Modernism arose in the late 19th century as a philosophical movement in response to industrialization. Notable modernist architects included Mies van der Rohe, Le Corbusier, and Frank Lloyd Wright. Modern architecture developed new building materials and techniques. Styles included the Chicago School, Expressionism, the International Style, and Brutalism. Postmodernism emerged in the 1970s as a reaction against modernism. Deconstructivism from the 1980s fragmented and layered forms. Folding architecture from the 1990s integrated differences through smooth layering inspired by geology and cooking.

1. Architectural styles
Style group

2. Modernism & postmodernism in
architecture

4. Modernism
• Modernism is a philosophical movement that
along with cultural trends and Changes, arose
from wide-scale and far-reaching transformations
and western society in the late of 19th and early
of 20th century the term is often applied to a
modernist movement at the turn of the 20th
century.

5. Influential architects
• Notable architects important to the history and development of the
modernist movement include:
• Ludwig mies van der roe
• Le Corbusier
• Walter Gropius
• Erich Mendelsohn
• Frank lipoid wright
• Louis Sullivan
• Gerrit riveted
• Bruno taut
• Arne Jacobsen
• Oscar Niemeyer
• Alvar Aalto

6. Context
• Modern architecture developed as a result of social
and political revolution others see modern architecture
as privately driven by technological and engineering
development still Are there historians regard
modernism as a matter of taste a reaction against
eclecticism and the lavish stylistic existence of
Victorian and Edwardian architecture.
• With the Industrial Revolution the availability of newly
available building materials such as iron steel and sheet
glass drove the invention of new building techniques.

7. Modernism Styles
• Chicago School
• Expressionism
• New Objectivity
• International Style
• Functionalism
• Constructivism
• Essentialism
• Brutalism
• Metabolism
• High-Tech

8. Chicago School
Region: United States
Period: 1880s to 1900s
Characteristics: Steel frame; Rectilinear façades; Cuboidal form; Height; Classically
derived decoration
Burnham & Root (main designer Charles
Atwood), Reliance Building, Chicago,
1890–94
Adler & Sullivan, Guaranty Building,
Buffalo, New York,
1894–5

9. Expressionism
Region: Germany and the Netherlands
Period: 1910s to mid 1920s
Characteristics: Expressive forms; Modern building types; Naturalism; Dynamism;
Functionalism; Monolithic materials
Fritz Höger, Chilehaus, Hamburg,
Germany, 1922–4
Peter Behrens, Hoechst Dye Works,
Frankfurt am Main, Germany, 1920–25

10. New Objectivity
Region: German
Period: Mid 1920s to mid 1930s
Characteristics: Rectilinearity; Rationality; Steel, concrete and glass; Planar surfaces;
Industrial mass production; Continuous blocks
Walter Gropius, Bauhaus, Dessau, 1926

11. International Style
Region: Initially Europe, later worldwide
Period: 1930s to 1950s
Characteristics: Volume; Steel, concrete and glass; Dematerialization; Free plan; Pilot;
Universality
Le Corbusier, Villa Savoye, Poissy,
France, 1928–31

12. Functionalism
Region: Europe, especially Germany and Scandinavia
Period: 1930s to 1960s
Characteristics: Techno-fetishism; Radicalism; Local materials; Irregular plan;
Fundamentalist forms; Starkness
R. Buckminster Fuller, Montreal
Biosphere, 1967
Stirling and Gowan, University of Leicester
Engineering Building, Leicester, England,
1959–63

13. Constructivism
Region: Soviet Union
Period: 1920s to early 1930s
Characteristics: Revolutionary; Abstraction; Industrial buildings; Social programmed;
New building types; Traditional construction
Aleksandr and Victor Venin,
unrealized project for the
Leningrad Pravda, 1924
Konstantin Melnikov, Melnikov House,
Moscow, 1927–31

14. Essentialism
Region: United States
Period: 1910s to 1970s
Characteristics: Spirit; Organic; History; Communality; Abstraction; Monumentality
Louis Kahn, National Assembly Building, Dhaka,
Bangladesh, 1962–75

