Title: The architecture and the painting, relationship and similarities.

Objectives: ...

Authors:

Luis Gabriel Alvarez,

Giselle Retureta Mena,

Yisel Naranjo León,

Cynthia Díaz,

Rachel Hinojosa Alma,

Efraín Pérez
Introduction:

Coincident styles to try:

1. .Gothic art (medieval art)
2. .Neoclassicism (art of the modern age)
3. .Baroque. (Art of the modern age)
4. .Modernism (contemporary Art)

Painting....

The history of the painting has had a chronological and stylistic parallel
development in great measure to the rest of the arts although with diverse
particularities in the time and the space to numerous factors, from those derived of
the diverse ones technical and materials employees in its making until socio-
cultural and aesthetic factors, since each town and each culture has developed
throughout the time different concepts of capturing the image that he/she receives
from the surrounding world. In the history of the painting it is primordial the study of
the artistic styles: every historical period has had some concrete and definable
characteristics, common to other regions and cultures, or only and differentiated
that have gone evolving with becoming of the times. Of there the diverse styles
arise that can have a geographical or temporary origin, or even to decrease in
short to the work of an artist, provided some artistic forms take place definitorias
clearly. At the moment he/she understands each other like style that quality that
identifies the form of working, of being expressed or of conceiving a work of art on
the part of the artist, or, in more generic sense, of a group of artists or works that
have diverse points in common, contained geographical or cronológicamente.4La
classification of the painting like art has varied throughout the time: in the antiquity
a handmade mere occupation was considered, while they were considered artistic
activities those related with the intellect. Physician divided in the century II the art
in liberal arts and vulgar arts, according to if they had an intellectual origin or
manual: the vulgar ones included the architecture, the sculpture and the painting.

ARCHITECTURE.
In an average sense, the architecture is the art of building of agreement with a
program and using the diverse means that he/she prepares in each time. although
he/she has a solid scientific (the part of the engineering) foundation and it obeys a
complex, alone technique it is art when the construction is expressive of the
spiritual will of a time, that is to say, when it is able to move.

In an average sense, the architecture is the art of building of agreement with a

program and using the diverse means that he/she prepares in each time. although
he/she has a solid scientific (the part of the engineering) foundation and it obeys a
complex, alone technique it is art when the construction is expressive of the
spiritual will of a time, that is to say, when it is able to move.
Development:

PAINTING.

GOTHIC

The Gothic art was developed among the XII and XVI centuries, time of economic
and cultural great development. The end of the feudal time supposed the
establishment of the centralized states, with bigger prevalence of the cities on the
field, at the time that a sector every time bigger than the society he/she had access
to the culture that he/she stopped to be exclusive patrimony of the Church. The
peak of the universities behaved an increase of the scientific, philosophical and
literary studies, sitting down the bases of the modern culture.

The Gothic painting stopped to be mural to pass to altarpieces located in the altars
of the churches, and it began to be developed the painting in canvas, to the temper
or the oil. Four pictorial styles were happened:

• Gothic lineal or franc-Gothic: it was developed from the XIII century until
principles of the XIV one, characterized by the lineal drawing, the strong
chromatism, a naturalism of simple lines and the idealism of the represented
topics. This style was developed mainly in windows and miniatures.

• Gothic italic or trecentista: arisen in the XIII century in Italy, it is

characterized by the approach carried out to the representation of the depth .que it
will crystallize in the Rebirth with the lineal perspective., the studies have more
than enough anatomy and the analysis of the light to get the tonal shading. They
highlight two schools: the Florentine (Cimabue, Giotto, Andrea Orcagna) one and
the sienesa (Duccio, Simone Martini, AmbrogioLorenzetti).

• Gothic international: it corresponds at the end of the XIV century and first
half of the XV one, supposing a coalition of the previous styles. It is characterized
by the stylization of the figure and the prevalence of the curved line, the technical
detallismo and the symbolic naturalism of the narration. They highlight painting
Paul of Limbourg, Stefan Lochner, ConradSoest, BernatMartorell and Lluís
Borrassà.

• Flamenco Gothic: it arose in Flanders at the beginning of the XV century,

prevailing throughout that century in most of Europe .excepto Italy, where the
Rebirth already excelled. Their main contribution is the technique to the oil that
gives more brilliant colors and it allows its gradation in chromatic diverse ranges, at
the same time that it allows bigger thoroughness in the details. It is necessary to
highlight to Jan and Hubert Eyck they go, Robert Campin, Rogier goes der
Weyden, Hans Memling, Gerard David, Hugo goes der Goes and Bosco; in the
rest of Europe, Jean Fouquet, ConradWitz, Martin Schongauer, Hans Holbein the
Old one, NunoGonçalves, Lluís Dalmau, Jaume Huguet, Red Bartolomé, Fernando
Galician

BAROQUE

Main article: Baroque painting

Meninas (1656), of Diego Velázquez (Museum of the Grassland).

