1 Alexander Baldwin‐Cole – Modernism – AR548
A Post Rational Comparison of my Modular Design Work against Modernist Design Features
Alexander Baldwin‐Cole AR548 Modernism Tordis Berstrand 2014
2 Alexander Baldwin‐Cole – Modernism – AR548
3 Alexander Baldwin‐Cole – Modernism – AR548
Contents Page 1.1 – Introduction
Page ‐ 4
2.1 – The Building Blocks from which the Page ‐ 5 “High‐Tech” Style Arose 3:1 – High‐Tech Architecture
Page ‐ 10
4:1 – Conclusion
Page ‐ 13
Bibliography
Page ‐ 14
Image Reference
Page ‐ 15
4 Alexander Baldwin‐Cole – Modernism – AR548 1:1 Introduction From initially looking at my Modular scheme I believe it doesn’t fall into one single modernist style. Instead it is an amalgamation of various design ‘components’ which have modernist tendencies. Many buildings built during the high modernist period often fell into multiple styles. This became far more common towards the end of the 20th Century with the introduction of ‘style‐less’ buildings. Joseph Paxton’s Kit of parts building is one such structure, known more widely as the Crystal Palace Exhibition Space it is indicative of the shift that has occurred in Architecture towards the end modernism. Prior to the Industrial revolution and its influence on construction, the majority of buildings could be assessed to coincide with a specific architectural style. The introduction of Iron framework and the development of concrete in the form of the ‘Hennebique’ system, which combined the compressional strength of concrete with the tensile strength of Steel bars. This produced the first stage in the development of reinforced concrete which led to the reduction in classical masonry structures and the gradual movement away from ‘classical’ styles towards the modern style of ‘High‐ Tech’. It is within this style that I have found the greatest comparison with my own design work. I will be looking back at various architects and projects who are associated with the Modernist movement and are a precursor to the ‘High‐Tech’ style. It is my aim to find within these case studies a broader use of modernist design features which relate to my own Modular project. Despite everyone’s preconceptions about ‘High‐Tech’, it has nothing to do with buildings that possess highly technical components. Sometimes referred to as ‘Later Modernism’ or ‘Structural Expressionism’, ‘High‐Tech’ is merely a term that has been coined to express the works of Norman Foster, Richard Rogers, Terry Farrell, Nicholas Grimshaw & Michael and Patty Hopkins during 70’s and 80’s in Britain. Often seen as a revamped modernist style, which represents an extension of the traditional modernist ideas, only this time helped along by further technological advancements of the later period. High‐Tech buildings are easily identified due to the placement of structural systems on the exterior, as well as flexible internal spaces. The purpose of this radical structural solution is down to a design ethos which is routed in the Modernist movement, the same features which drove my own scheme, flexibility. Despite seeing a severe correlation between my own design style and that of High‐Tech, I still see my work as an amalgamation of design drivers that settle into a variety of different modernist eras. Despite ‘High‐Tech’s’ now considerable influence within British and worldwide architectural style, it was aggressively fought against during its initial point of conception, none better than Prince Charles who infamously compared them to “carbuncles”1. During the latter half of the 20th Century many buildings were often still being constructed to resemble the classical styles, due to their heritage site locations, which wouldn’t allow for the radically emerging High‐Tech style. These buildings despite seeming to resemble classical styles often had a hidden modern twist in terms of the structural elements. 1
(Jamieson 2009)
5 Alexander Baldwin‐Cole – Modernism – AR548 2:1 The Building Blocks from which the “High‐Tech” Style Arose Throughout the 60’s there a were a variety of schemes which possessed elements which coincided or could be seen to be the building blocks from which “High‐Tech” would eventually develop. The industrial revolution in many ways affected the form future buildings were to take. The development of the ‘Hennebique’ concrete system brought about structural honesty and freedom to architectural forms. This new material became widely used due to the free will it brought to design. The American architect Louis Kahn used this material in some ways which went against the general curve of 1960’s design to create a building in which I see a connection with my own work Louis Kahn’s Salk Institute for Biological Research The Salk Institute for Biological Research completed in 1959 shows early stages of the concept of flexible internal spaces which were to become common place in future British architecture. “Two parallel laboratories, each an uninterrupted 65‐ foot wide and 245‐ feet long and encircled by a perimeter corridor….support elements to these totally flexible spaces” 2 (Fig 1). Despite the initial concerns about the cost of the structurally complex space the implication of the flexible feature into the design has “proven to be viable, repaying their original cost many times over”3. It is for these same reason that I decided to implement the idea of flexibility thorough out my own scheme (Fig 2). Not only due to the wish that the design would become multifunctional and allow anyone to use and adapt the spaces to their own needs, but also for a far more aesthetic reason which I’ll come back to. Multiple projects within this era began to show signs of the flexibility. I may not have used concrete to achieve my ‘flexible’ feature, the reason nevertheless behind it remains in my eyes as viable as that of Louis Kahn’s.
