School of Architecture

B.Arch.
HISTORY OF ARCHITECTURE

Ar. Preeti nair

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 LATE MODERNISM
 1st visible results of departure from its ‘parent’ modernism –
Brutalism
 Brutalism evident in the heavy concrete works of Corbusier –
Unite de Habitation, Ron Champ Chapel or Chandigarh
 In these, a clear shift from his earlier approach – the
internationalist ideals of stark white planes, ribbon windows,
framed RCC structures …..
 Started in 1960s

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Apparent boredom with plain forms of Internationalism
caused architects to graduate to:

 Sculptural Expressionism
Expressing the building as a sculpture

Geometrical Expressionism
Expressing the building as a composition of geometrical
masses

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 Sculptural Form

NOTRE DAME DU HAUT, OR RONCHAMP, RONCHAMP, FRANCE,

1955, 4
TWA TERMINAL, JFK
AIRPORT
NEW YORK, USA,1961,
EERO SAARINEN

The swooping wings &

gentle curves display
confidence in properties
of RCC

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AR 409 CONTEMPORARY WORLD ARCHITECTURE
SYDNEY OPERA HOUSE, SYDNEY, AUSTRALIA,1973
ARCHITECT: JORN UTZON

 Pre-cast concrete sections fixed together to produce the outer

shells; then clad in ceramic tiles that reflect the sky and water
 Whether the form was inspired by turtles or sails, it is a unique
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icon
 LATE MODERNISM - Geometrical Expressionism

 Also showed buildings as a Geometrical mass (like Ledoux,

Boullee)

 Leading style for public buildings of 1970s

 Building appears as a sculpture itself, having very strong

geometry

 Similar works of 18th century French architects, Etienne-Louis

Boulee and Claude-Nicolas Ledoux
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  The concept of ‘Articulation’ – clear skin and bones
structures with repeated joints

 Articulation – jointed; segmented; able to express clearly;

to unite by joints:

KIMBELL ART MUSEUM,

FORT WORTH, TEXAS, 1966-72;
LOUIS I. KAHN

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Late Modernism carried on to the advanced phase of the ‘Industrial Age’
Architects looking in varying building typologies for answers, of which
many are quite unorthodox vis-à-vis the building, but seem fundamentally
correct, for eg.: the design of community halls, exhibition halls based upon
warehouses and factories
The appearance of the ‘Factory aesthetic’ – application of the vast column
free spaces as in ware houses, factories, large storage areas etc. to buildings
like community centres, large halls etc.
Similar to the Industrial Revolution – the Railway Station with tracks
covered with massive trussed roofs to provide column free spaces

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 Modern buildings were tempered by the spirit of the ‘Industrial
Age’

 Similarly, contemporary buildings are being moulded in the

‘Information Age’ – INTELLIGENT BUILDINGS

 Other important concepts concerning the contemporary times are

environment (green buildings), energy, economics

 Architecture of this age also defined by the new materials, as has

happened in the preceding civilisations and periods

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 Nothing hidden –
everything expressed;
open expression of
the process of
manufacture,
erection, maintenance
….. Thus no
hierarchy and
POMPIDOU CENTRE, PARIS, 1971-77
composition, but a ARCHITECTS: RENZO PIANO & RICHARD
ROGERS
symbol of process and
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technology
POST MODERNISM

 Evolved from modernist movement, yet

contradicts many modernist ideas

 Modernism considered excessively minimalist,

anonymous, monotonous ‘BORING’

 Still influenced by Modernism – yet added other

architectural ‘languages’ to it

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 VANNA VENTURI HOUSE,
PHILADELPHIA, ROBERT
VENTURI, 1961-64

Architect built the house for his

mother - an icon of postmodernism

SYMMETRY-ASYMMETRY

SMITH HOUSE
DARIEN, CONNECTICUT (1965-67)
RICHARD MEIER
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 VANNA VENTURI HOUSE,
PHILADELPHIA, ROBERT
VENTURI, 1961-64

Some basic elements - a

gable, door, windows, and
chimney, arranged into a
simple design

MODERN, YET ALSO A STRONG

EXPRESSION OF TRADITIONAL IDEAS
OF HOME

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 LARGE SCALE OF HOUSE IS TO COUNTERBALANCED BY THE
COMPLEXITY OF FORM

VANNA VENTURI HOUSE, PHILADELPHIA, ROBERT VENTURI, 1961-64 15

SYMMETRY-ASYMMETRY

Chimney and back glass door equal and

opposite distances from centre line to create
visual balance for the overall facade

Ratio between height an width of glass doors

the same as that of the entrance
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VANNA VENTURI HOUSE, ROBERT VENTURI, 1961-64
 Fireplace-chimney and the staircase are the part of central core
 Intermingle with each other at various levels

A 3-d
composition
of the house

Plans and elevations are built on a rigid axial

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Plans
VANNA VENTURI HOUSE, ROBERT VENTURI, 1961-64
Portion on façade Living room half-
where Arch is split vaulted
SYMMETRY-ASYMMETRY AND
PROPORTION

Sections

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VANNA VENTURI HOUSE, ROBERT VENTURI, 1961-64
WINSLOW HOUSE, ILLINOIS, 1893; F.L. WRIGHT
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