The Baroque was developed between the XVII century and principles of the XVIII
one. It was a time of big disputes in the political and religious land, arising a
division among the countries Catholic contrarreformistas, where it was secured the
absolutist state, and the Protestant countries, of more parliamentary sign. The art
became more refined and ornamented, with pervivencia of a classicist certain
rationalism but with more dynamic forms and efectistas, with pleasure for the
surprising and anecdotic, for the optic illusions and the effect blows.

The Baroque painting was developed in two opposed tendencies: the naturalism,
based on the natural strict reality, with pleasure for the light and shade .el called
Tenebrism., where it is necessary to mention Caravaggio, Orazio and Artemisia
Gentileschi, Pieter goes Laer, Adam Elsheimer, Georges of Tour and the siblings
Him Nain; and the classicism that is equally realistic but with a concept of the most
intellectual and idealized reality, including AnnibaleCarracci, Guido Quarreled,
Domenichino, Guercino, Giovanni Lanfranco, NicolasPoussin, Claude Lorrain,
HyacintheRigaud, etc. In the "full Baroque" call, (second half of the XVII century) of
ornamental style and prevalence of the painting mural, Pietro highlighted he/she
gives Cortona, Andrea Pozzo, Luca Giordano and Charles Him Brun. Apart from
these currents, there were infinity of schools, styles and authors of very diverse
sign, highlighting two regional schools: Flemish (Peter Paul Rubens, Anton Van
Dyck, Jacob Jordaens, FransSnyders), and the Dutchwoman (Rembrandt,
JanVermeer, FransHals). In Spain it highlighted the exceptional figure of Diego
Velázquez (The forge of Vulcano, 1630; The rendition of Breda, 1635; Venus of the
mirror, 1650; Meninas, 1656; The spinners, 1657), as well as José of Riverside,
Francisco Ribalta, Gray-headed Alonso, Francisco of Zurbarán, Juan of Loyal
Valdés and Bartolomé Esteban Murillo.19

NEOCLASSICISM

I swear in of Horacios (1784), of Jacques-Louis David, Museum of Louvre.

Main article: Neoclassical painting

The peak of the bourgeoisie after the French Revolution favored the resurgence in
the classic, purer and more austere ways, in opposition to the ornamental
excesses of the Baroque and rococó, identified with the aristocracy. To this
atmosphere of valuation of the classic Greco-Roman legacy it influenced the
archaeological discovery of Pompeii and Herculano, next to the diffusion of an
ideario of perfection in the classic ways made by Johann JoachimWinckelmann
who postulated that in old Greece the perfect beauty was given, generating a myth
on the perfection of the classic beauty that still conditions the perception of the art
today día.21

The neoclassical painting maintained an austere and balanced stamp, influenced

by the Greco-Roman sculpture or you figure as Rafael and Poussin. It highlighted
Jacques-Louis especially David, "official" painter of the French Revolution (I Swear
in of Horacios,1784; The death of Marat, 1793; Napoleon crossing Alps, 1800).
Next to him he/she suits to remember to: François Gérard, Antoine-Jean Gros,
Pierre-Paul Prud'hon, Anne-Louis Girodet-Trioson, Jean Auguste Dominique
Ingres, Joseph Wright of Derby, Johann Zoffany, AngelikaKauffmann, Anton
Raphael Mengs, Joseph Anton Koch, Asmus Jacob Carstens

MODERNISM
The valley of the orange trees, Biniaraix (Majorca) (1901), of Santiago Rusiñol.

Main article: Modernism (art)

In parallel to the architecture .la more outstanding slope of this movement. the
modernism was also developed in painting, arising a remarkable school in
Catalonia, with artists like Ramón Houses, Santiago Rusiñol, Alexandre of Riquer,
Adrià Gual and Joan Llimona, while in a call "posmodernismo" .no to confuse with
the postmodern art, applied to the artistic last tendencies of the XX century and
principles of the XXI one. names like Isidre are Nonell and Joaquim Mir. In the rest
of Europe, the modernist painting was very bound to the world of the design and
the illustration, especially to the cartelismo, artistic new gender to horse between
the painting and the graphic arts, since was based on a design carried out by a
painter or illustrator, to be then reproduced in series. Artists like Alfons highlighted
Much, AubreyBeardsley, JanToorop, FernandKhnopff, etc.

