Flash Back Historical Movements.pdf

by Ignacio J. J. PALMA CARAZO, Arch. PhD
Design Theory and Methods
A FLASH-BACK ABOUT ARCHITECTURAL MOVEMENTS & STYLES: FROM LATE 19TH CENTURY TO NOWADAYS
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Index
1. A Flash-back about Architectural movements & styles: From late 19th century to Nowadays
2. The Criticism in Architectural Design Theory
3. The Technology in Architectural Design Theory
4. Theoretical Methods for Design according to different approach
Ignacio J. J. PALMA CARAZO, Arch PhD.
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A Flash-back on Architectural Movements – Index
- 19th century: Revivals (“Neo”), Industrial, Early Skyscrapers, and Eclecticism.
- Before Modernism: Late 19th to Early 20th century: from Art & Crafts to Art
Nouveau.
- The Modernism – The modern movements (20th century):
- The beginning of the 20th century (early Modernism)
- From the middle of the 20th century (late Modernism)
- After the Modernism (20th, and 21st century):
- Post-modernism
- High-Tech (Structural Expressionism)
- Deconstructivism
- Regional Criticism, or Critical Regionalism
- Blobitecture/Blobism
- Current and future Trends (Nowadays & Beyond).
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A Flash-back on Architectural Movements
The 19th Century Architecture
The Eclecticism
- Revivals (Neo-classicism styles)
- Mixed styles
- Industrial architecture
- The Early Skyscrapers
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A Flash-back on Architectural Movements – 19th century – Eclecticism
This architectural period is known as Eclecticism, when
they were a plenty of different styles, mostly as revival
historical movements.
Eclecticism in architecture implies freedom on the part of
the architect or client to choose among the styles of the past
that seems to him appropriate.
Eclecticism is a nineteenth style in which a single piece of
work incorporates a mixture of elements from previous
historical styles to create something that is new and original.
Eclecticism was a “Copy cat era”, no originality.
Two principal characteristics distinguish 19th-century architecture:
- The use of a variety of historical styles (revival): Greek, Gothic; Classic: Baroque, etc.
- The development of new materials and structural methods (Industrial Revolution,
Tech. advances, first skyscrapers).
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A Flash-back on Architectural Movements – 19th century – Revival Styles
Neo-Gothic: Sint-Petrus-en-Pauluskerk,
Ostend (BEL), 1899-1908
Greek Revival/Neo-Classic: Brandenburg
Gate, Belin (DEU), 1788-1791
Neo-Barroque: Ortaköy Mosque,
Istambul (TUR), 1854-56
Neo-Byzantin: St. Michael the Archangel
Church in Kaunas (LTU), 1895.
Russian Revival: Uspenski Cathedral,
Katajanokka, Helsinki (FIN). 1868.
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A Flash-back on Architectural Movements – 19th century (before Modernism) – Industrial & Skyscrapers
Eiffel Tower, Paris (FRA), 1887-1889, by
Gustave EIFFEL and others.
Flatiron (Fuller) Building, New York (USA),
1902, by Gustave EIFFEL and others.
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A Flash-back on Architectural Movements – 19th century (before Modernism) – Industrial & Skyscrapers
Palm House Schönbrunn, Vienna (AUT), 1882,
by Johann Bernhard Fischer VON ERLACH.
Sainte-Geneviève Library, Paris (FRA),1838-1851,
by Henri LABROUSTE
.
Brookyin Bridge, New York (USA), 1883,
by John Augustus ROEBLING
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A Flash-back on Architectural Movements – 19th century (before Modernism) – Eclecticism
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A Flash-back on Architectural Movements – Modernism vs. Modernity vs. Modern Architecture
Modernity means present, or current, implying as its opposite the notion of
earlier, of what is past.
A second meaning of Modernity is the new, as opposed to the old.
Whenever the term modern or contemporary is applied to anything, it refers to
something that belongs to the current time.
However, when one speaks of "Modern Architecture" and "Contemporary
Architecture", one is speaking of a whole century of varied and diverse
expressions:
- Modern Architecture for the End of 19th to the 20th Century, and
- Contemporary Architecture for the end of the 20th to 21st Century,
therefore when we see all kinds of the architectural expression as current.
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Modernism – Context
There’re multiple lenses through which the evolution of modern
architecture may be viewed. Some historians see it as a social matter,
closely tied/related to the project of Modernity and thus the
Enlightenment.
Modern architecture developed, as a result of social and political
revolutions. Others see Modern architecture as primarily driven by
technological and engineering developments. Still other historians
regard Modernism as a matter of taste, a reaction against eclecticism
and the lavish stylistic excesses of Revival architecture styles.
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.
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A Flash-back on Architectural Movements – End of 19th to Early 20th (before Modernism)
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A Flash-back on Architectural Movements – The Arts & Crafts Movement
• William MORRIS (1834-1896), in England (GBR), as the
“Father” of the Movement. As a pioneer and multifaceted, he
claimed from the Arts & Crafts movement the connection of
the pure beauty of art with the utilitarian beauty of crafts.
• Charles Rennie MACKINTOSH (1868-1928), in Scotland (GBR).
Architect, designer and water-colourist, he was one of the
most prominent representatives of the Arts & Crafts
Movement and the greatest exponent of art nouveau in
Scotland. Its abstract floral motifs have embellished all kinds
of objects in art, fashion, cinema, etc.
• Charles Summer GREENE (1868-1957) & Henry Mather GREENE
(1870-1954), in USA. Brothers influenced American domestic
architecture. Their houses and larger-scale ultimate
bungalows are prime exemplars of the American Arts and
Crafts Movement.
The Red House (1859)
The Hill House (1902-04)
The Gaamble House (1908-09)
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William MORRIS (1834-1896)
In the second half of the 19th century, several artists began to worry about the
decline/fall of artistic standards in manufactured products because trained/skilled
designers were not involved in the creation of such products.
The leader of this group in England was William MORRIS. He founded a company (1862)
establishing workshops where artist-artisans created all kinds of products using artisan
techniques.
See https://www.youtube.com/watch?v= CBq73yxha0o
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The philosophy behind the Arts and Crafts movement believed that the industrial revolution had made man less creative as ‘his’ craft skills
had been removed from the manufacturing process. One aim of the movement was to put ‘man’ back in to the design and manufacturing
process, Craft skills and good honest design would again be central to the manufacturing process.
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Unfortunately the prices of Morris’ well-made objects tended to be higher than
comparable factory- made goods, so his vision of supplying quality furnishings to
ordinary people was never realized.
William MORRIS (1834-1896)
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Charles Rennie MACKINTOSH (1868-1928) & Glasgow Architecture
He melt Art Nouveau, Japanese aesthetics,
arabesque forms, classical architecture,
industrial forms, and symmetry, working in a
variety of media, including stained-glass,
jewelry, woodworking, and painting.
He was a gifted designer whose architectural
career was brief.
His buildings tend to have bold massing deftly
composed, with light and airy interiors.
The Glasgow School of Art (1897-1909) was
MACKINTOSH's first and largest commission.
The picture shows the main façade on
Renfrew Street. The huge windows gather
northern light for painting and design studios.
The Glasgow School of Art (1897-1909)
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Charles Rennie MACKINTOSH (1868-1928) & Furniture design
Library interior, The Glasgow School of Art (1897-1909)
Mackintosh designed the reading tables and light fixtures as well. His furniture is especially memorable
and their innovative design was important, at a time of change from Art Nouveau to Modernism.
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Charles Rennie MACKINTOSH (1868-1928) & Chair designs
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A Flash-back on Architectural Movements – The Arts & Crafts Movement – California, USA
C. S. GREENE (1868-1957) & H. M. GREENE (1870-1954), The GREENE BROTHERS
GREENE & GREENE was an architectural
firm established by 2 brothers,
influential early 20th Century American
architects.
Active primarily in California, their
houses and larger-scale ultimate
bungalows are prime exemplars of the
American Arts & Crafts Movement.
They’re most known for their impressive
California Bungalow Style. The homes
are large, hand-crafted by expert
carpenters, and were at their time very
expensive.
The Gamble House,
Pasadena (CA), USA, 1908-1009.
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The Gamble House in Pasadena (CA), USA (1908-1009)
Tree of Life design on the leaded art-glass entry pays homage to the principal material used in its construction.
