File - WORLD.ARTvisa

1 2 •  Since the Industrial revolu4on bridges had been built of cast iron – which allowed for larger, stronger and fire resistant structures. •  Steel was also typically used for framework for larger buildings such as exposi4on halls •  The ideas of realism poured over into architecture – a buildings were designed that expressed their purpose, func4on and structure rather than hiding or disguising these key elements with ornamenta4on •  The work of Eiffel – who designed bridges, exhibi4on halls and bridges -­‐ was a response to these realist ideas – and largely contributed to the development of the skyscraper •  The Eiffel Tower was designed as a symbol of moderniza4on for an exhibi4on in Paris in 1889 •  It is 984 feet tall – the tallest structure of its 4me •  Rather than covering the iron structure Eiffel leL in exposed – the iron work uses horizontal, diagonal, and ver4cal lines to create a graceful ver4cal design that is anchored by strong horizontal lines in the lower half of the structure •  The decora4ve quali4es of the iron work recall the line work used by Art Nouveau ar4sts such as Aubrey Beardsley •  The transparency of the structure blurs the dis4nc4on between between exterior and interior space – making it obvious to the viewer that the purpose of this structure is not to cover or protect but rather liL one up towards the sky •  The Eiffel tower marks the beginning of a new explora4on in architecture – that is the play between interior and exterior space 3 Richardson •  Pioneer in designing modern commercial structures, but had a profound respect for past architectural styles •  The heavy round arches and heavy masonry walls recall the Romanesque style – his work is oLen called a Romanesque Revival •  The large square design, the series of horizontal levels, and use of rus7fica7on also recall the Medici Palace •  Like the Medici Palace this building occupied an en4re city block •  The use of of arcade windows opened up the walls of this heavy building and pointed architecture towards the direc4on whereby walls would become mere screens or curtains that mimic the underlying structure of the building Sullivan •  Synthesized industrial structures with ornamenta4on •  His light filled office buildings were adorned with ornate embellishments •  The building is steel sheathed in terracoUa •  The terracoUa does not hide the steel structure of the building that allowed it to be a large and open space -­‐ but rather points out its refined and orderly layout he has created by using intersec4ng piers and cornices-­‐ like Richardson he is using the architecture of the past in a new way •  The func4onal orderliness of the building is tempered with the lively ornamenta4on on the piers and cornices – the ornamenta4on again recalls the graceful line work of the Art Nouveau Style 4 •  Gaudi found personal expression in the Art Nouveau style •  He was trained as an ironworker – as an architect he strove to create something modern and unique to his country •  Hi inspira4ons were Moorish architecture (Islamic architecture of Spain) and the architecture of his na4ve town, Catalonia •  His buildings, guided by imagina4on take on a undula4ng sculptural quality •  The rhythmic lines recall those of art nouveau yet they are dis4nct to his vision •  At this 4me apartment houses are being built on larger scales to accommodate a growing popula4on •  Gaudi does not disguise the fact that this is an apartment building – instead the undula4on of the building is made more rhythmic by the the use of windows that mark each apartment as the large building wraps around the corner •  Lacy iron work of the art nouveau style highlight the balconies, while the roof is adorned with fanciful chimneys •  The rough surface of the stone walls suggest naturally worn rock while the portals look like sea caves – also recall the caves in which pain4ngs were discovered in 1879 •  Gaudi felt each of his buildings were a symbolically living thing – full of their own breath and expression, making it a sort of kin to Expressionis4c pain4ng 5 •  Rietveld Applied the ideas of Mondrian and De S4jl and Mondrian to architecture – that art should be fully integrated into life, thus pairing art and architecture down to the basic elements and principles to create a harmonious and fully integrated/
useful style •  The plan for the house is not divided into sta4c cubic rooms, but instead uses an open floor plan with geometric shapes that divide the space and let the outdoors in •  Rietveld designed the en4re second floor with sliding par44ons that can be opened or closed to define rooms, or create open space •  The shiLing quality of the building is also reflected in the exterior – where the use of railings, free-­‐floa4ng walls, and rectangular windows give the exterior a sense of of geometric units breaking up before the viewer’s eyes •  The division of space in the interior and exterior reflect that of Mondrian’s pain4ngs -­‐ As does the carefully selected use of primary colors and geometric furniture 6 Bauhaus – In 1919 Walter Gropius became the director of the Weimer School of Arts and CraLs in Germany, which then became The Bauhaus. Gropius’s goal was to train ar4sts, architects and designers to accept and an4cipate the func4onal needs of the 20th century •  Gropius, like the ar4sts of the De S4jl movement, developed a vision of “total architecture” – architecture that is fully integrated with and accommoda4ng of modern life •  This building is the