XX century

Fränzi before a carved (1910) seat, of Ernst Ludwig Kirchner, Museum Thyssen-
Bornemisza, Madrid.

Main article: Art of the XX century

The art of the XX century suffered a deep transformation: in a society more

materialistic, more consumista, the art goes to the senses, not to the intellect. They
arose this way the movements of vanguard that sought to integrate the art in the
society, looking for a bigger interrelation artist-spectator, since it is this last one the
one that interprets the work, being able to discover meanings that the artist neither
conocía.27

Avant-garde movement

Main article: Avant-garde movement

In the first years of the XX century the bases of the call art of vanguard were
forged: the concept of reality was questioned by the scientific (the subjectivity of
the time of Bergson, Einstein's relativity, the quantum mechanics) new theories; it
also influenced the theory of Freud's psychoanalysis. On the other hand, the new
technologies provoked that the art changes function, since the picture and the
cinema already took charge of capturing the reality. Thanks to the ethnographic
collections fomented by the European colonialism the artists they had contact with
the art of other civilizations (African, Asian, oceanic) that contributed a more
subjective and more moving vision of the art. All these factors behaved a change of
sensibility that was translated in the search in new expression ways on the part of
the artist.

• Fovismo (1905-1908): first avant-garde movement of the XX century, the

fovismo supposed an experimentation in the land of the color that was conceived in
a subjective and personal way, applying you value him/her moving and expressive,
independent regarding the nature. They highlight Henri Matisse, Albert Marquet,
RaoulDufy, André Derain, Maurice of Vlaminck and Kees Dongen goes.

• Expressionism (1905-1923): arisen as reaction to the impressionism, the

expressionists defended a more personal and more intuitive art, where prevails the
artist's interior vision .la "expression". in front of the plasmación of the reality .la
"impression"., reflecting in their works a thematic one personal and intimista with
pleasure for the fantastic thing, deforming the reality to accentuate the expressive
character of the work. With precedents in the figures of EdvardMunch and James
Ensor, was formed mainly around two groups: Die Brücke (Ernst Ludwig Kirchner,
Erich Heckel, Karl Schmidt-Rottluff, Emil Nolde), and Der BlaueReiter (Vasili
Kandinski, Franz Marc, AugustMacke, Paul Klee). Other exponents were the
Group of Vienna (EgonSchiele, OskarKokoschka) and the School of Paris
(AmedeoModigliani, Marc Chagall, Georges Rouault, ChaïmSoutine). You figure
singular they would be: José Gutiérrez Solana, ConstantPermeke,
CândidoPortinari, Oswaldo Guayasamín, etc. It is usually considered also like a
derivation of the expressionism the group New Objectivity (George Grosz, Otto Dix,
Max Beckmann). In Mexico he/she had their expression in José's muralismo
Clemente Orozco, Diego Rivera, David Alfaro Siqueiros and Rufino Tamayo, and it
influenced in Frida Kahlo work.

Portrait of Picasso (1912), of Gray Juan, Institute of Art of Chicago.

• Cubism (1907-1914): this movement was based on the deformation of the

mediating reality the destruction of the space perspective of Renaissance origin,
organizing the space on the base of a geometric plot, with simultaneous vision of
the objects, a range of colors colds and out, and a new conception of the work of
art, with the introduction of the collage. The main figure of this movement was
Pablo Picasso, one of the big geniuses of the XX century, next to Georges Braque,
Gray Juan and FernandLéger. A derivation of the cubism was Robert's orfismo
Delaunay, as well as the Russian rayonismo, cubisno synthesis, futurism and
orfismo (Mijaíl Larionov, Natalia Goncharova). Equally, the purismo was a
movement poscubista (AmédéeOzenfant, Him Corbusier).
• Futurism (1909-1930): Italian movement that exalted the values of the
technical and industrial progress of the XX century, highlighting aspects of the
reality like the movement, the speed and the simultaneity of the action. The
futurism aspired to transform the world, to change the life, showing an idealistic
concept and something utopian of the art like motor of the society. Giacomo
Highlights Balla, Gino Severini and Umberto Boccioni.28

• Abstract (1910-1932) art: questioned the concept of reality for the scientific
new theories, and with the emergence of new technologies like the picture and the
cinema that took charge already of capturing the reality, the genesis of the abstract
art took place: the artist no longer tries to reflect the reality, but her interior world, to
express her feelings. The art loses all real aspect and of imitation of the nature to
be centered in the artist's simple expresividad, in forms and colors that lack any
component referencial. Begun by Vasili Kandinski, it was developed by the
movement neoplasticista (Of Stijl), with figures as PietMondrian and Theo Van
Doesburg.