Living room inglenook with Burmese teak queen-post trusses.
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The Gamble House,
Pasadena (CA), USA, 1908-1909.
View from back yard, after the completion
of the 2004 restoration.
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A Flash-back on Architectural Movements – Deutscher Werkbund (DWB)
DWB characteristics were:
• Separate aesthetics from material quality.
• Impose the standardization of the DIN format;
• The adoption of the abstract form as the aesthetic basis of industrial design,
replacing the ornament.
Members included architects as Peter BEHRENS (1868-1940), Theodor FISCHER
(1862-1938), Joseph Maria OLBRICH (1867-1908), Bruno PAUL (1874-1968), Richard
RIEMERSCHMID (1868-1957), or Heinrich TESSENOW (1876-1950).
It was a German organization formed by artists and
architects, founded in 1907, precursor of the BAUHAUS.
Its goal was to integrate traditional trades with
industrial techniques of mass production.
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A Flash-back on Architectural Movements – Deutscher Werkbund (DWB)
AEG Turbine Hall, by Peter BEHRENS, 1908-09, Berlin (DEU).
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A Flash-back on Architectural Movements – Art Nouveau
Art Nouveau is a late 19th and early 20th century aesthetic movement inspired by the natural
world that produced a highly expressive style of architecture, interior design, furniture, décor,
glasswork, jewelry, and visual arts.
They introduced new styles of decoration, based on vegetal and floral forms.
Art Nouveau included The Vienna Seccesion, The Catalan Modernism; Art Deco, and other
Neo-classic styles.
Famous architects were Antoni GAUDÍ (1852 – 1926); Paul HANKAR (1859 – 1901); Victor HORTA
(1861 – 1947); Hector GUIMARD (1867 – 1942); or Mikhail EISENSTEIN (1867 – 1920).
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A Flash-back on Architectural Movements – Art Nouveau – The Vienna Secession
The Vienna Secession (1897) was the name given to the
group of artists, architects and designers that broke away
from the main establishment of Viennese artists to form
their own group.
Like Art Nouveau, the style of the Vienna Secession often
utilized whiplash curves and floral motifs.
It took influence from the Arts & Crafts movement and
utilized similar organic ornamental designs as Jugendstil.
They embraced geometry and abstract elements,
including within architectural design.
Notable architects of the Vienna Secession included Josef
HOFFMANN, Koloman MOSER, Carl MOLL, Joseph M. OLBRICH,
Otto WAGNER, and Gustav KLIMT.
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A Flash-back on Architectural Movements – Art Nouveau – The Vienna Secession
Secession Exhibition Building, by Joseph Maria OLBRICH, 1897-1898, Vienna (AUT).
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Art Nouveau – The Vienna Secession
Church of St. Leopold, Vienna (AUT), 1904-07, by Otto WAGNER
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A Flash-back on Architectural Movements – Art Deco – Art Nouveau – The Vienna Secession
Majolica House, Vienna (AUT), 1898, by Otto WAGNER.
The Majolica House represents the transition to something new…a more
utilitarian approach, but not one lacking in decoration thanks to its Art
Nouveau paraphernalia and, particularly, the striking facade.
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A Flash-back on Architectural Movements – Art Nouveau – Catalan Modernism
It was an Art Nouveau movement greatly tied to the specific context of Catalonia (North-East
of Spain), but also in other Spanish regions (Madrid, north Castille, and Cantabria; Valencia,
Baleares, Galicia, Murcia, Andalucía, Ceuta and, the most important after Barcelona, Melilla).
Conceived architecture as a form of sculpture; had no straight lines; it was encrusted with
colorful mosaics of stone and ceramic tiles.
Famous architects, all Spanish, were Antoni GAUDI, Lluis DOMENECH I MONTANER; Enric SAGNIER;
Joan MARTORELL; Josep PUIG I CADAFALCH; Jose GRASES RIERA; Enrique NIETO Y NIETO; Julio GALÁN;
Ricardo BOAN; Antonio LÓPEZ HERNÁNDEZ, Ucha PIÑEIRO, Carlos MANCHA, Tomás RICO; Víctor
BELTRÍ; Timoteo DIEZ MONTAUD; Santiago SANGUINETTI, etc.
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Antoni GAUDÍ is best known for working at the forefront of the Modernism movement in the 19th and 20th
century. Deriving inspiration from the popular neo-Gothic and organic styles of the time, the Spanish architect
is behind some of Barcelona's most iconic structures, such as The Sagrada Familia cathedral, Guell Park , Casa
Vicens, Casa Batllo, and Casa Milà. Outside Catalonia, he built others as El Capricho, or Casa Botines.
His architecture brought both constructional and functional innovations, including biomimicry, the use of
hyperbolic paraboloid vaults, the use of inverted scale models of the proposed structures, integration of iron
and reinforcement of concrete into construction, a way of designing ceramic mosaics from waste pieces, a
new technique for stained glass, etc.
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The Sagrada Familia (The Sacred Family), Barcelona (ESP), 1919 – 2026?, by Antoni GAUDÍ I CORNET
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In other Spanish regions architects such as Jose GRASES RIERA or Enrique NIETO Y NIETO developed it.
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A Flash-back on Architectural Movements – Art Nouveau – Art Deco
Art Deco, is an eclectic artistic & design style that
began in Paris in the 1920s and flourished
internationally throughout the 1930s and into the
World War II era.
• The style influenced all areas of design, including
architecture & interior design, industrial design,
fashion, jewellery, painting, graphic arts, and film.
• Art Deco is characterized by use of materials such
as aluminium, stainless steel, lacquer, Bakelite,
Chrome and inlaid wood.
• The use of stepped forms and geometric curves
(unlike the sinuous, natural curves of Art
Nouveau), chevron patterns, ziggurat- shapes,
fountains, and the sunburst motif are typical of
Art Deco.
• Art Deco buildings have a sleek, linear appearance
with stylized, often geometric ornamentation. The
primary façade of Art Deco buildings often feature
a series of setbacks that create a stepped outline.
Low-relief decorative panels can be found at
entrances, around windows, or along roof edges.
Chrysler Building, New York. Park Plaza Apartments, New York
Madison Gardens apartments, New York.
Marine Air Terminal, New York.
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A Flash-back on Architectural Movements – Modernism
Modernism Movement & Modernist Architecture
- Definition
- Pre-rationalist
- The Bauhaus – Rationalist
- Functionalism
- Late Modernism
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At the beginning of the 20th century, the pioneers of "Modern Architecture"
attempted a radical change with the tradition of Eclecticism and the divergence
of architectural styles in vogue at the end of the 19th century, such as "Art
Nouveau", "Catalan Modernism", etc., which were characterized by the search
for different manifestations, some emanating from the industrial revolution, the
use of wavy lines, decoration based on organic elements, mainly vegetables, etc.,
others (like the "Arts & Crafts") that wanted a return to crafts.
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Modernism is a philosophical movement
that, along with cultural trends and
changes, arose from wide-scale and far-
reaching transformations in Western
society in the late 19th and middle 20th
century.
The term is often applied to Modernist
Movements at the turn of the 20th century,
with efforts to reconcile the principles
underlying architectural design with rapid
technological advancement and the
modernization of society.
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Modern Architecture wanted to start again from the beginning, leaving aside the
qualities, characteristics and formal elements of the styles and periods of
architecture of the past (forgetting stone, ornamentation, vaults, columns, etc.),
generating a new expression. (without memory, asymmetric and abstract).
This new aesthetic was basically based on the rational use of new materials (as
concrete, laminated steel and flat glass in large openings) and technology.
