History of Architecture - Origins of Modernism ARC4010 by Zorays Alam

CONTENTS Modernism Pre-Raphaelite Bauhaus Le Corbusier Futurism Avant Garde Regional Modernism Birmingham Central Library Frank Lloyd Wright Transcultural Spaces

4 5 6-9 10-13 14-15 16-17 18-21 22-23 24-25 26-27

MODERNISM Modernism is a 20th century movement in art, architecture, design and literature. We live in its legacy, the world we live in was largely shaped by modernism. The word Modernism was rarely used to define a specific time period or ideological/aesthetical definition, rather it was used to define the new and innovative, with a sense of forward-looking contemporaneity. It was also used as a synonym for avant-garde, a movement started in the 1860s. This style was limited to itself only with concerns purely aesthetic. It was described by Greenberg as the arrangement and invention of spaces, surfaces, shapes and colours etc. to the exclusion of anything outside itself. Most fundamental was the ineluctable flatness of the surfaces, which emphasised the rejection of any https://media.architecturaldigest.com/ relationship between art and society. The use of the word in historical context, separate from the meaning of contemporary is more recent and was not used by the artist of the era. This se started in the late 1950s in Britain by architects. It was used to describe both the inter-war era and more recent buildings (the period between 1900-1960) In conclusion, modernism is not a style but a collection of ideas developing in various countries, https://media.architecturaldigest.com/ characterised by the acceptance of the new and radical, and the rejection of history and tradition. To reinvent the world from scratch, a utopian better world.

PRERAPHEALITE During the mid to late 19th century (1850-1900) the pre-Raphaelite brotherhood was formed. It was inspired by earlier 19th century romantic ideals and created a philosophical core of art and crafts movement. They believed that art had been ruined over time by Raphael's influence and highly mannered interpretations of classicism, by overblown and theatrical interpretation and too mechanized and intellectualized. The brotherhood sought a purer form of creative expression. They were inspired by Gothic art and Early Italian Rinascimento. They were not bound by line or rule, not taught in theory. They believed Art formed by close observation of the world.

BAUHAUS Bauhaus was an arts, design and architecture school in Germany founded by Walter Gropius in 1919. It was a movement on its own right, combining the notions of craftsmanship and architecture under one roof, creating an interdisciplinary nurturing ground for future designers. Perhaps their most famous legacy is their manifesto, a key document outlining the goals of the school. It was closed down by the Nazi regime.

Furniture: Newspaper shelf This shelf was designed by Walter Gropius in 1922 The Bauhaus furniture is the core of modern furniture design. Although it never became a movement of the masses, its geometric shapes were intended to become everyday popular furniture. They were functional objects with simple forms. They had a holistic approach of art and industrial manufacturing. This design philosophy was a direct interpretation of the Bauhaus Manifesto. The newspaper shelf has simple rectangular shapes that are broken with dividers that create interesting shadows, which emphasise the 3 dimensionality of the shelf. I like it because of its direct approach to its function. It takes the literal meaning of a shelf, which is a horizontal surface on which you place objects. Even though it's lacking any decorations such as carving, a simple tweak in the design (shifted supports) create an interesting artistic statement.

Building: Bauhaus Archives

This building was also designed by Walter Gropius. Even though it was designed in 1960, the building was completed in 1979 because of local politics. Due to the Senate of Berlin's requirements, various changes were made to the original plan by Gropius's colleague Alex Cvijanovic. Nonetheless, the design retained the main Bauhaus characteristics. The building is a museum which holds the collection of work made in the Bauhaus school. The buildings silhouette is formed by rounded shed roofs, which serve the purpose of lighting in the exhibition area. This follows the Bauhaus ethos of form follows function. The fact that even the gross building shape and silhouette is dictated by function is impressive.

Drawing: Walter Gropius, Total Theatre for Erwin Piscator, Berlin: Perspective, 1927

This 2-point perspective drawing by Walter Gropius has an interesting use of colour and composition. In addition to the belief that the building itself was the zenith of all design, this drawing follows the principles of composition and colour theory. As Wassily Kandinsky (a master at the Bauhaus school) said true design only arose through the perceptual collaboration of composition and colour, of which red, blue, and yellow were considered of highest importance. I like it because the use of colour in composition is clearly employed, as the red directs the eye at the base of the building, which is in the centre of the drawing, creating a horizontal balance. Other than the red, the rest of the building is in greyscale, emphasising the simplicity of line and form.

