6. experimented with the new material - fibreglass + plastics
developed contemporary furniture and lighting.
products created - limited production of unusual
objects and functional designs.
plastic laminate surfaces, bright colours and bold
patterns.
MemphisgroupEttore Sotsaas
10. Le Corbusier
Two ideal villas
- Villa Stein at Garches 1927
- Villa Savoye at Poissy 1929-31
In formal terms the two villas can be seen as abstract cubes in
space in which various geometric elements are freely disposed
as in a Purist painting
Idea developed (from 1914 Domino system) into the 5 points of
architecture
13. Free façade
The columns set back from the facades, inside the house. The floor
continues cantilevered. The facades are no longer anything but light
skins of insulating walls or windows. The façade is free
14. The free standing column
freeing from the ground –
pilotis
The reinforced concrete gives
us the pilotis, the house is
up in the air, free from the
ground. Ground floor
provides free circulation
for various activities
15. The external wall and the internal wall independent of structural
skeleton – ribbon window
The window is one of the essential features of the house.
Reinforced concrete provides a revolution in the history of the
window. Window can run from one end of the façade to the
other
16. Free plan
Until now, load bearing walls, from the ground they are
superimposed; forming the ground floor and upper stories, up
to the eaves. The layout is a slave to the supporting walls.
Reinforced concrete in the house provides a free plan. The
floors are no longer superimposed by partition walls
17. Roof garden
The garden is also over the house, on the roof. Returning the
ground taken up by the foot of the house back to the garden
18. Ludwig Mies Van Der Rohe
Deals mostly with town planning
- Simplicity – Less is more
- Lightness – Steel and glass, structurally very light
- Material honesty and structural integrity
- Plane wall – structural
- Floating – meet the ground only through plan structural wall
- Within nature – blend together
German Pavilion, World Exhibition, Barcelona 1929
Fansworth House 1950
20. The roof rested on walls, or more properly wall planes, placed asymmetrically but
always in parallels or perpendicular, so that they appear to slide past each
other in a space through which the viewer could walk more or less endlessly,
without ever being stopped within a cubical area.
This open plan, with its intimation of an intimate freedom of movement, was at the
same time qualified by two rows of equally spaced, cruciform columns that
stood in martial formation amid the gliding walls. The columnar arrangement
constituted to Mies’s first use as an ordering factor in this building
21. Illusionary surface readings effected
by the use of green tinted glass
screens, to emerge as the mirror
equivalents of the main
bounding planes. These planes,
faced in polished green Tinian
marble, in their turn reflected the
highlights of the chromium
vertical glazing bars holding the
glass in place
A comparable play in terms of
texture and colour was affected
by the contrast between the
internal core plane of polished
onyx (the equivalent of Wright’s
centrally placed chimney core)
and the long travertine wall that
flanked the main terrace with its
large reflecting pool
22. Here, bounded by travertine and agitated by the wind, the broken
surface of the water distorted the mirror image of the building.
In contrast to this, the internal space of the pavilion, modulated
by columns and mullions, terminated in an enclosed court,
containing a reflecting pool lined with black glass
Above and in this implacable, perfect mirror, there stood the
frozen form and image of George Kolbe’s Dancer. Yet despite
all these delicate aesthetic contrasts the building was simply
structured about eight free-standing cruciform columns that
supported its flat roof
23. Frank Lloyd Wright
The Usonian houses
In 1928, Wright coined the term ‘Usonia’ to denote an egalitarian
culture that would spontaneously emerge in the United States.
By this, he seems to have intended not only a grassroots
individualism but also the realization of a new, dispersed form
of civilization such as had recently been made possible by
mass ownership of automobile
28. Falling Water, Bear Run,
Pennsylvania
In Falling Water, reinforced
concrete afforded the point
of departure; only this time
the cantilevering gesture
was extravagant to the
point of folly
Falling Water projected itself
out from the natural rock in
which it was anchored, as
a free floating platform
poised over a small
waterfall
29. Guggenheim Museum, New York, 1943
The structural idea and parti for the museum date back to his
sketch for the Gordon Strong Planetarium of 1925
At Guggenheim, he simply turned the diminishing helix of the
planetarium inside out, inverting and thereby converting what
had previously been a car ramp into an internal, spiraling
gallery, an extended spatial helix which Wright later referred to
as an unbroken wave
It also combines the structural and spatial principles of Falling
Water
