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Download THE MODERN ERA IN ARCHITECTURE Between two centuries
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THE MODERN ERA IN ARCHITECTURE Between two centuries The beginning of the twentieth century in Britain marked the start of a new century, but the closing years of the Victorian era. Two architectural styles were dominant at the time: Classical and Gothic architecture. Classical architecture is inspired by ancient Greece and Rome. Gothic architecture in Victorian Britain was not Gothic in its strictest sense, but a romanticised revival of the medieval style of Gothic architecture, popularised in medieval France. Examples of Victorian Classical architecture include in Buckinghamshire and of Victorian Gothic architecture include the former Midland Grand Hotel and St Pancras Station in London. Over time the popularity of architectural styles will change and fresh styles begin, partly as a reaction to pre-existing styles. In this way styles such as the Arts and Crafts Movement became established in Britain. Originating in the latter half of the nineteenth century the Arts and Crafts Movement focussed on aesthetics and craftsmanship and was a reaction to increased mass production and a perceived decline in the decorative arts. A leading light of the movement was designer William Morris. Although inspiration for the Arts and Crafts Movement came from medieval design, it was a much simpler interpretation unlike the very severe Victorian Gothic style. Classical, Gothic and Arts & Crafts architecture all drew influence from historic styles of architecture. However, towards the end of the nineteenth century the Art Nouveau movement broke this trend of looking back. Art Nouveau did, like the Arts and Crafts Movement, focus on high quality craftsmanship but it also looked for inspiration elsewhere. Art Nouveau drew inspiration from nature with curvilinear forms and design motifs based on stylised plants and flowers. The Early 20th Century Architecture of the early 20th century is notable for radical new types of steel-and-glass buildings – particularly skyscrapers – and the widespread use steel-reinforced concrete. The steelframed skyscraper was pioneered in Chicago in the 1880's, but did not become widespread until the first decades of the 20th century. As construction techniques were refined, skyscrapers became higher and higher; for example the Empire State Building of 1929-1931 has 102 storeys. Many buildings of this period were constructed from lightweight concrete slabs, which could be supported by cantilever beams or by pilotis (stilts), as in the Villa Savoye. The early 20th century also produced a great variety of architectural styles. Despite their diversity, the styles of this period generally had one thing in common: they were completely new, with few links to past architectural styles. This originality is in marked contrast to 19th century architecture much of which was revivalist. Modern Buildings Architecture since about the 1950's is generally known as modern architecture. One of its main influences had been functionalism – a belief that a building's function should be apparent in its design. The Centre Georges Pompidou and the Honk Kong and the Shanghai Bank are functionalist buildings. In the 1980's some architects rejected functionalism in favour of post-modernism in which historical styles – particularly Neo-Classicism – were revived, using modern building materials and techniques. Contemporary architecture in Britain was dramatically influenced by early 20th century modernist thought from continental Europe, but this in turn has roots in a philosophy of architecture propounded in the mid 19th century by Pugin and Morris, and later by Voysey and Mackintosh. It was their preoccupation with `honesty' in architectural form and details, that found itself transposed into the functionalism propounded by Gropius and the theoreticians of the Bauhaus. All these Modernist styles reflected advances in industry and engineering and used developments in construction and materials the use of metals, glass and concrete - to revolutionise architectural design and produce some exceptional buildings. BRITISH ARCHITECTURE IN THE 20TH CENTURY Great movement in British architecture was in the years 1920-1929 and the outstanding fugure of the time was Sir Edwyn Lutyens. Only from 1955-1965 architecture became more modern and large-scale. Garden cities, flats, housing estates and new towns were the chief means housing a rising population in the 20th century. The aim was to create a new centre of population in a planned housing area with amenities such as, churches, shops, etc. and produce a self-supporting community in a rural area. After 1930 congestion in large cities led to build flat accommodation in order to solve housing problems. After World War II the main idea was the new town: a town centre with large shops, car parks, culture buildings and schools. FOUR CONTEMPORARY WORLD-WIDE ARCHITECTS Read about the four following architects and then answer the questions below LE CORBUSIER Le Corbusier was the most important, influential and Famous Architect of the 20th century. Swiss by birth and trained as an artist in his home town under a fastidious teacher, L’Eplattenier, Charles Edouard Jeanneret (he adopted the pseudonym Le Corbusier only in the early 1920s) was a remarkably talented pupil. He travelled widely in the Near and Middle East, and worked his way through a study tour of Germany at a time when the ideas for a new architecture were being formulated. In 1908-9 he went to Paris, where he was absorbed in the cultural and artistic life of the great city. His dedication to the synthesis of the arts – particularly sculpture, painting and drawing and designing – never wavered. His early work, like that of his most important contemporary, Frank Lloyd Wright, was related to nature. He began his career as an architect in his native town. In 1917 he settled in Paris, where, he issued his Purist manifesto Apres le Cubisme (1918). His book Vers une architecture, appeared in French: it was to have worldwide repercussions, the most discussed architectural text of the age. It was translated into German in 1926 and English in 1927, and is still in print. The early executed domestic projects, mainly for wealthy clients but not necessarily expensive structures, established the form language of the new rational architecture, which seems to epitomize its definition as a machine a habiter (“a machine for living in”). He produced town-planning schemes for many parts of the world, often as an adjunct to a lecture tour. In these schemes the routes of mankind (vehicular and pedestrian) and the functional zones of the settlements were always emphasized. In 1947 he began work on his monumental Unite d’habitation at Marseille, completed in 1952. A prototype block of over 300 flats, it had internal streets, duplex maisonettes and internal shopping malls. It was followed by further examples in Berlin, Nantes, Meaux etc. Towards the end of his career Le Corbusier was appointed architect for the public buildings at Chandigarh, the new capital city of the Punjab in India (1952-64). With the Shodan House (1956) and the Mill Owners Association (1951-9) some of his early design themes were taken up once again, such as the route, the recessed structural column and the expressive staircase and, of course, the flat undecorated plane, most of which formed part of his celebrated five principles of a free architecture which derive from the late 1920s. With Le Corbusier, every building worked within its time as a testimony to his unremitting genius as the architect of the epoch. 