Antenna Table Rectangle (2010) offered by Knoll.

Modern brands like Knoll and Ikea still maintain a strong connection with the Bauhaus philosophy. These companies are examples of both high end and cheaper options. This shows the wide spread influence the Movement has had on contemporary design. This table design follows the principles of Simplicity and Effectiveness. Bauhaus celebrates clean design, pure forms, and functionality. Instead of additional ornaments, beauty is achieved through organic design and the celebration of materials. The design makes smart use of materials best serving the functionality of the object. This table gives plenty of versatility and useful space, while being a perfectly functional workspace. It is simple and effective. It also brings together the disciplines of craftmanship and art.

LE CORBUSIER Le Corbusier was born in 1887 in a small Swiss town of La Chauxde-fonds. As a child, he was sent to the local art school to study. However, his display of remarkable talents in painting and observation became obvious and these were the talents that later allow Le Corbusier to become one the greatest architects of the twentieth century and a source of inspiration to many architects to come. Le Corbusier was not only a great architect, but a painter, an urbanist, a craftsman, a writer and a remarkable visionary whose passion and dedication lead to the development of modern architecture. He left his mark on the world through his unique and revolutionary buildings, becoming one of the leading architects in the International style. One of these is the Capitol Complex buildings and the city of Chandigarh.

CHANDIGARH

Chandigarh is situated in northern India, near the foothills of the Himalayas. It borders the states of Haryana and Punjab, of which it acts as the capital. As the city lies in the northern plains, it covers vast areas of flat and fertile land. The capitol complex is situated on the slightly elevated area at the foothills, which makes the symbolic HEAD of the city, ranting it views of the city below it. On the East side of the capitol complex, an artificial lake was also created by constructing a damn on the Sukhna stream. The shape of the CC is rectangular, following Le Corbusier's strict grid pattern. Chandigarh has a humid subtropical climate with very hot summers and mild winters.

FUTURISM BACKGROUND In 1900 Italy was still a very young country/nation, the economy was growing rapidly, and a sense of nationhood had developed. It was self-consciously international in its ambitions, being highly influenced by the avant-garde culture of other parts of Europe, as well as the multitude of scientific and technological changes that were dramatically altering people's experience. After the reunification of Italy in 1861, the libertarian policies of the new state and the high taxes fragmented the nation. The great industrial cities of Milan, Turin and Genoa expanded enormously, whilst other areas remained economically disadvantaged and the strains of imbalance between the north and south led to socioeconomical and political tensions. Although in the late 1890s Giolitti's moderate policies greatly renewed the economy, the more radical parts of the aristocracy and poor masses disunited the nation, demanding a nationalist, expansionist and corporate state. Italy's ambition to prove itself in the international stage sparked colonial ambitions, which were crashed after the defeat in Abyssinia. This sense of betrayal led to the vision of many intellectuals that a profoundly reorganised Italian society was urgently required. This violent expression was to become the hallmark or Futurist Rhetoric. Public discontent and the rejection of the old is expressed in the "La Demolizione" journal by Dinale. The cultural dependency on its dead museum culture would be demolished to make way for the new art of the future. The definition of this new art was at the heart of the futurist project.

GIORGIO DE CHIRICO It is this light of revival of the Italian society and a nostalgic attachment to the past that inspired many artists in the early 20th century. Growing up in Greece, he struggled with intestinal disorders which forced him to a life of homesickness. https://www.moma.org/collection/works/34076?artist_ id=1106&locale=it&page=1&sov_referrer=artist

It's possible that this may have contributed to his melancholic outlook. In his paintings we can almost imagine him looking out from his window into a reality not too dissimilar to what he was experiencing. The contrasts and clashes of the changing world were a key inspiration to his work. De Chirico's work is a surrealist approach on a classical landscape, a chaotic yet organised collection of symbols in a melancholic setting. His work depicts confusion and conflict. The classical values were still dear to De Chirico, values that were disturbed by the advent of technology. This superimposition of these 2 very different realities created a dreamy landscape, with straight lines and clear https://www.moma.org/colperspective, but a little too perfect, missing lection/works/80587?artist_ the irregular human presence. Symbols id=1106&locale=it&page=1&sov_ referrer=artist of both classical and futurist period are present in his painting. We can see arches, triangular facades and porticos, typical of the Italian landscape. These are complimented by features of the new age, such as trains, industrial chimneys and clocks.

