a Pena I'm talking in terms of that. And constructivism. When you look at from an from our architectural perspective, it's a moment which flourished in during 1950s, 1930s, post war. very influential movement in the flourished Mane RaPeete services and not to conceal. But to Expose rather than concealing. We'll see some of the examples now of constructivism. So Vladimir Tattling. He had designed this tower for one of the exhibition. And recent international RU RR CRU RUMOR LCC Loeeeeenry something, getting connected which looks like some antenna or some Pensa ec at LC eS RARE ekg es camel Meee RUC mom uet murine uC CRISES ot Cee eect ack Cn ageee ey another one this is Leningrad Prada. This is a newspaper and their Peete aer ee Cc mu eeSene aa ee en el Vee en Rein eee URS ees eo es aur they wanted to come. You can see the kind ofPeeeeerey with and not a conceptualized project. Maybe this drawing looks like a Certo et ue aera conceptual project. This they had come up. This is a cloud props called Teese amicusPerec Cred eee hurd nya mee Reed MMe ony Tee Oe emis uns ec emake esac) Come Tune Ou iCal SS unum E sty ee Uae neePeeeeerey everything has been designed with the new materials and all those kind of Peers aaa Reese Eee cc hoe cis Millenko only very famous building. This is Rosa Core Workers Club that Tee eee Wary ea LaemPeery designed the way in which the volume Kind of, you know, source, high and points to the sky leaves leaves, that kind of a new vision that pressure wanted to come up and, you know, project in itself to the whole world. Pe eee ee eo nny esauPeeeeenes when you look at from the architecture perspective, And some more PT ecu e Oman cue eae ey Meese tre amet iur gm CeCe ech OMS enPeers society that aspects of what a social order needs to be there in a society. Pe UCR U Ree oR eee eau eee A eRe) Pee Ore cue mice ear ace kau PreuSSed erieeeeered moment. Can see the kind of contrasting features? Probably they will Cee Rane Recerca emia amt visual grammar of the building. At the same time, even in the paintings Peed ecu ctsskyscraper and suburb the USA be eeeeered little on the different skyscrapers which are strong up during that Peete ay ere UC Re Meee cena PO ences tinuente Su kuna murs Mur ueey General quali tract featu International Style aes even can see that this style was kind of flourishing more and more. So Pe Ue ecu international style it came into online, this escaped, actually the scheme towards the end of the slice and crystallization period of Cee Coo ec) Orsey (3) Cees The major work 1927 (during the est phase of maturity of hs ye) erty De ee ee MU ee Ree bit in detail. Like Who are the, when, when this face during this first phase of the maturity of this particular style, it was good because the time period could be the Lee)Cea ets y The major werk 1827 (during the est phase of maturity of hs ye) ery SCLC CRU RL UR URE eee RRL Cd of the maturity of this particular style, it was good because the time period could be the late 30s that. Sorry the early 30s that is the 1927. Sete ecu ce ee]ey Cees er building and acting as a prelude to the kind of style which was coming up, Lowell House. Also | think we had discussed in the last but Richard and Workers Club in Moscow. So we will see, welll start with the yeah. We have to start with telling about this particular image that you see @e0e%aey Cet! erty how normally we see your building? And we can quickly identify it is of other factor building or not, but the way in which this building was disabled entirely kind of a different way as you can see. So, this is vanilla factory and you can see, the kind of curves being used, they used. 2®OQse10:64ey AY) me sreoake what are the different possibilities that this new style could kind of explore? So, this was one Building. |'m showing a couple of building in the same time period, where we are starting to understand the emergence of industry national style. This is a sanatorium senatorium is like ear Co een) Osey ert eee RUE Cee ee RS Au Sia ele appearance. But at the same time it had a lot of contrast between the voids and the solids, which were being used and also you can see unusual Pomona Sac exon rcheee) iM RU er MUR eu ue ae) Pe UU ee Ree eR SL ay Coe eee URC ete Coca UCR DU eRe eR Re Cu | comer ence Toco) Omeennai) re y Peery DC Rue Ce a eee ee eee facade continuously stepping at the top. So that you get a very different. kind of a feeling of the of the or you are breaking up, that masking, that is there and making the building a litle lighter in that. @e0eaey et Sense ecru aia cie element of library and everything. So a lot of spatial richness at the same PM ese ht eee Cec Pee eke test an et ed eo ao ee) a Oursey iN) erty eS eee MR eke tucker ek) designed with the help of this particular child and still bringing in