Architecture style
- 2. Modernism & postmodernism in architecture
- 4. Modernism • Modernism is a philosophical movement that along with cultural trends and Changes, arose from wide-scale and far-reaching transformations and western society in the late of 19th and early of 20th century the term is often applied to a modernist movement at the turn of the 20th century.
- 5. Influential architects • Notable architects important to the history and development of the modernist movement include: • Ludwig mies van der roe • Le Corbusier • Walter Gropius • Erich Mendelsohn • Frank lipoid wright • Louis Sullivan • Gerrit riveted • Bruno taut • Arne Jacobsen • Oscar Niemeyer • Alvar Aalto
- 6. Context • Modern architecture developed as a result of social and political revolution others see modern architecture as privately driven by technological and engineering development still Are there historians regard modernism as a matter of taste a reaction against eclecticism and the lavish stylistic existence of Victorian and Edwardian architecture. • With the Industrial Revolution the availability of newly available building materials such as iron steel and sheet glass drove the invention of new building techniques.
- 7. Modernism Styles • Chicago School • Expressionism • New Objectivity • International Style • Functionalism • Constructivism • Essentialism • Brutalism • Metabolism • High-Tech
- 8. Chicago School Region: United States Period: 1880s to 1900s Characteristics: Steel frame; Rectilinear façades; Cuboidal form; Height; Classically derived decoration Burnham & Root (main designer Charles Atwood), Reliance Building, Chicago, 1890–94 Adler & Sullivan, Guaranty Building, Buffalo, New York, 1894–5
- 9. Expressionism Region: Germany and the Netherlands Period: 1910s to mid 1920s Characteristics: Expressive forms; Modern building types; Naturalism; Dynamism; Functionalism; Monolithic materials Fritz Höger, Chilehaus, Hamburg, Germany, 1922–4 Peter Behrens, Hoechst Dye Works, Frankfurt am Main, Germany, 1920–25
- 10. New Objectivity Region: German Period: Mid 1920s to mid 1930s Characteristics: Rectilinearity; Rationality; Steel, concrete and glass; Planar surfaces; Industrial mass production; Continuous blocks Walter Gropius, Bauhaus, Dessau, 1926
- 11. International Style Region: Initially Europe, later worldwide Period: 1930s to 1950s Characteristics: Volume; Steel, concrete and glass; Dematerialization; Free plan; Pilot; Universality Le Corbusier, Villa Savoye, Poissy, France, 1928–31
- 12. Functionalism Region: Europe, especially Germany and Scandinavia Period: 1930s to 1960s Characteristics: Techno-fetishism; Radicalism; Local materials; Irregular plan; Fundamentalist forms; Starkness R. Buckminster Fuller, Montreal Biosphere, 1967 Stirling and Gowan, University of Leicester Engineering Building, Leicester, England, 1959–63
- 13. Constructivism Region: Soviet Union Period: 1920s to early 1930s Characteristics: Revolutionary; Abstraction; Industrial buildings; Social programmed; New building types; Traditional construction Aleksandr and Victor Venin, unrealized project for the Leningrad Pravda, 1924 Konstantin Melnikov, Melnikov House, Moscow, 1927–31
- 14. Essentialism Region: United States Period: 1910s to 1970s Characteristics: Spirit; Organic; History; Communality; Abstraction; Monumentality Louis Kahn, National Assembly Building, Dhaka, Bangladesh, 1962–75
- 15. Brutalism Region: Britain Period: 1950s to 1960s Characteristics: Sculptural; Raw concrete; Streets in the sky; Urban; Anti-slab; Destruction Denys Ladson, National Theatre, London, 1967–76
- 16. Metabolism Region: Japan Period: 1950s to 1970s Characteristics: Corbusier in hence; Modular; Monumentality; Japanese tradition; Unresolved; In hence Kenzo Tinge, Peace and Memorial Museum, Hiroshima, 1949–55
- 17. High-Tech Region: International Period: 1970s to 1980s Characteristics: Technophilic; Industrial aesthetic; Exterior services; Innovative circulation; Wide-span interior spaces; Exposed structure Richard Rogers Partnership, Lloyd’s Building, London, 1978–84 Ramshaw Architects, Financial Times Printworks, Docklands, London, completed 1988
- 18. After Modernism • Regionalism • Postmodernism • DE constructivism • Eco-architecture • Expressive Rationalism • Contextualism
- 19. Regionalism Region: International Period: 1960s to present Characteristics: Inventive forms; Mood; Climate; Identity; Local typologies; Purity Oscar Niemeyer, Plaza of the Three Powers, Brasília, Brazil, 1958
- 20. Postmodernism Region: International, especially in the United States and Britain Period: 1970s to early 1990s Characteristics: Fragmentation; Architecture as image; Complexity; Contradiction; ‘Camp’; Veneer-ism Hans Hollein, Städtisches Museum, Mönchengladbach, Germany, 1972–82
- 21. DE constructivism Region: International Period: 1980s to early 1990s Characteristics: Layering; Metaphor; Fragmentation; Sculptural; Intertextuality; Flowing curves Frank Gehry, Guggenheim Museum, Bilbao, Spain, opened 1997