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Modernism Influential architects
Notable architects important to the history and development of
the theoretical & practical modernist movement include the
following:
Louis SULLIVAN (USA, 1856-1924)
Bruno TAUT (GER, 1880-1938)
Walter GROPIUS (GER/USA, 1883-1969)
Frank LLOYD WRIGHT (USA, 1867-1959)
Erik Gunnar ASPLUND (SWE, 1885-1940)
Ludwig MIES VAN DER ROHE (GER/USA, 1886-1969)
Erich MENDELSOHN (GER/USA, 1887-1953)
LE CORBUSIER (SWI/FRA, 1887-1965)
Gerrit RIETVELD (NLD, 1888-1964)
Hannes MEYER (SWI, 1889-1954)
Alvar AALTO (FIN, 1898-1976)
Arne JACOBSEN (DNK, 1902-1971)
Lucio COSTA (BRA, 1902-1998)
Philip JOHNSON (USA, 1906-2005)
Oscar NIEMEYER (BRA, 1907-2012)
Kenzo TANGE (JAP, 1913-2005)
Aldo ROSSI (ITA, 1931-1997)
Richard MEYER (USA, 1934)
Others …
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Modernism – Characteristics
Common themes of modern architecture include:
- The notion that "Form follows function", a dictum originally expressed by Frank
Lloyd Wright's early mentor Louis Sullivan, 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 rather than concealed or
altered to represent something else
- Use of industrially-produced materials; adoption of the machine aesthetic
- Particularly in International Style modernism, a visual emphasis on horizontal
and vertical lines.
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Modernism – Arch. Characteristics
From the BAUHAUS several styles are
developed that all coincide with the
principles of Modern Architecture.
Mostly of them shared the following
principles:
- The pure line;
- The absence of ornamentation;
- The use of new technologies (industrials) and new materials;
- The search for structures that release the mass of the walls, and;
- The beauty is not a product of ornamentation, but it must be
demonstrated through the designed set.
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- Pre-rationalist movements:
- Neoplasticism
- Cubism
- Organicism
- Constructivism
- The BAUHAUS (Rationalism) & Functionalism
- Late Modernism:
- Expressionism
- Fascist & Nazi Architecture
- International Style
- Mid-century Modern (MCM)
- Brutalism
- Metabolism
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A Flash-back on Architectural Movements – Modernism – Pre-rationalism
Some of these pre-rationalism modernist styles were:
Neoplasticism (Stilj)
Cubism
Organicism
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A Flash-back on Architectural Movements – Modernism - Neoplasticism
Neoplasticism (Modern Plasticism, and Stijl Style): The works of Neoplasticism are
characterized by belonging to an artistic current that does not include accessory elements,
that is to say, it is based only on pure colors and geometric shapes to make it universal.
Linear geometry, pure colors, spatial limitlessness through lighting, interior-exterior
integration with transparent elements, etc.
German Pavilion, Barcelona (ESP) 1929, by Ludwing MIES VAN DER ROHE.
Schroder House, Utrecht (NED) 1924, by Gerrit RIETVELD.
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A Flash-back on Architectural Movements – Modernism - Stijl
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A Flash-back on Architectural Movements – Modernism – Cubism
Cubism (1920s - Today): Similar to Neoplasticism but seeking the overall effect to be
a game of simple and super-imposed cubes, clean geometric figures, without
projections, or terraces. Lighting is very important as well.
LE CORBUSIER: “The raw material of Architecture is Light”
Palace of Assembly, in Chandigarh (IND), 1951, by LE CORBUSIER
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Cubism & Architecture
• The main idea behind cubism is to show the essence of an object by displaying it from many
angles and points of views at the same time. Buildings have clean lines, ensuring that the
building is viewed in perspective with ease.
• Architectural interest in Cubism centered on the dissolution and reconstitution of 3-dimensional
form, using simple geometric shapes.
• Simplicity is often the main and principal characteristic.
• The subjects were represented in the form of basic geometric shapes (cube, sphere, cylinder and
cone), and design, often a cuboid shape.
• Diverse elements could be super-imposed, made transparent or penetrate one another, while
retaining their spatial relationships.
• Cubism led to simplification of building design, the use of materials appropriate to industrial
production, and the increased use of glass.
• Cubism colors were almost monochromatic dominated by grays and browns. Only one or maybe
two colors dominate the design.
• Cubist buildings are often designed to be manufactured as prefabricated buildings and moved
from the factory to the building site where they are assembled.
• The windows have a cube/rectangular form and do not necessarily line up with each other, as in
traditional/conventional buildings.
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La Chapelle Notre-Dame du Haut, Ronchamp (FRA), 1950-55, by LE CORBUSIER
Pavillon Le Corbusier (Heidi Weber Museum) in Zürich (SWI), 1967, by LE CORBUSIER
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Started in France in the early 20th century (around 1907), but its ideas and concepts have continued to influence art today.
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A Flash-back on Architectural Movements – Modernism – Organicism
Fallingwater House in Bear Run, Pennsylvania, USA - 1935, by Frank Lloyd WRIGHT
Organicism: From Functionalism and Rationalism, it promotes harmony between
the human habitat and the natural world. Promoted by Scandinavian architects
(A. AALTO, E. G. ASPLUND, etc.) during the 1930s, and by Frank Lloyd WRIGHT in USA.
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A Flash-back on Architectural Movements – Modernism – Organicism
1. The sinuous against the straight and
cornered. The curved line predominates
over the angularity.
2. The use of noble materials such as stone,
wood and brick.
3. Adaptation of the complex/set to the
condition of the landscape.
Frank Lloyd WRIGHT suggests 3 main factors for Organic Architecture:
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Modernism - Organicism
Solomon R. Guggenheim Museum
Location: 5th Ave, New York, USA
Architect: Frank Lloyd WRIGHT
Built: 1956-1959
Architectural Style: Modern - Organicism
This building is the permanent home of
a renowned and continuously
expanding collection of Impressionist,
Post- Impressionist, early Modern
and contemporary style art.
Designed by Frank Lloyd Wright, the
cylindrical building, wider at the top
than the bottom, was conceived as a
"temple of the spirit".
Its design was inspired by a
"Ziggurat" Babylonian temple
pyramid, inverted.
DF4
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Diapositiva 53
DF4 DAU Faculty; 28/08/2023
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Modernism - Organicism
Frank Lloyd WRIGHT
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Modernism – Organicism
The Museum exhibits a great difference to the
buildings in the vicinity because of its spiral
shape, marked by the mergeing of triangles,
ovals, arcs, circles and squares, which correspond
to the concept of organic architecture
Its unique ramp gallery extends up from ground
level in a long, continuous spiral along the outer
edges of the building to end just under the
ceiling skylight.
The materials used in its construction were
basically precast concrete blocks. The white paint
used on the internal walls makes the works of art
stand out. The skylight is supported by steel
joints.
Frank Lloyd WRIGHT
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A Flash-back on Architectural Movements – Modernism – Scandinavian Organicism
Villa Mairea, Noormarkku (FIN), 1937-39, by Alvar AALTO
Public Library in Stockholm (SWE), 1928, by Erik Gunnar ASPLUND
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The BAUHAUS (RATIONALIST)
The beginning of what is currently known as Modern
Architecture had its origin in the Bauhaus, which was the
school of design, art & architecture founded in 1919 by Walter
GROPIUS in Weimar, transferred to Dessau and, finally, to
Berlin, all of them in Germany. It was closed on 1934 by nazis.
Its foundation occurred as a consequence of the crises of
modern thought and technical rationality in Europe,
particularly in Germany.
Its creation was due to the confluence of political, social,
educational and artistic development in the first decades of
the 20th century, influenced by the intellectual vanguards of
the time.
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Intention: to form a reform in artistic
education, which would generate a
transformation of society.
Mission: free the future student of the
institution from conventions, awaken
their personal skills and guide their
spirit for their further training.
The BAUHAUS (RATIONALIST)
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The BAUHAUS
The history of the BAUHAUS unfolds in 4 stages:
1. Foundation: From 1919 to 1923, with Walter GROPIUS as director,
an era defined as idealistic and romantic;
2. From 1923 to 1927, much more rationalist;
3. From 1927 to 1930, directed by Hannes MEYER, reaching its
greatest recognition, coinciding with his move from Weimar to
Dessau, and;
4. Finally, from 1930 to 1934, with Ludwig Mies VAN DER ROHE, when
he completely changed the orientation of his teaching program.
When it is closed in 1933, most of its members move to the USA
(Walter GROPIUS, Mies VAN DER ROHE or Hannes MEYER).
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The BAUHAUS (RATIONALISM)
The Bauhaus Building (Dessau, Germany. 1925-1926), by Walter GROPIUS.
The BAUHAUS established the normative bases and design patterns, establishing
the academic foundations of Modern Architecture, incorporating a new
aesthetic.