that clarity in volume. And all the shared characteristics that we discussed in international and then another important person, like, who Co Tolono) Oneseee) erent eR eee cua ay ‘Amsterdam, you can see it's an open air school which was designed Okay, Steet eek secon oe cee ee ene ST! expen orciey ene Perry Peetu hm amu curs Rue aa coker | shoot it, or kids could hang around and play and etc. okay, another i ee UR eee une rhe 2®OQse10:64ey iN] ors Seer RU RUE ee SOR eed Ree ee etm ie ete ace See uc ea Regt) things that we discussed, now the kind of coming together in Prohe's eee Ie Couche yee ees cee eon) Onesey iN] awe CC Smee RRR RU RU RUC eeu ey important. When you relate to Barcelona Pavilion, designed by let's CMe eS SR aS ee which is white here is a pool and this is also a pool and the building Coe @80ea Osey re all becomes, you know, one, And that unity ts kind of achieved some of the interior views and it's a magnificent building. it was built at that point of time, but it was, since | told it was for an exhibition, it was demolished. CaM ecemuc ene usr is) exe 2@Oea a OmrMa ey nee mr wth ur mein othe big ature with time and change. r eet Sc gure eStore RR Meee Seu eC Cee say box with a lot of lightness, and at the same time, lot of airy feeling. And Penne eS 2@Osa Ela ey cd the same time, lot of airy feeling. And When you yeah, do they explained? ‘And these are some of the interior. So let's see what the plan is. So these are the plants of the entire villas of oil. So, as you can see, this is the Prete hiecs err ao ee) eS ones(ia) See eed ancy Pea er eRe eee Pe eae eae ete ea eh ke Mmm. so, Okay, so I hope everybody has understood. So then you can Cee UCR eee eres ®@OQs0:64(ia) See eet Nature and the machine ene ee CE leer ede Cee eR a what we discussed and we have to discuss now further on another master architect, and that is On right triangular, right? We discus Reel Res AMR eT RA laine A EK hon ? fo)ay (3) Cae! Nature andthe machine erty there? What is the climate that which are very unique and indigenous to ete UM ee sis ete eS ee cea) ‘come up with that distinct features in their works and a wide variety of Remus) Lee)ey etc DAU oo Me RRR ee CMC] Pe erst ere oe rs er Pet ett ee eae ns And when you look at the interiors, you can see that eat ®EQOQ020:64 Oreey (i3) ennai) Peery Ree ue CRU ee ee UCR UL La being made the rustic finish how he's trying to. So, all these aspects are so important in And this is the plan. Of following us. We can see that this is that a different level. So, in the @e0eaey nena) ra) Percy Pee Re Regie BR SS how he kind of worked out and it's like a, it's like a marvel. so, Any building RS eet sec es Se ec cs CMe emu celaal Lee)ey Coney erry certain bridging elements which gets connected with this high-rise, not high-rise but a tall building comparatively at all our buildings and Okay, so so in nine so we are discussing on 1930s. What happened? And how Ren nee oa 2®OQoe2a0:64ey iN] ves awe rene SUE Re um uous eee Tl) can. It's not a very clear victim, sorry. But then there, you can get a good player pictures in the Internet. Yeah, so that is about when he discussed about a broadacre, he wanted to come up Ce elon Onsey \ we sietnaxe ee UM ee MU Crh rt CSE RR ra Me cd So, um, so that's about the broadacre and then there is one more project Pe RCo ea eee oe hewmen done. So, designed by Bangla, right? This is called Palace exit 2@2O0e0:64 Oreey rt like a laboratory of his work and whatever works that he was doing in aspected. This is considered to be like a laboratory. So this is talising best and you can see the kind of language that yes used here for coming up SOT Sead exe 2@2O0e0:°64 Oreey ra) Cents er SR eRe em ee A Ree ete Let d Ce esse eos Rem et a a cay er ee rn our ern) understand how modemism was kind of sensitized. So sensitized for Lee)ey Ld eae Rn ecu Ln sensitized. So sensitized for different regions and different climates as for their Let's look at Lee Corporation in 1930s. Okay, so this is this is a house that he had designed in 1955. red 2®OQea0:64 forey fa) Se td etsy Re ST RU u uae Le cee BIS Ven Rae Rs le RR Ee ere CoRR es) AU Ry was a student hospital building that we had the same. So you can see Pea @006085800@eee) Peery Cee UU ee ue RU Uke Roe accordingly. So this is some of the examples where he's kind of look that, Sen Oe cc aU ee ae eeu like how Bangalore, right? Imagine Utopian and Ideal City. Equal Contmporry ritectire Ck cn) Orey eT MRO UU Ree ey CC CR eRe Rn ae ak) Neeser Ue nee Sea) eet ad (c) ro] ° (oursey Coen ety re a ery and arms. And all of that is Chandigar. That is one thing we'll discuss that eae ane me ener cena same city, how he kind of you know, imagined and the mode! that you can see with the power blocks and everything. So that's how you kind of, Lee)ey Coen! ra) cont