• Constructivismo (1914-1930): arisen in revolutionary Russia, it was a

committed style politically that it sought through the art to carry out a
transformation of the society, by means of a reflection on the pure artistic forms
conceived from aspects like the space and the time that generate a series of works
of abstract style, with tendency to the geometrización. They Highlight Vladimir
Tatlin, Lissitzky, AntonPevsner and NaumGabo. A variant was the suprematismo
of KasimirMalevich.

• Dadaism (1916-1922): reaction movement to the disasters of the war, the

Dadaism supposed a radical position of the art concept that loses any component
based on the logic and the reason, claiming the doubt, the chance, the absurd of
the existence. This is translated in a subversive language, where as much the
thematic ones as the traditional techniques of the art are questioned, experiencing
with new materials and new composition forms, as the collage, the photomontage
and the ready-made. They Highlight Hans Arp, Francis Picabia, KurtSchwitters and
Marcel Duchamp.

• Surrealism (1924-1955): with a precedent clearing in the metaphysical

(Giorgio of Chirico, Carlo Carrà) painting, the surrealism put special emphasis in
the imagination, the fantasy, the world of the dreams, with a strong influence of the
psychoanalysis. The surrealist painting moved between the figuration (Salvador
Dalí, Paul Delvaux, René Magritte, Max Ernst) and the abstraction (Joan Miró,
André Masson, Yves Tanguy) .29
Architecture. ......

GOTHIC

It is an architectural style that he/she took their inspiration of the medieval

architecture. It flourished in Europe from the XII century to the XVI one. Their
generating principle was given in the ogival (arches with tip) structure of the vault:
been founded in the principle of the vault by edges or crucería. The Gothic vault
was born of the necessity of to increase the height of the ships and to diminish the
push of the vaults and to distribute the weight well. These results are obtained with
the use of the flying buttresses and the one truncated of the vaults.

With the course of the time they left giving some changes like decrease of the
window width, prevalence of the horizontal one, etc.

They also had differences between the type of construction of the English churches
and the French. The first ones, were carried out with wider and heavier walls,
accented and repetitive molds in the borders, long, narrow and pointed windows,
great longitude of ship central and little attention to the height, asymmetric
conception of the plan of the church, etc. This style was given, mainly, for the
construction of churches and cathedrals.

In front of the churches and monasteries of the románico, said this in the general
way, the Gothic rises, as its work architectural emblemática, prodigious cathedrals
full with light as well as with a great height, being these its technical main
contributions, which are justified in the writings of Pseudo Dionisio Aeropagita,
although a civil important architecture was also developed. Another of
characteristic ssus is that you comencomenzó to free to other plastic arts, as the
painting and sculpture, of their subordination to the architectural support.
Nevertheless, there are also many elements of continuity: this it continues being an
art predominant religious; the monastery like institution hardly varies except in
formal details and of adaptation to new requirements, but its disposition didn't
present variants, and the plant of the churches, for the most part cathedrals, it
continued being predominantly of Latin cross with head in apse guided to the east,
although he/she gets complicated or vary (you plant basilicales, placement of the
transepto in the center, complication of ships, chapels and girolas). Without a
doubt the main element of continuity is the conception intemporal of the work: in
most of the constructions the styles you happens and they are founded to the
rhythm of the centuries, the contemporaries that make a work that they would not
be finished, knowing neither maybe their children or grandsons, but rather the
construction of these constructions implies the work several generations. In many
of them, he/she even puts on in value the audacity to begin a technical or
economic challenge, sometimes for political rivalry that when he/she begins it has
not planned in their entirety the project for what is not known how to culminate him,
it is the case of the cathedrals of Siena and of Florence.

NEOCLASSICISM: (architecture)

To the Classicism that flourished between 1750 and 1830, he/she knows it to him
as Neoclassicism to distinguish it of the classic architecture of old Rome of the
Rebirth.

The Classicism of the XVIII century showed in all the arts and in Europe it
represented a reaction against the last phase of the Baroque that gave the era of
the reason as a result.

This period is characterized by the scale grandiloquence, the organizational very

strict geometry, the simplicity in the geometric ways, the Greek use of details -
Roman, the dramatic use of the columns to articulate the interior spaces and a
preference for the naked walls of ornamentation and the contrast of formal volumes
and textures.