Bauhaus’s architectural manifesto – it consists of everything students would need under one roof: class areas, workshops, a theater, gymnasium, studio apartments, and offices – it is a major development for the American school layout, especially universi7es •  The Shop block is the most drama4c wing of the building – it rises 3 stories and housed prin4ng shops and dye work facility •  The en4re structure is sheathed in glass which is broken up by a uniform grid – this lends the building a prac4cal, streamlined and light effect that suits it prac4cal and u4litarian func4ons •  The design’s simplicity reflect Gropius’s belief that architecture should avoid “all roman4c embellishment and whimsy,” and be economical in the use of space •  The interior consisted of large areas of free flowing space that encouraged interac4on and the sharing of ides – think of an early version of the Google offices •  When Hitler rose to power the members of Bauhaus fled to America and established themselves at universi4es such as Yale and Harvard – they also started the New Bauhaus School in Chicago Corbusier •  The simple geometric style pioneered by De S4jl and Bauhaus architecture became known as the Interna4onal Style because of its widespread popularity •  One of the leading architects of the interna4onal style, Corbusier applied himself to designing func4onal living spaces –which he called as a “machine for living” •  He maintained that the basic needs of every human was sun, space, and vegeta7on combined with controlled temperature, good ven7la7on, and insula7on against harmful noise •  He also asserted that building should be on a human scale •  Villa Savoye stands on a large plot of land cleared on shrubs and trees, but windows all around the roof terrace provide residents with uninterrupted views of nature •  It is a cube of lightly enclosed and deep space. By placing the heavy elements above the light ones, and refusing to enclose the ground story with masonry walls he inverted the tradi4onal design prac4ce •  The ground floor contains a 3 car garage, bedrooms, a bathroom and u4lity rooms •  The rest of the interior space of the upper level is open, allowing the exterior space to meld with the interior – allowing sun and vegeta4on to penetrate the controlled environment •  The unadorned surfaces do not distract from nature •  From the second floor a ramp leads to the roof-­‐top terrace and an interior garden protected by the round wind-­‐break form •  No tradi4onal façade – with no defined entrance. Visitors must through and around the house to comprehend and experience its fluid space 7 • 
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In 1932 the exhibi4on "Modern Architecture: Interna4onal Exhibi4on" opened at the newly founded Museum of Modern Art in New York and simultaneously the book Interna'onal Style was published. It focused on the work of the great “European func4onalists”" Walter Gropius and Le Corbusier. One of the greatest American architects, Wright was largely snubbed. Greatly impacted by the Great Depression, Wright devised an architectural appren4ceship program at his Taliesin compound that came to be known as the “fellowship.” And among the first candidates was Edgar Kaufmann Jr. who became enamored with Wright aLer reading his biography. Kaufmann was the son of PiUsburgh department store tycoon Edgar Kaufmann Sr. Kaufman Sr. was impressed by Wright and commissioned him to design his “weekend” home Appren4ce Edgar Taffel recalled that aLer talking with Kaufmann on the phone, Wright “briskly emerged from his office...sat down at the table set with the plot plan and started to draw…The design just poured out of him. 'Liliane and E.J. will have tea on the balcony…they’ll cross the bridge to walk in the woods…' Pencils being used up as fast as we could sharpen them....Erasures, overdrawing, modifying. Flipping sheets back and forth. Then, the bold 4tle across the boUom ‘Fallingwater.’ A house has to have a name.” Wright develop the concept “Organic Architecture” which stems from his Transcendentalist background. The belief that human life is part of nature. Thus when designing the house Wright incorporated a rock outcropping that projected above the living room floor into his massive central hearth, further uni4ng the house with the earth. The stone façade also blends the house with its environment Wright further emphasizes the connec4on with nature by liberal use of glass; the house has no walls facing the falls – letng the outdoors to become one with the indoors Yet at Fallingwater, he is more concerned with responding to the European Modernist design that he had in part inspired—
but that had since eclipsed him. In effect, he set out to beat the Europeans at their own game, using elements of their idiom. We see, for example, inspira4on drawn from the balconies of Gropius’ design for the Chicago Tribune Tower compe44on, though instead of the stark white of the Interna4onal Style, he paints his balconies a warmer, earthen tone in deference to nature and perhaps the Adobe dwellings of the American Southwest, where he spent much of his 4me The interior is also very warm, he used natural elements, such a rough stoned and that complemented the environment and brought nature indoors All furniture was built custom-­‐made for the home so that it is a completely harmonious space Other influences are Japanese interiors which employ horizontal and ver4cal lines, opens space, and furniture that is simple and low to the ground 8