Modernity Digital Booklet
Jack Neale 18106026 ARC4010
Contents
Page 3: What is Modernism? Page 4-5: The Pre-Raphaelites Brotherhood Page 6-7: The Bauhaus Movement Page 8-15: Le Corbusier Urban planning Page 16-17: Italian modernism Page 18: Avant Garde Page 19: Regional Modernism Page 20: Brutalism in the UK Page 21: Frank Lloyd Wright Page 22: Transcultural Spaces Page 23-24: References
What is
Modernism?
Modernism was a movement that rejected history and wanted a transformation in industry and the arts. It was mainly around from the late 19th century to the mid 20th century, although some argue the movement started earlier than this due to the likes of Edouard Manet who began to paint modern life throughout the 1860s (Britannica.com. 2018). To begin with, Modernism wasn̢۪t accepted by everyone as it was a drastic change throughout multiple disciplines including architecture, literature, design and music, as well as politics, religion and society. It was a new lifestyle that was formed due to the experimentation with form, shape and colour which was now possible with the new technology and materials which were available, especially after World War I (Tate. 2018). Modernism is based on utopianism and the belief in progress. Modernist wanted to develop modern life into what they believed was the ideal world through simplistic and honest works.
Braun RT20 radio, Dieter Rams Barcelona Pavilion, Ludwig Mies van der Rohe
Villa Savoye, Le Corbusier
There is no clear definition for ‘Modernism’ as it is still a phrase used across multiple disciplines today, and there was never a true explanation as to what Modernism is/ was, which has created some ambiguity around the meaning behind the term. However, all forms of modernism share a desire to create something somewhat abstract and new (Wilk, C. Modernism: designing a new world. 2006).
Modernism has its own international style and it is easily recognisable world wide. Famous designers, architects and writers, for example Le Corbusier, Piet Mondrian, Ludwig Mies van der Rohe, Dieter Rams and James Joyce all helped influence our current built environment and the objects and products we surround ourselves with daily.
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The
Pre-Raphaelite Brotherhood
The Pre-Raphaelite movement was founded by a group of young Victorian poets, designers, artists and critics in 1848. The founding members were Sir John Everett Millais, William Holman Hunt and Dante Gabriel Rossetti and they were later joined by James Collinson, William Michael Rossetti, Thomas Woolner and Frederic George Stephens to form the seven-member ‘Brotherhood’. The movement lasted until the end of the century. In this time, their work became very influential especially within contemporary society (British Library. 2014).
The Pre-Raphaelites intended to reform the arts by rejecting the ‘ideal’ mechanistic style which was being taught at the Royal Academy of Arts, London. This approach to painting was first produced by the Italian artist Raphael, hence the name. The group based their work on religious beliefs and the importance of nature and they often used intense colours, emense detail and complex structure - much like the work of John Ruskin, an English critic - to achieve high levels of realism. Their work included paintings, literature and stained-glass windows (Tate. 2018).
‘Christ in the House of His Parents’ - Painting by John Everett Millais ‘The Shadow of Death’ - Painting by William Holman Hunt
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I visited St. Phillip’s Cathedral in Birmingham to see Edward Burne-Jones’ stained-glass windows. My sketches of the windows can be seen below. Burne-Jones was a painter/ designer who is known for his involvement in the making of traditional stained-glass windows. He joined the Pre-Raphaelite movement towards the end of the 1800s and into the 20th century and he worked closely with William Morris and Dante Gabriel Rossetti.
