Modernism
Katie Durkin Student ID: 18146595 Architecture Ba(Hons) History of Modern Architecture ARC4010
Contents 1. What is Modernis m? 2. St Philip’s Cathed ral & the Pre-Raphaelites 3. Bauhaus 4. Chapelle Notre-D ame du Haut 5. Italian Modernism 6. Avant Garde 7. Regional Modern ism & Critical Regionalism 8. Brutalism in the U nited Kingdom 9. Frank Lloyd Wrig ht 10. Transcultural Sp aces
Pre-Raphaelites The Pre-Raphaelite Brotherhood (PRB) founded the Pre-Raphaelite movement in 1848, it ended in 1890.Their aim was to reform the idea of Victorian Art after believing that renaissance artists had made the artwork too mythical and unrealistic. They still wanted to capture mythical beings within their work but they did it in such intricate detail they still appeared realistic and natural. The PRB were the first artists to take their canvases and paintings outside to capture nature as they saw it. Pre-Raphaelite Brotherhood Members: Later joined by: - William Holman Hunt - James Collinson - John Everett Millais - Frederic George Stephens - Dante Gabriel Rossetti - William Michael Rossetti They named themselves the Pre-Raphaelites as they believed their art was a simple portrayal of nature - this was their ‘rebellion’ against renaissance art (artists such as Raphael). Sir Edward Burne-Jones was a Pre-Raphaelite artist. The stained glass windows in the St Philips Cathedral, Birmingham were designed by Burne-Jones and produced by Morris & Co. between 1885 and 1891. Within the artwork there is a clear horizontal split representing the division between heaven and earth; both of which are Christian beliefs. Within the four glass windows which were designed there are four significant events within Christianity, including: The Ascension - Jesus going to heaven to be in the presence of God The Nativity - the birth of Jesus The Crucifixion - Jesus being crucified The Last Judgement - the decision of whether a person goes to heaven, hell or purgatory after death. William Morris (of Morris & Co.) was influenced by the Pre-Raphaelites and later founded the Arts and Crafts movement.
German art school, the Bauhaus, was open from 1919-1933 and was founded by Walter Gropius. Johannes Itten was a Swiss painter and influenced the way in which people were educated in the Bauhaus between 1919 and 1923. He urged students to be creative in their designs and used a unique teaching method which was influenced by the movement. His courses were split into sections studying nature, analysing life drawings, colour and form and materials. To stimulate creativity Itten focused on breathing/rhythm and allowing creativity to flow instead of holding back. In 1916 Itten painted The Encounter. Though it was created before the Bauhaus it represents his teaching styles and his beliefs in being able to create artwork freely. He uses geometric shapes collectively to create a unique and well structured form. With contrasting colours different aspects of the painting can catch the eye. Anni Albers was a student of the Bauhaus and began to develop her skills of weaving there in 1922. She moved to North Carolina in 1933 when the Bauhaus closed and attended Black Mountain College. Albers was interested in linking architecture to textiles. As does the Itten artwork, ‘Eclat’ designed by Albers in 1976 uses geometric shapes to create a well structured form and creative piece of artwork. The white and orange colours are positioned carefully to create an illusion of three-dimensional shapes. Both artists represent the Bauhaus manifesto as their artwork incorporated many different elements, not necessarily conforming to other styles of artwork.
‘Eclat’ Anni Albers 1976
‘The Encounter’ Johannes Itten 1916
The Wassily Chair (Model B3) designed by Marcel Breuer was manufactured by Knoll and is an iconic piece of furniture from the Bauhaus. Wassily Kandinsky was Breuer’s instructor in the Bauhaus therefore the chair was named after him. The piece of furniture is stripped of any real decoration leaving the chair with only what is necessary. This manifests the Bauhaus ethos with the way it is unique in it’s aesthetic with exposed metalwork and geometric forms. The piece is practical as it gives supprt to the user where necessary while using up minimal material. In comparison, a modern day camping chair manufactured by Yellowstone shows similarities in its simple looking structure and minimum material. This chair too shows geometric forms however gives the user even less support due to the lack of arm structure. It is clear when comparing the two that Breuer thought more about practicality, aesthetic and comfort as a whole; whereas the camping chair designed mainly focused on practicality.
