A short overview on Modern Architecture evolution and different movements.

1. 20TH CENTURY
AND
MODERN
ARCHITECTURE

2. • CHICAGO SCHOOL OF ARCHITECTURE (1880-
1910)
• ART NOUVEAU ARCHITECTURE (1890-1920)
• REVIVALIST ARCHITECTURE (1900-2000)
• NEW YORK SCHOOL OF SKYSCRAPER
ARCHITECTURE (1900-30)
• EARLY MODERNIST ARCHITECTURE (1900-
30)
• EXPRESSIONIST ARCHITECTURE (1910-25)
• DE STIJL ARCHITECTURE (1917-1930)
• SOCIAL HOUSING ARCHITECTURE (1918-30)
• BAUHAUS DESIGN SCHOOL (1919-1933)
• ART DECO ARCHITECTURE (1925-1940)
• TOTALITARIAN ARCHITECTURE (1933-60)
• INTERNATIONAL STYLE OF MODERN
ARCHITECTURE (1940-70)
• HIGH-TECH ARCHITECTURE (1970
ONWARDS)
• DECONSTRUCTIVISM (1980-200)
• BLOBITECTURE (1990S)
• LATE 20TH-CENTURY SUPERTALL TOWERS
2OTH CENTURY ARCHITECTURE
ARCHITECTURE MOVEMENTS
TIMELINE IN 2OTH CENTURY

3. UNDERSTANDING EVOLUTION OF MODERN ARCHITECTURE
CHARACTRERSTICS OF MODERN ARCHITECTURE
• THE NOTION THAT "FORM FOLLOWS FUNCTION", MEANING THAT THE RESULT OF DESIGN SHOULD DERIVE DIRECTLY
FROM ITS PURPOSE
• SIMPLICITY AND CLARITY OF FORMS AND ELIMINATION OF "UNNECESSARY DETAIL"
• MATERIALS AT 90 DEGREES TO EACH OTHER
• VISUAL EXPRESSION OF STRUCTURE (AS OPPOSED TO THE HIDING OF STRUCTURAL ELEMENTS.
• THE RELATED CONCEPT OF "TRUTH TO MATERIALS", MEANING THAT THE TRUE NATURE OR NATURAL APPEARANCE
OF A MATERIAL OUGHT TO BE SEEN.
• USE OF INDUSTRIALLY-PRODUCED MATERIALS.
• A VISUAL EMPHASIS ON HORIZONTAL AND VERTICAL LINES.
• USE OF NEW TECHNOLOGIES AND NEW MATERIALS.
• IMPLEMENTATION OF ―SKIN AND BONE ARCHITECTURE.
• MINIMUM WASTAGE OF MATERIALS, MATERIALS GENERALY CONSISTS OF GLASS AND STEEL.
• FULLY UTILIZATION OF SPACES EXTERNALLY AND INTERNALLY.

4. • MODERNISM IS A GLOBAL ARCHITECTURE AND DESIGN
MOVEMENT EMERGED IN THE 1920S AS A RESPONSE TO
ACCELERATED INDUSTRIALIZATION AND SOCIAL CHANGES.
MODERNISM UTILIZED NEW MATERIALS AND ADVANCED
TECHNOLOGY AND REJECTED OLD, TRADITIONAL, HISTORICAL
IDEAS AND STYLES, AND ORNAMENTATION. MODERNISM
EMPHASIZED FUNCTION, SIMPLICITY, AND RATIONALITY, AND
CREATED NEW FORMS OF EXPRESSION WITH A NEW
AESTHETIC.
• MODERN ARCHITECTURE IS A TERM APPLIED TO A PERIOD IN
ARCHITECTURAL HISTORY DURING THE 20TH CENTURY.
• MODERN ARCHITECTURE BEGAN WITH ADVANCEMENT AND
THE MODERNIZATION OF EFFORTS TO RECONCILE THE
PRINCIPLES UNDERLYING ARCHITECTURAL DESIGN WITH RAPID
TECHNOLOGICAL SOCIETY.
• MODERNISM IS BROADLY CHARACTERIZED BY SIMPLIFICATION
OF FORM AND SUBTRACTION OF ORNAMENTATION FROM THE
STRUCTURE AND THEME OF THE BUILDING.
IDEA OF A MODERN ARCHITECTURE
MODERN ARCHITECTURE

5. EARLY MODERN ARCHITECTURE
MODERN ARCHITECTURE
TRADITIONAL
ARCHITECTURE
MODERN
ARCHITECTURE
IRON FRAME
ARCHITECTURE
• Iron-frame architecture, which flourished primarily in England, France, and (later) the
United States.
• IRON FRAME ARCHITECTURE transitional phase between traditional and modern
architecture.
• Utilitarian structures (and utilitarian products in general) were important for
demonstrating the aesthetic potential of plain, mass-produced objects. For instance,
whereas iron supports in grand architecture were often hidden behind masonry (such
that the buildings retained a traditional appearance), they were left exposed in
structures where appearance was deemed unimportant (e.g. mills, factories) or where
masonry was unnecessary (e.g. bridges, railway stations).
INDUSTRIAL REVOLUTION
Evolution of modern architecture

