke with all architectural conventions of their time.

Deconstruction

Because the deconstructive houses were huge abstract sculptures you can enter rather than real buildings, the number of realized works is rather small. Due to the high costs and the fact that big companies were not interested in such buildings for their representative skyscrapers and even less for their functional buildings, only small projects for the public sector or private clients were realized.

Deconstruction

Zaha Hadid shows with her fire station in Weil on the Rhine, Germany, that deconstructive architecture is also possible with concrete and very little glass and steel. She was also a member of a group of architects who constructed the Follies 1982-1990.

Vitra fire station 1990-94 Germany

Deconstruction

Other members of this group were Bernhard Tschumi and Frank O. Gehry who even constructed 1978 his own house in Santa Monika CA with trash materials usually used by the third world population to build their barracks. They show structures that are even more absurd than those of other deconstructive buildings.

Deconstruction

Others often only modified the facade of their buildings, but these pavilions go even further. They have staircases leading nowhere or pylons supporting absolutely nothing. Already their names indicate the idea behind them.

Deconstruction

Finally Daniel Liebeskind could realize in Berlin 1999 his "Jewish Museum" as an extension of the Berlin Museum which is such an important work of art that it attracts the visitors attention in a way that the art expositions in it are almost neglected. The Guggenheim Museum in NYC from Frank Lloyd-Wright is in this aspect similar to Liebeskind's work. Hence one can see that this architecture is still up to date. Nevertheless the main tendency is going back to other forms because the deconstruction was based on provocation and experiments testing out the limits or architecture.

Deconstruction

Zaha Hadid (1950 - ?)

Zaha Hadid is a British architect born in Iraq. She soon became influenced by the Russian constructivism. Hadid designs technical complicated architecture with partly excentrical perspectives. Zaha Hadid counts to the present avant-garde, her projects are seen as base for architecture in the 21st century.

Deconstruction

Zaha Hadid (1950 - ?)

Hotel

Deconstruction

Zaha Hadid (1950 - ?)

Museum of Science

Deconstruction

Zaha Hadid (1950 - ?)

Deconstruction

Zaha Hadid (1950 - ?)

Deconstruction

Peter Eisenman

Deconstruction

Peter Eisenman

Deconstruction

Peter Eisenman

Deconstruction

Peter Eisenman

Deconstruction

Peter Eisenman

Deconstruction

Frank Gehry

Deconstruction

Frank Gehry

"I think my best skill as an architect is the achievement of hand-to-eye coordination; I am able to transfer a sketch into a model into the building".

Deconstruction

Frank Gehry

"As soon as I understand the scale of the building and the relationship to the site and the relationship to the client, as it becomes more and more clear to me, I start doing sketches".

Deconstruction

Frank Gehry

Iowa Advanced Technology Laboratories Building (1989 - 1982) University of Iowa

Guggenheim Museum Bilbao (1991 1997) Bilbao, Spain

The key to Frank O. Gehry’s architecture is in his drawings. A Gehry building begins with a sketch, and Gehry’s sketches are distinctive. They’re characterized by a sense of offhand improvisation, of intuitive spontaneity. The fine line is invariably fluid, impulsive.

The drawings convey no architectural mass or weight, only loose directions and shifting spatial relationships.

Deconstruction

Frank Gehry

FRANK O. GEHRY HOUSE Santa Monica, California 1978

Deconstruction

Frank Gehry

IOWA ADVANCED TECHNOLOGY LABORATORIES University of Iowa , Iowa City, Iowa 1987-1992

Deconstruction

Frank Gehry

NATIONALE-NEDERLANDEN BUILDING Rasin Embankment , Prague, Czech Republic 1992-1996

Deconstruction

Frank Gehry

WALT DISNEY CONCERT HALL Los Angeles, California 1987 -2002

Deconstruction

Frank Gehry

BARD COLLEGE PERFORMING ARTS CENTER Annandale-on-Hudson, New York 1997-2002

Deconstruction

Frank Gehry

GUGGENHEIM MUSEUM NEW YORK - proposal

Deconstruction

Frank Gehry

GUGGENHEIM MUSEUM BILBAO Bilbao, Spain 1991-1997

Deconstruction

Frank Gehry

GUGGENHEIM MUSEUM BILBAO model Bilbao, Spain 1991-1997

Deconstruction

Frank Gehry

Guggenheim Bilbao under construction.