Wassily Chair (Dezeen, 2018). Director Chair (Wayfair, 2018). The Bauhaus-Archiv in Berlin was designed by Walter Gropius. As there were alterations to the building due to planning and location complications after Gropius died in 1969 the end result was not entirely as he envisioned. Alex Cvijanovic and Hans Bandel worked to ensure the final design was to be as close to Gropius’ vision as possible. The building captures Bauhaus characteristics with the identical repeated large concrete structures. The build is solid and is not trying to blend into the surrounding environment, making a statement about its presence. Jun Sekino, an architect, designed a beach house in Thailand which is an example of the Bauhaus inspires modern day buildings. The house is built of concrete with bold and raw walls and prominent use of geometric shapes in the design. The modern element of this design is the exposure to materials within the inside of the building (both concrete and wood). Overall the design shows clear Bauhaus influence while beginning to blend into the surround environment. Bauhaus-Archiv (Dezeen, 2018).
Bauhaus Inspired Beach House (Dezeen, 2017).
Le Corbusier Presentation Chapelle Notre Dame du Haut Ronchamp, 1955 Le Corbusier
Chapel of Notre Dame du Haut (Galinsky, 2011).
Materials and Structure
Le Corbusier embraced modern architecture when designing this building. The unique shape coincides with the unique spiritual feelings experienced once inside the chapel.
Materials The roof is made of concrete which is being supported by numerous columns which are embedded within the calls. In order to preserve some of the previous church, remaining stone walls were wrapped in concrete. This maintains the history of the building. East facing outdoor altar (Winston, 2016). The 4-12inch thick walls are not only structural support they also amplify sound. The curve in the exterior wall to the east of the building allows for sound from the outdoor alter to be projected across the field.
History of Design Brief
The earliest indications of occupation on the site of Ronchamp Chapel date back to Antiquity. The construction of a new church in the village centre began in the eighteenth century, the chapel on top of the hill became a pilgrimage chapel and was then called the chapel of Our Lady of the Heights (Notre-Dame du Haut). In 1950, despite Le Corbusier’s reluctance to cooperate, he visited the site due to the influence of Francois Mathey, Abbot Ledeur and his friend Maurice Jordot. On 4th April 1954, the first stone of the future chapel was laid; and on the 25th June 1955 the new chapel of Notre-Dame du Haut was complete. “I wanted to create a place of silence, prayer peace, inner joy� said Corbusier on the Chapel. He also sensed a sacred relationship of the hill with its surroundings - the Jura mountains in the distance and the hill itself, dominating the landscape. The nature of the site would result in an architecture ensemble that directly link to the Acropolis.
Notre Dame du Haut
Location & Relationship to the Site
The small chapel is located in Ronchamp, France. It was completed in 1954 and was built for a Catholic church, located on a pre-existing pilgrimage site. The site has long been a religious site of pilgrimage. It had deep roots of catholic tradition, however after World War Two the users of the church desired a pure space rid of extravagant detail and religious figures unlike its predecessors. It sits among a wooden terrain secluded from the rest of the commune, the chapel is placed on top of a hill on the site setting itself on a metaphorical pedestal giving Ronchamp added importance. The previous stone building had been largely destroyed during the second world war. It is deceptively modern such that it does not appear as a part of Corbusier’s aesthetic even that of the International Style; rather it sits in the site as a sculptural object. The inability to categorise Ronchamp has made it one of the most important religion buildings of the 20th century, as well as Corbusier’s career.
Spatial Layouts
Inside Notre Dame du Haut (Vielle, 2013) Simple plan, unlike the exterior. Composed of three hooded towers facing in various directions. Rough white walls with limited decoration. Maine naive is 25x13meters. Natural uneven sloped floor. Smaller chapels are top-lit within the towers. Southern wall has 27 windows, each of them going through the thick wall like tunnels. Windows are placed at different angles to create different tones of light throughout the day. The central concept of the work is the exterior and interior movements of the spectator which involved with the dynamics of the composition.
In conclusion, Chapelle Notre Dame du Haut was a spiritual site, a place of tranquility for reflection and peace. Windows within the deep walls were placed in different positions and there was a gap between the floors and the walls and the walls and the ceilings, this allowed for an envelope of light to penetrate through giving the visualisation that the building was floating. There are several chapels within the building, each with their own unique experience, something which Corbusier intended. He wanted those inside the chapel to feel a sense of reverance and spirituality, as though they could connect with God and reflect.