ALDO ROSSI L'architettura della citta is a text from Aldo Rossi in which he evaluates the urban space from a architectonic perspective. The city is described as an organism made of various architectonic entities. In the book he describes a city as a urban space made of nodal points, core buildings, driven by economical laws. These nodal points are monuments of the city life. This can also be seen in Giorgio's paintings, where a central monumental building is depicted. His designs are very much influenced by the classicism of the Italian landscape, just as Giorgio de Chirico, but bis interpretation of technological advancement is more in the form of simplification of design and efficient urban layout.

http://pietmondriaan.com/2014/12/26/aldo-rossi/

The city is a manifestation of socio-economic realities, setting a stage for the human life, to be viewed strictly as a function of human activity.

AVANT GARDE Politics has affected arts and architecture throughout history, many times being the only conveyor of messages to the masses. From the antique civilisations to the medieval kingdoms, art was a propaganda tool for the illiterate masses. Throughout history, we can observe a rather extensive use of illustrations, as most of the population was illiterate. Graphic Design had a great influence on popular opinion in recent years as well, where civil right movements have campaigned through various platforms. In the early 20th century, the new modernists movement also contributed to the political and social scenes. Examples of this can be seen in the constructivist movement in Russia, which spread the revolutionist communist ideals. The avant garde (vanguard) to me is a radical innovation, aiming to reshape, reinvigorate artistic expression. Expressionist and rationalists alike shaped the architecture and landscape of the period. In today's world, architecture still plays a huge role, sometimes showing wealth and power with grandeur palaces, monumental skyscrapers or splendid worship spaces. This kind of architecture can be seen in the wealthy Arab countries for instance. It can also be a symbol of resilience and unity (such as the One World Trade Centre). The built environment also responds to various world crisis and/or environmental disasters. For our Manifesto, we chose the current issue of the immigration crises. Summary of the manifesto:

"Architecture should promote open borders, free movement ad equal opportunities. It should allow fai sharing o resources, puttig ALL humans first in a global britain."

Our full manifesto is available through the following link:

https://youtu.be/QLvCJlDqUvU

REGIONAL MODERNISM Regional Modernism Is a term used to characterize building design that opposed the standardizations of an International Style promoted by the likes of architects such as Le Corbusier. Vincent B. Canizaro said: regional modernism "is a theory that supports resistance to various forms of hegemonic, universal, or otherwise standardizing structures that would diminish local differentiation"

Critical Regionalism According to Kenneth Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenographic and photogenic driven design and the tactile sense rather than the visual.

British Council, Delhi, India (Charles Correa) The British Council headquarters building in Delhi was designed by the Indian architect Charles Correa (1930-2015). He was born and grew up in India, but he studied architecture in the University of Michigan (B.Arch 1953) and MIT (M.Arch 1955) in the USA. After his studies he established an architectural firm in Mumbai (India). This duality is very evident in his projects, not only they have clear connections to the international modernisms of Le Corbusier and Louis Kahn, but they also respect and reflect the local history and geographical realities.

The building serves various functions, the main spaces are the library, auditorium, art gallery. The concept of the design includes the main historical influences in India, as the building acts as the headquarters in India. These are arranged in 3 different courtyards along the main axis. The centre piece of the farthest courtyard is the axis Mundi of Hinduism, a spiral symbolising Bindu, the energy centre of the cosmos. Next is the traditional interpretation of the Islamic Char Bagh, the garden of paradise. The last nodal point celebrates the European influence, an inlaid marble and granite spiral representing the age of reason decorates the floor. On this floor plan we can see the 3 nodal points, in line with the entrance. Facade mural: The mural was designed by Howard Hodgkin, a British artist. The mural represent the shadow of the banyan tree. A tree is universal and embraces both life and knowledge. The mural is constructed of small tiles of white Makrana marble, and black Cuddappah stone, hinting at a technique often used on Mughal buildings.