15. Brutalism
Region: Britain
Period: 1950s to 1960s
Characteristics: Sculptural; Raw concrete; Streets in the sky; Urban; Anti-slab;
Destruction
Denys Ladson, National Theatre,
London, 1967–76

16. Metabolism
Region: Japan
Period: 1950s to 1970s
Characteristics: Corbusier in hence; Modular; Monumentality; Japanese tradition;
Unresolved; In hence
Kenzo Tinge, Peace and Memorial Museum,
Hiroshima, 1949–55

17. High-Tech
Region: International
Period: 1970s to 1980s
Characteristics: Technophilic; Industrial aesthetic; Exterior services; Innovative
circulation; Wide-span interior spaces; Exposed structure
Richard Rogers Partnership, Lloyd’s
Building, London, 1978–84
Ramshaw Architects, Financial Times
Printworks, Docklands, London,
completed 1988

18. After Modernism
• Regionalism
• Postmodernism
• DE constructivism
• Eco-architecture
• Expressive Rationalism
• Contextualism

19. Regionalism
Region: International
Period: 1960s to present
Characteristics: Inventive forms; Mood; Climate; Identity; Local typologies; Purity
Oscar Niemeyer, Plaza of the Three
Powers, Brasília, Brazil, 1958

20. Postmodernism
Region: International, especially in the United States and Britain
Period: 1970s to early 1990s
Characteristics: Fragmentation; Architecture as image; Complexity; Contradiction;
‘Camp’; Veneer-ism
Hans Hollein, Städtisches Museum, Mönchengladbach,
Germany, 1972–82

21. DE constructivism
Region: International
Period: 1980s to early 1990s
Characteristics: Layering; Metaphor; Fragmentation; Sculptural; Intertextuality;
Flowing curves
Frank Gehry, Guggenheim Museum, Bilbao,
Spain, opened 1997

22. Eco-architecture
Region: International
Period: 1970s to present
Characteristics: On-site energy generation; Green roof; Traditional materials;
Adaptation of local forms; New technology; Beyond architecture
futuristic structure.
Toyo Ito, Kaohsiung National Stadium,
Kaohsiung, Taiwan, completed 2009

23. Expressive Rationalism
Region: International
Period: 1990s to present
Characteristics: Complexity; Bigness; Cross-programming; Relativity; Seclusion; Iconic
Herzog & de Neuron, National Stadium
(‘Bird’s Nest’), Beijing, China, 2003–8
OMA, Seattle Central Library, Seattle,
1999–2004

24. Contextualism
Region: International, especially Europe
Period: 1960s to present
Characteristics: Poetic; Neo-urbanist; Neo-Rationalist; Neo-universalist; Re-
interpretation; Layering
Mario Botta, Casa Rotonda, Stabio, Ticino,
Switzerland, 1980–81

32. Influential architects
• Some of the best known and influential architects in
the post modern style are:
• Aldo Rossi
• Barbara Beelike
• Ricardo refill
• John burgee
• Terry Farrell
• Micheal graves
• Helmut john
• Philip Johnson
• Frank Gehry

39. Post post-modernism

40. CRITICAL REGIONALISM
• An approach to architecture that strives to counter the
blamelessness and lack of meaning in Modern Architecture
by using contextual forces to give a sense of place and
meaning.
• It was based on Phenomenology
• The term critical regionalism was first used by Alexander
Toni's and Liane LeFevre and later more famously and
pretentiously by Kenneth Frampton in "Towards a Critical
Regionalism: Six points of an architecture of resistance."
• Regionalism is an idea stuck to vernacular, and Modernism
is about total newness

43. METABOLISM:
A special place in the history of
structuralism takes metabolism, named
after a group of Japanese architects
working under the direction of Kenzo
Tinge. In 1960, Tinge presented the plan
to build a new neighborhood on artificial
islands and the footbridge stretched over
the bay near Tokyo. The plan resembles a
tree trunk from which branches sprout
leaves covered with residential buildings -
and this is the essence of metabolism,
binding individual living spaces with the
"bloodstream" of infrastructure and
communications.

