history of modern architecture Rebecca Davies 18110389 ARC4010
contents Page 3 Page 4-5 Page 6-7 Page 8-15 Page 16-17 Page 18 Page 19 Page 20 Page 21 Page 22
Modernism Poster Pre-Raphaelites Bauhaus Le Corbusier Presentation Italian Modernism Avante Garde Hot Modernism Brutalism Frank Lloyd Wright Transcultural Spaces
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References
modernism Modernism involves a rejection of traditional ideas with a focus instead on innovation and experimentation with forms of expression (Tate, 2019). The Modernist movement has its origins in the mid-nineteenth century, for example in art the French painter Édouard Manet began to incorporate contemporary themes into his work during the mid-1850s. Modernism was slower to emerge in Britain as society initially struggled to part with traditional ideas; moreover, the movement was largely led by other nations, causing some to believe it was a foreign invention and therefore shouldn’t be trusted (Open University, 2019). After gaining popularity, the movement went on to have major influence over the development of twentieth century culture, including literature, art, architecture and design; aspects of this can still be seen within today’s society (Tate, 2019). Modernist approaches to architecture resulted in a more minimalistic and less ornamental design, with strong importance placed on the function of buildings. Architects became more reserved and rational with the use of materials and more open to structural modification (RIBA, 2019), illustrated within the work of French architect Le Corbusier.
Modernism is difficult to define, but from my perspective it is a movement driven by artists from different fields, in which they are reinventing and changing traditional ideologies to better suit modern ideals. It was particularly prominent in the years following the First World War, as it was a time of urban development and industrialisation which created rapid social change (Britannica). A global utopian agenda became apparent within politics and society, with artists adopting new techniques and styles that they felt better mirrored these modern ideals (Tate). The utopian ideologies within Romanticism and Modernism firmly oppose the more realistic and rational approaches of Realism and Naturalism. Page 3
pre-raphaelites The Pre-Raphaelite Brotherhood was a name owned by a group of Victorian artists, poets and designers. The private society was founded in 1848 by the principle members: William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti with other known members, James Collinson, Frederic George Stephens, William Michael Rossetti (who inspired the second phase of this movement around 1860) and Thomas Woolner, joining the brotherhood later. They rejected London’s Royal Academy of Arts promotion of the Italian artist, Raphael, and the popular mechanistic style that they taught, the opposition inspiring the brotherhood’s name.
William Holman Hunt
Dante Gabriel Rossetti
John Everett Millais
Instead, the Pre-Raphaelites Brotherhood were inspired by John Ruskin’s theories as the english critic persuaded artists to “go to nature”. The movement focused on realism, with themes of love, death, religious arguments and beliefs, contemporary social problems and the importance of nature. The group’s work made up of paintings, literature, poetry and stained glass windows became influential to the time after initial disapproval, showcasing incredible detailing within their use of both paint and lexis.
Visit to Pre-Raphaelites Collection in Birmingham Museam and Art Gallery
Sketches of Pre-Raphaelites Stained Glass Windows in St Phillips Cathedral
bauhaus Designer: Ludwig Mies Van Der Rohe Current Maker: Knoll Name of Piece: Mr Cantilever chair
The German-American architect and designer, Ludwig Mies Van Der Rohe, was last of three directors at the Bauhaus Design School. The Mr Cantilever chair was designed in 1927 before his occupation at Bauhaus which began in 1930 and ended with the closure of the school in 1932. The chair was developed from Mart Stam’s, who appeared as a guest lecturer at Bauhaus, 1924 cantilever chair design. The reason I chose to research into this chair was due to the structure and honest design. I liked how the chair doesn’t incorporate the traditional four legs to support a mass. Key points I have derived from the Bauhaus manifesto is that a design should be simplistic and functional yet still unique and effective and display contemporary technologies. I feel as though this chair follows the Bauhaus ideologies as Mies utilised modern technologies to bend tubular steel to create the curves The MR chair was the first to use this technology out of the famous architect’s furniture designs but this use of material was already a popular feature to Bauhaus design.