Italian Modernism Giorgio de Chirico In Chirico’s artwork he often paints Italian squares and public places, but they are never heavily populated; they only have a few people if any. They are usually surreal landscapes, they depict perspective and may be to represent the changes which were to come in terms of art, architecture and politics. Also, the loneliness may represent how the movements are constantly changing but often people and artwork get lost in that and struggle to keep up with the everchanging world. Particularly with Modernism becoming part of popular culture in 1913. Especially being Italian, Chirico was in a country which is highly influential in its artistic movements and political values and influence. Chirico is known to focus on the metaphysical being of urban environments and town squares. This fascination is visible in several his works. The Enigma of the Hour again depicts the loneliness and being still/focusing on being present in a supposedly busy environment of a town square. The Uncertainty of the Poet presents traditional art in an unusual manner, again putting the statue in the middle it conveys the idea of being in an everchanging world; the statue aging while the surroundings are modernised and renewing. Aldo Rossi The Architecture of the City is a book which was written by Aldo Rossi. The book was originally published in 1966 and discusses the evolution of urban buildings and the theory behind them. Also covering how architecture has changed leading up to the functionalist and modern movement. In the first chapter of the book Rossi explains how some buildings are urban monuments and act as a catalyst for the development of a city. In the second chapter Rossi begins to evaluate and criticise how spaces are used within a city. He criticised how Chicago was separated into zones by Ernest Burgess and Robert Park. They split the city up depending on its function rather than other aspects such as the natural environment, how the city makes you feel and the history of the area. He also compared this to how Berlin had been divided due to police and political issues. Further on in the book Rossi explains how he believed that any subdivision which occurs in an urban environment due to political issues occurs by choice. He expresses that idealistic city plans are unrealistic as they are too many factors which contribute when deciding where to place a building. In comparison to Giorgio de Chirico’s work Rossi may be said to have focused on the buildings in the background of his paintings; having them to represent the everchanging urban environment. The statue in situ (in The Uncertainty of the Poet) being, metaphorically speaking, the geography of the land, the randomly placed buildings around it being the urban environment. Overall, this representing Rossi’s criticism of buildings being placed purely for functional use, rather than being purposeful and taking advantage of the geography and how the land makes you feel.
Soviet Propaganda (Rodchenko, 1924)
European Avant Garde People used art as a way of rebelling against politics which they did not agree with, new art was made in favour of the politics they did agree with. Between 1917 and 1925 communism was new as was the art fused with it. The revolution of art representing politics had already occurred in Russia but only those in the middle class and higher in the hierarchy had access to it. The Orthodox Church who believe in a specific way of life and worship were using art to communicate with the Russian masses. Without the European Avant Garde modernism in Russia would not have happened the way it did. German Dadaism was an art movement in the early 20th century after the First World War. They were anti-war and did not agree with the violence which was present at the time. The art of opposition wanted to influence political events. Dadaist’s wanted art to transform the way in which people lived, the aim was to make the future full of equality instead of terror. As machinery was new the concept of futurism was intriguing to the people, however the hope of having a violent-free future was not fulfilled. Constructivism was metaphorical, it was the concept of starting from scratch. It should not make anyone feel the need to be destructive, instead it should make people want to be constructive to make life better. Naum Gabo was a Russian sculptor living in Paris. He wanted sculptures to represent politics in the same way symbols represent religion. This was when constructivism began to evolve in Russia. In 1919, Vladimir Tatlin who was a sculptor and painter was asked to make a structure larger than the Eiffel Tower, but this could not be built due to there not being enough steel in Russia. It was to be made up of three forms and have moving elements inside, it was an abstract piece of art. This was the new contemporary way of thinking in Russia, from science to art the way in which ideas were presented was abstract. Model for the Monument to the Third International (Tatlin, 1919)
Soviet Propaganda (Rodchenko, 1924)
European Avant Garde El Lissitsky was an artist who created propaganda poster “Beat the Whites with the Red Wedge”. He worked alongside Alexander Rodchenko and they collectively produced artwork which represented a political message. Montages in propaganda often included photographs which were important as cameras only capture reality, the messages behind them were real. From 1922 until 1953, Joseph Stalin was the General Secretary of the Communist Party of the Soviet Union’s Central Committee and became the Soviet Union Leader in 1924 upon the death of Vladimir Lenin; both of whom agreed on a communist government. In the 1930s the Russian Proletarian Revolution (approved by Stalin) and the National Socialism (approved by Adolf Hitler) were both present. There was not much difference between the two. The socialists created and supported Nazi ideology and the proletarian revolution was a form of dictatorship. Though Hitler was not of any importance in 1925 he was already drawing potential designs which could later be monumental buildings. His aim was to make Berlin the capital of the world. Albert Speer was his architect, he helped Hitler to design the Volkshalle which was never build but the aim was to make it greater than Michelangelo’s St Peter’s Basilica in the Vatican. It was not modern in its design, it was modern in the fact that it was made in the 20th century. Hitler wanted structures that were as monumental, and greater in size, than the Egyptian pyramids.