6. Two works of iron-frame architecture
MODERN ARCHITECTURE
Crystal Palace by Joseph
Paxton, a renowned
greenhouse architect) as
the main pavilion of the
first World's Fair. and
Eiffel Tower, designed by
famed bridge engineer
Gustave Eiffel.
• The next step in the development of modern architecture was the
shift from iron-frame to steel-frame construction. Steel-frame
architecture emerged in Chicago, among a circle of architects
known as the Chicago school, which flourished ca. 1880-1900.
• Architects faced mounting pressure to extend buildings upward
The Home Insurance Building (1884; demolished), by William Le
Baron Jenney FIRST SKYSCAPPER.
INDUSTRIAL REVOLUTION
Sullivan is often referred to as the "FATHER OF MODERN
ARCHITECTURE“, Sullivan's masterpiece is the Wainwright Building.

7. MODERN ARCHITECTURE ART NOUVEAU
• During the late nineteenth century, architects (and other designers) across Europe and the United
States fostered the modern aesthetic, with the most striking advances being achieved by the Chicago
school.
• Art Nouveau, a style that flourished in Europe and America at the turn of the century (ca. 1890-
1910).7 Like functionalism, Art Nouveau was purposely developed as an all-new aesthetic, free of
traditional ornamentation. Yet this was an exuberantly decorative style, defined by organic, curving,
asymmetrical lines inspired by natural forms (e.g. stems, flowers, vines, insect wings
ANTONIO GAUDI
Sagrada Familia, a cathedral in Barcelona. Casa Mila, also in Barcelona, is his foremost
residential work.
ALTERNATIVES TO THE MODERN ASTHETICS
Casa Batllo Guell Palace

8. MODERN ARCHITECTURE ARTDECO
ALTERNATIVES TO THE MODERN ASTHETICS
EMPIRE STATE BUILDING, CHRYSLER BUILDING, AND GE BUILDING
• a major style in western Europe and the United States during the 1930s
• characterized especially by sleek geometric or stylized forms and by the use of
man-made materials.
• Art Deco ignores traditional decoration in favour of plain geometric forms.The
main difference is that, compared with the light minimalism of the modern
aesthetic, Art Deco works typically look heavy and contrived.

9. Famous Early Modernist Architects
• Frank Lloyd Wright (1867-1959)
Designed Robie House, Chicago (1910); Fallingwater, Bear
Run, PA (1937).
• Peter Behrens (1868-1940)
Built the AEG Turbine Factory, Berlin (1909).
• Adolf Loos (1870-1933)
Designed Steiner House, Vienna (1910); Moller House,
Vienna (1928).
• Walter Gropius (1883-1969)
Designed Fagus Factory, Alfeld-an-der-Leine (1911).
• Le Corbusier (1887-1965) (Charles-Edouard Jeanneret)
Designed Villa Savoye (1931); Unite d'Habitation,
Marseille (1952).
MODERN ARCHITECTURE

10. MODERN ARCHITECTURE BAHAUS AGE
LATE MODERN ARCHITECTURE
In the early twentieth century, the modern aesthetic (simple, unadorned geometric
forms) finally matured, becoming the mainstream aesthetic of architecture and design
across the world.
There are a number of characteristics to the
Bauhaus/international style of architecture:
1) it shuns ornamentation and favors
Functionality
2) uses asymmetry and regularity versus
9Symmetry
3) it grasps architecture in terms of space
Versus mass
Bauhaus buildings are usually cubic, favor right
Angles, (although some feature rounded
Corners and balconies); they have smooth
Facades and an open floor plan.

11. Walter Gropius, founder and first director of the
Bauhaus, designed the buildings of the
school's second campus. Plain walls (white and grey)
and screens of glass, sometimes several stories in
height, predominate. Gropius' balconies showcase an
impressive new structural possibility of steel-frame
construction: cantilevering (platforms fixed only at
one end), which further contributes to a sense of
architectural weightlessness.