Walter GROPIUS: “Less is more”
Louis SULLIVAN: "Form follows Function"
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The BAUHAUS
The Bauhaus Building by Walter GROPIUS, is the most emblematic of the BAUHAUS, it is
considered the masterpiece of Rationalism.
The building is developed in several volumes, independent from each other and designed
according to the function for which they were conceived. This has a configuration related to
the conditions of its environment, and with its glass facades the building integrates to the
rhythm of outdoor urban life.
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The most important modernist movement was:
Functionalism:
The concept “Functionalism” is inseparable from
Modern Architecture
At the beginning of the 20th century, architect Louis
SULLIVAN established the motto “form follows
function.”
The functionalist current in Architecture is based on
the fact that the design of a building should be based
on its function, that is, if the functional aspects are
satisfied and done, architectural beauty will born
naturally.
The tower of the Helsinki Olympic Stadium,
by Y. LINDEGREN & T. JÄNTTI, 1934–38.
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Functionalism:
• Concern about inventions. Produce faster and/or
better work.
• Technology applies all the knowledge of architecture.
LE CORBUSIER and the machine for living led him to propose the Five Points for a new Architecture:
• Building that rests on pilotis (columns) on the ground floor, leaving the surface mostly free to allow
the landscape to remain autonomous from the building.
• Flat roof, on which a garden is located (Roof Garden)
• Free indoor spaces (free plan), due to the structure based on pillars/columns and partitions.
• Facade free of structural elements, so that it can be designed without conditions.
• Large elongated windows on the facades to achieve abundant natural lighting inside (Ribbon
Windows)
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A Flash-back on Architectural Movements – Modernism Functionalism
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These points will be the guide/principles on
Which Modern Architecture is based.
For example:
- The apparent structures of L. SULLIVAN in the USA, and in France
by August PERRET.
- Construction on columns initiated by Tony GARNIER and spread
by LE CORBUSIER
- Continuous windows applied by Víctor HORTA and Peter BEHRENS
- Pure volume pioneered by Adolf LOOS
- Free surfaces applied by HOFFMAN
- Vegetation, like the roof garden of the house on Rue Franklin,
by A. PERRET.
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These points will be the guide/principles on which Modern Architecture is based.
For example:
1. The apparent structures of L. H. SULLIVAN in the USA, and in France by August PERRET.
Church of Notre Dame, Raincy (FRA), 1922–23, by August PERRET
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For example:
2. Construction on columns initiated by Tony GARNIER and spread by LE CORBUSIER
The Edouard Herriot Hospital, Lyon (FRA), 1913-1933, by T. GARNIER
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For example:
Villa Madame Garnier, Lyon (FRA), 1912-1919, by T. GARNIER
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For example:
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For example:
3. Continuous windows applied by Víctor HORTA and Peter BEHRENS
Van Eetvelde House,
Brussels (BEL)
Op School,
Brussels (BEL)
Hotel Winssinger,
Sint-Gilles (BEL)
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For example:
3. Continuous windows applied by Víctor HORTA and Peter BEHRENS
Tobacco Factory, Linz (AUT), 1929–35
Gutehoffnungshütte warehouse, Oberhausen (DEU), 1921–25
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For example:
4. Pure volume pioneered by Adolf LOOS
Villa Müller (Prague, CHZ), 1930, by Adolf LOOS
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These points will be the guide/principles on which Modern Architecture
is based. For example:
4. Pure volume pioneered by Adolf LOOS
Rufer House (Vienna, AUT), 1922, by Adolf LOOS
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For example:
5. Free surfaces applied by Joseph HOFFMAN
Sonja Knips House,
Vienna (AUT), 1924–25.
Werkbund model house,
Vienna (AUT), 1930–32.
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For example:
6. Vegetation, as the roof garden of the house on Rue Franklin, by Auguste PERRET.
The Apartment Building at 25 bis
Rue Benjamin Franklin, Paris (FRA), built 1904
by Auguste PERRET.
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A Flash-back on Architectural Movements – Modernism Constructivism (Russia)
Constructivist architecture is
characterised by a combination
of modern technology (soviet
futurism), engineering methods and
the socio-political ethos of
Communism. Despite there being few
realised projects before the movement
became outdated in the mid-1930s, it
has had a definite influence on many
subsequent architectural movements,
such as Brutalism.
It was parallel to Neo-plasticism and
Bauhaus, but in Russia and, by
extensión, to entire Soviet Union.
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A Flash-back on Architectural Movements – Modernism Constructivism (Soviet Union)
Melnikov’s House (1927-29)
The Communal House (1929-30)
Club Proletariat (1927-29)
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Fascist Style (Italy 1925-1944)
Neoclassicism (Roman) + Modernism + Rationalism + Nationalism
Fascio’s Home (Terragni palace), Como (ITA),
1932-36,
by Giuseppe TERRAGNI
The INA Tower (Torrione), Brescia (ITA),
1932-34,
by Marcello PIACENTINI
Palace of Italian Civilization
(Palazzo della Civiltà Italiana), Rome (ITA)
1940,
by Giovanni GUERRINI, Ernesto LA PADULA,
and Mario ROMANO
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Nazi Style (Germany 1934-1945)
Neoclassicism + Traditionalism + Functionalism + Nationalism
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The International Style (Internationalism)
In 1930s, discussions began about the
absence of ornamentation and symbolism
of Functionalism. This is when the
International Style appears, which is the
set of architectural trends that share the
most purist formal characteristics of the
Modern Movement and, to a lesser
extent, the Functionalist ones.
The term was consolidated in 1932 with
the International Expo. of Modern
Architecture at the Museum of Modern
Art in New York, organized by Henry-
Russell HITCHCOCK and Philip JOHNSON.
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Features of the international style:
• Emphasis on volume over mass.
• Encouraged the use of lightweight materials.
• Use of simple, clean and repetitive forms with flat surfaces.
• Glass and steel became major building materials as a source of development.
• Right proportions.
The international style made architects rethink the idea of architecture and encouraged
newer perspectives to designing a space.
It is a movement slightly different from modernism but
closely related to it. The style, which is actually a
subset of modern style that Rejected the use of
sophisticated ornamentation and bright colors. The
early skyscrapers which came up around the 1920s are
a consequence of the International style.
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The international style is characterized by
different aesthetic influences with different
backgrounds, which converge to create an
international emphasis:
• Expressionism
• Cubism
• Constructivism
• Organicism
• The Stijl/Neo-plasticism
• Others
Unite d´Habitatiion, in Marseille (FRA), 1946-1952, by LE CORBUSIER
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The Seagram Building designed by Mies Van Der
Rohe still stands as one of the most appreciated
architectural masterpieces of New York city.
This 39 floor tall high-rise was a symbol of design
and expression in the international era.
The Seagram Building, 1958, by Ludwig Mies VAN DER ROHE
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The International Style (Internationalism) – The PSFS Building in Philadelphia
PSFS Building (Loews Philadelphia Hotel), Philadelphia (PA), USA, 1932, by William LESCAZE and George HOWE.
Called the first modern skyscraper in the USA, with an innovative and
effective T-shaped tower design that allowed the maximum amount of
natural light; bright & profitable spaces; custom-designed furniture; one of
the first USA skyscraper with AC system, etc.
https://pt.slideshare.net/jdankoff/fcsarch-37-psfs-building?nomobile=true
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Istiqlal Mosque, in Jakarta (IDN), 1961-1978, by Friedrich SILABAN
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A Flash-back on Architectural Movements – Late Modernism Mid-century Style
Midcentury-Modern (MCM) Architecture
After the pre-rationalist movements (Cubism, Expressionism, Neoplasticism, Organicism, etc.) and the Bauhaus
(rationalist), all of them included in the Modernism, and after World War II (WWII), raised an architectural movement
called Mid-century style (late 1940s, early 1950s). However, some authors indicate the beginning of the Mid-century
style in the early 1930s as a combination of Organicism, Rationalism and Technology.
Actually, this was the continuity of rationalism through the International Style, to which was added the technological
advances during the War, as well as the new socio-economic needs (housing) of the new world order, especially in USA
and, less in Europe.
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Midcentury-Modern (MCM) Architecture
Although the architects who belonged to the Mid-century style varied in their preferences and creative decisions, it is
undeniable that a common spirit of creativity existed among them.