- 22. Eco-architecture Region: International Period: 1970s to present Characteristics: On-site energy generation; Green roof; Traditional materials; Adaptation of local forms; New technology; Beyond architecture futuristic structure. Toyo Ito, Kaohsiung National Stadium, Kaohsiung, Taiwan, completed 2009
- 23. Expressive Rationalism Region: International Period: 1990s to present Characteristics: Complexity; Bigness; Cross-programming; Relativity; Seclusion; Iconic Herzog & de Neuron, National Stadium (‘Bird’s Nest’), Beijing, China, 2003–8 OMA, Seattle Central Library, Seattle, 1999–2004
- 24. Contextualism Region: International, especially Europe Period: 1960s to present Characteristics: Poetic; Neo-urbanist; Neo-Rationalist; Neo-universalist; Re- interpretation; Layering Mario Botta, Casa Rotonda, Stabio, Ticino, Switzerland, 1980–81
- 32. Influential architects • Some of the best known and influential architects in the post modern style are: • Aldo Rossi • Barbara Beelike • Ricardo refill • John burgee • Terry Farrell • Micheal graves • Helmut john • Philip Johnson • Frank Gehry
- 40. CRITICAL REGIONALISM • An approach to architecture that strives to counter the blamelessness and lack of meaning in Modern Architecture by using contextual forces to give a sense of place and meaning. • It was based on Phenomenology • The term critical regionalism was first used by Alexander Toni's and Liane LeFevre and later more famously and pretentiously by Kenneth Frampton in "Towards a Critical Regionalism: Six points of an architecture of resistance." • Regionalism is an idea stuck to vernacular, and Modernism is about total newness
- 43. METABOLISM: A special place in the history of structuralism takes metabolism, named after a group of Japanese architects working under the direction of Kenzo Tinge. In 1960, Tinge presented the plan to build a new neighborhood on artificial islands and the footbridge stretched over the bay near Tokyo. The plan resembles a tree trunk from which branches sprout leaves covered with residential buildings - and this is the essence of metabolism, binding individual living spaces with the "bloodstream" of infrastructure and communications.
- 44. The same concept was realized in one of the few metabolic buildings - Nag akin skyscraper in Tokyo (Kisha Kuroki, 1972), in which the capsule housing are attached to the stem of the building as a Brussels sprouts. These self-contained steel capsule can be mounted to the supporting structure in a way that enables them to exchange and move, and therefore almost any conversion of the building. This is consistent with the Buddhist vision of continuous volatility of the world.
- 45. the concept of geodesic domes designed by German engineer Walther Bakersfield. This ideal, geometric form has become synonymous with universe, a symbol of Earth and inspired eco-architect, who has repeatedly tried to create visions of the environment independent of the vagaries of climate. These visions were not realized, but the Biosphere has become a symbol of modern architecture, and its example is the roof of the Golden Terraces next to Warsaw Central Station.
- 46. CHARACTERISTICS OF METABOLISM STYLE: • 1-organic urban design and reconstruction • 2-recycling • 3-organic growth and change • 4-prefabrication • 5-expansion and constriction based on need • 6-mega structure infrastructure • 7-attachable/ detachable substructure • 8-replachable units (cells or pods), sustainability
- 51. Memphis design style Introduction The Memphis Group was an Italian design and architecture group founded in Milan by Ettore Sot sass in 1981 which designed Postmodern furniture, fabrics, ceramics, glass and metal objects from 1981 to 1987. The Memphis group's work often incorporated plastic laminate and was characterized by ephemeral design featuring colorful decoration and asymmetrical shapes, sometimes arbitrarily alluding to exotic or earlier styles.
- 52. 0rigins On December 11, 1980, Ettore Sot sass organized a meeting with designers, and in 1981 formed a design collaborative named Memphis. The name was taken after the Bob Dylan song "Stuck Inside of Mobile with the Memphis Blues Again" which had been played repeatedly throughout the evening's meeting. They drew inspiration from such movements as Art Deco and Pop Art, including styles such as the 1950s Kitsch and futuristic themes. The group produced and exhibited furniture and design objects, annually from 1981 until 1988. The result was a highly acclaimed debut at the 1981 Salone del Mobile of Milan, the world's most prestigious furniture fair
- 53. Building Examples Of Memphis Group Style
- 54. Deconstruction
- 55. Definition • Deconstruction, says Eisenman, is slippery, speculative and difficult. For 400 years it sought to overcome nature, now it has to try to symbolize the overcoming of knowledge. Deconstruction looks for “the between” – the ugly within the beautiful, the irrational within the rational – to uncover the repressed, the real resistant, cut into textuality and displace the system, so that only now does he see his truly Deconstructionist projects emerging, in projects that tackle “the between,” bring out the unease, creating an architecture for alienated man much the way Edvard Munch had in painting.