Images on this page from: https://www.britannica.com/biography/ Charles-Correa and http://visualarts. britishcouncil.org/ collection/artists/hodgkin-howard-1932/object/ facade-mural-hodgkin-1992-pcommissioned-work

Villa Savoye, Poissy, France (Le Corbusier)

Villa Savoye was designed by Le Corbusier, a prominent French architect whose legacy and influence in modernist design shaped the 20th century architecture. (See page 10-11) Key Features of the building reflect Le Corbusier's 5 points of Architecture, which as we've seen before are:

https://en.wikipedia.org/wiki/Le_Corbusier

1. Pilotis: Thin concrete columns were used to bear the load of the building. They liberated the faรงade from load (point 3). This was made possible by new construction materials and techniques. 2. Free design of the ground floor. The Villa Savoye gives the impression of not touching the floor and floating in the air. This is achieved using glass in the ground floor, which lets in the light and doesn't obstruct the view. In the shade of the floors above this part of the building is not clearly visible as well. This feature has also caused the landscape around the villa to transfer freely. 3. The faรงade was free from structural load, allowing for creative designs and extensive use of windows. 4. The long panel windows used to allow in a lot more light and create an open and airy atmosphere. Also knows as ribbon windows, they were a key feature made possible using pilotis. 5. The garden on the roof. The terrace garden is extremely remarkable. The terrace garden was designed to keep rainwater in and giving private outdoor space, creating refreshing atmosphere. It also breaks the scheme of bright white colour that's all around. In the Villa Savoye we see all of these aspects, but they are only design aspects, and none of the local context is represented in the design.

The villa design consists of basic shapes; rectangles, circles and triangles. Le Corbusier uses simple shapes to project and emphasise the beauty of simplicity. The white, radiant and airy building allows the visitor to look beyond into the natural surroundings. Both buildings have clear links to the modernist ideas, but different approah to the historical an social context. The British council follows ideas such as the fre facade and open elevated garden. However the facade is used as a canvas to give the building personality, as opposed to the Villa Savoye where the blan slab is supposed to free the form from distractions. Regionalists incorporate and exhalt the local realities, whereas the internatonal style of Le Corbusier aims to standardise design, concepts that would work every where in disregard of the context. Another similarity and clear inspiration from Le Corbusier in Charles's design is the use of pilotis. In conclusion, Critical Regionalists around the world designed buildings with a modernist soul and a clearly ethnic body. Key principles are moulded to give character to the design process.

BIRMINGHAM CENTRAL LIBRARY The Birmingham central library opened in 1974 and had nearly 40 years of constant use. The design was inspired by the work of Leslie Martin and Denys Lasdun. It was designed by John Madin Design Group and the team leader was John Ericsson. It was a complete cultural centre, featuring exhibition areas, lecture hall, children's and music departments and of course, the central library. Its brutalist design had the shape of an inverted ziggurat, which ensured ample daylight in the building. The exposed concrete panels made it a classic example of the Brutalist design movement. The Central Library was the largest non-national library in Europe, making it one of the most important symbols of post was British architectural masterpieces. It added a brutalist aesthetic to the town, showcasing the revival of the city.

https://c20society.org.uk/lost-modern/birmingham-central-library/

However, due to a lack of funding, the building suffered from neglect and poor maintenance. The original white precast panels became stained as they were never cleaned, leading to corrosion. The building services also degraded due to mismanagement. The council didn't allocate sufficient funds to operate the air conditioning properly, leading to the cooling towers getting badly https://www.flickr.com/photos/ell-r-brown/4368148609/in/ photostream/ rusted. In 1980, it was decided to roof the central space, which previously flooded the interior space with light. This caused dark areas in some parts of the library, as it wasn't compensated with artificial lighting. In addition, the brutalist style wasn't popular with the public. Prince Charles once described it as: "looking more like a place for burning books than keeping them". The harshness of the exposed concrete, the sharp 'brutal' spaces with the dull rainy climate of England made building in the public eye depressingly sad. Thus, poor management, later modifications and public opinion lead to the demolition of the Library, which commenced in 2011.

https://www.flickr.com/photos/polyesterpowdercoated/16255377116

https://www.youtube.com/watch?v=bPyM2oJq7oA

FRANK LLOYD WRIGHT Why is Frank Lloyd Wright's architecture so strongly associated with the landscape?