everything. So That's how you kind of you know, thought about how the streets would be whenever the tower blocks comes and some conceptual sketches of the habitual areas. | mean, residential areas So, in 1930s, when we started discussing Lee)ey awe ; ee CRU RU meen CRUD now 11? Okay, so | think we can go ahead with Alvar. Also, we can finish that Right. Can | go ahead? Look at Scandin here a litte bit and then we will conclude the class. Yeah. ea ko ec) @ esey eon Paeerercy 1927, which is more very modern building, and which could be also related with the Corporation functionalism. So, if| say Now, corbusion functionalism, this is, this is what itis all about. Like, its a modern building use of materials, lke, concrete and everything. Lee)ey tS ett un iene aR nena) that he had designed. And all is buildings, are in Finland. Okay, so this is another library. This is Vapori public library that he had defined in 1927, Se ee 2@®O0e0:°6 Orsey ety gets captured within the inside of the building. | haven't put the plants but Nene eee cer ee ae emt el ne the plan so we can see how he is. Kind of planned the building also in that Rome ti ead 28®OQe2a0:64 forCea eta! y ey RO RUCe Ea l R Ue mee ore plan where you can see that he kind of looked at very linear spaces, single loaded corridos and it was getting connected with you know various kind ieee has @e0eaey iN] ves awe Another point that Auto tell that, that in Finland, you can see that they use eae ONIN eae eS Uc that they uses timber and this pavilion he had designed with just designed eu Cea Com Lu Sca a! ee elon Onesey iN) ves AY) meses eee Mark Caceres coy things are various kinds of open spaces and other things which are semi ‘open and then connected to them outside after the nature and everything and exploring these. This is another family that he had designed for Paris sears roi a Orey awe ot Se UU Re RUSE Re LRU its it’s in black and white but he can get a better picture in the color. Pete Neer een See tes Alto, alittle bit of glimpse. And then eee @80ea ® esay question of representation Modern architecture was seen as ‘Oriental aes particular We say the language of modern architecture before that we will Cree meee ake ca cake world very quickly. 'm not going to explain each and every example, but | oT Centumporry tecture Coo ec) Orsey erry a Ces eo ants ae CRT know, our country and many other countries, which are towards the ee eS pee eee) you can read more on these things in wiki so that we can emmneon ro hney erty continues. You can see check the time period because we were we're now closely moving towards 1940, and this is what was happening at This is eee AC cee erase aS aero SE enol eae Ck cn) Orey Sony rere Reta Net Ren Rce ee S) Pee eee Age eee eee RT you can further read on to get more details but very interestingly different, eed Lee)ey tT Bee Ue RU CU Ue RUE ek CR ee ea a ee ence eae cone, this is a hippodrome which is designed in Madrid. 1935, See, the kind Cees . Cet aad eo rons oaey erry eee MC Se urease] the same way. Many experiments were done in such cases. Already different kind of a theme can be seen in Mediterranean style where you ee ees Nes ae eke ae Ce 2®OQoe2a0°:64 Osey Peery roe Sur ei ate | in away that, you know, the building has been designed with a stepping and you know, the kind of boosting and terrace. It's just like this gives a very different kind of meaning to the or maybe it is like a’yesture Cee 2®OQe20:64 Osey eT a stepping and you know, the kind of boosting and terrace it's just like this ives a very different kind of meaning to the or maybe itis like a gesture eee Secu Ruel LeMay Macs Io . ext 2@®O0e0:°64 Orsay er eu RR Lesa umd kind of very different work from him. And this is one building we having discussed. Many of Indian buildings as of whenever we're going to talk Stee Ecos t seTe s aa OnE 2@2Oe0:°64 Omeey er ete ecient ane modem architecture is all about at that point of time and trying to address Pee eg Se Ua aS eee . Cee @8O0ea ® oeey Cea eetS ery important building in history, but then, It's nice to be in that building. It was also could be considered at the first reinforced cast in place conflict building in India, celebrates the modernist architecture. And as you can ee Uh uceid Lee)ey ul a ‘i er SS EU RU Cm ROG AURA OR SAU elt Lec Le) Rees ca coma eR ee ee these buildings similar, kind of, you know, a SAR detail could be seen again, so the building which was done in Brazil by Lee Corporate and ama Ck cn) Orey i this in the inside spaces and bringing up with that with the help of glass. een ee ee se Eg cchurch which was very different church. | think i's just, | guess now, the ie eos 2@2Oe0:6 Oursey awe Coe U UE u RUS oe Uo Se Coe cca etc esa eee Cee eed rae et ee these different building number ero ron ® escoe bes acer Yes. So we will