44. The same concept was realized in one of the few metabolic
buildings - Nag akin skyscraper in Tokyo (Kisha Kuroki, 1972), in
which the capsule housing are attached to the stem of the
building as a Brussels sprouts. These self-contained steel capsule
can be mounted to the supporting structure in a way that
enables them to exchange and move, and therefore almost any
conversion of the building. This is consistent with the Buddhist
vision of continuous volatility of the world.

45. the concept of geodesic domes designed
by German engineer Walther Bakersfield.
This
ideal, geometric form has become
synonymous with universe, a symbol of
Earth and inspired eco-architect, who has
repeatedly tried to create visions of the
environment independent of the
vagaries of climate. These visions were
not realized, but the Biosphere has
become a symbol of modern
architecture, and its example is the roof
of the Golden Terraces next to Warsaw
Central Station.

46. CHARACTERISTICS OF METABOLISM STYLE:
• 1-organic urban design and reconstruction
• 2-recycling
• 3-organic growth and change
• 4-prefabrication
• 5-expansion and constriction based on need
• 6-mega structure infrastructure
• 7-attachable/ detachable substructure
• 8-replachable units (cells or pods), sustainability

51. Memphis design style
Introduction
The Memphis Group was an Italian design and
architecture group founded in Milan by Ettore Sot sass in
1981 which designed Postmodern furniture, fabrics,
ceramics, glass and metal objects from 1981 to 1987.
The Memphis group's work often incorporated plastic laminate and
was characterized by ephemeral design featuring colorful decoration
and asymmetrical shapes, sometimes arbitrarily alluding to exotic or
earlier styles.

52. 0rigins
On December 11, 1980, Ettore Sot sass organized a meeting with
designers, and in 1981 formed a design collaborative named
Memphis. The name was taken after the Bob Dylan song "Stuck
Inside of Mobile with the Memphis Blues Again" which had been
played repeatedly throughout the evening's meeting. They drew
inspiration from such movements as Art Deco and Pop Art, including
styles such as the 1950s Kitsch and futuristic themes.
The group produced and exhibited furniture and
design objects, annually from 1981 until 1988. The
result was a highly acclaimed debut at the
1981 Salone del Mobile of Milan, the world's most
prestigious furniture fair

53. Building Examples Of Memphis Group
Style

54. Deconstruction

55. Definition
• Deconstruction, says Eisenman, is slippery, speculative and
difficult. For 400 years it sought to overcome nature, now it
has to try to symbolize the overcoming of knowledge.
Deconstruction looks for “the between” – the ugly within the
beautiful, the irrational within the rational – to uncover the
repressed, the real resistant, cut into textuality and displace
the system, so that only now does he see his truly
Deconstructionist projects emerging, in projects that tackle
“the between,” bring out the unease, creating an architecture
for alienated man much the way Edvard Munch had in
painting.

56. Goals of deconstruction
DE constructivism attempts to move away from
the supposedly constricting rules of the
modernism which are :
• Form follows function
• Purity of form
• Truth to materials

57. How and when did it start?
Two event defined the start of deconstruction:
• The first was a one-day symposium on the
theme held at London’s Tate Gallery in early
April, 1988.
• The second was the exhibition “DE
constructivist Architecture,” which took place
at New York’s Museum of Modern Art a few
months Later.

58. Derrida thought on deconstruction
architecture
• First Derrida proposed that deconstruction cannot be considered an
architectural metaphor , due to deconstruction not being simple
case of dismantlement but an affirmative, positive approach
despite deconstruction’s first impression
• Derrida himself displaced his earlier opinion on deconstruction,
where he rejected the connection between deconstruction and
architectural thought as he explains “When I first met, I won't say
"deconstructive architecture'; but the deconstructive discourse on
architecture, and I was rather puzzled and suspicious. And then —
as I have explained somewhere- then I realized that on the contrary,
the most efficient way of putting deconstruction to work was by
going through art and architecture”