GUGGENHEIM MUSEUM BILBAO model Bilbao, Spain 1991-1997

Architectural Movements: Deconstruction Deconstruction is a school of philosophy that originated in France in the late 1960s, has had an enormous impact on Anglo-American criticism. Largely the creation of its chief proponent Jacques Derrida, deconstruction upends the Western metaphysical tradition. It represents a complex response to a variety of theoretical and philosophical movements of the 20th century, most notably Husserlian D. Libeskind phenomenology, Saussurean and French structuralism, and Freudian and Lacanian psychoanalysis. In her book The Critical Difference (1981), Barbara Johnson clarifies the term: "Deconstruction is not synonymous with "destruction", however. It is in fact much closer to the original meaning of the word 'analysis' itself, which etymologically means "to undo" -a virtual synonym for "to de-construct."

In the 1980's a new tendency was born: the deconstruction, which was also called "new modern architecture" in its beginning. It was meant to replace post modern architecture.

The new slogan was "form follows fantasy" analogous to the tradition formula pronounced by Sullivan "form follows function". In 1988 Philip Johnson organized an exposition called "Deconstructive Architecture" which finally brought these ideas to a larger audience. The idea was to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics.

These buildings can be seen as a parallel to other modern arts, which also became more and more abstract, questioning whether a certain object is still art or not. Thanks to their significant differences to all other buildings, the deconstructive ones made clear to the observer, that architecture is an art and not just an engineering discipline.

Frank Gehry

Peter Eisenman

Zaha Hadid

Architecture Styles

th 20

End of Century Tendencies

Current Tendencies

•After Postmodernism and Deconstruction there are still rational influences from Modernism existing. •Architects tried to build without the 'mistakes' from the past but instead they made the esthetical elements of the modernism overlap with an anti-modern reality escape.

Current Tendencies

•This non-uniform and confusing tendency is typical since the end of the 80's. •The pluralism gets more confusing as some architects change their styles very often like Oswald Ungers who changed from strict modernism to pluralism and back to rational ideas.

Current Tendencies

•Therefore some critics want to put the trend of today into the category of 'modern pluralism', but this only says that there are some tendencies which stand out although only a few follow it and most architects just do what they like to do.

Current Tendencies

•Yet the growing works of the last few years demand this pluralism style. The mass of the construction increases as the population increases. •Thus it has to be built faster and more rational. The look of the buildings become more and more similar, no matter if they were built with ornaments or just simplistic.

Current Tendencies

•MINIMALISM

Current Tendencies

Kantdreieck 1992- 1995

by Josef Paul Kleihues This office building occupies a triangle plot between two streets and the bend of the railway line.

It consists of two elements: an eleven- story tower built on a square module and a five- story triangular glass structure.

The building is crowned by an enormous triangular wind sail, which has the same shape as the plot on which the building stands.

Current Tendencies

Office building Kurf端rstendamm 70 1992- 1994

by Jahn/ Murphy This building is probably the narrowest building in Berlin.

Its ground area of 2.7 meters by 20 meters is a spare plot which was left over after urban reorganization in the 70's.

The ground floor only contains a waste disposal room, a staircase and a lift.

The upper stories, which projects five meters over the building alignment line contains offices.

Current Tendencies

Office and shopping building Schlostrae 40 1991- 1992

by Assman, Salomon & Scheidt This building has a sculpturelike architectural design.

Built against an existing fire wall, the elements of this wall, joint, panel, glass house and cube are used to form a differentiated building structure which does not immediately betray its typology.

Current Tendencies

Federal President's office 1996- 1998

by Gruber, KleineKraneburg The new building of the federal President's office forms a single functional unit which is created architectural by a pergola and by landscape gardening measures. The radical elliptic shape of this building is a reaction to this setting within a landscape garden.

Current Tendencies

Embassies 1997by Berger & Parkkinen The five countries of Scandinavia have decided on an unusual course of action.

The site is such that all the embassies can be combined architecturally and in their access structure and services.

The building involves a perforated, 16m high copper facade band with openings of various sizes, with an amorphous configuration into which the five embassy buildings and one mutual use building are more or less inserted.

Current Tendencies

Sony Center 1996by Bofinger & Partners The most striking buildings are the office tower on Potsdamer Platz, the 'Esplanade residence', the corner building of the Sony headquarters and the glasscovered 'Forum' in the centre of the triangular land plot.