Sketches of the stained glass windows in St. Philip’s Cathedral
The Feast of Peleus by Edward Burne-Jones in Birmingham Museum and Art Gallery
The Apple Harvest, Valley of The Rhine, Ragaz by William Holman Hunt in Birmingham Museum and Art Gallery Page 5
The
Bauhaus Movement
Name of designer: Marcel Breuer Name of piece: Wassily Chair Marcel Breuer was a Hungarian designer/architect who lived in the 20th century. He designed the Wassily chair while he was working for Bauhaus in 1925 and used new technology to allow him to bend steel piping, without it breaking, to bring his design to life in 1926 (The Art Story. 2018). I like this piece as it restorts to basics as no additional fabric is used, apart from what is needed for the chair to function - there are no hidden joints. ‘The designer reduced the classic club chair to its elemental lines and planes’ (Knoll. 2018). The chair was one of the first designs which Breuer reffered to as ‘honest manufacturing’, this was down to the design as simplicity is what makes this chair so iconic. The steel pipe work displays a strong geometric structre and is one of the most recognisable examples of Bauhaus. The simplicity in materials and design follow the Bauhaus manifesto. Page 6
Name of designer: Gianni Rossi and Selab (Seletti) Name of piece: Bauchair I like this chair as it doesn̢۪t rely on anything extra to hold it together, no glue, screws or tools are needed. It is made out of four pieces of MDF timber that slide together, creating a solid structure that is capable of taking the weight of a person (Seletti. 2018). The design seems simplistic at first due to the use of primary colours, however, the slot joints used make this piece rather complex. This chair was inspired by the Bauhaus movement, evident due to the name. The chair follows the principles of design proposed by the Bauhaus manifesto. It incorporates straight lines, pure and bold colours and geometric shapes. This chair and the Wassily Chair both strip their designs back to basics and take out all that isn̢۪t necessary for the chair to exisit. The Bauchair displays a high level of attention to detail which allows the elements of the design to create a sense of harmony. Page 7
Le Corbusier Urban Planning Chandigarh Capitol Complex Chandigarh is the capital of two states, Punjab and Haryana. It was created after the partition of India in 1947. Le Corbusier took over the project to design the city after the original architects, Albert Mayer and Matthew Nowicki, pulled out due to the death of Nowicki. Le Corbusier decided to design the city around a grid method, using roads and walkways to create sectors. The Capitol complex is located in sector one of the city. As time has gone on, the structural layout of the city has been lost slightly as layers of expasion haven’t followed the same grid pattern. The Capitol complex is a government compound that is spread over 100 acres (400,000 sq.m), it is made up of three buildings: the Palace of Assembly, the Secretariat and the High Court and four monuments: the Geometric Hill, the Tower of Shadows, Martyr’s memorial and the Open Hand monument. The Open Hand monument is the symbol of the city and it was designed by Le Corbusier.
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1 - Palace of Assemby 2 - Secretariat 3 - High Court 4 - Geometric Hill 5 - Tower of Shadows 6 - Martyr’s memorial 7 - Open Hand momument Page 8
Palace of assembly
As India had just gained their independence from the United Kingdom, it was a rather poor country. So new techniques and materials weren̢۪t an option for Le Corbusier. He had materials such as brick, concrete and timber that he was able to work with as they were the principle architectural materials that were regularly avaliable in and around the city. Materials such as steel and glass weren̢۪t practical as they were scarce and wouldn̢۪t work for the large scale project that had been undertaken by the architect. The Tower of Shadows was a key build for the project. Le Corbusier designed the structure to analyse the sun paterns of the area and hence utilised this within his designs for the rest of the city. Chandigarh is located in an area of India that recieves intense sunlight and little rainfall, Le Courbusier incorportated large scale design stratergies to allow for these conditions.
Secretariat
High Court
Open Hand monument
Tower of Shadows
Geometric Hill
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Presentation Slides
R. Davies Page 10
R. Davies
J. Brown Page 11
J. Neale
J. Neale Page 12
P. Mansouri
T. Jackson Page 13
T. Jackson
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Page 15
Italian Modernism
Giorgio de Chirico
These four images of Giorgio de Chirico’s paintings are from a selection of the artist’s famous works between 1911 and 1917. I chose to analyse these paintings as I feel they convey tradition but in a different manner to those that have been before - as is the trend in the modrenism movement.
‘Delights of the poet’ - 1913
‘Piazza d’italia’ - 1913
‘La tour rouge’ - 1913
De Chirico uses geometric forms throughout his artwork to display the still city spaces of Italy. The strong colours within his work suggests the bright daylight of Mediterranean cities and produce sharp contrast and harsh edges to create mysterious moods within the compositions (Kathleen Toohey. 2017). The long, receding arcardes show the surrealist artist’s way of modifying perspectives to create intriguing paintings following his metaphysical style. Around the time of these paintings, early 20th century, a lot of Western Europeans emigrated to North America. I believe that De Chirico’s depiction of empty Italian spaces could have been influenced by this migration of the many thousands of Italians (Wikipedia. 2018). The starkness of colours, the unbroken lines, the contrast in lighting, the anonymous figures and the lack of detail gives a sense of dislocation of time and space (The Art Story. 2018). The artist’s paintings show solid, long buildings that are oftan disappearing into the background, going of forever. This alongside the repetative shapes are contrasted by the lack of life within his work and it is symbolic of centemporary events.