be discussing on Come @e@0eney Cena eet € Percy Yes, so we will be discussing on transformation and dissemination of modem architecture. After 1940. Okay, so that's the time period, that will Eee a Ant ee eeu ecu Noten Lee)ey a) Le they actually brought their philosophies and their vocab. Ulary together. And you can see that in the buildings that befor¢ the design in America. CaM aCe Ct Rok setae al isc Relates aR) this and we go to the Our mass traffic. ey @e@0080:8 fo}ey a) Lee eRe MeL ater ee cee a very, very modernist kind of for building which’tould be really associated with the modern language of leeco kosher as well as the kind of how he is, kind of design. emporery Architecture Ro oe fo}ed OQ Fase really associated with the modem language of Kosher as well as the kind Cee ee eee aren eee ee cm nn Rat ond PUM est] enn @e080:8@ fo)ey a) Les SRS ec ee ed Pees mC Ua eek aru very different modem, kind of style for their babies. This is Hero Saturday at this point of time, even for een en @e@0080:8 fo)ed Q SSS Cee UE EOS Cee eeu ca Romy Pearse eC et Re Use ny that way. Now, in this period in this kind of time period when you look at ee cu une O aa ce Ses @e@00e0:@ {0}ed a) Le Ste eee ae Rohit's design of fonts Worth House that he had'designed again in Illinois. The similar kind of the language could be seen. If you see the same way in which the podium has been designed Sn et ®e@00e0:8@ fo}ey a Wieariepsd SMC Bue RR UU EU Ree Ee) style, but then a designed by Philip Dots. So this'is glasshouse that we are designing again, the time. Same time, period of time. If you can see the kind of setting and the landscape in which the building is set and Se Ro oe (0)id Q SS designing again, the time. Same time, period of time. If you can see the kind of setting and the landscape in which the bhilding is set and similar, kind of a language again, how we can relate it with Rohit. now, Rohit had a Cee eu Rue eet ar ene ates asd Seed @e@00e0:@ fo}ed Q Sse very well known for building skyscrapers also. So this is a lakeshore drive SUC ee ee ease cen ig were like, you know, two rectangular kind of prisms which were like Pe RUCy et) Ses @e@0020:@ {0}EY ws-sureinae time and it had a lot of good news towards the Lake. Michigan. So when you look at the plan, this is the plan of the buildifigs. You can see that two. Cees ae eae ee eee rectangular block here and the other block was placed in constant tension ee ees fi nas °See eet ety assembling that way. At the same time, the color and the planning, the modern kind of a planning which needed, which is Pes hCm ures} Romi Prec ue esue tM UCaT cy ASR UIST atin isTe! building again of Rohit which would be seen as a very important. 2®@Os0:64See eet ny planning, the modem kind of a planning which needed, which is needed EER tccacit Riickate tahini cask ete Ee eee ena Meet ecu ey eee Soe eu 2®@Os0:64od a) EL that, you know, there is an order, there is a perfect proportion. That is a Pee nee ace c Lue aan ara oS Ree Ce Ch Meme ic Cee Re7 that existed in the Related. same ————,id a) Les 7 Oe eeu eo ca Re TR hk eeu a this, or in the real practice in the future is Now when you look at, so as | told it was kind of completely exploited, can see that similar buildings. NO eee cee cuca aod a) Les See od es ua eur Rene Rau and bring in some cultural expressions for each. And the, if that was something designed in the same time period, you can see that triangular right? Also has come up with some Se Se00e0°:8@ {0}ed a) Les \) spaces mezzanines and functionally what the building was supposed to have. So franglerite, as we know that he's, he is completely, you know, he always tried to come up with some innovation in his style, even in his design is buildings. We have seen from the prairie houses to. oS ec @ed ra) SLs OR ee Oe ana Meme neue Roce Mute ura Tsess Se eS ee eee a aoa the different buildings that he has, even in the office building like Johnson, oS «ec @od (acs -) structure and spaces were kind of used So when you look at the interior, this is the plan and the section. So this is how it is. Like there is a ram which spirals up and along the walls of those along. The walls is what all BTSs ule CoedSore) (ar ~ words, whenever you get signed sometime, you can see that. Hmm, and Peete ee See es mia CR uct PM RCS UC Annu eeu N Rm UTecRen eo cc Us eee RUA ORC uu ORR Rae) Ene 2®@OQs0:64 fo}Se) arenes Re Ci eh oe om a ea Ree ey very important works of leeco Boucher during the same time period from 1940 to 60. To form and meaning in the late works of Liberia. This is | don't know whether you're seeing this building )one Sears x | What id Mies an der Roheme x | &. lemismorestienhee-Seurch XX | LESSISMOREMVES YAN DER FX jy Get oFREE ntemet Put tran | deshare Name tale seo Q Papas ca wi LESS IS MORE(MIES VAN DER ROHE) — ep = ee Me 