Most of the Mid-century architects come from before the WWII (Ludwig MIES VAN DER ROHE, Alvar AALTO, Rudolph
SCHINDLER), other appear on the scene after the WWII (Richard NEUTRA, Arne JACOBSEN, Oscar NIEMEYER, Pierre KOENIG,
Eero SAARINEN, Luis BARRAGAN, Lina BO BARDI, I. M. PEI, Charles and Ray EAMESs appe (Charlotte PERRIAND, John
MOUTOUSSAMY, John LAUTNER,, and others).
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Late Modernism
Mid-century Style
MCM Characteristics & Elements:
• Functionality, in general, as a rationalist style.
• Clean lines. The geometric lines of buildings are regular and
rigorous.
• Open floor plans & Changes in elevations.
• Flat roofs are common, but not mandatory (for example, in
houses).
• Floor-to-ceiling windows. Large windows. Sliding-glass doors
and other expansive panes of glass allow light to enter rooms
from multiple angles.
• Indoor-outdoor living (bonding with nature).
• Built-ins (built-in elements).
• Wood.
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1. Functionality, in general, as a rationalist style:
A Functional Architecture is an
architectural model that identifies
system function and their interactions.
It defines how the functions will operate
together to perform the system
mission(s).
A function in this context has three
parts:
- An input that flows into the function;
- The function itself that processes the
input, and
- An output that flows from the
function.
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2. Clean lines. The geometric lines of buildings are regular and rigorous.
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3. Open floor plans & Changes in elevations.
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4. Flat roofs are common, but not mandatory (for example, in houses).
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5. Floor-to-ceiling windows. Large windows. Sliding-glass doors and other expansive panes of glass allow
light to enter rooms from multiple angles.
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6. Indoor-outdoor living (bonding with nature).
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MCM Characteristics & Elements: 7. Built-ins (built-in elements).
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8. Wood: This noble material is always used indoor and outdoor both.
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The Glass House in New Canaan (CT), USA, 1948, by Philip JOHNSON.
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Neutra VDL Studio and Residence in Los Angeles (CA), USA, 1933-1960, by Richard NEUTRA
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Trans World Air Flight Center (TWA) in Queens (NY), USA, 1959-1962, by Eero SAARINEN
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Eames House, in Pacific Palisades (CA), USA, 1949, by Charles and Ray EAMES.
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A Flash-back on Architectural Movements – Late Modernism Brutalism
Brutalism emerged in the 1950s until 1960s, sharpened by British architects Alison and Peter
SMITHSON. Based on the concept of "fair-faced concrete“. The style is characterized by:
- Monolithic shapes
- Rigid geometric styles
- Unusual shapes
Brutalist buildings, many government projects, educational buildings or high-rise
apartments, are usually stripped of concrete until they are finished.
Royal National Theatre,
London (GBR),
1969-1976, by Denys LASDUN
Nevigeser Wallfahrtsdom ,
Velbert (DEU),
1968, by Gottfried Böhm
Prentice Women's Hospital,
Chicago (IL), USA,
1969-1975, by Bertrand GOLDBERG
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A Flash-back on Architectural Movements – Late Modernism Brutalism
Geisel Library, University of California,
San Diego/La Jolla (CA), USA.
1968-1970, by William PEREIRA
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A Flash-back on Architectural Movements – Late Modernism Metabolism (Japan 1960s)
The Nakagin Capsule Tower, Tokio (JAP),
1970-72, by Kishō KUROKAWA
Metabolism was a Japanese modernist
movement in architecture, from which it was
believed that architecture and the cities within
it should be designed as living, breathing beings.
It is characterized by flexibility, organicism and
modularity, characteristics appropriate to the
strong growth of Japanese cities during 1960s.
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A Flash-back on Architectural Movements After Modernism
After Modernism
• As a contrast to Modernism: Postmodernism
• As continuity to Modernism
(but with important changes & adds):
• High-Tech (Structural Expressionism)
• Blobitecture (Blob Architecture)
• Deconstructivism
• Critical Regionalism
• Current Movement & Styles:
Parametric, Contextual, Bioclimatic,
Sustainable, etc.
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A Flash-back on Architectural Movements After Modernism
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A Flash-back on Architectural Movements Postmodernism
Postmodernism (“after” Modernism)
• Evolved from Modernist movement, particularly from the International Style.
• From Modernist’s functional forms & spaces, Postmodernism combined new
ideas with traditional forms.
• First examples are from the 1950’s, but it peaked around 1960-1970’s remaining
until nowadays.
• Mixed the clean lines of Modernist with a
referenced ornaments from historical
styles.
• Some authors called it as Neo-
eclecticism, where the historical
reference and the ornamental come back
to design facades, removing modernist
aggressive styles without ornaments.
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Modernist vs. Postmodernist Architecture
Duration Late 19th – Early 20th century Late 20th – 21st century
Predecessor Neo-classicism & Revivals Modernism (International Style)
Characteristics Modernism is effort to reconcile the
principles underlying architectural
design with rapid technological
advancement and the modernization
society
Postmodernism refers to the functional
and formalized shapes & spaces of the
modernist style are replaced by diverse
aesthetics.
Major Concept: Form follows Function Pluralism, double coding, flying
buttresses and high ceiling, irony and
paradox, and contextualism
Criticism Authority of criticism Anyone could be a criticist
Style Deliberately broken away from earlier
styles
Deliberately use a mix of earlier styles
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Some famous Post-Modern Architects were/are
the following:
Europe: James STIRLING, GBR (1926-1992); Terry
FARRELL, GBR (1938); Mario BOTTA, SWI (1943); Aldo
ROSSI, ITA (1931-1997); Terry FARRELL, GBR (1938);
Ricardo BOFILL, ESP (1939-2022); Santiago CALATRAVA,
ESP (1951); Greyson PERRY, GBR (1960); Helmut JAHN,
DEU (1940-2021); Renzo PIANO, ITA (1937); etc.
USA & Canada: Michael GRAVES, (1934-2015); Philip
JOHNSON, (1906-2005); Richard MEIER, (1934); John
BURGEE, (1933); Robert VENTURI, (1925-2018); Frank
GEHRY, (1929); Charles MOORE, (1925-1993); etc.
South America: Oscar NIEMEYER, BRA (1907-2012);
Cesar PELLI, ARG (1926-2019); etc.
Japan: Arata ISOZAKI (1931-2022); Kengo KUMA (1954);
etc.
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Michael GRAVES, USA (1934-2015)
• Probably the most famous architect of the Postmodernism
• Used colors from nature
• Dramatic entrances are a trademark
• Converted to Postmodernism during the 1970’s
• Most provocative post-modern architect working today.
• Expresses purpose through form
• Later, he turned to Deconstructivism & Blobism
Frank GEHRY, CAN & USA (1929)
Robert VENTURI, USA (1925-2018)
• Most provocative postmodern architect working this last decades
• Expresses purpose through form.
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Vanna Venturi House, Pennsylvania (USA), 1962-1964, by Robert VENTURI
Situated on a flat site, surrounded by trees. Salient features of the house included a pitched roof as
opposed to the flat roof, a closed ground floor as opposed to an open floor plan, and a purely ornamental
arch on top of the front door.
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Piazza d’Italia, New Orleans (USA), 1978, by Charles MOORE
This public plaza/square features a series of colonnades, arches, and a bell tower set around a central fountain.
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The Portland Building, Portland (USA), 1980-82, by Michael GRAVES.
Some important features of the building were the use of materials and colors, smaller windows, and other decorative
flourishes such as stylized classical elements of exaggerated keystone and pilasters.
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A House for Essex, Wrabness (GBR), 2015, by Greyson PERRY and FAT Architecture
The idea was to build something which was a work of art in itself and also a setting for an artwork by G. PERRY
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The Neue Staatsgalerie, Stuttgart (DEU), 1979-1984, by James STIRLING, Michael WILFORD, and Associates.
This building unites the modernist elements with classicism such as travertine and sandstone juxtaposed
with industrial green steel framing.
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M2 building, Tokyo (JAP), 1991, by Kengo KUMA
This building has an assortment of stylistic elements. Constructed in RC, it has a multitude of
classical details such as dentils, corbels, triglyphs, and arches of varying scale.