Figure 1: Internal View of the Flexible Lab in Louis Kahn’s Salk Institute for Biological Research
2 3
(Sharpe 1999) (Sharpe 1999)
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Figure 2: Flexible page from modular Presentation, showing two of the levels of flexibility presents within my scheme
Kahn often spoke of creating “timeless architecture”4, and of discovering “what has always been, and what will always be”5. The idea of creating an “enduring institution”6 is one that I relate to; not just in the sense of creating a useful and easily adaptable building as so to not need to be replaced. The idea was that it is so significant in form and materiality that it possesses a place in time and in context so that it cannot be replaced. He aimed to create “enduring institutions and durable transcendent forms that were above whim and fancy” 7 . His choice to contrast the heavy eternal/resilient concrete with natural materials created a building that both solidifies its point in time, but also is affected by time. In my own work I aimed to create a building that, although new, would also possess a sense of always being there. Throughout the complex, Kahn used a variety of materials from concrete, slate to teak. All of which have affected the lasting image of the scheme, “Each decision in the design, made in this way , has longevity in an endeavour increasingly fraught with the risk of renovation or demolition”8. Slate and Teak’s natural ability to weather and change with the surrounding climate have allowed parts of the building to age and settle into the site in a positive way, instead of being seen as something that needs to be replaced. This was helped by the strength of materiality presented by onsite formed concrete. The raw untreated finish of the cast concrete was, as with many schemes around this period, due to a lack of materials and skilled workers required to finish the building off in plaster. The “conical holes left by the form ties were also not patched, so their spacing’s was carefully considered”, all of the considerations in regards to the materials have all helped the building to remain still used and the campus expanded.
4
(Sharpe 1999) (Sharpe 1999) 6 (Sharpe 1999) 7 (Sharpe 1999) 8 (Sharpe 1999) 5
7 Alexander Baldwin‐Cole – Modernism – AR548 Otto Wagner’s Postal Savings Bank
One of the major influences that affected the symbolism movement, which was a key initial element of the modernism movement, is the German Romanticism and philosophical Idealism. Within the Austro‐Hungarian Empire a clash between the opposing theologies was made more apparent due to the political struggles. The tension between the “metropolis, with its liberal and rationalist programme, and ethnic minorities seeking to assert their own identity”9. The liberal thinking of Austria saw the rationalized spirit physically represented in the work of Otto Wagner, “Wagner’s rationalism reaches its peak in the Post Savings Bank in Vienna”10. As in many cities the ‘Battle of the Styles’ is being fought, his Modernist views that the modern city should not be based on the “irregular, closed spaces” 11 normally associated with medieval cities, it should instead be based around a far more “regular open‐ended street grid”12, show his dedication to the new style. Yet despite this the ties back to his classical past are not fully severed, especially in the culturally rich Vienna. Wagner initially had great success designing within the renaissance style, this made his conversion to the modern Architecture movement to resemble treason to the people of Vienna. The point of his switch over can be assigned to the project of creating the Vienna Subway in 1894, as with many architects of the era the encounter with the modern age machinery brought about a new vision for his work. This resulted in him becoming a leading figure‐head of the newly established Avante Garde movement in Vienna, yet he was never fully able to let go of his connection to the Austro Hungarian Empire design style. The Postal Saving’s bank was to become the first ‘modern’ building within the Ringstraße, a ring road around central Vienna which has been developed since the 18th Century. It represents the symbolic heart of Imperial Vienna, with buildings which epitomise the Austrian power, prosperity and cultural richness of the city. The styles of which either take after Gothic Cathedrals or Greek Temples. Wagner often spoke that the styling of the Ringstraße has “confused Architecture with Archaeology”13. The Postal Savings bank represents a new type of bank, one for the everyday saver over the super‐rich, the clients wished their new headquarters to represent the same fresh idea of thinking as the bank. Present within Wagner’s bank, which represented at the time his largest project in the modern style, are “allegorical figurative ornament: but there are also more abstract metaphors, such as the redundant bolt‐heads on the façade….These, like the functional glass and metal banking hall, are both symbols and manifestations of modernity”14. The placements of these components within the scheme show the beginning of a new style emerging. The classic styles are being blended with modern structural techniques, this can be seen no better than in the method of constructing the building. A choice to clad basic brick in the lavish material of inch thick marble, allowed for the monumental appearance expected within Vienna, but resulted in huge savings of time and money. Also found within this structure are elements of Functionalism, where buildings are being designed around the end use. This may be common place in design these days, but was seen as a drastic modern intervention in 20th Century.