They were discovered, they exploded and they carried out archaeological
investigations of classic places as Italy, Greece and smaller Asia. A style that
possessed nostalgia for the last civilizations was and its intention was to recreate
the order and the reason through the adoption in classic ways.

The emergence of the science of the archaeology gives us the rule of a positive
new attitude towards the past. This way, in this time, a special interest was given in
the Greek antiquity for on the Roman one.

On the other hand, some historians have included the term Romantic" "Classicism
to describe certain aspects of the Neoclassical architecture. This width of the term,
admits the many intents of imitating the Chinese, Moorish buildings, Indians,
Egyptian and of course the Gothic ones.

BAROQUE

The Baroque term, is applied to the European art of the period that he/she goes
from the XVII century by the middle of the XVIII one.

The Baroque art was essentially involved with the dramatic thing and the illusory
thing, with the alive colors, with resources of illumination, with the luxurious and
elaborated materials and with surfaces of contrasting textures that were used to
counteract the sensuality. Through the architecture, they spread the faith in the
state and in the church.

The Baroque, was developed in two different currents in function of the prevailing
religions: the Catholics and the Protestants. The first ones, were given in countries
like Italy, Spain and Portugal. In these places, this style was given in a freer way
and the ways as well as the surfaces were given in a more active way. You
appealed to the spirit through the senses.

The second, were given in Protestant regions as the north of Europe and England.
In this area it was given of a more restricted, sober, refined way and intellectual.

During the period that is given among 1700 1780, they occurred several art
currents post Baroque as Rococó. The vivid colors were replaced by the colors
cake, the diffuse light flooded the buildings and violent reliefs were replaced by
other softer ones stressing certain single points.

MODERNISM

The Origins of the Modernism and Funcionalismo

The best form of interpreting the modern architecture is not to analyze it how a
series of names and tendencies that played a series more or less related of events
or influences, but how the result of social, economic and cultural demands that
you/they were given in a moment given in different countries united by the same
development grade, where the media played an important list.

Around the 90 they will appear in the western main cities some movements that will
value the new and original and that they will put emphasis in the form (the
decoration and the ornamentation). They are even movements that oppose you to
the historicismos, to the eclecticism. In this sense they are the first ones that
renovate, the first ones "modern." They don't have a defined, alone language it is
known that they want to break up with the degraded academicism that Europe
dominated.

These movements receive the general name of modernisms, although taking many
forms and names according to the different countries in whose capitals the work of
the modernist architects will be centered.

The modernism is developed between 1890 and 1910 and its algid moment it is
from 1893 to 1905. The modernism will be a movement that, being very
ornamental, it will impact in the architecture. Another feature is that it is an
international movement and that he/she spreads very quickly, as if the artists are
wanting that he/she appeared. The modernism, cheerful and colorful art,
corresponds in the history with a moment without wars, of social peace.

When you began to consolidate Art's period Noveau, the concept arose inside the
modern architecture FUNCIONALISMO that left assimilating until to the point of
being inseparable inside the modern architecture. This concept is based on the use
and adaptation of the material means in utilitarian or functional ends that however
can be considered as measure of technical perfection, but not necessarily of
beauty.

The theories funcionalistas take like basic principle the strict adaptation in the way
to the purpose or "the form continues to the function" that is the basic beauty; but
that it is not incompatible with the ornament that should complete the main
condition of justifying its mediating existence some tangible or practical function,
since is not enough to delight visible, but rather it should also articulate the
structure, to symbolize or to describe the function of the building, or to have an
useful purpose.

Summarizing in the words of G. Dorfles, is functional "that constructive system on

that the employment of the materials agrees always with the economic and
technical demands in the achievement of an artistic result. When saying functional
architecture it is wanted to indicate, because, that architecture that achieves, or
he/she makes an effort to achieve, the union of the useful thing with the beautiful
thing that doesn't only look for the beautiful thing forgetting the utility, and vice
versa."

The peak of the funcionalismo inside the modern movement is due to that became
in an alternative to the traditional repertoire that was disabled in responding to the
new necessities of the society; and mainly its diffusion was due to that the
funcionalismo is a very favorable style inside the real estate industry that was
desvirtuando the progressive contributions of characters like Gropius, Harvest and
Him Corbusier, substituting them for a language that guarantees a better efficiency
in the production of supports for the massive consumption, being adapted the
economic demands. In the period among wars, and especially he/she made 1920,
the Modern mature movement with the works of Him Corbusier and the foundation
of Bauhaus that are considered as the "Classic" period. Parallelly to this different
tendencies that have the same starting point arise - the rejection to the tradition -
and that they come from cubist theories: Dutch Neoplasticismo, Russian
Constructivismo, and the Rationalism Franco - German.