Frank Lloyd Wright (1867-1959) was an American Architect, who over 70 years shaped the American architecture. His values were certainly shaped by is childhood, which he spent in The Valley in New Wales Wisconsin. He lived a rural life and as he came from a disadvantaged background, he never graduated but built his career on experience and with various architects in Chicago such as Adler. He rejected traditional decorations, embracing transcendalism and Japanese art.

https://en.wikipedia.org/wiki/ Frank_Lloyd_Wright

His connection with the landscape can be seen in his early designs as well: The Prairie houses had expansive horizontal lines, parallel to the ground. The spaces were an integral part of the landscape. His connection to the landscape was rather spiritual, as he said: "Freedom is consciousness. Nature is from God, and we learn who we are. Man is a phase of nature." In his view, buildings should be a grace to nature instead of a disgrace, improving the landscape and be a natural part of it. Can his designs be considered sustainable in the modern meaning? In my opinion they can't. According to Frank, nature was a place of spiritual reverence. Thus, it sought a harmonious relationship with nature. This was in contrast with admiration of the technological advancements, such as the car. His architecture was organic, meaning form and function were ONE. Buildings had to be appropriate for the space. This also meant the use of local materials, designs unique to the landscape, both complimentary of each other. "Buildings had to be appropriate for the space. Natural environment can be improved by appropriate architecture".

For him, a building was in harmony with its time, place and inhabitants. This meant that the building, furniture, its setting and environment are ONE thing: to be considered as ONE spirit. This suggests that his connection to the natural world and the surrounding landscape was an effort to connect the inhabitants to God. The addition of his building would be a way to adorn the landscape, in an expression of human harmony with nature, both creations of God. This relationship with the environment can be seen in Taliesin West. This building was built in the harsh Arizona desert. In the construction, local rocks were used, making desert masonry. Following his organic architecture ideas, the house had natural https://franklloydwright.org/taliesin-west/tickets-tours/ air conditioning. The design and shaped worked with the natural landscape, as if both were made to be together. It seems like the building is coming out of the desert. His inspiration from the natural forms can also be seen in the Friedman House. This is part of his Usonian houses, houses with modest size and budget. Even at this smaller scale in the woods, materials and shapes are directly sourced by the surroundings. 2 circular spaces created a treehouse like feel for the main living areas. All the roofs, especially the "Car Port" (a covered parking spot) resembled a mushroom. The Ashlar masonry once again makes use of the local material and connect with the rock formations in the landscape. https://franklloydwright.org/frank-lloyd-wrights-toy-hill-sale/

In conclusion, his chilhood, his belief in God and how he's manifested in the world, and his own fascination and fight with nature instilled deep respect for the landscape. He thrived to adornish the environment with his design, instead of imposing on it.

TRANSCULTURAL SPACE Birmingham's intricate and long history of cultural development, affected by various cultural groups residing in the city, has led to a diversification of its spaces. Not only the city is layered with buildings of different time periods, but various cultural influences are also present. Many transcultural spaces throughout the city give life to a ever-changing environment, responding to the needs of diverse cultures. In fact, According to Jeff Lewis, a professor in cultural studies, "transculturalism is characterised by cultural fluidity and the dynamics of cultural change". Transcultural spaces cater to the needs of multiple cultures, often with elements of different nationalities. In Birmingham, not only can we witness architectural styles from across the world, but there is a multitude of spaces adapted to an interlaced society. An example of such spaces is the Sparkhill United Reformed Church, now the Mughal-e-Azam Banqueting hall, an Asian food and wedding venue. The congregational church as built in 1933, by W H Bidlake, a birmingham based architect.

The exterior is of Romanesque style, incrporatig modern and destic revival elements. It's a 4-bay aisled nave, with a extension to the rear. It has braod pointed-arched ribs to vaulting ceiling. The central 2 arches of the ailes have 2-light windows set above double arches, The tilework on the entrance porch draws on north italian rctectura traditions. I chose this building because not only the architecture is an amalgamation of viarious cultures, but over time the use of the building has also change to cater for the changing demographic of the region. This transcultural space has been repurposed, retainsong elements of various cultures.

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