9
(Colquhoun 2002) (Colquhoun 2002) 11 (Colquhoun 2002) 12 (Colquhoun 2002) 13 (Neuman 1998) 14 (Colquhoun 2002) 10
8 Alexander Baldwin‐Cole – Modernism – AR548 Wagner’s fascination with concept of an office block as main feature of the emerging modern city, led him to design a building which was “to be a rational and efficient place of work”15. The choice to remove the internal supporting walls allowed a flexible open plan office arrangement, this foresight allowed the office block to adapt and develop with today’s work environment, resulting in its continual use even now with only minor amendments to the design. The presence of a large glass roof for the banking hall was aimed to bring the maximum amount of daylight into the space making the space far more functional. Despite being conceived using modern materials and construction techniques, it still has a historic presence within the surrounding context. The exterior resembles that of a classical Viennese building, while the internal metal work of the vaulted ceiling and Wagner’s progressive foresight into the shape the future office block would form, are all highly modern aspects. This blended style along with its functional design elements will soon become common place in European and American architecture. Despite the need for updated structural designs and modern thinking, the cultural context and the opinions of political figure heads of many of Europe’s capitals wouldn’t allow the positioning of a purely modern scheme until much later. This ‘battle of Styles’ is an element of modernism which I see much relation to in my own work. The site for Modular in Canterbury was immediately adjacent to an historic area of Canterbury, it is because of this that I believed the site wouldn’t allow for a modern or contemporary style to fill in the ‘gap’ in the urban framework. Despite the master‐planning design not directly relating to urban context, my allocated building plots adjacency with a Victorian styled school led me to design a building which I believe falls in line with Wagner’s Postal Saving Bank and Kahn’s Institute for Biological Research.
Figure 3: Internal View of the Banking Hall. This spaces indicates the start of ‘Structural Expressionism’ and direction future designs will go.
15
(Neuman 1998)
Figure 4: External View of Wagner’s Postal Saving bank. The building can be seen to fit within the surrounding traditional Viennese style.
9 Alexander Baldwin‐Cole – Modernism – AR548
Figure 5: Presentation images from my Modular Presentation. The natural materials palette can be seen in the external Elevations, but has been used in a modern Twist.
My decision to use a pallet of local materials was one which aimed to place the building within the surrounding context (Fig 5) in much the same way as Wagner achieved, the success of this is personal opinion. While at the same time using the palette of natural materials I hoped the building would become placed in time, in a similar way to Kahn’s work. I believed the contrast between the tarnishing materials and the eternal need for educational establishments would resulting in a lasting design. The task then was to make a building which would be continually useful in much the same way as Wagner, who successfully allowed his design to change to the needs of the users. It was the choice to design for the future which pushed the majority of my design decisions to coincide with the High‐ Tech movement, in a far more conscious effort than the modernist components I’ve previously covered.