The Rationalistic movement, through the resolved adoption of the theories

funcionalistas, responds to the fundamental problem of the divorce among the art
and the technique that it provoked the Industrial, or said Revolution in another way,
the lack of adaptation of the artist to the new methods of industrial production
caused by the connection lack with the life of the community.

Main Representatives of the Modernism

Ludwig harvest goes der Rohe (1886-1969):

German, nationalized American architect. A teacher's bricklayer son, was three

years associated to the architect Behrens, and the synthesis among the
industrialism and the neoclassicism that this represented he had enormous
influence in his formation.

Of the first years of the postwar period it dates their truly original contribution,
reflection of the restlessness of Berlin of then. Their first project revolutionary was
a house of floors dedicated to offices (1922), in armed concrete and facade of
continuous strip of windows, topic that he/she appeared this way for the first time
and to the one that so much must appeal the modern architecture. In this same
time from Berlin he/she adhered to the Group of November and it built the
monument to K. Liebknecht and R. Luxemburg (destroyed by the Nazi).
Of 1929 one of their works teachers, the German pavilion of the International
Exhibition of Barcelona, dates it structures of slight stanchions of chromed steel
that it sustained a concrete iron and it constituted an incomparable example of
perfect modulation of the space; in their interior, concisely furnished by Harvest, it
figured the call seat Barcelona. Of similar characteristics it is the most important
housing built by him in Europe, the House Tugendhat (1930), in Brno
(Czechoslovakia).

This same year, and to instances of Gropius, it passed to direct Bauhaus in

Dresden and Berlin, until the Nazi pressure was made intolerable. In 1937, before
the growing difficulties that the Nazi régime, then prevailing in Germany, it put to
their professional activity, it emigrated to the USA and it carried out in Chicago
architecture professor's position up to 1958 in that he/she retired to the private
exercise of their profession.

It urbanized the university city of this city (1939) and it built diverse buildings of the
same one, hermetic cubes of symmetrical facade, standardize as for the
established scale and to their significance.

Other examples are: the sky-scrapers of Lake Shore (Chicago, 1950), of austere
elegance; the building Seagram (New York, 1958), brass prism and glass that
he/she rises on right feet of two floors; the project for Convention Hall of Chicago
(1953), conceived in the facade like game of metallic triangles and in their interior
as a room free of pillars, with capacity for 50.000 people.

Their clean and simple architecture, where the radical perfect ordination. of the
structure it produces an extraordinary flexibility of the space, dilated by a skilled
disposition of the flat elements, walls, roofs and adornments acristalados, it
outlined the relationships between architecture and technology in a much more
way.

Him Corbusier, Charles-ÉdouardJeanneret, (1887-1965):

Him Corbusier probably constitutes the completed paradigm in the "teacher of the
modern" architecture. This not only owes you to the force and originality of their
production but - and maybe stiller - to their permanent action like propagandist and
polemic difusor of their principles. At the same time, the almost messianic
emphasis that put in all their proposals as well as the clearly normative character of
those they have transformed it into one of the parents of the modern movement in
the one that exercised the most powerful influence without a doubt on their
contemporaries and envelope the later generations.
He/she was born in Chaux of Fonds, Switzerland, in 1887, as Charles
ÉdouardJeanneret. After their first studies in a school of graphic arts of the place, it
builds their first houses in the region and he/she carries out a trip of studies for
Europe. After working with Peter Behrens you resides in Paris. There he/she is
devoted to the painting and together with their friend painting Ozenfant Aprés
throws him/her Cubisme, the manifesto fundacional of the purismo. Together they
also found the magazine L'EspritNouveau. Starting from 1922 he/she associates
with their cousin Pierre Jeanneret and, he/she settles down in their famous study of
35 Rue of Sèvres, and it begins their more productive period, the one understood
among both wars. The year following publicaVers Architecture, summary of its
articles of L'EspritNouveau unites.