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New Hass School of Business, Berkeley (CA), USA, 1993-1995 by Charles W. MOORE
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Team Disney Burbank building, Burbank (USA), 1990-91, by Michael GRAVES
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Dolphin and Swan Hotels at Walt Disney Resort (FL), USA, 1990, by Michael GRAVES.
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James R. Thompson Center, Chicago (IL), USA, by Helmut JAHN
The main feature of the building is an atrium which lets the visitors see all 17 storeys. A glass
exterior modulates around the building to form a shell.
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Guggenheim Museum, Bilbao (ESP), 1997, by Frank GEHRY
Salient features of the
building are the organic form
of the building and titanium
exterior made to catch the
light. Though Gehry himself
has rejected any labels for his
architecture, his work
challenges the traditional
notions about buildings and
hence can be categorized as
postmodernist.
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SIS (M16) Building, London (GBR), 1994, by Terry FARRELL & Partners
Designed with influences ranging from the architecture of the 1930s to the temples of the Mayan and Aztec empires.
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AT&T Building, New York City (NY), USA, 1984, by Philip JOHNSON
It’s a postmodernist masterpiece it has polarized opinion.
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A Flash-back on Architectural Movements High-Tech (Structural Expressionism)
It´s the one that incorporates
elements from new high-tech
industries and advanced
construction techniques into
building design. It emerged in
the 1970s, originally from British
modernism, and used advanced
technology and new building
materials.
Its principles have been heavily
influenced by prominent figures
like LE CORBUSIER, Walter GROPIUS,
and Meis VAN DE ROHE.
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Features & Characteristics
- It was a concept of design, based on
engineering and construction.
- It exposed structures (usually metals), and
services (pipes, air ducts, lifts etc.)
- Lightweight materials, sheer surfaces, and
overhanging floors,
- Usually avoids internal load-bearing walls.
- Use reconfigurable & flexible spaces
- Sometimes used bright colors
Flexible interiors: Open
plan with the ability to
partition as necessary.
Expressed Construction:
Structures such as beams
and cables visibly displayed.
Colored pipework and services:
Color used to delineate structural
parts and areas.
Lightweight construction: Use
of steel and glass some with
reflective surfaces.
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The style's premier practitioners include the following
(architects and engineers, or both):
- Minoru YAMASAKI, USA (1912-1986);
- Bruce GRAHAM, PER (1925-2010);
- Norman FOSTER, GBR (1925);
- Fazlur Rahman KHAN, IND (1929-1982);
- Tony HUNT, GBR (1932-2022)
- Richard ROGERS, ITA/GBR (1933-2021);
- Michael HOPKINS, GBR (1935-2023);
- Renzo PIANO, ITA (1937);
- Nicholas GRIMSHAW, GBR (1939);
- Ian RITCHIE, GBR (1947);
- Santiago CALATRAVA, ESP (1951);
- Etc.
“Buildings as machines”
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Willis Faber and Dumas Building, Ipswich (GBR),
1970-1975, by Norman FOSTER
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Centre Pompidou, Paris (FRA), 1977, by Richard ROGERS & Renzo PIANO
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The Hongkong and Shanghai Banking Corporation HSBC Headquarters building, 1979, by Norman FOSTER
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Renault Distribution Center, Swindon (GBR), 1982, Norman FOSTER
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Patscenter (industrial building), Princeton (NJ), USA,
1985, Richard ROGERS.
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Lloyd’s Building (office block), London (GBR), 1986, by Richard ROGERS
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Lyon-Saint-Exupéry Railway Station, Lyon (FRA), 1994, by Santiago CALATRAVA
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Kansai Airport, Osaka (JAP),
1994, Renzo PIANO.
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Oriente Station, Lisbon (PRT), 1998, by Santiago CALATRAVA
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High-Tech (Structural Expressionism)
Millennium Dome, London (GBR), 1999, Richard ROGERS
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Carrasco International Airport New Terminal,
Montevideo (URY),
2010, by Rafael VIÑOLY
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A Flash-back on Architectural Movements Deconstructivism
Deconstructivism in architecture, also called
deconstruction, is a development of
Postmodernism that began in the late 1980s.
It is characterized by the following:
- Ideas of fragmentation
- Interest in manipulating ideas of a structure's surface or skin
- Non-rectilinear shapes which serve to distort and dislocate some of the
elements of architecture, such as structure, and
- The finished visual appearance of buildings that exhibit the many
deconstructivism "styles" is characterized by a stimulating unpredictability
and a controlled chaos.
It was influenced by the formal experimentation and geometric imbalances of
Russian Constructivism. There are additional references in deconstructivist to 20th
century movements: the modernism/postmodernism, expressionism, cubism ,
minimalism, etc.
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Main features:
- Explodes architectural form into loose
collections of related fragments.
- Destroys the dominance of the right
angle and the cube by using the
diagonal line…
- Uses ideas and images from Russian
Constructivism architecture and design
- Causes shock, uncertainty, unease,
disquiet, disruption, distortion by
challenging familiar ideas about space,
order and regularity in the environment.
- Rejects the idea of the “perfect form”
for a particular activity and rejects the
familiar relationship between certain
forms and certain activities.
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Main Deconstructivist Architects are/were:
USA: Peter EISENMAN, (1932); Thom MAYNE (1944); Franklin D. ISRAEL (1945-1996);
Michael SAEE (1956); Michael ROTONDI (1949); Mark WIGLEY, (1956); Frank GEHRY
(1929); etc.
Europe: Bernard TSCHUMI, FRA/SWI (1944); Rem KOOLHAAS, NLD (1944); Daniel
LIBESKIND, POL (1946); ZAHA HADID, IRQ/GBR (1950); Coop HIMMELBLAU, AUT (1968); etc.
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Parc de la Villette (La Villete Park), Paris (FRA), 1982-1998, by Bernard TSCHUMI
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Wexner Centre for the Arts, Ohio, USA, 1988, by Peter EISENMAN
“The Museum That Theory Built”, the Wexner Centre for the Arts was - and still is - one of the purest representations
of deconstructive theory in architecture.
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Vitra Design Museum, Weil am Rhein (DEU), 1989, by Frank GEHRY
Through its towers, ramps and cubes, the volumes of the building are determined by lighting
and programmatic necessities.
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Vitra Fire Station, Weil am Rhein (DEU), 1991-1993, by Zaha HADID.
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The Prague House, or The Dancing House (Tančící dům), Prague (CZE), 1992-96, by Vlado MILUNIĆ & Frank GEHRY
Concept: Ginger ROGERS and Fred ASTAIR
A famous dance-comedy couple from the 1930s
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Sharon Drager House, Berkeley (CA), USA, 1994, by Franklin D. ISRAEL
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Experience Music Project Museum, Seattle (WA), USA, 1995-2000, by Frank GEHRY
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UFA - Cinema Center, Dresden (DEU), 1998, by Coop HIMMELBLAU
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Walt Disney Concert Hall, Los Angeles (CA), USA, 1999-2003, by Frank GEHRY
Concept: Boat and Sails
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Daniel Libeskind’s Jewish Museum, Berlin (DEU), 1999-2001, by Daniel LIBESKIND
Concept: Jewish Star of David in Form and Zoning
Old Museum
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Art Gallery of Ontario, Toronto (ON), CAN, 2001-08, by Frank GEHRY
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Little Crooked House (Krzywy Domek), Sopot (POL), 2004, by Szotynscy ZALESKI
Concept:
fairy-tale illustrations of Jan Marcin Szancer
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Seattle Central Library, Seattle (WA), USA, 2004, by OMA (Rem KOOLHAAS, Ellen van Loon, Reinier DE GRAAF, Shohei
SHIGEMATSU, Iyad ALSAKA, David GIANOTTEN, Chris VAN DUIJN, Ippolito PESTELLINI LAPARELLI, Jason LONG )
It’s described as the “ambition to redefine the library as an institution no longer exclusively dedicated to the book, but
rather as an information store where all potent forms of media - both new and old - are presented equally and legibly”.