12. MODERN ARCHITECTURE
LATE MODERN ARCHITECTURE
• The Swiss architect Le Corbusier, though not a
member of the Bauhaus, absorbed and became
a leading figure in the modern style.
• He preferred smooth expanses of white
reinforced concrete pierced with horizontal
strips of windows, as well as a degree of
curvilinear geometry .Corbusier mainly
designed houses; his masterpiece is the Villa
Savoye .
• While Gropius and Le Corbusier made ample
use of reinforced concrete, pure glass-and-
steel construction in the international style was
perfected by Mies van der Rohe(another
director of the Bauhaus), who believed so firmly
in eliminating all embellishment that his guiding
principle was simply "less is more".
His architecture has been described as expressive of the industrial age in the same way that Gothic was expressive of the age of
ecclesiasticism.- Mies van der Rohe Society

13. MODERN ARCHITECTURE
LATE MODERN ARCHITECTURE
FRANK LLYOD WRIGHT
Frank Lloyd Wright, who (like Corbusier) focused
primarily on residential designs. Wright sought to
make his buildings organic; that is, to adjust their
layouts and features until they merge with
their surroundings, rather than imposing a
rectangular box of a house on any given locale.
Wright felt that a house should not be located
"on" a site, but rather be a natural extension of
the site.
Wright's first great works were his Prairie Houses,
built in the Midwest; best-known among them
is Robie House in Chicago. His most famous
building is Fallingwater, Pennsylvania, while his
foremost urban work is the Guggenheim
Museum in New York.

14. POSTMODERN ARCHITECTURE TOTAL AESTHETIC FREEDOM
• As advances in building
materials and engineering opened up incredible
new possibilities for architectural design, it was
only a matter of time until the severe
international style was rejected in favour of total
aesthetic freedom. (Nonetheless, given
its timeless appeal, construction in the
international style has continued since ca. 1960,
albeit to a more limited extent.).
• Postmodern architecture does exhibit a range
of typical features, however, such as complex
geometry (often including curves), blending of
modern and traditional elements, colourfulness,
and playfulness.
The Solution to Modernism
The movement largely has been a reaction against the austerity, simplicity and functional
design approach of the modern architecture/international style.
Breaking the Box of Modernism

15. POSTMODERN ARCHITECTURE TOTAL AESTHETIC FREEDOM
Nonlinearity: Multiple styles, multiple goals
Examples: Commercialism vs. anti-commercialism
Violence vs. peace
Influence of digital technology
Inclusion of World cultures
Visual culture: Fine art, craft, advertising
Visual studies: Combination of visual culture and
social theory
Postmodern Architecture rejects the notion of “pure” or “perfect” detail, instead it draws from: all
methods, materials, forms, & colors available to architects.
Moves away from the neutral white colours seen in modernism.
Took past components of different styles and melded them together to create new means of
design. It is known for the re-emergence of surface ornament, reference to its surrounding
buildings, and historical references.
CHARACTERSTICS

16. POSTMODERN ARCHITECTURE TOTAL AESTHETIC FREEDOM
Architects who contributed to the reaction in post-modernism.
JAMES STIRLING
MICHAEL GRAVES CHARLES WILLARD
MOORE

17. MICHAEL GRAVES BIOGRFAPHY
POSTMODERN ARCHITECTURE
•Bachelors from University of Cincinnati, Ohio and at Harvard
University.
•He started his own practice in Princeton, New Jersey.
• He became a professor at Princeton University in 1972.
•A member of the "New York Five", Graves re-interpreted the
rational style that had been introduced by Le Corbusier in the
1920s into a neoclassical style.
•By the mid-1970s,
•Graves had become less concerned with the roots of
Modernism and had developed a wide-ranging variety in which
he abstracted historical forms and emphasized the use of
color.
•Michael Graves generates an sarcastic, vision of Classicism in
which his buildings have become classical in their mass and
order.
•His works include buildings, furniture, and product design
and other household item.

18. POSTMODERN ARCHITECTURE
•Michael Graves generates an ironic, vision of
Classicism in which his buildings have become classical
in their mass and order.
•He implement function follow form .
•He used sculpture in the building.
•He use different colours.
•Graves blends classical suggestions and oddness.
•He refines an idea to its essence and then adds a
distinctive stroke.
Michael Graves uses many geometric shapes in his
work.
5 words to sum up his style are:
1. Postmodern,
2. simple,
3. unique,
4. colorful and
5. playful .
Celebration, Florida Post Office
Denver Public Library
MICHAEL GRAVE SPHILOSPHY

19. HIS FAMOUS WORKS:-
Walt Disney World Resort, Lake Buena Vista,
Florida
Portland Building, Oregon
Hanselmann house
POSTMODERN ARCHITECTURE
MICHAEL GRAVES

20. The Swan and Dolphin by Michael Graves
Walt Disney World Resort, Lake Buena Vista, Florida
GRAVE’S MAJOR PROJECTS:
Designed by Michael Graves, in
association with Alan Lapidus and the
interior design firm of Wilson &
Associates, the Swan and Dolphin typify
an approach to design known as
entertainment architecture.