In this fertile time they are happened the series of the prototypes Citrohan, the
project of VilleContemporaine for 3 million inhabitants, the Pavilion of
L'EspritNouveau with the cell of the "Inmeuble-village" and the Plan Voisin for the
Center of Paris, the series of houses in the region of Paris that Savoie and the
projects culminate with celebrated Ville for the competitions of the League of the
Nations in Geneva and Palacio of Soviets. Their growing interest also begins in this
period with the urban plans for existent cities, being happened the studies for San
Pablo, Río de Janeiro and Montevideo (1929), Geneva, Antwerp and Stockholm
(1933), Argel (1930/34) and Buenos Aires (1938-39). It participates also - as
charter member - in the meetings of CIAM (International Congress of Modern
Architecture). He/she also receives responsibilities like the Swiss Pavilion for the
University City of Paris and the headquarters of the Army of Salvation, in the same
city.

During Second World War it is confined in the south of France being devoted to
paint and to write. In 1943 it publishes the Letter of Athens, based on the
discussions of the fourth Congress of CIAM, which transforms into one of the basic
texts of the modern urbanism.

After the war, Him Corbusier concentrates on the plans of reconstruction of cities,
working in 1945/46 in two plans for Saint-Dié and Rochelle. Simultaneously it
develops for the French Ministry of the Reconstruction the concept of
L'Unitéd'Habitation that reaches their concretion in Marseilles (1947), and later on
in Nantes, Berlin, Meaux and Briey in Forét. In these pavilions, the author applies
the approaches of his Modulor, system of metric and proportional relationships
based on the man's measures that he came developing from the years of the war.

These buildings - with their pleasure for the concrete "laissez brut" - they constitute
the turn point toward the varying "brutalista" that will impregnate the author's
architecture starting from the years '50, jointly with a poetic intense manifesto
setting in the game of the volumes. This is evidenced in works as the chapel of
Notre you Give me du Haut of Ronchamp (1950), the convent of Sainte Marie of
Tourette three years later and the series of public buildings for Chandigarh, the
new capital of Punjab, for which also projected Master Plan. This insert in India
allows him/her also to sum up a series of housings unifamiliares - Shodan and
Sarabhai among other - and the Museum of Ahmedabad.

Already in the decade of the '60, after two urban projects for the reconstruction of
the center of Berlin and for the Electronic Center Olivetti near Milan, Him Corbusier
concentrates on the project for the Hospital of Venice, which is unconcluded when
the death surprises him swiming in Cap Martin August 27 1965.

Frank Lloyd Wright:

Wright studied for engineer in University of Wisconsin in Madison (1885-1887). At

the same time, he/she already worked with D. Conover and Joseph L. Silsbee
before entering, in 1888, in the office of Dankmar Adler and Louis Sullivan, where
he/she was in charge of mainly of buildings for housings and he/she speculated
with becoming independent soon. Already in 1889 it mounted a study in Oak Park,
a neighborhood of Chicago.

In 1893 it formed society with Cecil Corwin until opening their own office (1896). In
1894 he/she gave beginning, with WinslowHouse of RiverForest, lllinois, to the
series of the calls Houses of Prairie whose characteristics gathered in "TO Home in
to Prairie Town", an article published in the magazine Ladie's Home Journal
(1900). WillittsHouse of Highland Park, in Illinois (1901-1902), and Martin House of
Buffalo, in New York (1904), is typical example of these isolated houses, integrated
in the landscape, with salient roofs, fringes of horizontal windows and free design
around a central chimney. There it built a building of offices with air conditioning,
Larkin Building (1904-1905), with floors of open galleries around a discharge salts
central, to the one that followed a concrete construction, Unity it Tempers of Oak
Park, in lllinois (1904). You work teachers of the Houses of Prairie they were
RobieHouse of Chicago (1906-1910) with a rhythm originated by the fine irons of
the roof that stand out horizontally, as well as CoonleyHouse of Riverside, in Illinois
(1907-1908).

In 1909 he/she left to their family and it traveled through Europe, where, through an
exhibition of their work in Berlin (1910) and of the publication "Works and designs
carried out by Frank Lloyd Wright" he/she transformed into one of the important
instigators of the European architecture.

Again in United States, he/she gave birth in 1911 to the community of Spring
Green in Wisconsin, where constuyó the House "Talliesin" that burned three times
and that Wright always built again again. Between 1915 and 1922 it built with
Antonin Raymond the Hotel Imperial of Tokyo, using new construction principles
against earthquakes. Appealing to ornamental reasons of the Mayan culture,
imposing and closed BarnsdallHouse of Los Angeles (1917-1920) built. The
prefabricated concrete pieces, the "textile blocks" - developed by Wright - it used
them in MillardHouse of Pasadena (1921-1923).