1. Who was Le Corbusier? 4. What was his most famous book? 2. What were the stages of his artistic training? 5. In what type of construction did Le Corbusier express the concept of rational architecture? 3. What was the main feature of Le Corbusier's early work? 6. Explain what “free architecture” was for Le Corbusier RENZO PIANO Leading Italian architect and designer concerned with technological innovations and environmentally balanced buildings. From 1959 to 1964 Renzo Piano studied at the Milan Politecnico, where he subsequently taught until 1968. In 1970 he set up in partnership with the English architect Richard Rogers and undertook a number of commissions in Italy and England, including the PAT-Scentre in Cambridge in 1975. The practice's most important work, however, was its winning entry for the Place Beaubourg competition for a national arts centre in the middle of Paris, organized by the French government in 1973 (the Pompidou Centre). The imposing six-storey design takes the metaphor of “cultural machine” to its technological extreme by placing the structural skeleton and colour-coded servicing elements on the outside of the building. Piano's use of technological function as a point of departure characterizes the work of what has become known as the “High-Tech” group of architects. This movement includes English designers such as Norman Foster, Nicholas Grimshaw and Michael Hopkins. However, Piano's desire to achieve a particular aesthetic quality is tempered by a concern for accommodating the user's needs. In his later work Piano has continued the structural experiments of the Pompidou Centre, applying them to a range of social and civic projects such as the residential quarter at Corciano in Perugia, the museum building for the De Menil Collection in Houston, Texas, and, most recently, a new football stadium in Bari, built for the 1990 World Cup. The Stadio Nuovo continues Piano's fruitful collaboration with the English engineer Peter Rice of Ove Arup and Partners. 1. Who is Renzo Piano? 5. how was the design for the Beaubourg in Paris been called? 2. Where did he study? 3. What did he do in 1970? 6. What are the main characteristics of the “High-Tech” group of architects? 4. What did the French government organize in 1973? 7. What does Piano take into account in his projects? 8. What has Piano done in his later work? RICHARD ROGERS British exponent of High-Tech”, Late Modern architecture. He was educated at the AA school, London at at Yale University. He and his first wife, Sue, were in dual husband-and-wife partnership with Norman and Wendy Foster (Team 4). Their first work, the Reliance Controls Factory at Swindon, England (196667), an innovatory high-tech industrial building, received considerable attention. Roger's designs are exuberant. The Pompidou Centre, Paris (1973-77), with Renzo Piano, which established his international reputation, is an inside-out building: the structure and servicing is on the exterior to achieve uninterrupted flexible interior spaces. The brightly coloured pipes and funnels replace the detail and decoration of traditional façades but are determined by functional requirements and intended to present an industrial appearance. In many ways, Rogers is one of the heirs to the functionalist tradition: he is interested in the crossover of new technologies into the building industries, which is continued in his other well-known work, the controversial Lloyd Building (1979-1984). But his concern with total flexibility and overt technical imagery has been termed Late Modern. In his most recent work he has returned to the images of the early Modernists. 1. Who is Richard Rogers? 5. What kind of construction is the Pompidou Centre? 2. Where was he educated? 3. What kind of team did he form? 6. What are the functions of the pipes and funnels in the French construction? 4. What was his first work? What does it represent? 7. Give an example of Rogers's functionalism 8. What is known as Late Modern? FRANK LLOYD WRIGHT The best-known and most talented architect of the 20th century: an American with Welsh ancestry. He was inspired by his mother to become an architect. Boyhood summers on his uncle's farm embued a love of nature. Wright's first building dates from 1886. from then until his death he produced countless architectural projects: in 1974 it was estimated that some 433 buildings remained extant. His publication output was phenomenal. Wright's family houses for middle-class businessmen initiated a spatial revolution where rooms were not box containers but were volumes overlapped and interpenetrated. In 1909, with his lover Mrs Mamah Cheney, Wright travelled to Europe, where his early work was published in Berlin by Ernst Wasmuth (1910-11). It had a profound influence on continental architects. In 1913 Wright was in Japan, where he secured the Imperial Hotel commission. It brought him fame when it failed to collapse in the 1923 Tokyo earthquake. The second most successful period of Wright's career came around the '30s, with many important houses, including the two Taliesins, Kaufmann's “Falling Water” and the Johnson Wax Company Offices in Racine, Wisconsin, and the Johnson house, “Wingspread”. Wright believed in and promoted an “organic” architecture and way of life within a framework that was domestic, even at times utopian (e.g. the Broadacre City and Mile High Projects, and his “Usonlian” houses – a concept of modest dwelling close to earth, for the average American). During his international period of the 1930s he visited the USSR and gave the Princeton and Sulgrave Manor lectures. In 1941 he received the RIBA Royal Gold Medal. In the post-war period large-scale projects followed, including the Guggenheim Museum, New York, Marine County Court and offices as well as more houses, theatres, churches, and auditoria. 1. Who was Frank Lloyd Wright? 6. What did the Imperial Hotel Commission represent for Wright? 2. What attracted Wright during his boyhood? 3. What did Wright's activity as an architect consist of? 7. List Wright's buildings of his second most successful period 8. What kind of architecture did Wright create? 4. Explain what the spatial revolution promoted by Wright consists of 9. What did Wright do after the Second World War? 5. Who did Wright influence? Exchange information and discuss the following points in plenary: type of architecture promoted by the four architects analogies and differences among the architects