For the roof of this area, a special construction was developed which consists of steel cables and spokes and has the same structure as a spoke bicycle wheel. at its tip the roof is open, thus providing natural lighting for this large forum.

Current Tendencies

Willy-Brandt-House 1993- 96

by Aldo Rossi There is a public passage through the building and from there and from the point of the triangle it is possible to enter the glass-covered atrium, which is used for meetings.

With its materials,proportions and structural elements, the building attempts to establish analogies to the metropolitan architecture of the 20's.

Current Tendencies

D1, Casino , D2 Musical theatre 1996- 98

by Renzo Piano On the central plaza are the casino and the musical theatre, both of which are back- to - back with the state library designed by Scharoun.

An interlinking and exaggerated complex of distorted and oblique trapezoidal roof areas, which has no apparent functional, structural or aesthetically significance, partly conceals the glass facade spanning the height of the buildings.

Current Tendencies

Debis B3 1996- 98

by Renzo Piano The residential building is ambivalent in its architectural execution; tower.like solid wall areas conceal staircases; between which the individual building is placed: The unit has displayed windows on the ground floor, and in the next two stories unbroken.

Current Tendencies

Renzo Piano

Kansai International Airport Osaka Kansai; 1988-1994

Current Tendencies

Renzo Piano

Kansai International Airport Osaka Kansai; 1988-1994

Current Tendencies

Renzo Piano

Kansai International Airport Osaka Kansai; 1988-1994

Current Tendencies

Renzo Piano

New Metropolis Amsterdam; 1995-1997

Current Tendencies

Renzo Piano

Beyeler Foundation Riehen; 1994-1997

Current Tendencies

Renzo Piano

Jean-Marie Tjibaou Cultural Center NoumĂŠa; 1991-1998

Architecture Styles

st 21

Beginning of Century Tendencies

Architectural Movements: Minimalism Architecture Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features.

The term Minimalism was coined as a means of describing the works by protagonists of the American scene in the late Fifties and Sixties. In the field of architecture, the term Minimalism was used to connote the works of architects from profoundly different origins and cultural backgrounds, who had based their own work on a reduction in expressive media, a rediscovery of the value of empty space and a radical elimination of everything that does not coincide with a programme, also with minimalistic design overtones, of extreme simplicity and formal cleanliness.

Mies - Barcelona Pavilion

Siza - Home

Tadao Ando

Luis Barrag‡n

Álvaro Siza

John Pawson

"Less is more“ Ludwig Mies van der Rohe “Clarity and comfort do not depend on quantity but on an absolute quality of space.

John Pawson "Gravity builds space, light builds time, and gives reason to time. These are the central questions of architecture: control of gravity and dialogue with light."

Alberto Campo Baeza

Ando - Historical Museum

Pawson- Tetsuka House - Tokyo

Barrag‡n - Entrance

Architectural Movements: Minimalism Architecture Architect Mies van der Rohe adopted the motto "Less is More" to describe his aesthetic tactic of arranging the numerous necessary components of a building to create an impression of extreme simplicity, by enlisting every element and detail to serve multiple visual and functional purposes.

In minimalism, the architectural designers pay special attention to the connection between perfect planes, elegant lighting, and careful consideration of the void spaces left by the removal of three-dimensional shapes from an architectural design.

Mies - Barcelona Pavilion

Siza - Home

Tadao Ando

Luis Barrag‡n

Álvaro Siza

John Pawson

"Less is more“ Ludwig Mies van der Rohe “Clarity and comfort do not depend on quantity but on an absolute quality of space.

John Pawson "Gravity builds space, light builds time, and gives reason to time. These are the central questions of architecture: control of gravity and dialogue with light."

Alberto Campo Baeza

Ando - Historical Museum

Pawson- Tetsuka House - Tokyo

Barrag‡n - Entrance

Architectural Movements: Critical Regionalism Critical regionalism is an approach to architecture that strives to counter the placelessness and lack of meaning in Modern Architecture by using contextual forces to give a sense of place and meaning.

The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later more famously by Kenneth Frampton. Frampton put forth his views in "Towards a Critical Regionalism: Six points of an architecture of resistance." He evokes Paul Ricoeur's question of "how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual. Frampton draws from phenomenology to supplement his arguments.