- 56. Goals of deconstruction DE constructivism attempts to move away from the supposedly constricting rules of the modernism which are : • Form follows function • Purity of form • Truth to materials
- 57. How and when did it start? Two event defined the start of deconstruction: • The first was a one-day symposium on the theme held at London’s Tate Gallery in early April, 1988. • The second was the exhibition “DE constructivist Architecture,” which took place at New York’s Museum of Modern Art a few months Later.
- 58. Derrida thought on deconstruction architecture • First Derrida proposed that deconstruction cannot be considered an architectural metaphor , due to deconstruction not being simple case of dismantlement but an affirmative, positive approach despite deconstruction’s first impression • Derrida himself displaced his earlier opinion on deconstruction, where he rejected the connection between deconstruction and architectural thought as he explains “When I first met, I won't say "deconstructive architecture'; but the deconstructive discourse on architecture, and I was rather puzzled and suspicious. And then — as I have explained somewhere- then I realized that on the contrary, the most efficient way of putting deconstruction to work was by going through art and architecture”
- 59. • Derrida explains how deconstruction works in architecture as he says :"When you have deconstructed some architectural philosophy, some architectural assumptions for instance, the hegemony of the aesthetic, of beauty, the hegemony of usefulness, of functionality, of living, of dwelling. But then you have to then rein scribe these motifs within the work. You can't simply dismiss those values of dwelling, functionality, beauty and so on... Deconstruction is not simply forgetting the past“
- 60. Derridean deconstruction architecture • Different architects perceive deconstruction differently compared to each other. Looking at architects, Peter Eisenman and Bernard Schum, who have collaborated with Derrida, and Frank Gehry's deconstruction, one can establish how they interpret deconstruction differently. • Schum view for deconstruction is obvious in his project Parc de la Valette : he tried to prove that complex architecture does not need to follow the architectural traditional rules. Schum deconstructed the brief, which questioned and challenged the ideology of the brief itself. He would dissemble the conventions of architecture by exploiting the concepts that originated from architecture, and also elements such as literacy, philosophy and cinema.
- 61. • Peter Eisenman view for deconstruction is perceived in an interview which he says : "I want to correct your phrase "deconstructionist work': lam not certain that my work is Deconstructionist. "Eisenman rejected the idea of deconstruction being a style within architecture. He believed that deconstruction was not something that was associated as a style but to do with ideology. "I think the minute the deconstruction becomes a style and fashion is when we will all be able to attack it. Prior to the show it has not been a style or fashion, it has been a way of working. I think deconstruction is a process, which could have many styles.
- 62. Noneroding deconstruction architecture • Frank Gehry would argue that architecture is real and solid; therefore the philosophical connection with Derrida's and his texts of words should be rejected. • Eisenman expresses his opinion on difference between his work and the others and he says : "Frank's work is about fragmentation and fragmentation is not deconstruction. Frank throws pieces around and fractures the structure, but basically he is talking about a nostalgia for the lost whole. My work is not about a nostalgia for the lost whole. has always pushed outside the metaphysics of architecture; that is, to shelter, to enclose, to occupy etc. if you do not maintain these then there is the destruction and not the deconstruction of architecture. I think that Zaha also operates with the metaphysics of architecture, although she might not say it that way. That would be the difference between us and Daniel and Frank Gehry"
- 63. Characteristics • Layering • Metaphor • Fragmentation • Sculptural • Intertextuality • Flowing curves
- 64. Folding
- 65. Definition • Is the architectural response to complex and disparate cultural and formal contexts, operating neither by conflict and contradiction as Deconstruction nor by unity and reconstruction as Neo-Classic ,New- Modernism and Regionalism. Etymologically relating complexity with pliancy, the architecture of the fold is considered a cunning tactic for intensive integration of difference within a heterogeneous yet continuous system, working beyond addition by smooth layering, a concept demonstrated with analogues from geology as mineral sedimentation, and culinary mixing techniques.