In a phase of few responsibilities it summarized their concept of the low urbanism

the title "Broadacre City", (1932) a model of flat city inhabited by motorized men.
One of their brilliant works is the House "Fallingwater" in (he/she Marries of the
Cascade) Pennsylvania (1935-1939), built in a rock on a waterfall. With the call
UsonianHouse, and keeping in mind the economic world crisis, Wright
development a new house type lowers and cheap that carried out in diverse
variations. Usonia was for synonymous personal United States of Wright.

For the chemical company S. C. Johnson & they are it elaborated in Racine,
Wisconsin, between 1936 and 1950, an administrative complex, closed toward out
and inside with concrete pillars in mushroom form, as well as a tower-laboratory
with covered with glass (1944-1950). Then Price erected Tower of Bartlesville, in
Oklahoma (1953-1956), its high only building. Wright used original forms in the
hairspring of Solomon R. Guggenheim Museum of New York (1956-1959) and in
BethSholomSynagoge in Philadelphia (1958-1959), a built building with steel, glass
and plastic matter.

It designed more than 800 buildings and, in numerous articles and publications, as
those of the magazine Architectural Record that titled "In the Causes of
Architecture", as well as in the books WhenDemocracyBuilds (1945), TheFuture of
Architecture (1953) and The Living City (1958), formulated its ideas of an organic
architecture in some democratic United States.

Main Works Architectural Modernists

• Tony Garnier

Industrial City: In this vast creation, conceived in armed cement with aesthetic and
social sense, they appear latent all the ideas of the modernist architecture.

• Henri Sauvage

He/she marries staggered: Of Babylonian type of transcendency urbanístico

adopted in big cities and sky-scraper.

• Auguste Perret
Garages of the street Ponthieu: Of great purity and elegance in the armed cement.
The free, elastic first plans appeared.

Churches of Raincy and of Monmagny, room of concerts of the street Cardinet and
the building of Technical Services of Marina in Paris and reconstruction of Havre:
That they always express their hefty personality of great artist and teacher of
works.

• Walter Gropius

Factories Fagus and Fabrik in the exhibition of Werkbund (1910): They are
examples of constructive innvaciones with internal pillars and flown floors.

Palacio of the Occupations of the Exhibition of the Colony: Abolition delas angular
pilasters and to the reduction of the walls wing function protector

Building of the neighborhood Siemensstadt

• Him Corbusier

Villa Savoie in Poissy: Considered a work of art in their style

Hospice of the Army of Salvation: They are the Swiss most advanced Pavilion

Palacio dela Society of Nations in Geneva: Notable many low concepts

Brazilian pavilion in Paris: He/she looked for to make it the most functional and
rigorous thing possible, adapted to the characteristics of the urban life.

Villa Shadan. The cement cornices protect the housing of the solar strong
exhibition.

Notre Gives me du Hant. It possesses clarity of lines of the rationalism, it escapes

to the geometric thing and it seems a curtain arising of a hill.

• Freyssinet

Palacio of Soviets: Celebrated project in that an elegant parabolic arch of armed

concrete suspends part of the construction

Centrosoyús of Moscow: Project to great scale based on their ideas urbanísticas.

• Davos

Sanatorium Schatzalp: The roof-roof was inaugurated.

• Lloyd Wright:
Museum in form of hairspring tower: Where their sovereign freedom shows to
manage the space forms rationally.

Residences like Isabel Roberts House in Riverforest;SuntopHouse and their

celebrated FallingWater: They are model unpublished of logic and of architectural
poetry

Kauffman Marries in Bear Run: Famous well-known as the "house on the cascade"
construída on a natural cascade, where it combined with perfect balance the
armed concrete and the stone.

Robie Marries: he/she called them house of the prairies in allusion to their interest
to bring near the man wing external nature, to use natural materials

• Lucio Costa and Niemeyer

Brasilia: This takes to the print of the influence of Him Corbusier.

• Harvest Van Der Rohe

Villa Tugendhat: Refinement in the terminations and election of the materials

Institute of Illinois: Carried out in USA after their abandonment of Germany

SeagramBuilding: Of thirty eight plants that it highlights for their quality in the
history of the North American sky-scrapers. It is built in glass gray-amber and
brass and he/she relies on a basement rosy granite.

Pavilion for the international exhibition of Barcelona: Fact in travertino, gray glass,
green marble and columns of chromed steel. They flanked it two had pools of black
marble. This attention for the beautiful material, together to the elegance and purity
of the lines, characterizes its production.

• Terragnini

Villa Blanca: Characterized by their volumetric elegant simplicity

Novoconum. First realization of the Italian rationalism