10 Alexander Baldwin‐Cole – Modernism – AR548 3:1 High‐Tech Architecture As I previously stated, High‐Tech architecture is far more precise than most people think, as it relates to specific group of architects and the work they produced instead of an overall style copied by many people. The collection of works by Rogers, Foster, Hopkins, Grimshaw and Farrell are often considered to be a ‘kit of parts’ due to their decision to use newly discovered industrial products that are primarily synthetic materials. Mainly it’s down to the simplicity of the construction that seem to resemble structures which could have been put up very quickly. But in fact that majority of the schemes are the complete opposite. There are a multitude of projects that predate the works of the High‐Tech architects, and are often assigned as precedents or inspiration to the group, due to a superficial resemblance. The Eames House is one such project (Fig 6), it’s seen as a major precursor to the High‐Tech style, and was considered to have been designed out of a catalogue of components and simply built. In fact the design and construction took years to complete. Despite this misconception, links can be made between the style Figure 6: Photograph of Eames House, the and the buildings associated to High‐Tech architecture and the various components used to build the house are previous buildings we’ve looked at. visible on the exterior. Ludwig Mies van der Rohe’s Crown Hall at the Illinois Institute of Technology (Fig 7) is a project that many High‐Tech architects and others of the time, are seen to have been influenced by. It is also a project in which I can associate a large quantity of my own design decisions too. The building was seen as one of the more modern looking practically laid out functional buildings. Despite having a similar design ethos previously established by Wagner in his Postal savings bank, the image and style of the building is far more in line with the modern representation of functional architecture. This is due to the removal of the internal columns in the hall in order to create a multi‐use and flexible space and the presence of an exposed steel frame with infill panels. It was these groups of building that initiated the shift that was to be solidified in Team 4’s reliance Control factory, Swindon. Traditionally architecture was seen as the mother of all the arts, architecture was in charge of the technology, the design dictated the form the final building was to take. By the 1960’s technology became the primary design consideration, due to the continued developed of ‘Functionalism’ as part of the modernist movement. The continued innovation into structural purity was a requirement for the now common place flexible interior. The decision to make internally flexible spaces drastically influenced and dictated many of the components within the building, because of the structural complexity associated with the reduction of internal columns. Architects from this point paid more attention to engineering efficiency and brought that into their designs and celebrated it, a concept first openly envisioned by Otto Wagner, “Building’s should be frank and clearly show its materials and structure”16.
16
(Neuman 1998)
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Figure 7: Ludwig Mies van der Rohe’s Corn Hall at the Illinois Institute of technology: The photograph shows the internally flexible space as well as the structurally articulated façade.
Figure 8: Internal View of open plan layout of Reliance Control Centre in Swindon by Team 4 (Su Brumwell, Wendy Cheeseman, Norman Foster and Richard Rogers)
Figure 9: External View of Reliance Control Centre, showing the expressed structural frame.
12 Alexander Baldwin‐Cole – Modernism – AR548 Despite the obsession in High‐Tech architecture for structural expression and high quality engineering it has a far deeper meaning. In a recent talk given by Colin Davies17, he referred to an Interview he had with Nicholas Grimshaw after the completion of his Oxford Ice rink. The discussion about the choice to design what looks like two masts, Grimshaw tried to justify this design decision by the benefits of reducing the scale of the foundations and thus decrease the cost. In fact his decision is far simpler, he openly has a fixation with sailing and wanted the building to resemble the rigging system of an old sailing boat, hence the decision for his firm to design the new housing for the Cutty Sark. Figure 10: Nichaolas Grimshaw’s Oxford Ice Rink. The mast like structural elements can easily be recognised in this photo.
