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Lecture - 9 International Style
Lecture - 9 International Style
5. Architecture
The Lessons of Rome
The Illusion of the Plan
Pure Creation of the Mind
6.Mass Production Housing
7. Architecture or Revolution
5 Points of Architecture
1. Buildings should be on pilotis to separate the mass from nature
2. A free facade that is separate from the mass
3. An Open floor plan
4. Strip windows
5. Roof Gardens
The Modulator
Le Corbusier explicitly used the golden ratio in his Modulor system for the
scale of architectural proportion. He saw this system as a continuation of the
long tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man", the work of
Leon Battista Alberti, and others who used the proportions of the human body
to improve the appearance and function of architecture. In addition to the
golden ratio, Le Corbusier based the system on human measurements,
Fibonacci numbers, and the double unit.
He took Leonardo's suggestion of the golden ratio in human proportions to an
extreme: he sectioned his model human body's height at the navel with the
two sections in golden ratio, then subdivided those sections in golden ratio at
the knees and throat; he used these golden ratio proportions in the Modulor
system.
Le Corbusier placed systems of harmony and proportion at the centre of his
design philosophy, and his faith in the mathematical order of the universe was
closely bound to the golden section and the Fibonacci series, which he
described as "rhythms apparent to the eye and clear in their relations with
one another. And these rhythms are at the very root of human activities. They
resound in Man by an organic inevitability, the same fine inevitability which
causes the tracing out of the Golden Section by children, old men, savages,
and the learned.
Walter Gropius
Walter Gropius, like his father and his great-uncle Martin Gropius before him,
became an architect. Gropius could not draw, and was dependent on
collaborators and partner-interpreters throughout his career. In school he
hired an assistant to complete his homework for him. In 1908 Gropius found
employment with the firm of Peter Behrens, one of the first members of the
utilitarian school. His fellow employees at this time included Ludwig Mies van
der Rohe, Le Corbusier, and Dietrich Marcks.
In 1910 Gropius left the firm of Behrens and together with fellow employee
Adolf Meyer established a practice in Berlin. Together they share credit for
one of the seminal modernist buildings created during this period: the
Faguswerk in Alfeld-an-der-Leine, Germany, a shoe last factory. Although
Gropius and Meyer only designed the facade, the glass curtain walls of this
building demonstrated both the modernist principle that form reflects function
and Gropius's concern with providing healthful conditions for the working
class. Other works of this early period include the office and factory building
for the Werkbund Exhibition (1914) in Cologne.
In 1913, Gropius published an article about "The Development of Industrial
Buildings," which included about a dozen photographs of factories and grain
elevators in North America. A very influential text, this article had a strong
influence on other European modernists, including Le Corbusier and Erich
Mendelsohn, both of whom reprinted Gropius's grain elevator pictures
between 1920 and 1930.[2
Gropius's career advanced in the postwar period. Henry van de Velde, the
master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar was
asked to step down in 1915 due to his Belgian nationality. His
recommendation for Gropius to succeed him led eventually to Gropius's
appointment as master of the school in 1919. It was this academy which
Gropius transformed into the world famous Bauhaus, attracting a faculty that
included Paul Klee, Johannes Itten, Josef Albers, Herbert Bayer, Lszl
Moholy-Nagy, Otto Bartning and Wassily Kandinsky. One example product of
the Bauhaus was the armchair F 51, designed for the Bauhaus's directors
room in 1920 - nowadays a re-edition in the market, manufactured by the
German company TECTA/Lauenfoerde.
In 1919, Gropius was involved in the Glass Chain utopian expressionist
correspondence under the pseudonym "Mass." Usually more notable for his
functionalist approach, the "Monument to the March Dead," designed in 1919
and executed in 1920, indicates that expressionism was an influence on him
at that time.
In 1923, Gropius designed his famous door handles, now considered an icon
of 20th-century design and often listed as one of the most influential designs
to emerge from Bauhaus. He also designed large-scale housing projects in
Berlin, Karlsruhe and Dessau in 1926-32 that were major contributions to the
New Objectivity movement, including a contribution to the Siemensstadt
project in Berlin.
Post Bauhaus (1933-1945)
With the help of the English architect Maxwell Fry, Gropius was able to leave
Nazi Germany in 1934, on the pretext of making a temporary visit to Britain.
He lived and worked in Britain, as part of the Isokon group with Fry and
others and then, in 1937, moved on to the United States. The house he built
for himself in Lincoln, Massachusetts, (now known as Gropius House) was
influential in bringing International Modernism to the U.S. but Gropius disliked
the term: "I made it a point to absorb into my own conception those features
of the New England architectural tradition that I found still alive and
adequate."[4]
Alvar Aalto
Early career: classicism
Although he is sometimes regarded as among the first and most influential
architects of Nordic modernism, a closer examination of the historical facts
reveals that Aalto (while a pioneer in Finland) closely followed and had
personal contacts with other pioneers in Sweden, in particular Gunnar
Asplund and Sven Markelius. What they and many others of that generation
in the Nordic countries had in common was that they started off from a
classical education and were first designing in the so-called Nordic
Classicism style a style that had been a reaction to the previous dominant
style of National Romanticism before moving, in the late 1920s, towards
Modernism.
Early career: functionalism
The shift in Aalto's design approach from classicism to modernism is
epitomised by the Viipuri Library (192735), which went through a
transformation from an originally classical competition entry proposal to the
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. Due to problems over financing and a change of site,
the Viipuri Library project lasted eight years,
It could be said that Aalto's international reputation was sealed with his
inclusion in the second edition of Sigfried Giedion's influential book on
Modernist architecture, Space, Time and Architecture: The growth of a new
tradition (1949), in which Aalto received more attention than any other
Modernist architect, including Le Corbusier. In his analysis of Aalto, Giedion
gave primacy to qualities that depart from direct functionality, such as mood,
atmosphere, intensity of life and even national characteristics, declaring that
"Finland is with Aalto wherever he goes".
Mid career: 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 luxury home of the young industrialist
couple Harry and Maire Gullichsen. 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.[7]
Mature career: monumentalism
The early 1960s and 1970s (up until his death in 1976) were marked by key
works in Helsinki, in particular the huge town plan for the void in centre of
Helsinki adjacent to Tl Bay and the vast railway yards, and marked on the
edges by significant buildings such as the National Museum and the main
railway station, both by Eliel Saarinen. In his town plan Aalto proposed a line
of separate marble-clad buildings fronting the bay which would house various
cultural institutions, including a concert hall, opera, museum of architecture
and headquarters for the Finnish Academy. The scheme also extended into
the Kamppi district with a series of tall office blocks. Aalto first presented his
scheme in 1961, but it went through various modifications during the early
1960s. Only two fragments of the overall plan were ever realized: the
Finlandia Hall concert hall (1976) fronting Tl Bay, and an office building in
the Kamppi district for the Helsinki Electricity Company (1975). The Miesian
formal language of geometric grids employed in the buildings was also used
by Aalto for other sites in Helsinki, including the Enso-Gutzeit building (1962),
the Academic Bookstore (1962) and the SYP Bank building (1969).
Architecture in
English II
Lecture 9: International Style
Fall 2012
Art Nouveaux
Peter Behrens
Influence of the Chicago School
Key Buildings
Barcelona Pavilion
Seagram Building
Fagus Shoe Factory
Bauhaus
Villa Savoye
Unite dHabitation
Viipuri Library
Villa Mariea
Utilitarian Objects
Date: 1902 Architect - Peter Behrens
Saturday, December 22, 2012
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Date: 1891 AD Architect: Louis
Saturday, December 22, 2012