202400 Ti = search sgegot @eeCnh BAYES EAone Sears x | What id Mies an der Roheme x | &. lemismorestienhee-Seurch XX | LESSISMOREMVES YAN DER FX jy Get oFREE ntemet Put tran | deshare Name tale seo Q Papas = wi LESS IS MORE(MIES VAN DER ROHE) — ep = ee Me 202400 Ti = search sgegot @eeCnh BAYES EAone Sears x | What id Mies an der Roheme x | &. lemismorestienhee-Seurch XX | LESSISMOREMVES YAN DER FX jy Get oFREE ntemet Put tran | Seshare ome eee seve Q [see] Recommended (a= Priipjotnson < 20178) a " LESS IS MORE(MIES VAN DER ROHE) = be ous tinsinate =a Ea snsnoa Aa ia = search sgegot @eeCnh BAYES EAone Sears x | What id Mies an der Roheme x | &. lemismorestienhee-Seurch XX | LESSISMOREMVES YAN DER FX jy Get oFREE ntemet Put tran | Q deshare Name tale Recommended (= i Fry ots < 3017) LESS 1S MORE(MIES VAN DER ROHE) =- alos tte, snsnoa Aa ia = ot @eeCnBAOVHErt BA amctw Sec: | What did Mics wander Roheme x | & lemismorestieshere-Seerch X g LESSISMOREIARES VAN OFR KX gy Get oFREEIntemet Pic bran: | feshare vom aloe sea Q toon | Recommended (= LESS IS MORE(MIES VAN DER ROHE) = Mo t00 7 ‘got BeCnRBEEV¥ESBActw Sec: | What did Mics wander Roheme x | & lemismorestieshere-Seerch X g LESSISMOREIARES VAN OFR KX gy Get oFREEIntemet Pic bran: | deshare Name tale se Q ‘SAGRAMBUNLDIN LESS IS MORE(MIES VAN DER ROHE) a trate Mo t00 - ni sgegot @eeCnh BAYES EA Rice aeuladone Sears x | What id Mies an der Roheme x | &. lemismorestienhee-Seurch XX | LESSISMOREMVES YAN DER FX jy Get oFREE ntemet Put tran | deshare Name tale seo Q Recommended k Mesrndecevat Bi =“ < sor) Ee) LESS IS MORE(MIES VAN DER ROHE) Oss snsnoa Aa ia = = Sjagot @eeCheEAVES ESA 7 Riecun Aatwasone Sears x | What id Mies an der Roheme x | &. lemismorestienhee-Seurch XX | LESSISMOREMVES YAN DER FX jy Get oFREE ntemet Put tran | feshare vom aloe sea Q Recommends ASSOCIATED STYLES ASSOCIATEDST veto rede ted INTERNATIONAL STYLE Majer Conrado the nterational Se ¢ _ : ———— wea Priipjotnson anal lina tte LESS IS MORE(MIES VAN DER ROHE) Se. ni MB 2502400 Fim), a search Juego tt Bae eC HR Bester BaLESS IS MORE 7 ; a = = VAN DER ——== ROHE AASHNA ARORA |ARUNIMA GANGULI |NIKITA BANSAL [TANVI GUPTA | | /1/-AGENERAL MEANING TESS COMPLICATED 1S BETTER UNDERSTOOD AND MORE [APPRECIATED THAN WHAT IS MORE COMPLICATED. SIMPLICITY IS PREFERABLE TO COMPLEXITY. oe ABCHITECTUGAL MEAMING® co ‘BUILDING SHOULO BE STRIPPED OF ANY EXTRAS AND ‘CONSTRUCTED ON ESSENTIALS OF CLARITY, UTIUTY AND EFFECT. “TO BASE THE ARCHITECTURAL [EXPRESSION ON ESSENTIAL FLEMENTY (OFA STRUCTURE “THIS WAS DONE BY SUPPRESSING THE UKE FOR VAN DER ROME THE ESSENTIAL ELEMENTS WERE THE FAMOUS ARCHITECT MIES VAN DER ROE USED THIS PHRASE TO DESCRIBE HOW HE THOUGHT BULDINGS SHOULD BE CONSTRUCTED. INSPIRATIONS. THE PRUSSIAN ARCHITECT KARL FRIEDRICH SCHINKEL, USE (OF POSTAND INTEL CONSTRUCTION, DUTCH DE STIA.PHILOSPHY OF SIMPLICITY IN [ARCHITECTURE AND RUSSIAN CONSTRUCTIVISM TO BENEFIT SOCITY, [AIMS ESTABILISHMENT OF A NEW ARCHITECTURAL STYLE FOR MODERN TIMES AND ARCHITECTURE WITH A MINIMAL FRAMEWORK OF STRUCTURAL ORDER BALANCED AGAINST THE IMPLIED FREEDOM OF FREE FLOWING OPEN SPACES em : Im [GARDEN ANO SEA WEEK-END HOUSE DESIGNED BY TAKAO SHIOTSUKA — | La- sine vowunes "BALANCE BETWEEN EMPTY AND SHIMADA HOUSE DESIGNED DDANCING LIVING HOUSE DESIGNED (OR MINIMALIST. UGHT, GEOMETRICAL FORMS AND NATURAL MATERIAL ARE KEY PONTSINHS STEBARCELONA PAVILION:1928-29 “DESIGNED FOR INTERNATIONAL XPOSTION N15 ‘WAS DESTROYED IN 1930 AND REBUILT 1986, ‘VOICE TO THE SPR OF ANEW ERA *CONCEPT-REE PALN AND FLOATING ROOF ELEMENTS OF DESIGN {BY MIES VANDER ROHE oneae # ft . 4 1 SEQUENCE OF MARBLE AND GLASS Swmpucrt oF consTRUCTON,cLARTY1950:FARNSWORTH HOUSE, PLANO, ILLINOIS ms _ a nbd N "A WEEKEND RETREAT OUTSIDE CHICAGO FOR AN INDEPENDENT PROFESSIONAL WOMAN - OR. EDITH FARNSWORTH. BULT BETWEEN 1946 aNO 1951 AREA: 1,500-squarefoot (140.0) a | iSEAGRAM BUILDING, “THE BUILDING STANDS 515 FEET (157 M) TALL WITH 38 Tories, SCOMPLETED WN 1958. “IT STANDS AS ONE OF THE FINEST EXAMPLES OF ‘THE FUNCTIONAUIST AESTHETIC AND A MASTERPIECE OF ‘CORPORATE MODERNISM, “IT WAS DESIGNED AS THE HEADQUARTERS FOR THE ‘CANADIAN DISTILLERS JOSEPHE. SEAGRAM'S & SONS. [Sy MATERIALS CURTAIN WALL OF GLASS AND BRONZE IN THE FRONT OUETO THE FIRE LAW IN FORCE IN 1954, AT THE TIME OF CONCRETE ‘MAIN BURDING. ‘CONSTRUCTION WAS USED AS STRUCTURAL MATERIAL, BOTH ine Onna SES NaOvE TIE Om {BEING GLASS PANES OF GRAY TOPAZ THAT PROVIDE FLOOR-TO-CEIUNG WINDOWS a ELEVATION OF THE BUILDING ACHIEVES PERFECTION ANDIS VERTICALLY EMPHASIZED. ‘ “IT1S A RECTANGULAR BULOING ‘UNOS TWAS EVIDENT THAT A BUILDING OF SUCH HEIGHT WOULD HAVE & HUGE AREA OF BLINDS, SOURCES wns1951: LAKE SHORE DRIVE APARTMENTS, CHICAGO * _860-B80 LAKE SHORE DRIVE IS ATWIN PAIR OF GLASS-AND-STEEL APARTMENT TOWERS ON N. LAKE SHORE [DRIVE ALONG LAKE MICHIGAN