59. • Derrida explains how deconstruction works in
architecture as he says :"When you have
deconstructed some architectural philosophy,
some architectural assumptions for instance, the
hegemony of the aesthetic, of beauty, the
hegemony of usefulness, of functionality, of
living, of dwelling. But then you have to then rein
scribe these motifs within the work. You can't
simply dismiss those values of dwelling,
functionality, beauty and so on... Deconstruction
is not simply forgetting the past“

60. Derridean deconstruction architecture
• Different architects perceive deconstruction differently
compared to each other. Looking at architects, Peter
Eisenman and Bernard Schum, who have collaborated with
Derrida, and Frank Gehry's deconstruction, one can
establish how they interpret deconstruction differently.
• Schum view for deconstruction is obvious in his project Parc
de la Valette : he tried to prove that complex architecture
does not need to follow the architectural traditional rules.
Schum deconstructed the brief, which questioned and
challenged the ideology of the brief itself. He would
dissemble the conventions of architecture by exploiting the
concepts that originated from architecture, and also
elements such as literacy, philosophy and cinema.

61. • Peter Eisenman view for deconstruction is perceived in
an interview which he says : "I want to correct your
phrase "deconstructionist work': lam not certain that
my work is Deconstructionist. "Eisenman rejected the
idea of deconstruction being a style within
architecture. He believed that deconstruction was not
something that was associated as a style but to do with
ideology. "I think the minute the deconstruction
becomes a style and fashion is when we will all be able
to attack it. Prior to the show it has not been a style or
fashion, it has been a way of working. I think
deconstruction is a process, which could have many
styles.

62. Noneroding deconstruction
architecture
• Frank Gehry would argue that architecture is real and solid;
therefore the philosophical connection with Derrida's and his texts
of words should be rejected.
• Eisenman expresses his opinion on difference between his work
and the others and he says : "Frank's work is about fragmentation
and fragmentation is not deconstruction. Frank throws pieces
around and fractures the structure, but basically he is talking about
a nostalgia for the lost whole. My work is not about a nostalgia for
the lost whole. has always pushed outside the metaphysics of
architecture; that is, to shelter, to enclose, to occupy etc. if you do
not maintain these then there is the destruction and not the
deconstruction of architecture. I think that Zaha also operates with
the metaphysics of architecture, although she might not say it that
way. That would be the difference between us and Daniel and Frank
Gehry"

63. Characteristics
• Layering
• Metaphor
• Fragmentation
• Sculptural
• Intertextuality
• Flowing curves

64. Folding

65. Definition
• Is the architectural response to complex and disparate
cultural and formal contexts, operating neither by
conflict and contradiction as Deconstruction nor by
unity and reconstruction as Neo-Classic ,New-
Modernism and Regionalism. Etymologically relating
complexity with pliancy, the architecture of the fold is
considered a cunning tactic for intensive integration of
difference within a heterogeneous yet continuous
system, working beyond addition by smooth layering, a
concept demonstrated with analogues from geology as
mineral sedimentation, and culinary mixing techniques.

66. Greg Lynn role in folding
Greg Lynn, who in 1993 edited the special issue of
Architectural Design entitled “Folding in
Architecture,” seized upon this idea as the
centerpiece of his theoretical agenda. A former
student of and assistant to Eisenman, Lynn viewed
geometry as a key to generating new form, which
for him was closely bound with the new digital
software that made possible the precise
representation and calculation of complex forms, as
well as the ability to manufacture them directly
from the digital drawings

67. Preston Cohen role in folding
Still another student of Eisenman, Preston Scott Cohen, extends
these ideas by applying them to the disciplinary geometrical
frameworks and operations of Eisenman’s early houses. Cohen’s
language is not derived from historical excavations or
fabrications but through architectural operations: slicing, pulling,
bending, and distorting architectural form in response to
programmatic concerns. Cohen, who also took a studio under
Daniel Liebe kind at the Harvard Graduate School of Design,
likens his strategy to the linguistic manipulations of the
Renaissance and Baroque, where the architectural style itself
guaranteed intelligibility while at the same time allowing a
skilled architect to create deformations and subtle distortions for
the initiated

68. Characteristics :
• The fold : the infinite work in process ,not how to conclude but how
to continue , to bring to infinity.
• The inside and the outside : the infinite fold separates or moves
between matter and soul, the façade and the closed room, the
inside and the outside.
• The high and the low : being divided into folds ,the fold greatly
expands on both sides thus connecting the high and the low.
• The unfold: not as the contrary to the fold but as the continuation
of this act.
• Textures : as resistance of the material, the way a material is folded
constitutes its texture .
• The paradigm: the fold of the fabric must not conceal its formal
expression.