Soviet Propaganda (Rodchenko, 1924)
European Avant Garde Speer designed the Deutsches Stadion in Nuremberg, Nazi Germany for Hitler with a capacity of around 400,000. Together they believed that authority demanded design and regularity. Once inside the structure Speer did not necessarily want the occupants to feel anything but how large the building is. Another structure which Speer designed for Hitler was the Nazi Party Rally Grounds in Zeppelin Field, Nuremberg. This is the only building which was specially designed for Hitler that remains, he specifically asked that the best stone was used so that the structure would still be standing in thousands of years. Benito Mussolini was influenced by Speer in his movement away from modernism and interest in creating large structures. Mussolini, much like Hitler, believed in fascism. Foro Italico was built for Mussolini in 1928-1938. It was designed by Enrico Del Debbio and Luigi Moretti; it was a sports facility in Rome. Within the Foro Italico was the Stadio dei Marmi (Stadium of Marbles) which shows a clear representation of the continuity concept with the 59 statues surrounding the facility. In May 1938, Hitler visited Rome and met Mussolini. In preparation for his arrival the Foro Italico was completed and a new train station was built. Along the railway line fake apartment blocks were built to build a face of the city. In the apartments Italian people stood cheering and welcoming Hitler. Mussolini became well known for his buildings having fascist designs (for example, the Palazzo della CiviltĂ Italiana). After the war many American universities were influenced by this, for example, the Lincoln Center for the Performing Arts in New York. Designs show the hierarchy of the state, the larger the building the greater its importance. During the 1950s it was known as the architecture of democracy. In 1937, Picasso created a piece of artwork called the Guernica. The imagery presents the destruction of a German bomb going off in a small town in the Spanish Civil War. It is a representation of how art had begun to represent political issues. The Dadaists wanted to start society from scratch however their ideas got rejected by political leaders and they took matters into their own hands, reversing the concept and using it against the artists. Futurism and constructivism were discredited due to the political leaders, the movements were taken over by people manipulating them.
Volkshalle (Speer, 1925)
Political Manifesto Art and architecture should respond to politics to a certain extent, as long as art is not degrading anybody or anything I believe it is an effective way of communicating ideas to people. A political issue which needs to be resolved is animal conservation. Animals are taken out of their natural habitats and put into zoo often in different countries which do not have the correct climate so the animals are forced to adapt, they also do not have enough space - the space is nothing in comparison to what they had in the wild. Animals often lose their habitats due to structures (for example, housing) being built where they live, they are forced out of their homes and are captured, killed by humans or die of causes caused by their habitat being ruined. Architects could respond to this by building structures like zoos but with a lot more space and having ways of controlling the climate in the enclosure. This way the animals are conserved in a more humane way with correct conditions and enough space. Manifesto: - Eradicate zoos which do not offer animals enough space. - Protect more areas of land where there is a dense population of certain animals to help preserve them in the wild (for example, Lemurs in Madagascar and Red Pandas in the Himalayas and Southwestern China). - Investigate the specific needs of the animals and create environments which mimic/ are identical to their natural environment. Due to over population humans are taking over animals habitats the purpose of this is to conserve the animals even if it means taking them out of their natural environment. The aim is to create environments which are identical to their natural habitat so they will be able to live healthily and successfully.
Regional Modernism & Critical Regionalism Modernism was not a worldwide movement, it developed in different countries at different times. Regional Modernism is more the opposite of the International Style. Instead of wanting work internationally to be similar in form and structure, regional modernism wanted art and architecture to link cities to the countryside. Each building fitting into the landscape would make in and work with the environment (allowing for natural ventilation and lighting). This coincides with the concept of Critical Regionalism. Choosing specific structure and materials to allow the building to almost camouflage into the landscape is being critical. Each region has a specific climate which needs to be understood when creating a building, doing this will allow for good ventilation and minimising energy use. Having to make decisions depending on the climate and environmental factors explains the idea of critical regionalism. Neue Nationalgalerie was opened in 1968 after Ludwig Mies van der Rohe was asked to design an exhibition space for Berlin in 1961. The purpose of the building was to hold collections of early twentieth century art. This was West Berlin’s way of restarting their culture after the wars; due to bombings most pieces of artworks were being hidden to keep them protected. The building of the Berlin Wall, which divided the city between 1961 and 1989, resulted in some major cultural buildings being lost by the Kulturforum. This was a collection of highly cultural structures which were brought together in the 1950s and 1960s. Due to its location the Neue Nationalgalerie is a popular tourist attraction. The stone cladding, glass and steel structure make it a landmark. Though positioned next to a highly congested road the building is still able to blend in with the surrounding environment, with the angle of the roof sloping off merging into the topography of the landscape. The glass structure enables the light to travel straight through the building, enhancing the view of the greenery in the distance. The modern structure and use of materials is similar to Geoffrey Bawa’s Kandalama Hotel in Dambulla, Sri Lanka (this was built between 1991 and 1994). The resemblance in structure makes it seem as though you could take the Neue Nationalgalerie place it into the Dambulla landscape and it would almost become part of Kandalama.