bauhaus Designer: Enzo Berti Maker: Bross Name of Piece: Leonardo Chair Similarly to the Mr Chair, I also enjoy this design because it doesn’t follow tradition of four legs to a chair. I was intrigued by how Berti has created a contemporary chair whilst being heavily influenced by the Bauhaus-era. Although the italian has removed the simplistic values that the Bauhaus manifesto requires, it is still an honest design as all the joints and fittings on display. The geometric theme, seen in both chairs, bold colours and 90 degree right-angles relates to the principals of the Bauhaus movement.
le courbusier Chandigarh Capitol Complex After the division of the original state of Punjab, India’s side of the border needed a new capital; this new city is called Chandigarh. The new city was initially being designed by Matthew Nowicki and Albert Mayer however, after the death of Nowicki, Albert Mayer resigned leading to Le Corbusier taking up the project.
Le Corbusier chose to completely redesign the original concept by using roads and walkways to incorporate a ‘grid’ system which created sectors. Chandigarh Capitol Complex is located in sector 1 in the north-east of the city. The 400,000 square metre complex consists: of the High Court, the Secretariat, the Palace of Assembly and four monuments. The main monument, called the Open Hand, is the symbol of the city. Corbusier designed the monument to represent “peace & reconciliation and the unity of Mankind”. [Chandigarh Bytes, 2016] Originally, Le Corbusier designed the city out of brick. However, due to the financial state of the country from its recent independence from Britain, concrete was the more affordable and easily accessible option. Steel and glass were expensive to attain and were not seen as practical for this large scale project. The Chandigarh Capitol Complex was completed in 1951.
Villa Savoye
Notre Dame du Haut
Giorgio De Chirico is an Italian artist,
Piazza dItalia con Arianna
Piazza d’Italia
Plaza (Piazza)
Mystery and Melancholy of a Street
raised in Greece, who captured the streets and city squares of Italy through paintings in his unique and distinct style. Giorgio was living in Paris in the 1910s, during the time the four pieces that I have selected to study were allegedly painted. The artist made habit of back dating later versions of his Metaphysical paintings to this period. In the mid1900s, when the new versions of the original paintings were produced, his old supporters began to criticise his contemporary work for Giorgio adopted traits of Baroque and Renaissance art which damaged his once loved reputation. [The Art Story, 2019] In early 20th century western Europe, where these paintings were set, a lot of the continent’s population wanted to emigrate to Northern America. [Life Of Italy, 2018] I believe this could explain the significance of the vacant city spaces. However, it may have been due to homesickness or the city’s social and financial situation that lead De Chirico to paint these mysteriously empty streets. The artist often uses bold, vibrant and Mediterranean colours to transfer his memories to canvas. Through geometric shapes and high contrast of lighting he depicts a stereotypical street and public squares with an eerie atmosphere. His signature style also involves painting in block colours, leaving crisp edges to identify form and deep perspectives. The Surrealist distorts the facades in his artwork to create a perspective of a promenade that wouldn’t exist if you were there in person. He uses this technique a lot, making his work eye catching and intriguing.
Written by Aldo Rossi in 1966, the book L’architettura della citta describes the architect’s ideologies on designing an urban landscape how he would define ‘urban space’. He didn’t cover a new argument in architecture however this book has allowed for studies on this topic to grow as architects of the time and today have been inspired to learn and grow their knowledge whilst understanding the city to be more than functional but as a unity of life, history and reality. Aldo Rossi built his theory around how architecture isn’t just the design of a building but how the building must take from the surrounding area and its history, and cope with how the city may evolve. He did this by providing a new concept on the primary elements, considering the functionality and aesthetics of a design. It is believed that Rossi was largely influenced by De Chirico’s work, evident in Rossi’s work during the time before he wrote his book. The author wrote about how he views the city as a gigantic man-made object, or an urban artefact characterised by history. [Architecture and Urbanism, 2012]. As mentioned previously, De Chirico uses geometric shapes throughout his work. Rossi also believes that parts of a city can be shaped by perfect geometric forms within architecture.
italiaN modernism
avant guard manifesto After watching the film on facism within architecture, I realised how polotics can sculpt art and design and how it still is to this day. I researched into how Nazi Germany controlled the architecture creating a negative stamp on the country and leaving behind buildings that represent the history, proving that architecture shouldn’t always respond to politics. I discussed this topic with Jack Neale which can be heard using the link below. We spoke about our opinions on whether art and politics should allign or be kept separate.