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London Aquatics Centre, London (GBR), 2004, by Zaha HADID
Concept: Geometry of Fluids in Motion
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8 Spruce Street Building, New York city (NY), USA, 2006-2011, by Frank GEHRY
Concept: “Step into Space” through dynamic changes throughout the day
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Lou Ruvo Center for Brain Health (LRCBH), Las Vegas (NV), USA, 2007-09, by Frank GEHRY
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Beijing National Stadium, Beijing (CHN), 2007, by HERZOG & De MEURON Architekten, Arup Sport and the
China Architecture Design and Research Group.
Concept: Birds Nest
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CCTV headquarters, Beijing (CHN), 2008, by OMA (Rem KOOLHAAS, Ellen van Loon, Reinier DE GRAAF, Shohei SHIGEMATSU, Iyad
ALSAKA, David GIANOTTEN, Chris VAN DUIJN, Ippolito PESTELLINI LAPARELLI, Jason LONG )
The building was designed as an alternative
to the “exhausted typology of the
skyscraper”.
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Public Drugstore Building, Paris (FRA), 2012, by Michael SAEE
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Bill & Melinda Gates Hall at Cornell University, Ithaca (NY), USA, 2014, by Thom MAYNE
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Antwerp Port Office/Port Authority building, Antwerp (BEL), 2016, by Zaha HADID
Concept:
Bow of a ship – new floating volume, Diamonds
Old building
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Audrey Irmas Pavilion, Los Angeles (CA), 2022, USA, by OMA (Rem KOOLHAAS, Ellen van Loon, Reinier DE GRAAF, Shohei
SHIGEMATSU, Iyad ALSAKA, David GIANOTTEN, Chris VAN DUIJN, Ippolito PESTELLINI LAPARELLI, Jason LONG )
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A Flash-back on Architectural Movements Regional Criticism/Critical Regionalism
“It’s not possible to design always
the same. How to be different in
each different place – that is the
most important work and duty of
the architect to find out”.
Jean Nouvel, FRA (1945)
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Why modern buildings look the same?:
- Modern become commonplace
- Modern is low maintenance
- Customers want reliable styles
- Consistent mean cost-efficiency
“Most of the buildings you see have not
been designed by architects but by
construction companies and civil
engineers in search of rationality and
profitability, forgetting any local context
and aesthetic purpose”.
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Critical Regionalism is an approach to architecture that strives
to counteract the placelessness and identitylessness of the
International Style (late Modernism). but it also rejects the
random individualism and ornamentation of postmodern
architecture. Therefore, it is not a style, rather an approach
towards the process of design thinking, that appeared during
late 1970s.
They seek to provide friendly architecture in the modern
tradition, but linked to the geographical, historical and cultural
context.
Critical Regionalism is not simply vernacular regionalism. It is an
approach to design that seeks to relate local language to global
language.
Regionalist Critics therefore argue that both modern and
postmodern architecture are "deeply problematic."
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“The fundamental strategy of Critical Regionalism is to mediate the impact of
universal civilization with elements derived indirectly from peculiarities of a
particular place”
“Necessarily involves a more directly dialectical relation with nature than the
more abstract, formal traditions of modern avant-garde architecture allow".
“Architecture can only be sustained today as a critical practice if it assumes an
‘arriere-garde’ position, that is to say, one which describes itself equally from
the Enlightenment myth of progress and from a reactionary, unrealistic impulse
to return to the architechtonic forms of the preindustrial past. A critical ‘arriere-
garde’ has to remove itself from both the optimisation of advanced technology
and ever-present tendancy to regress into nostalgic historicism or the glibly
decorated. It is my contention that only an ‘arriere-garde’ has the capacity to
cultivate a resistant, identity-giving culture while at the same time having
discreet recourse to universal technique.”
FRAMPTON, Kenneth (1983) Towards a Critical Regionalism. Six Points for an Architecture of Resistance.
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They were followed by others like:
Europe: Sverre FEHN, NOR (1924-2009); Álvaro SIZA, PRT (1933); JUHA LEIVISKÄ, FIN (1936); JUHANI PALLASMAA, FIN (1936);
Alexander TZONIS, GRC (1937); Rafael MONEO, ESP (1937); Peter ZUMTHOR, SWI (1943); MARIO BOTTA, SWI (1943); EDUARDO
SOUTO DE MOURA, PRT (1952); Jan DE VYLDER, BEL (1968); etc.
Asia: Geoffrey BAWA, LKA (1919-2003); Mazharul ISLAM, IND (1923-2012); Ngô VIẾT THỤ, VNM (1927-2000); Balkrishna V.
DOSHI, IND (1927-2023); Charles CORREA, IND (1930-2015); William S. W. LIM, SGP (1932-2023); Raj REWAL, IND (1934); Tadao
ANDO, JAP (1941); Ken YEANG, MYS (1946); Wang SHU, CHN (1963); etc.
Australia: Glenn MURCUTT (1936); Peter STUTCHBURY (1954); etc.
America: Louis BARRAGAN, MEX (1902-1988); ROGELIO SALMONA, COL (1927-2007): Max STRANG, USA (1930); Christopher
BENNINGER, USA (1942); Patricia Patkau, CAN (1950); Rick JOY, USA (1958); Tom KUNDIG, USA (1954); etc.
South Africa: Stanley SAITOWITZ (1949)
Middle East: Abdulrahman A. H. AL-JUNAIDI, SAU (…….).
The pioneer architects were Jørn UTZON, DNK
(1918-2008); Alvar AALTO FIN, (1898-1976);
Carlos RUIS VILLANUEVA, VEN (1900-1975); Carlo
SCARPA, ITA (1906-1978); Robin BOYD, AUS (1919-
1971); and Jorge FERREIRA CHAVES, PRT (1920-
1981).
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Saynatsalo Town Hall, Säynätsalo (FIN), 1949-1952, by Alvar AALTO
It’s an ideal amalgamation of modern forms, local materials (brick and wood), Finnish architecture and a humanistic approach while
recognizing the cultural context of it’s the site, collectively creating and exhibiting a process of generating a symbolic identity.
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Walsh Street, Melbourne (AUS), 1958, by Robin BOYD
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Sydney Opera House, Sidney (AUS), 1959-1973, by Jørn UTZON
It opens it’s shelling towards the sea, identifying it as a significant
geographical context, instead of the Modern architecture it is
surrounded by.
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Torres del Parque Felipe (Park Philip Tower) Juncos (PRI), 1968-1970, by Rogelio SALMONA
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Marie Short House, Kempsey (AUS), 1975, by Glenn MURCUTT
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Bagsværd Church (Bagsværd Kirke), Bagsværd (DNK), 1976, Jørn UTZON.
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Azuma House, Osaka (JAP), 1976, by Tadao ANDO.
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Les Espaces d'Abraxas (a housing complex), Noisy-le-Grand (FRA), 1978-1983, by Ricardo BOFILL.
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National Museum of Roman Art , Merida (ESP), 1981-1986, by Rafael MONEO
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Sri Lankan Parliament, Kote (LKA), 1982, by Geoffrey BAWA.
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Magney House, Bingie (AUS),
1984, by Glenn MURCUTT.
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King Faisal Mosque (Masjid Al-Malik Fayṣal), Sharjah (UAE), 1984-1987, by Abdulrahman A. H. AL-JUNAIDI
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Dallah Hospital, Riyadh (SAU), 1987, by Abdulrahman A. H. AL-JUNAIDI
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Kandalama Hotel, Dambulla (LKA),
1991, by Geoffrey BAWA.
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Strawberry Vale Elementary School, Victoria, (BC) CAN, 1995, by Patricia PATKAU & John PATKAU
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Cymbalista Synagogue and Jewish Heritage Center, Tel Aviv (ISR), 1996-1998, by Mario BOTTA
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Arthur And Yvonne Boyd Education Centre, Illaroo (AUS), 1997-1998, by Glenn MURCUTT
Designed to make a minimal impact on
the local eco-system, the building has
an intuitive feel for place and nature.
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Cathedral of Our Lady of Angels, Los Angeles (CA), 1998-2022, USA, by Rafael MONEO
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Yerba Buena Lofts,
San Francisco (CA), USA,
2001, by Stanley SAITOWITZ.
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Virgilio Barco Public Library, Bogota (COL), 2001, by Rogelio SALMONA
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Hyogo Prefectural Museum of Art, Kobe (JAP), 2002, by Tadao ANDO
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Bechtler Museum of Modern Art, Charlotte (NC), USA, 2005-2009, by Mario BOTTA
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Desert Nomad House,
Tucson (AZ), USA, 2006, by Rick JOY.