The fact is that to paraphrase a recent speaker at the Late Tuesday: High‐Tech Architecture! Event at the RIBA, "Architects have reasons for doing things, then they have real reasons for doing things"18. This can be equally be said for my own work, despite post rationalising connections between modernist design elements, I have a far closer connection to High‐Tech architecture. I wanted to create a building that had an external structural system due to attending a recent exhibition about the life and work of Richard Rogers, prior to starting the design module. The greatest justification for an external structure was for internal flexibility, luckily due to the theme of modular that was aimed to drive the design module, I was able to find cause for my personal preferences. I aimed to create a design that had as flexible interior as possible, in much the same way as Norman Foster’s Sainsbury’s Centre for visual Arts. Despite many attempts I never managed to realize my idea; to equal a scale achieved in the Sainbury’s building or the Pompidou Centre by Richard Rogers and Renzo Piano. This was down to the limited plot size and scale of the project I had to work with. Instead the construction of my project falls more in line with the expandable Reliance Control Centre in Swindon by Team 4 (Fig 8&9). In the end the idea was for flexibility to have multiple levels of presence within the design, from changing the layout of a room within a few minutes, to changing a floor layout within an hour to adding an entire floor or wing within a few weeks. By having a building with a flexible interior it would become more functional and thus allow the building to be adaptable and last longer in much the same way as Louis Kahn’s Salk Institute for Biological Research and Otto Wagner’s Postal Savings bank. Both have managed to remain used despite being built in 1959 and 1894 they are still effectively used today, along with the majority of the works by the High‐Tech Architects.
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Colin Davies, 2014 Colin Davies, 2014
13 Alexander Baldwin‐Cole – Modernism – AR548 4:1 Conclusion I started my analysis of my design believing it was based around an amalgamation of various components of styles that are associated with Modernism. As I challenged this view, I found out that my modular schemes relation to modernism is in fact far simpler than that. Each Building I looked at had design elements that I could relate to my own work, what I didn’t expect was to find a correlation between them all. Every building I’ve looked at has an element of functionalism, either represented in the form of flexibility, structural expressionism or making a timeless design as to not become outdated and destroyed. All the schemes I’ve investigated have functional reasons behind the design choices, of which all have positively affected the use of the building. This new found insight into looking towards the future when designing a new building has now become normal practice, as it allows the life spans of the building to become drastically longer. It is for those reasons that I feel that I can allow my scheme to represent the modernism movement due to a functional approach to design I have taken.
14 Alexander Baldwin‐Cole – Modernism – AR548 Bibliography
Colquhoun, Alan. Modern Architecture. Oxford: Oxford University Press, 2002. Davies, Colin, “High Tech's Post‐war Origins, Late Tuesday: High Tech Architecture!”(Talk, London, 25 March 2014). Jamieson, Alastir. The Telegraph. 13 May 2009. http://www.telegraph.co.uk/news/uknews/theroyalfamily/5317802/The‐Prince‐of‐Wales‐ on‐architecture‐his‐10‐monstrous‐carbuncles.html (accessed April 02, 2014). Johnson, Philip. Architectural Review. 31 January 2012. http://www.architectural‐ review.com/archive/1954‐august‐school‐at‐hunstanton‐norfolk‐by‐alison‐and‐peter‐ smithson/8625095.article (accessed April 2, 2014). Architecture Collection (ARTE)‐ Episode 6‐ Otto Wagner‐ The Vienna Savings bank. Directed by Stan Neuman. 1998. Ochshorn, Jonathan. Steel in 20th‐Century Architecture. 11 June 2002. http://www.ochshorndesign.com/cornell/writings/steel‐part3.html (accessed April 2, 2014). Sharpe, Dennis. Twentieth‐Century Classics. London: Phadion Press Limited, 1999.
15 Alexander Baldwin‐Cole – Modernism – AR548 Image Reference Figure 1 ‐ Colquhoun, Alan. Modern Architecture. Oxford: Oxford University Press, 2002. Figure 2‐ Property to Author Figure 3‐ http://aasid.parsons.edu/decorationascomposition/content/wagner‐postal‐savings‐bank‐ vienna‐1903‐1912 (Accessed 2/April/2014 Figure 4‐ http://en.wikipedia.org/wiki/Otto_Wagner (Accessed 2/April/2014) Figure 5‐ Property of Author Figure 6‐ http://www.mimoa.eu/images/5354_l.jpg (Accessed 2/April/2014) Figure 7‐ http://i2iart.files.wordpress.com/2010/11/20101101_0601‐as‐smart‐object‐2.jpg (Accessed 2/April/2014) Figure 8‐ http://www.fosterandpartners.com/projects/reliance‐controls/ (Accessed 2/April/2014) Figure 9‐ https://restoringpublicpossessions.wordpress.com/category/big‐box/ (Accessed 2/April/2014) Figure 10‐ http://www.strutture.info/images/ECCS/11‐f1.jpg (Accessed 2/April/2014)