Conversation with Jack Neale about Politics in Art
If I were to create my own manifesto for what architecture should be today, I would include these ‘rules’ to follow: Bright, open plan rooms Large uses of glass Minimalist methods Clean, organised spaces Sustainable materials Nature to drive the design and materials
hot modernism Regional Modernism
A movement like modernism itself however it is affected by materials and forms used in an area at that point in time and often mixes traditional with modern, or combination of other, approaches. [Illustrated Dictionary of Architecture, 2012]
Critical Regionalism
An approach to architecture which continues to use modernist ideologies whilst considering geographical context and referring to tradition. It is the middle ground between modernism and post-modernism. [mlj.com, 2018] Charles Correa’s Kanchanjunga Apartments are often linked to Le Corbusier’s Unite D’habitation as a precedent for the architect and when comparing the two it is clear to see why. [Hakki Can Özkan, 2009]. Completed 31 years before Correa’s Apartments, the 18-storey block, Unite d’Habitation, reimages a city within its walls as the architect has designed the corridors to represent the streets. He used human proportions, based on his modular man, when designing this concrete structure to connect the building to the community that lives inside. With an impressive 337 flats, 2 shopping streets, hotel and rooftop terrace, Le Corbusier labelled his work “the radiant city” as it accommodates 1,600 residents. Unite d’Habitation currently sits in a large park located in an urbanised area in Marseille, France. The balconies overlook the trees as the building is raised by large concrete pilotis. [Amy Frearson, 2014]. Similarly, Correa built a reinforced concrete residential block which has clear links to Le Corbusier’s design for Unite D’habitation. This can be seen through the geometric forms and uniform grid pattern of the exterior windows and balconies. Correa had to fight the intense Indian climate for this design as the building had to face Kanchanjunga Apartments east-west to allow in the prevailing breezes from the sea to improve ventilation within the building. However, this is also the direction of the intense sun and rain which lead to him receding the windows and sheltering the balconies. [Brian Pagnotta, 2011]. Unite d’Habitation
brutalism The old Birmingham Central Library was designed by Birmingham-born architect, John Madin, and opened 1974 in the west of the city centre. [BBC, 2015]. 40 years after the library was built it was decided that the Brutalist building should be demolished in 2015. This news caused protests as many felt like the building was an important part of Birmingham’s architectural history whereas others agreed it to be “ugly”. [BBC, 2012]. The original vision for this building was compromised due to financial difficulties forcing the surrounding sites to be sold and the quality of materials reduced and with a Brutalist design surrounded by Victorian architecture the argument in favour of keeping the building wasn’t strong enough. [Space_Play, 2016]. From 1865, three libraries have stood in this location however the Paradise Circus development, of offices and leisure, is the next to be positioned on this site. John Madin helped create the vision of a modern city with this building, but he also contributed to Birmingham’s architecture with designs such as the Post & Mail building in Colmore Circus Queensway [1966] which was also demolished. [BBC, 2012].
Arguments why it was demolished
-The library wasn’t in use anymore as there was a new library built and so the closed building being demolished would allow redevelopment of the area such as the Paradise Circus. -Quality of materials was compromised at the time of the build due to the economic difficulties and so the design didn’t age well with the concrete exterior soon weathering. This caused people to describe the building as “ugly” and to have “suffered”. -Council leader Mike Whitby disliked the building and its Brutalist design. He wanted to make profit and therefore believed the building should go. The library was immune from being listed until 2016 due to the council and so there was nothing that could save it. [Richard Vaughan, 2008].