69. Blobitecture ( blob architecture)
• Definition:
influenced by complexity in architecture and
science-fiction alien movies Blobitecture , It’s a
word to describe the buildings with curved and
rounded shapes.

70. • Historical Background:
The term 'blob architecture' was coined by architect Greg Lynn in 1995
in his experiments in digital design with meta-ball graphical software.
Soon a range of architects and furniture designers began to
experiment with this "blobby" software to create new and unusual
forms.
• Description of the blobs:
The blob is all surface, not pictorial or flat, but sticky, thick, and
mutable. blob is a gelatinous surface with no depth per se; its interior
and exterior are continuous. These blobs are neither singular nor
multiple since they have no discrete envelope. I Essentially, a blob is a
surface so massive that it becomes a proto-object. Gelatinous
organisms, like fluids, have no internally regulated shape, but depend
on contextual constraints or containment for their form. Although they
have minor shaping forces such as surface tension and viscosity, they
possess neither a global form nor a single identity.

71. Characteristic of the blobs:
• Blobs possess the ability to move through space as if space
were aqueous. Blob form is determined not only by the
environment but also by movement.
• Blobs can absorb objects as if they were liquefied. These
incorporated objects float in a deep surface without being
ingested into an interior cavity. Often, ingested masses
become individuated organs in a larger mutant whole,
• The term blob connotes a thing which is neither singular
nor multiple but an intelligence that behaves as if it were
singular and networked but in its form can become virtually
infinitely multiplied and distributed.

72. • Lynn thoughts on Blobitecture in 2002:
Although blob architecture "lacks the elegance,
rigor and beauty that comes from modules,
proportions and symmetry," Lynn says, "in due
time, the blob architects will discover a new
form of beauty and elegance in the voluptuous,
rhythmic and undulating forms of the
differential calculus."

73. Architects
• Frank Gehry
• Zaha Hadid
• Norman foster
• Jan kolacky
• Massimiliano Fuksas
• Peter kinsman

74. Built examples
Guggenheim museum. Bilbao, Spain by Frank Gehry
The sage gateshead. New castle UK by Norman foster

75. Sustainable architecture
• Introduction
During the 1960s and 1970s the construction industry often used materials or
methods that inflected harm or destruction to their surroundings because of this
negative impact individuals or groups took up initiatives to promote more eco
friendly types of construction. Because of these initiatives sustainable architecture
was born.

76. Historical background
In the beginning of 1990s the concept of sustainable development defined as social,
political economic development that meets the needs of present without
compromising the ability of future generations to meet their own needs as a way to
reach a better quality of life for all societies & simultaneously preserve the natural
environment.

77. Materials used
• Natural and renewable materials for example concrete, harvested wood, rock,
recycled materials like glass.
This style focuses mainly on how the energy is used for the structure and how
conserve it. This is done when the building has excellent insulation & uses
shades as passive building coolers. It mostly relies on solar energy
&alternative energy sources.
Main focus
Advantages
Cost saving, benefit to the environment, innovation…act

78. Architects
Buckminster fuller
Norman foster
Anna margarita
Brenda and Robert vale

79. Built examples
The crystals. London UK
One angel square. Manchester

80. References
• Architectural styles a visual guide by Owen Hopkins
• Deconstructivity Architecture
• Sustainable Design Ecology Architecture and planning by Daniel E.
Williams, FAIA
• Eco-ARCHITECTURE harmonization between architecture and
nature
• Folds, bodies and blobs: collected essays Greg Lynn
• Metabolism by Penny Lewis
• ThoughtCo.com
• BuildingDesign.com
• Wikipedia
• Historiasztuki.com (fine arts site World Museum)