INTHE STREETERVILLE NEIGHBOURHOOD OF CHICAGO, ILLINOIS. + CONSTRUCTION BEGAN IN 1949 AND THE PROJECT WAS COMPLETED IN 1951, + THE 26 FLOOR, 254 FT (82 M) TALL TOWERS WERE DUBBED AS THE "GLASS HOUSE” APARTMENTS. {+ THE TOWERS WERE NOT ENTIRELY ADMIRED AT THE TIME THEY WERE BUILT, YET THEY WENT ON TO BE THE PROTOTYPE FOR STEEL ANO GLASS SKYSCRAPERS WORLOWIDE. [APARTMENTS EMBODY A MODERNISTIC TONE \WITH THEIR VERTICALITY, GRIDS OF STEEL ANO CGLASS CURTAIN WALLS (A HALLMARK OF MES! SKYSCRAPERS), AND COMPLETE LACK (OF ORNAMENTATION INDICATING MlES’ MOTTO OF LESS IS MORE" "THE MULLIONS ON BUILDING REFLECT THE INNER STRUCTURE AND GIVE ‘TRUTH TO THE AESTHETICOF SOURCES ~anra.ikipedialakeshore/com wowrumiugr wowmies buildings /akeshore.ongASSOCIATED STYLES ARCHITECTURAL STYLES FOLLOWED ALONG THE LINES OF LESS IS MORE INTERNATIONAL STYLE ‘THE MOST COMMON CHARACTERISTICS OF INTERNATIONAL STY\ INGS ARK RECTILINEAR FORMS LUGHT, TAUT PLANE SURFACES THAT HAVE BEEN COMPLETELY STRIPPED OF APPLIED ORNAMENTATION AND. DECORATION. (OPEN INTERIOR SPACES. © VISUALLY WEIGHTLESS QUALITY ENGENDERED BY THE USE OF CANTILEVER CONSTRUCTION, GGLASS AND STEEL, IN COMBINATION WITH USUALLY LESS VISIBLE REINFORCED CONCRETE, ARE THE CHARACTERISTIC [MATERIALS OF THE CONSTRUCTION. THE TRANSPARENCY OF BUILDINGS, CONSTRUCTION (CALLED THE HONEST EXPRESSION OF STRUCTURE), AND ACCEPTANCE OF INDUSTRIALIZED MASS-PRODUCTION TECHNIQUES CONTRIBUTED ‘TO THE INTERNATIONAL STYLE’ DESIGN PHILOSOPHY. TOWER C OF PLACE DE ViLt OTTAWA , CANADA, v | 7 Seagram Building ‘New York City Major Contributors to the International Style ‘VILLA SAVOYE-- LE CORBUSIER WALTER GROPIUS LOUIS KAHN = LECORBUSIER wee © WOWIGIMIES VAN DER ROME LM. PEL \wovo WRIGHT Bauhaus -Walter Gropius PERISTEIN HALL ILUNOIS INSTITUTE OF TECHNOLOGY LUDWIG MIES VAN DER ROHE1951: LAKE SHORE DRIVE APARTMENTS, CHICAGO * _860-B80 LAKE SHORE DRIVE IS ATWIN PAIR OF GLASS-AND-STEEL APARTMENT TOWERS ON N. LAKE SHORE [DRIVE ALONG LAKE MICHIGAN INTHE STREETERVILLE NEIGHBOURHOOD OF CHICAGO, ILLINOIS. + CONSTRUCTION BEGAN IN 1949 AND THE PROJECT WAS COMPLETED IN 1951, + THE 26 FLOOR, 254 FT (82 M) TALL TOWERS WERE DUBBED AS THE "GLASS HOUSE” APARTMENTS. {+ THE TOWERS WERE NOT ENTIRELY ADMIRED AT THE TIME THEY WERE BUILT, YET THEY WENT ON TO BE THE PROTOTYPE FOR STEEL ANO GLASS SKYSCRAPERS WORLOWIDE. [APARTMENTS EMBODY A MODERNISTIC TONE \WITH THEIR VERTICALITY, GRIDS OF STEEL ANO CGLASS CURTAIN WALLS (A HALLMARK OF MES! SKYSCRAPERS), AND COMPLETE LACK (OF ORNAMENTATION INDICATING MlES’ MOTTO OF LESS IS MORE" "THE MULLIONS ON BUILDING REFLECT THE INNER STRUCTURE AND GIVE ‘TRUTH TO THE AESTHETICOF SOURCES ~anra.ikipedialakeshore/com wowrumiugr wowmies buildings /akeshore.ongSEAGRAM BUILDING, “THE BUILDING STANDS 515 FEET (157 M) TALL WITH 38 Tories, SCOMPLETED WN 1958. “IT STANDS AS ONE OF THE FINEST EXAMPLES OF ‘THE FUNCTIONAUIST AESTHETIC AND A MASTERPIECE OF ‘CORPORATE MODERNISM, “IT WAS DESIGNED AS THE HEADQUARTERS FOR THE ‘CANADIAN DISTILLERS JOSEPHE. SEAGRAM'S & SONS. [Sy MATERIALS CURTAIN WALL OF GLASS AND BRONZE IN THE FRONT OUETO THE FIRE LAW IN FORCE IN 1954, AT THE TIME OF CONCRETE ‘MAIN BURDING. ‘CONSTRUCTION WAS USED AS STRUCTURAL MATERIAL, BOTH ine Onna SES NaOvE TIE Om {BEING GLASS PANES OF GRAY TOPAZ THAT PROVIDE FLOOR-TO-CEIUNG WINDOWS a ELEVATION OF THE BUILDING ACHIEVES PERFECTION ANDIS VERTICALLY EMPHASIZED. ‘ “IT1S A RECTANGULAR BULOING ‘UNOS TWAS EVIDENT THAT A BUILDING OF SUCH HEIGHT WOULD HAVE & HUGE AREA OF BLINDS, SOURCES wns| LOU | )UIS | KAHN WasBornIN Estonia, erica In1901. died : Architecture At The University Of nsylvania *ned His Own Firm In 1935. sired By The Ancient Ruins And Renaissance dings. n Would Use Classical Architectures Solid ms And Durable Materials Combining These h Modern Techniques. n Died In New York City On March17, 1974. ‘1: AIA Gold Medal Elected A Member Of American Academy Of Arts And fers. ‘2 : RIBA Gold Medal ALOuUtlsS It K A H LDING = HUMAN LTO BE IRE TO BE LTO EXPRESS ined space by means of masonry masses and a lucid icture laid out in geometric, Natural it Brought architecture to life. \CE AND FUNCTION : Space played an essential nitectural role that is space and place are »parable. te :Architecture is the thoughtful making of space.IDING ELEMENTS : Two buildings which are ctionally related in site should be visually binded onnected to avoid a drama. te : | try to create homes, not houses. Institute of Public Administration, RIPHERIAL ENCLOSER : IT is the spirit of the ding, without it the building look barren. te : Every building must have... its own soul. National ParliamentLOU tlS I K A H JNLIGHT :He used sunlight very carefully in his ildings and employed it as the maker of architecture. jite : The sun never knew how great it was until it hit the le of a building. National Parliament CAL MATERIAL : Material used in this museum were ally available like: concrete, travertine, stainless steel d white oak. ite ‘You sav to a brick. ‘What do vou want. brick?’ AndNational Parliament )CAL MATERIAL : Material used in this museum were ally available like: concrete, travertine, stainless steel d white oak. lite :You say to a brick, ‘What do you want, brick?" And ick says to you, 'I like an arch.' And you say to brick, 10k, | want one, too, but arches are expensive and I can e a concrete lintel. And then you say: 'What do you ink of that, brick?" Brick says: 'I like an arch. National Parliament RDER : The different elements in every building are er related maintaining the order of building. site : Architecture is the reaching out for the truth. Institute of Public Administration,LOuU tls I K A H YESIGN IDEA: fluenced by ancient ruins, Kahn's style tends to the 1onumental and monolithic. is heavy buildings do not hide their weight, their raterials, or the way they are assembled. ouis Kahn's works are considered as monumental beyond 1odernism. Salk institute EOMETRY hn used many different shapes and lines to create his ‘tlEOMETRY hn used many different shapes and lines to create his asterpieces. nong his most famous creations, he seems to favor both rallel and perpendicular lines. rough his bold technique, he created streamline, radical, d futuristic looking buildings. $ creations are legendary, through the use of geometry. EYS IDEAS The Slit and the architecture of natural interior lighting What the space wants to be illuminating monumentality The unexpected interior — The National Assembly buildingLORK STYLES, hn's architecture is notable for its simple, forms and mpositions. ildings, characterized by powerful, massive . rough the use of brick ,concrete masonry. ontemporary & monumental architecture with proportion. etry of light and exposing the materials without altering. ORKS PRINCIPLES orked with simple materials, notably brick and concrete. . strove through a masterful sense of space and light. hn devoted his career to the uncompromising pursuit of ‘mal perfection and emotional expression. ilding included constructional elements such as the >diums used as well as the color, line, shape, light, and e symmetry of the site. imal; ca We DS aeachs-ORKS PRINCIPLES orked with simple materials, notably brick and concrete. strove through a masterful sense of space and light. hn devoted his career to the uncompromising pursuit of ‘mal perfection and emotional expression. ilding included constructional elements such as the 2diums used as well as the color, line, shape, light, and > symmetry of the site. his buildings, we see the realization of his vision: ninous surfaces that evoke a fundamental awe. ent courtyards speak of the expansiveness and the nctity of the spirit onumental columns and graceful arches that embody snity and strength.j= LOuvUt!s |! K AH everence for materials and light, A devotion toarchetypal geometry, and A profound concern forhuma an architect must do is to g you build is a world of orld of its own Form and space of Salk institute eat building must begin wit must go through me unmeasurableForm and space of Salk institute Serve service of Yale University Art gallery, Quite :T hit ide of ablite : All material in nature, e mountains and the streams and the air and we, 2 made of Light which has been spent, d this crumpled mass called material casts a shadow, d the shadow belongs to Light. 1ite : Love rationalism though geometry is everywhere ape, lines, structure the exterior to the interior corridor. Geometry of Kim bell Art museum,.= Geometry of Kim bell Art museum, ite : Architecture reflects of art making place that what xperienced by pedestrian who enter the building . errr sy 1.new times demand ther own expression, exci sa reringof the members, the arrangement of ike parts In series, unity of form and color! Walter Gropius, German Expressionism and Bauhaus Ce today. Now, we have to discuss on another person who had, you know, taken that forward. This taken that the idea or the language of modern Eni ce mC EMM OMRON ICIP RM US rl eUllm on Ey CTEM elaolsting Bauhaus (German: "building hous TTT a overall planning at the same time. Maybe some unit in terms of its color the way in which the textures are applied. Etc, etc. So that is where | start with Walter Gropius and we'll discuss on German Expressionism and so, you have to understand that the background ofsometimes by th oes a We Le Coolers (eT Te t= eSRE- TLE MO) I eRe Me Nel S1Ce (COLUMN moments, it originated, basically, in Holland. And Germany, the time period, you can see it is around. 