‘Mystery and Melancholy of a Street’ - 1914
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Aldo Rossi : L’architettura della città , 1966 (The architecture of the city, 1966) L’architettura della città is an book written by Aldo Rossi. In this book, the architect gives his theory on urban design and his definition of urban space. It is concidered to be a highly influential and original way of thinking, it provided a basis for further development on the subject. His book provided a new concept on the primary elements, the residential areas and how architecture fits within it. He pointed out that buildings had to be functional and consideration must be given to the neighbourhood within it sits, its history and the city’s potential evolution. A building must be equally functional now, as well as in the future (Biblioteca condivisa. 2013). Giorgio de Chirico has been cited to have left a large impression on Rossi. This is reflected within Rossi’s works from the early 1960s. For example, his arguments and themes addressed that it was possible to represent a city as a large building that could be simple or complex. The examples of De Chirico’s paintings depicted this. Rossi believes small portions of cities can be characterised through the used of perfect geometric shapes and structure (Biblioteca condivisa. 2013). Similarly, Giorgio de Chirico’s works are illustrated through the use of geometric shapes, such as those painted in ‘Delights of the poet’. De Chirico’s work was often concidered to leave the public with a positive or negative emotion depending on which piece was viewed. Aldo Rossi cites the Palazzo della Ragione of Padua as an embodiment of his theory of urban facts, where a building can have various functions and thus can evolve over time and yet can reflect the city which it sits within. He believed that those who lived and travelled through this space could associate positve or negative impressions assimilating it to De Chirico’s work. Page 17
Avant Garde
For this task, I researched into how politics and art were closely aligned at the start of the 20th century and into the mid-1900s. The reasons behind this link was due to socialist ideas and some times even fascist beliefs, for example Nazi Germany and Adolf Hitler̢۪s obsession with complete power. I have designed my own manifesto on architecture and produced a poster to go with it. Architecture should be its own statement and character. Architecture should have large windows to allow natural light to flood the space. Architecture should be simplisticdesirable. Architecture should not have any needless decorations or embelishments. Architecture should incorporate large, free flowing space. Architecture should take from nature and include natural forms within the design. Architecture should be as sustainable as possible.
The link below will take you to a Soundcloud track of Rebecca Davies and I talking about how we feel politics can influence art and whether it has the same effect on architecture. We also dicuss whether architects should respond to currnet political events.
Our discussion on Politics within Art and Architecture
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Regional
Modernism
Regional Modernism: The term ‘regional modernism’ is used to describe architecture that goes against the generic designs following the International Style of the 20th century, which reduces local differentiation. Regional moderism celebrates the differences in vernacular design (Project Muse. 2009). Critical Regionalism: ‘Critical regionalism’ is the middle ground between the uniform style of modernism and the chaotic style of post-modernism, with the idea that this form of architecture should reflect the context and tradition it is sat within through materials and structure (Quora. 2015). If we compare Le Corbusier’s Villa Savoye with Luis Barragan’s Fuente de los amantes, it is clear to see they are two very different designs, albeit they are both under the modernism movement. Villa Savoye follows the International style, removing all embelishments and stripping back a design to only include the essentials. The design disregards any precdents as the architect incorporates unbroken rows of wondows, on a plain white exterior as the only form of decoration (Dezeen. 2016). The building is segregated from its context through the use of trees, which block any views into the site from the surrounding residential area. This allows Le Corbusier to create a haven for his design which is located in Poissy, a small town outside of Paris in France. Similarly, Luis Barragan doesn’t incorporate many embelishments in his design for Fuente de los amantes to keep a simplistic exterior (Wikiarquitectura.com. 2018). However, the architect uses bright colours such as hot pink, and bright orange on the walls to relate the design back to mexican tradition. Barragan chose not to hide the site from its surroundings. He created an open space in Mexico City which can be seen from two sides of the site, from two seperate streets. The main difference between these two buildings is the way Barragan returns to sources within Mexico to drive his design, whereas Le Corbusier designed his villas on the belief that we must forget what has been before to progress design.