Jorn Utzon

Botta -

Alvar Aalto

Mario Botta

K. Frampton

Aalto - Finlandia Hall

Utzon - Sydney Opera House

Architectural Movements: Critical Regionalism As put forth by Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways. Here the aim is to make aware of a disruption and a loss of place that is already a fait accompli through reflection and selfevaluation.

Critical regionalism is different from regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.

Critical regionalism is considered a particular form of post-modern (not to be confused with postmodernism as architectural style) response in developing countries. It can be argued that the following architects have used such an approach in some of their works: Alvar Aalto, Jørn Utzon, Studio Granda, Mario Botta, B.V.Doshi, Charles Correa, Alvaro Siza, Rafael Moneo, Geoffrey Bawa, Raj Rewal, Tadao Ando, Mack Scogin / Merrill Elam, Ken Yeang, William S.W. Lim, Tay Kheng Soon, Juhani Pallasmaa, and Tan Hock Beng.

Jorn Utzon

Botta -

Alvar Aalto

Mario Botta

K. Frampton

Aalto - Finlandia Hall

Utzon - Sydney Opera House

Architectural Movements: Sustainable Architecture The 1987 Brundtland Report, defined sustainable development as development that "meets the needs of the present generation without compromising the ability of future generations to meet their needs".

Sustainable Architecture describes an approach to architectural design that minimizes sustenance or resource consumption so as to prolong the availability of natural resources. The real power of the concept of sustainability lies in its integration of economic, social, and ecological systems, previously studied and dealt with separately.

What is a sustainable building?

• Uses key resources more efficiently – energy, water, materials and land.

• Reduces ecological loading – greenhouse gases, ozone-depleting substances, wastes.

• Creates healthier environments for people - to live, work and learn • Has lower overall lifecycle costs

Ballard Library & Neighborhood Service Center

Solar Umbrella House

Westcave Preserve

Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE A new paradigm in architecture will reflect changes in science, religion, and politics. one can discern the beginnings of a shift in architecture that relates to a deep transformation going on in the sciences - in time, permeate all other areas of life. The new sciences of complexity - fractals, nonlinear dynamics, the new cosmology, self-organizing systems have brought about the change in perspective.

We have moved from a mechanistic view of the universe to one that is self-organizing at all levels, from the atom to the galaxy. Illuminated by the computer, this new worldview is paralleled by changes now occurring in architecture.

Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002

Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008

LAB with Bates Smart Federation Square Melbourne 1997-2002

MVRDV Dutch Pavilion EXPO 2000 Hannover

Santiago Calatrava City of Arts and Sciences Valencia 1991–2000

Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE Several key buildings show promise - those by Americans Frank Gehry, Peter Eisenman, and Daniel Libeskind. There is also a vast amount of other work on the edge of the new paradigm by the Dutch architects Rem Koolhaas, Ben van Berkel, and MVRDV; or the Europeans Santiago Calatrava and Coop Himmelblau; or those who have moved on from high-tech in England, such as Norman Foster. These architects, as well as those that flirted with Deconstruction - Hadid, Moss, and Morphosis - look set to take on the philosophy. In Australia, ARM (Ashton Raggatt MacDougall) has been mining the territory for many years and another group, LAB, is completing a seminal work of the new movement, Melbourne's Federation Square.

Soon there will be enough buildings to all this is more than a fashion, or change of style. The emergent grammar is constantly provoking. It varies from ungainly blobs to elegant waveforms, from jagged fractals to impersonal datascapes. It challenges the old languages of classicism and modernism with the idea that a new urban order is possible, one closer to the ever-varying patterns of nature.

Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002

Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008

LAB with Bates Smart Federation Square Melbourne 1997-2002

MVRDV Dutch Pavilion EXPO 2000 Hannover

Santiago Calatrava City of Arts and Sciences Valencia 1991–2000

Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE One may not like it at first, and be critical of its shortcomings, but second glance it may turn out to be more interesting, more intune with perception than the incessant repetition of colonnades and curtain walls.

Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002

Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008

LAB with Bates Smart Federation Square Melbourne 1997-2002

MVRDV Dutch Pavilion EXPO 2000 Hannover

Santiago Calatrava City of Arts and Sciences Valencia 1991–2000

Architecture of the early 21st Century

Nano Materials

Cybertecture

Parametric Design

Thank you Dr. Yasser Mahgoub