21. It has two connected hotels.

22. HOW HE CREATED ENTERTAINMENT ARCHITECTURE?
1. Water Architecture
Michael Graves goes wild with water in
these hotels. At the Swan, twinkling
fountains in giant clam shells sit atop
seven-story wings.
2. Playful Statues
3. Mural Magic
Florida's tropical landscape is echoed in hand-
painted murals on the exterior walls of the Swan
and Dolphin. The Dolphin mural features banana
leaf patterns. The Swan is painted with stylized
waves.

23. 4. Streamlined Interiors
In his original room designs, Michael
Graves took a whimsical approach. Striped
cabana-style doors lead to playful peach
and teal colored interiors with floral-
shaped lamps and beach-theme
furnishings.
5.The structures themselves are designed
to amuse, delight, and stimulate the
imagination

24. •The Portland Building is home to a massive sculpture
named "Portlandia.“
•The design of the statue is of a woman dressed in
classical Greek clothing
•Use of a variety of surface materials like grey sand
stone.
•Different colors block style were used i.e,
browns,blues, and a rusty red—make emphatic
statements against a sandy background.
• Small square recessed windows.
• overall block-like design.
•Use of texture.
•Use of vertical and horizontal lines.
ABOUT BUILDING:
LOCATION: Portland, OregonDATE:1980
BUILDING TYPE: Government offices
STYLE: Post modern (in reaction )
THE PORTLAND BUILDING

25. FIRST FLOOR PLAN
FRONT ELEVATION
SIDE ELEVATION

26. •Born in 1925 in Benton Harbor Michigan
•Nationality: American
•Education: University of Michigan, Princeton University
•Awards: AIA gold medal (1986)
•He strongly emphasized on architecture history.
•He argued that the building must be understood to be at some level anthropomorphic,
and comprehensible to the everyday user.
•His architecture drew upon Mexican and Asian and European precedents.
•He was most ecumenical and least concerned about consistency in his use of historical
sources.
•He described himself as something between ”Litmus paper and a piranha fish”
Charles Willard
Moore(1925-93)
POSTMODERN ARCHITECTURE

27. HIS PHILOSPHIES:-
•He strongly emphasized on architecture history.He
argued that the building must be understood to be
at some level
•Moore believe that the architecture must elict
responses from all the sense,not only the visual.
•Felt that architecture should be based on client
preference and on a symbolic referce to the site.
•He purposefully creates architecture that engage
history ,myth and creativity.
•Instead of using architecture to moralize an idea,he
uses it to generate an environment gets stimiulate
the user.
POSTMODERN ARCHITECTURE

28. Piazza d’ Italia, New Orleans
(1975-9)
•Rich, entertaining, and surprisingly perfectly
describe the space.
•It is a festive public space celebrating New
Orleans Italian community.
•A stage-like collage of antique set pieces with a
strong folkloristic character.
•Five concentrated colonnades focus the
visitor’s attention on an elaborate fountain from
a series of brightly colored curved screens of
classical columns, part of which is shaped like
Italian peninsula, projecting into the circular
piazza.
•Orders had been recast in unusual ways using
variety of water effects and visual puns of the
Doric order.

29. •It neatly captures the post-modern
attitude to the past; interested in historical
models yet unwilling to reproduce them
literally.
•It became one of the most controversial
projects of the late 1970’s.
•Moore’s building was greeted by the
criticism that it was a shallow joke, and a
self-indulgent on at that.
•Moore used bright and dominating contrast
colors.
•Moore used historical elements.
•Use of textures were clearly seen in
• this work.
Illusion has been created using different colors.

30. Neon lights outline the arches and columns to
create a gaudy effect at night.
The capital of the column is of the
”delicatessen order” according to Moore

31. •Moore House is a house designed by Charles
Moore for himself.
• The house designed in 1962 and located at
Orinda, California.
•Built on a contour site.
• Built using wood frame as the construction, the
house has Neo-Vernacular style.
•Its forms admittedly derive from primitive huts
and from Mayan or Hindu temples .
•Moore makes it clear that he was thinking in
broad and recollective terms when he made the
design."
MOORE HOUSE CALIFORNIA(1962)

32. •A house based on an even more extensive set of
geometries was built for in 1962 in Orinda.
•Its forms admittedly derive from primitive huts
and from Mayan or Hindu temples.
• It includes two aediculas of different sizes,
formed by large wooden columns placed to hold
up a symmetrical roof over a square plan, though
the symmetry of the openings lies abut a diagonal
axis, so that patterns are overlaid.
•To enhance the diagrammatic quality of the
dwelling without losing the apparent easiness that
goes with the location of this little square house
on a round meadow in a grove of oaks.
•The large columns before there was even a at
the corner supports which would have solidified
the square plan.
ABOUT MOORE HOUSE:-