Arguments made to keep it
-The building could be refurbished. John Madin himself believed that there was still hope for his iconic piece to be revitalised. -Its historical importance to architecture. Historic England applied 3 times for the building to become listed and each time it was refused because “The English don’t like Brutalism”. There are very little examples of Brutalism architecture left in the UK today and the Birmingham Central Library was an iconic example of the style showing how its shaped growth for cities. It told a story. -Appreciation for Brutalist architecture is beginning to grow again and that John Madin’s library is “one of three Brutalist buildings in the UK identified by the World Monuments Fund in 2012 as the best of their kind”. [Birmingham Post, 2015] After researching into the legacy of the demolition of Birmingham Central Library, I believe that the decision was rushed so that the plans for Paradise Circus could go ahead before the immunity of listing the library expired. If the building remained unlisted after a having the chance, then it would’ve had a fair and understandable reason for being demolished. Although I agree this building lacks aesthetics, I personally don’t agree that it should have been knocked down as it is part of Birmingham’s architectural history. Instead they should’ve allowed for the building to be renovated for a new functional purpose that suits today’s requirements.
Frank Lloyd Wright has shown himself to be driven by nature during his career with his work showing a strong connection to the environment. The iconic architect aimed “to make the landscape more beautiful than it was before it was built”. Nature was there first so instead of placing a design within a beautiful surrounding, he incorporated the setting into the design. Wright grew up enveloped by stunning landscapes with the Wisconsin River nearby and so he was inspired from an early age and had already built a strong relationship with the environment. [Leeron Hoory, 2016]. Out of Wright’s 380 designs that have been built, Fallingwater is his most iconic example of organic architecture. Fallingwater having been built between 1936 to 1939, the architect was near the end of his career when he was introduced to this project at the age of 68. The national historic landmark can be found in Mill Run, Pennsylvania where it was built as a holiday home for the Kaufmann family. The family were disappointed when realising the house wouldn’t have a view of the waterfall as they had expected the architect to do so, instead, Wright had larger plans in mind as he design the building to sit on top of the waterfall so that they could hear the falling water from the inside. The design is a blend of vertical and horizontal aspects making the site to appear to have no beginning and end. As a principle of organic architecture, Wright avoided designing rectangular spaces and created rooms with corner windows in order to allow in more light. Another example of Wright incorporating nature into his designs can be seen through his lack of straight lines, they are all curved to mimic edges within nature. [Leeron Hoory, 2016] In 1908, Frank Lloyd Wright wrote that in order to achieve organic architecture he applies these features: “gently sloping roofs, low proportions, quiet sky lines, suppressed heavyset chimneys and sheltering overhangs, low terraces and outreaching walls sequestering private gardens.” [Frank Lloyd Wright, 1908].Wright utilising said aspects, such as the suppressed heavyset chimney, is seen in his Wingspread Prairie School, located in Wind Point, United States. He floods the house with natural lighting through rows of skylights creating yet another way of bringing the building closer to nature. [Megan Sveiven, 2011]
frank lloyd wright
transcultural spaces Transcultural Spaces are areas in the world, usually urban, that develop as different cultures integrate into the city. I have decided to look at the German Christmas Market in Birmingham City Centre. The German Market is annual event held along New Street and Victoria Square around mid-November. [Visit Birmingham, 2018] The City Centre is naturally a busy place as its concentrated with shops and restaurants and I personally find the mood to be quite negative and dull on the average day. During Christmas itself, I notice there to be a new mood to New Street with Christmas lights cheering up daily shoppers. However, when the market is open, it brings people from around the country to Birmingham’s streets specifically to enjoy the cuisine, crafts and beer, and experience the German culture itself. The event runs until 10pm keeping the streets of Birmingham busy later into the evening. Through the use of a photocollage, I have illustrated the change in mood and how the German culture has been integrated into Birmingham’s city.
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