Editted photograph of Neue Nationalgalerie in place of Kandalama Hotel to represent their similarity (Durkin, 2018).
Regional Modernism & Critical Regionalism Bawa related his work to the local context and this can also be applied to Mies van der Rohe. They both took into consideration the history, people, place and tradition. Mies van der Rohe understood the needs of the people, them wanting to restore their culture after the world wars while wanting the building to be modern. Although there are no buildings directly next to the gallery those within close proximity to it are very solid in structure; meaning that they are made of solid materials such as concrete and stone with no transparency. The Kandalama Hotel is similar to the Neue Nationalgalerie in the way the roof merges into the landscape, however Bawa takes this to another level. Not only does the roof blend in but the entire building. Once inside there are tranquil spaces, bold planes and textured walls (much like the art gallery); this shows how both Bawa and Mies van der Rohe were influenced by other modern architects. Bawa may have been inspired by Mies van der Rohe and he may have used his earlier work on the Barcelona Pavillion to inspire his work. Both buildings apply to Critical Regionalism in the way they make an impact due to their location, but both respond to different aspects in different ways. For example, Bawa related the Kandalama to the climate in Sri Lanka, allowing for ventilation. He also exposed some of the interior to the natural occurring surfaces such as stone. As well as this there are ambiguous places and water features to make visitors feel at one with nature. Mies van der Rohe too has ambiguous places and textured walls. The building connects with the surrounding landscape, allowing those inside to feel at peace while still being in a busy part of the city. Both architects are successful in making those visiting the buildings feel a connection to the environment due to the spaces that they created.
Brutalism in the United Kingdom Brutalism: Birmingham Central Library The Birmingham Central Library was designed by architect John Madin and opened in January 1974 after five years of construction. This building was a prime example of Brutalist architecture with its mass stone structure; this made it one of Birmingham’s main Modernist buildings. Madin was influenced by Marcel Breuer’s 1925 ‘Kleinmetalhaus’, one of his residential projects to be constructed of prefabricated steel. Another influence was Antonio Sant’Elia who was an Italian architect. Madin was inspired by his drawing of the Casa a grandinata (meaning ‘home in tiers’) which can be seen within the final design. The library was designed as part of a newly proposed civic scheme in Paradise Circus (between Chamberlain and Centenary Square). The building had multiple functions with lecture rooms and theatres as well as the necessary library space. Through the middle of the building was an atrium, the balconies were made of concrete with large glass windows; this was useful as it allowed natural light in and reduce noise pollution from outside. However, the atrium allowing light in later became an issue as the sunlight and heat from the light began to damage the books (something which the new library takes into consideration).
In June 2013 the library was closed and demolished three years later. The public had divided opinions on the brutalist structure, many believing that it ruined the urban landscape and other wanting it to be a listed building.
Brutalism in the United Kingdom In attempt to save the library there were protests and artist Lucy McLauchlan painted a mural on one of the exterior walls. She informed ministers that there were birds nesting on the roof of the building and to destroy them would be against the Wildlife and Countryside Act 1981. Others emphasised the multi-functional modern interior and the fact that it was the largest civic library in Europe. However, those for the demolition disagreed that Madin’s design showed any architectural or historical significance. They argued that the land which the library was built on would be much more beneficial as offices and a library in the city centre should be eye catching in other ways (not a dark mass concrete structure). The library had already begun to be taken over as a section of the building was sold to be sublet. Privatisation meant that the public did not have as much freedom within the library thus affecting their experience. Madin initially wanted the structure to be built out of Portland stone or marble but economic strain meant that this was not possible. The library was supposed to match surrounding buildings, but it was made of a much cheaper concrete making it stand out. I believe that the demolition of the Birmingham Central Library was unjustified. It was a monumental piece of brutalist architecture which should have been preserved. If necessary, it could have been refurbished or modernised internally to deal with the environment lighting issues, but I feel it was important piece of Birmingham’s history. It represented how the city and architects within in (Madin being from Birmingham) were changing and adapting with the architecture movements. Especially being near Chamberlain Square the structures within it exhibited a clear contrast in the changes in history and architecture.