Villa Savoye - Le Corbusier
Fuente de los amantes - Luis Barragan
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Brutalism In The UK St James’ House
Quayside Tower
Royal Birmingham Conservatoire
Birmingham Central Library was designed by the architect John Madin and was located in Paradise Circus; it was completed in 1974. However, the brutalist building only lasted 41 years before it was demolished. The architect is known for his brutalist style which helped to shape Birmingham over a period of 30 years from mid 1950s. His work includes buildings such as St James’ House (1957), Quayside Tower (1964) and the Royal Birmingham Conservatoire (1974) (Wikipedia. 2018).
The decision to move the library was made in 2004, but delays meant the public building wasn’t closed until 2013. All the books and archives were moved to the Library of Birmingham, the current library, and the old library was demolished in 2016 (BiminghamLIVE. 2016). The reason why the library was demolished was due to the redevelopment of Paradise Circus. The grounds where the Central Library stood are planned to have hotels, office blocks and public spaces by the mid 2020s (ParadiseBirmingham. 2018). However, the iconic building was one of the best brutalist buildings in the UK and as more and more buildings of this style in Birmingham are being destroyed, people believe the city’s story is being lost (BBC News. 2014). To conclude, the Central Library will be remembered not for its pleasing aesthetics, but for the short time it was in use for. In my opinion, the long-term plans for Paradise Circus will rejuvenate and modernise the area.
Birmingham Central Library
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Frank
Lloyd Wright
Throughout his career, Frank Lloyd Wright has utilised nature within his work. There are strong links between many of his designs and natural forms, in terms of structure and shape, and he has also incorporated landscape design into some of his projects. One of his most famous pieces of architecture is Fallingwater, a weekend home in rural Pennsylvania for the Kaufmann family. Lloyd Wright designed the house over a natural waterfall and incorportated it into the design (Fallingwater.org. 2018). This decision was down to the architects philosophy that architecture must enhance nature, not detract from it. And back in 1935, when it was constructed, this family home opitimised ‘modern’ architecture (Quora. 2018).
Fallingwater
Interior of the Guggenheim museum
One of Frank Lloyd Wright’s final projects was the Solomon R Guggenheim Museum, known simply as the Guggenheim Museum, in New York. The architect didn’t see the completed building as he passed away six months before it offically opened in 1959. However, Lloyd Wright’s love for nature is still very obvious throughout the design, even this late into his career. It is believed that the inspiration for the spiral ramp within the museum was the structure of a nautilus shell, with its radial symmetry and natural beauty (Guggenheim.org. 2018). The ramp is also used to efficiently allow natural light to flow through the space without any interruptions. Natural lighting was a key feature throughtout the architect’s career. Frank Lloyd Wright said that valuable lessons don’t come from nature directly, they are discovered through sketches, contemplation and design (Guggenheim.org. 2018).
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Transcultural Spaces
Everyday users of New Street as they navigate through the space whether they are going to work, going shopping or just passing through. (Three right
hand images)
German market during the day, it is clear to see the event attracts many more people into the space, creating a more social and amiable ambience. (Top left image)
In the evening, the christmas lights are turned on. This also changes the atmosphere as the occupants of the space at the time feel more relax and at ease, even though it is cramped and and lively. (Two bottom left images)
Spaces that enable the atmosphere or mood to change as differnt cultural identities occur are called Transcultural spaces. I have chosen to analyse Birmingham city center, in particular New Street, through a photo collage to see how the space transforms during the short period of time when the German Christmas market is on. New Street is normally a busy place during the day; it is the main road through the city centre with multiple shopping centres and hundreads of shops leading off it (images on the right). However, every year once the German market has been set up, the mood within the space completely changes as people want to spend their evening in the centre as the enjoy the German culture, refreshments and crafts. When the event is on, New Street is very busy throughout the day and even busier in the evening (images on the left). The atmosphere goes from detachment and a feeling of isolation to inclusive and friendly as people interact more due to the more confined space.
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