- 66. Greg Lynn role in folding Greg Lynn, who in 1993 edited the special issue of Architectural Design entitled “Folding in Architecture,” seized upon this idea as the centerpiece of his theoretical agenda. A former student of and assistant to Eisenman, Lynn viewed geometry as a key to generating new form, which for him was closely bound with the new digital software that made possible the precise representation and calculation of complex forms, as well as the ability to manufacture them directly from the digital drawings
- 67. Preston Cohen role in folding Still another student of Eisenman, Preston Scott Cohen, extends these ideas by applying them to the disciplinary geometrical frameworks and operations of Eisenman’s early houses. Cohen’s language is not derived from historical excavations or fabrications but through architectural operations: slicing, pulling, bending, and distorting architectural form in response to programmatic concerns. Cohen, who also took a studio under Daniel Liebe kind at the Harvard Graduate School of Design, likens his strategy to the linguistic manipulations of the Renaissance and Baroque, where the architectural style itself guaranteed intelligibility while at the same time allowing a skilled architect to create deformations and subtle distortions for the initiated
- 68. Characteristics : • The fold : the infinite work in process ,not how to conclude but how to continue , to bring to infinity. • The inside and the outside : the infinite fold separates or moves between matter and soul, the façade and the closed room, the inside and the outside. • The high and the low : being divided into folds ,the fold greatly expands on both sides thus connecting the high and the low. • The unfold: not as the contrary to the fold but as the continuation of this act. • Textures : as resistance of the material, the way a material is folded constitutes its texture . • The paradigm: the fold of the fabric must not conceal its formal expression.
- 69. Blobitecture ( blob architecture) • Definition: influenced by complexity in architecture and science-fiction alien movies Blobitecture , It’s a word to describe the buildings with curved and rounded shapes.
- 70. • Historical Background: The term 'blob architecture' was coined by architect Greg Lynn in 1995 in his experiments in digital design with meta-ball graphical software. Soon a range of architects and furniture designers began to experiment with this "blobby" software to create new and unusual forms. • Description of the blobs: The blob is all surface, not pictorial or flat, but sticky, thick, and mutable. blob is a gelatinous surface with no depth per se; its interior and exterior are continuous. These blobs are neither singular nor multiple since they have no discrete envelope. I Essentially, a blob is a surface so massive that it becomes a proto-object. Gelatinous organisms, like fluids, have no internally regulated shape, but depend on contextual constraints or containment for their form. Although they have minor shaping forces such as surface tension and viscosity, they possess neither a global form nor a single identity.
- 71. Characteristic of the blobs: • Blobs possess the ability to move through space as if space were aqueous. Blob form is determined not only by the environment but also by movement. • Blobs can absorb objects as if they were liquefied. These incorporated objects float in a deep surface without being ingested into an interior cavity. Often, ingested masses become individuated organs in a larger mutant whole, • The term blob connotes a thing which is neither singular nor multiple but an intelligence that behaves as if it were singular and networked but in its form can become virtually infinitely multiplied and distributed.
- 72. • Lynn thoughts on Blobitecture in 2002: Although blob architecture "lacks the elegance, rigor and beauty that comes from modules, proportions and symmetry," Lynn says, "in due time, the blob architects will discover a new form of beauty and elegance in the voluptuous, rhythmic and undulating forms of the differential calculus."
- 73. Architects • Frank Gehry • Zaha Hadid • Norman foster • Jan kolacky • Massimiliano Fuksas • Peter kinsman
- 74. Built examples Guggenheim museum. Bilbao, Spain by Frank Gehry The sage gateshead. New castle UK by Norman foster
- 75. Sustainable architecture • Introduction During the 1960s and 1970s the construction industry often used materials or methods that inflected harm or destruction to their surroundings because of this negative impact individuals or groups took up initiatives to promote more eco friendly types of construction. Because of these initiatives sustainable architecture was born.
- 76. Historical background In the beginning of 1990s the concept of sustainable development defined as social, political economic development that meets the needs of present without compromising the ability of future generations to meet their own needs as a way to reach a better quality of life for all societies & simultaneously preserve the natural environment.
- 77. Materials used • Natural and renewable materials for example concrete, harvested wood, rock, recycled materials like glass. This style focuses mainly on how the energy is used for the structure and how conserve it. This is done when the building has excellent insulation & uses shades as passive building coolers. It mostly relies on solar energy &alternative energy sources. Main focus Advantages Cost saving, benefit to the environment, innovation…act
- 78. Architects Buckminster fuller Norman foster Anna margarita Brenda and Robert vale
- 79. Built examples The crystals. London UK One angel square. Manchester
- 80. References • Architectural styles a visual guide by Owen Hopkins • Deconstructivity Architecture • Sustainable Design Ecology Architecture and planning by Daniel E. Williams, FAIA • Eco-ARCHITECTURE harmonization between architecture and nature • Folds, bodies and blobs: collected essays Greg Lynn • Metabolism by Penny Lewis • ThoughtCo.com • BuildingDesign.com • Wikipedia • Historiasztuki.com (fine arts site World Museum)