Frank Lloyd Wright Frank Lloyd Wright was an American architect who designed over 1000 buildings in his lifetime. In 1844, 23 years before Wright’s birth in 1867 the family sailed to New York and travelled further west from their home in Wales; eventually arriving in Spring Green, Wisconsin. The landscape in Spring Green was to be highly influential of Wright’s architectural work. Along with his family Frank Lloyd Wright believed in Unitarianism which formed his free spiritual thinking and belief in the sanctity of nature. Examples of his work include Taliesin West and Zimmerman House. Taliesin West is particularly effective at explaining Wright’s connection with the landscape. There was great influence by the mid-west expansive landscape, Wright almost replicated that by creating broad buildings but he also wanted his creations to integrate with nature. Built in the desert in Scottsdale, Arizona Taliesin West was a winter home for Wright and his family. Upon completion in 1937 it was also used as a space where Wright taught his apprentices; the Taliesin Fellowship. It is now used as the Frank Lloyd Wright School of Architecture.
Frank Lloyd Wright Local materials were sourced to allow the building to blend into the landscape. Stone found on site was set with concrete to form large walls which appear to be growing out of the ground; Wright referred to this as desert masonry. Covering the studio and garden room is red painted timber with plates of canvas between the wood. This compliments the red colouring within some of the stonework; overall increasing the aesthetic and reinforcing the natural feel of the house. Similar to his Prairie Style houses (including Robie House), Taliesin West has low-level horizontal planes with flat sloped roofs to maintain the natural topography of the landscape. This building is an example of organic architecture, with use of local materials and the house working with the environment, not against it. Exposure to raw materias in the interior gives the building a rustic feel but is a constant reminder to those inside of their location and connection with nature. This would have been what Wright intended with his desire to represent the importance of nature, how it is omnipresent and should be appreciated in its entirety; in the way it can be used as material and how it creates euphoric experiences. The Zimmerman House is similar to Taliesin West in its low lying horizontal planes and transparency between the interior and exterior. Connection with nature was a major theme of Wright’s, particularly in his residential work. The home in New Hampshire is predominantly made of brick, not steering away from natural colours makes the house blend into the surrounding environment. The low level planes are deceptive making the house appear relatively small but inside there is open space with a mixture of exposed brick and wood. This is again a reminder, much like in Taliesin West, of the inhabitants environment. The sanctity of nature was a distinguishable theme within Frank Lloyd Wright’s career. He understood that every site he was given to work with was different and believed that every building should appear to grow from the land, working in harmony with the landscape.
Transcultural Spaces In 1534, the first Catholic cathedral was built in Birmingham, this also being the first in England. Since then numerous other religious buildings have been built due to the population growth. The large movement of people brought with it a variety of cultures, allowing Birmingham to be considered a transcultural space. The collage below shows some examples of cultural buildings within the city. The bottom right being the Methodist Central Hall, to the left is St. Philip’s Cathedral, above that being the Symphony Hall, above that being the Central Mosque and to the right the Buddhist Vihara. As the culture changes in these images so does the architecture, there is an alteration in style which is clearly represented. St. Philip’s Cathedral (built in 1725) and the Methodist Hall (1904) are the oldest of the chosen buildings and have more of a gothic style. The mosque, Symphony Hall and Buddhist Vihara are the more modern buildings and this can be seen through their general simplicity and mixture of materials and colour. The golden roof of the Vihara represents the traditional and unique Buddhist style, whereas the Central Mosque has similarities with St. Philip’s Cathedral with the dome and roof structures.
Labelling a map of part of central Birmingham made it clear how the different spaces are used and how buildings can be multifunctional to adapt to the needs of numerous cultures and allow people to be educated.
With different cultures comes different buildings and in a city with a population of over 1 million there are a variety of human beliefs and behaviours to be catered for in Birmingham. The city successfully represents each of these while showing the history and how culture has changed over time. The spaces allow for a variety of communities to live together and have chance to be educated and respect others beliefs and ways of life.
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