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Bruder Klaus Field Chapel,
Mechernich (DEU), 2006-07,
by Peter ZUMTHOR
Where a mystical and intimate interior that
invites reflection, is masked by a very rigid
rectangular outer
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Wall House, Shizouka (JAP), 2009, by Peter STUTCHBURY
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The Building on the Water, Huai’An City (CHN),
2010-2014, by Alvaro SIZA
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The Caritas Psychiatric Hospital, Melle (BEL), 2016,
by Jan DE VYLDER; Inge VINCK; and Jo TAILLIEU
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A Flash-back on Architectural Movements Blobitecture
Blobitecture (Blob architecture, or Blobism)
is a term for an after post-modern
architectural style (1990s to nowadays)
inspired by the advances in digital graphics
and 3D shapes, even nature, and natural or
organic forms like a living breathing
organisms (blob or amoeba shapes), and
predominantly seen in large buildings.
Blobitecture buildings cannot exist without
the help of design software unless we look
at the building from a purely aesthetic
point of view. This doesn’t mean, however,
that every peculiar-looking building can be
described as a blob-building.
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Some architects whom participated on the Blobitecture trend were/are the following:
- Roy MASON, GBR (1924-2015)
- Fran GEHRY, CAN/USA (1929)
- Peter EISENMAN, USA (1932)
- Norman FOSTER, GBR (1935)
- Peter COOK, GBR (1936)
- Jan KAPLICKY, CZE (1937-2009)
- Nicholas GRIMSHAW, GBR (1939)
- Jonathan Adams JERDE, USA (1940-2015)
- Massimiliano FUKSAS, ITA (1944)
- Colin FOURNIER, AUT (1944)
- Ephraim Henry PAVIE, FRA (1947)
- Zaha HADID, IRQ/GBR (1950-2016)
- Jacques HERZOG, SWI (1950)
- Pierre DE MEURON, SWI (1950)
- Kas OOSTERHUIS, NLD (1951)
- Amanda LEVETE, GBR (1955)
- Lars SPUYBROEK, NLD (1959)
- Patrik SCHUMACHER, DEU, (1961)
- Greg LYNN, USA (1964)
- Jürgen MAYER, DEU (1965)
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The first building considered as Blobitecture is the Fresh
Water Pavilion (NLD), designed by NOX Lars SPUYBROEK, and
built by Kas OOSTERHUIS in 1993.
It has a fully computer-based shape manufactured with
computer-aided tools and an electronic interactive interior
where sound and light can be transformed by the visitor.
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Eden Project, Cornwall (GBR), 1998-2001, by Nicholas GRIMSHAW
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Allianz Arena, Munich (DEU), 2002-2005, by Jacques HERZOG & Pierre DE MEURON.
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Kunsthouse Graz, Graz (AUT), 2003, by Peter COOK & Colin FOURNIER
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Selfridges Building, Birmingham (GBR),
2003, by Jan KAPLICKÝ & Amanda LEVETE.
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Hangar-7 (Salzburg Airport Museum), Salzburg (AUT), 2003, by Atelier Volkmar Burgstaller ZT.
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The Glasshouse (Sage Gateshead), Gateshead (GBR), 2004, by Norman FOSTER & Spencer DE GREY
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Golden Terraces (Złote Tarasy), Warsaw (POL), 2002-07, by Jonathan Adams JERDE, and HRYNKIEWICZ & SYNOWIE Arch.
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Metropol Parasol, Sevilla (ESP), 2005-2011, by Jürgen MAYER.
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The Blob, Eindhoven (NLD), 2009, by Massimiliano FUKSAS.
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Qods Mosque, Tehran (IRN), 2011-12, by Arash G. TEHRANI
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A Flash-back on Architectural Movements Current Architectural Trends?
In general, Architecture trends in 2023 emphasize in:
- Sustainable sensitivity;
- The intelligent use of resources through technology; and
- A return to what is essential.
2023’s Trends are characterized through the following:
Materials:
- Sustainable materials
- Advanced & Smart materials
Design Process (attitude) & Building Components:
- Collaboration
- Energy & Water Efficient Buildings
- Automation & Smart Buildings
- Prefabrication & Modular Architecture
- Open Spaces connecting outdoor and indoor spaces
- Multi-functional spaces
Design Styles & Methodologies:
- Sustainable Design – Green Buildings – Biophilic Design
- New Minimalism – Minimal Architecture
- Restoration/Renovation – Adaptative Reuse Buildings
- Computational Design
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Use of sustainable materials
“Using Earth & Regional Bio-materials”
Environmental protection is currently a
very important need. This is the case in all
sectors, but especially in the architecture
and construction industry, whose impact
on ecosystems is significant and always
implies a modification of the environment.
In this way, the use of sustainable materials
in design and construction, with ecological
awareness and an environmental
perspective, as well as reuse, is one of the
most widespread architectural trends in
recent years.
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Use of sustainable materials
“Using Earth & Regional Bio-materials”
What is a Sustainable Material?
(Summary – Brief)
Local & regional materials.
Materials and products with a Certification or
Environmental Declaration according to sourcing, origin,
ingredients and components, compliance with regulations,
etc.
Materials that can be appropriately managed as waste
Recycled & reused materials and products.
Rapidly renewable materials: There’re materials and
products made from agricultural products that are typically
harvested within a 10-year period, including lamb wool.
Certified wood-based materials and products.
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Advance materials
Engineered materials that utilize fewer resources to
develop, are sturdier, or offer better workability over
conventional materials are desirable by the Arch. &
Construction industry.
High-performance materials improve the mechanical
properties of structures while ensuring aesthetical
appeal. Startups also offer innovative materials such as
self-healing concrete, photovoltaic (PV) glass,
bioplastics, carbon fiber, transparent aluminum or
translucent wood, and dust-resistant nanocomposites.
Further, startups manufacture greener alternatives to
traditional materials with comparable qualities such as
low-carbon steel, engineered wood, and bio-based
materials.
These sustainable materials feature high durability,
thermal insulation, recyclability, and endurance to
withstand high loads and extreme weather. They reduce
the environmental impacts of construction without
compromising structural performance.
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Advance materials
(some examples)
3D-printed graphene
Cross-laminated timber (CLT)
Bioplastic
Mycelium
Light-generating concrete
Self-healing materials:
(concrete, asphalt, textiles, etc.)
Flexible concrete
Strand Rods
Carbon fiber
Nanocomposites:
(nanoparticles, nanorods, nanofibers,
and carbon nanotubes)
Translucent wood
Transparent aluminum
Liquid granite
Rammed earth
Richlite:
(cellulose & resin)
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Collaboration
As the complexity of projects increases, design teams will need to be more
collaborative.
Not only architects and engineers are necessary: as well, partnering with
Universities and other specialists including social anthropologists, cognitive
neuroscientists, environmental + material scientists, etc., is necessary. These broad
cross-disciplinary teams will create holistic approaches to solving challenges in the
built environment and create more meaningful, nurturing, and sustainable…
environments.
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Energy-Efficiency Buildings,
and Water-Efficiency Buildings
Energy efficiency solutions in buildings and structures
eliminate energy (heat or cool) loss as well as reduce
energy and maintenance costs. Startups provide
advanced heating/cooling, ventilation, and HVAC systems
that optimize energy utilization and reduce the
environmental impacts of buildings.
They also deliver provisions for high-performance building
envelopes, such as insulation and air barriers, that reduce
energy losses and operating costs. Similarly, building
management and automation solutions monitor existing
systems such as HVAC and lighting, optimizing
consumption. This significantly curtails maintenance costs
while also retaining comfort for occupants.
Architecture software for energy-efficient solutions
promotes passive design strategies and provides building
energy simulations to improve natural lighting and
building ventilation. Viettel Group Headquarter,
Hanoi (VNM), 2020, by GENSLER ARCH.
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Automation, and Smart Buildings: Smart building technology has revolutionized the way
buildings are managed, providing greater control and efficiency over critical systems such as
heating, ventilation, air conditioning (HVAC), lighting, elevators, life safety, and security.
Benefits of deploying smart building technology include operational efficiencies, improving
the quality of the working environment, and reducing energy consumption.
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