90 not 5 to 1933. That is award the eMCPTT a structure and technology was supreme in his works of me find her way. And | think he had done certain competitions also for skyscrapers in 1921 that time period and there was an attempt to even to, you know, to strip the building. To just like the buildings thatDeas discussing about him, Bruno taught, he had discovered, we discussed about Bruno Dot in the previous session. Also this was one building that yes this is an egg. This was done for an excavation. This is a glass pavilion that he had come up with here. Also you can see aTTT a with the buildings. And also the maybe either integration or probably maybe standing out more than integration, it will be like standing out from the rest of the buildings in the same reach. So this is also another building which could be related to Expressionism. So in short, you can discuss that‘The Bauhaus believes the machine to be our modern medium of design and seek to come to terms with it Tea developed and that was called international state. And the key figure for International Style is rohe Only International Style will discuss in the next Okay, so | come back to bohas again. the, as you can read from here that RU aferPye ER Molin ear Rel MUM CMR Un Tem COM oi ire Mm CORT MU RTI) new language for marketing. Now, let's discuss. On Bow Hospital. | hope you understood the last light, then we are going to discuss. So this is Walter Gropius. And that's the hospital building. Okay. So whatTeas is happening and there are tech different areas in library. So, there is a reading area, there is where you stack your books, and that might also require some light reading area requires a better lighting, so, that is how according to the function,ister Groupius Pry a would ask everybody to go and read on ask daily because that is the way in which they describes not the language in, with the analyze. The buildings. Very good. So, this is the actual building of Dohas and the kind of landscape and everything together, okay?Tey a here and you have to read on. Bohas. | probably will be sending you a small chapter on that. What is a time now? Okay, so | think we can go ahead with constructivism. Also, one more, and then we will stop for today. Okay, so till now we were discussing aboutTena in Russia. And yes, the political scenario you might be knowing, if you don't know, you'll have to go and read on it. | can't take a class on that. So constructivism. Is something which is very much related to the aspects of role Ze Rl Relm eeeTTT a PMR R MUM ale R CNM CCC Eng moment. And the fundamental tension of construction, constructivist architecture was the need to reconcile the economic reality of USSR, with its ambition, for using the built environment, to engineer thePeeeres Pere emt cn a maken OR ECE TC Peet Rn mm au i U ecu sic eurl third in the monument to the Third International of 19 and from 1990 Seu kee ehPeeetencs Pet eS ott et te een cet es eel be related here in the building is standing on a pilotus, right? It's on stilt eu aout ecu haa probably it's like a, You know, it's like a openener ed Peete eM Rue ete eae One Pee Rae ee eur asa huey Oem cute ue eM ee kerma Re ka Cee TMCR ea Rou!een ts Pee Meee emo eRe a remember reading on that. Okay, so | will stop this here and these are PSR ue ces Uwe UC kuch cera ec Tr Poems ee Rome nee cee acsskyscraper and suburb the USA bet Peeeetcs during that particular time period. And which was a part of Art Deco Te Ome Mel ete nna ee Ruano hy OCU tome e a Cue Ic en Menton Tees eaeTCS building of his but it comes in a very later time period which is 1960s. This is a twterminal in New York that he has designed and you can see how the building is so expressionist. And it looks like the wings Very something is going to flyTTT a maybe standing out more than integration, it will be like standing out from the rest of the buildings in the same reach. So this is also another building which could be related to Expressionism. So in short, you can discuss that Expressionism, always wanted to come up with some kind ofa We building itself looks like an art piece, okay? So that means it's like a sculpture piece in itself and it looks like that. Now I go back to Vietnamese Bandera where | started discussing about him. That he also had an expressionist face. on during his time period in his career andDTS draw, the line in. An infinite way. He wants to bring in something from the outside to the inside. So something he wants to borrow from the outside, maybe a distant view and he's trying to frame that and he's trying to bring into the interiors. So, these are all, could be the possible.‘The Bauhaus believes the machine to be our modern medium of design and seek to come to terms with it ety a PCRS ee om UR ECE MEIN RCM NC ERe (tC aTe} developed and that was called international state. And the key figure for International Style is rohe Only International Style will discuss in the next Okay, so | come back to bohas again.