the ideal community: alternatives to the industrial city
A big concern of modern architects was not to design one building but to design a whole city. Particularly the holistic design would pay attention to working class buildings which many architects and city planners felt were being ignored.
Some wanted to break up a city into manageable sizes and include lots of green spaces. There were also plans to turn the city grid into a linear shape.
One big problem was the living spaces for the working class. Some wanted one large building to house workers. It would promote a communal space but it was doomed to be repetitious.
In the end, the ability to build a city from scratch didn't materialize and much of theories were left unpracticed.
Thursday, March 1, 2012
Modern Arch Since 1900 Ch13
skyscrapper and suburb: the u.s.a. between the wars
The Chicago Tribune competition raised question of what a 'beautiful' modern building would be. There wasn't a consensus and left many architects scratching their heads. This illustrates the larger picture that although modern architecture was dipping it's toes in the water, there wasn't a library of forms to choose from. Much of what was an appropriate look needed to be invented.
Skyscrapers appeared in the early 20th century in the economic boom following the great depression. Their size was intimidating especially at a time where they weren't surrounded by other skyscrapers. Their forms suggested nihilistic temples to capitalism. Their form seemed to be subservient to regional vernaculars or sensibilities of the European avant-guard.
Wright's architecture also was analogous with the times. Instead of making forms that would identify as an archetypal house, he began building from his own fascination with ancient temples and such. In a way celebrating aristocratic power in a time where wealth was being concentrated to a small amount of people.
The Chicago Tribune competition raised question of what a 'beautiful' modern building would be. There wasn't a consensus and left many architects scratching their heads. This illustrates the larger picture that although modern architecture was dipping it's toes in the water, there wasn't a library of forms to choose from. Much of what was an appropriate look needed to be invented.
Skyscrapers appeared in the early 20th century in the economic boom following the great depression. Their size was intimidating especially at a time where they weren't surrounded by other skyscrapers. Their forms suggested nihilistic temples to capitalism. Their form seemed to be subservient to regional vernaculars or sensibilities of the European avant-guard.
Wright's architecture also was analogous with the times. Instead of making forms that would identify as an archetypal house, he began building from his own fascination with ancient temples and such. In a way celebrating aristocratic power in a time where wealth was being concentrated to a small amount of people.
Sunday, February 26, 2012
Modern Arch Since 1900 Ch12
architecture and revolution in russia
Russia was similar to Germany between the wars. Architects were dreamers who's ideas mainly stayed on paper. But Russia was not only digesting how to make forms out of new materials, it was trying to make these new forms reflect the revolutionary lifestyle that didn't exist yet.
Experiementers largely favored a machine look and also in creating a building that was dynamic and had motion. Litterally moving parts of the building.
The Russian architects were not as successful as their bourgousie european neighbors at making forms explemplifying the communual lifestyle they hoped for. Russian modern architects might not had enough time to fully build up a mature language. When Russia started leaning towards authoritarian rule, the architectural trends turned away from modernism. The totalitarian rulers favored architecture with very direct symbolism and was somewhat familiar with the past.
Russia was similar to Germany between the wars. Architects were dreamers who's ideas mainly stayed on paper. But Russia was not only digesting how to make forms out of new materials, it was trying to make these new forms reflect the revolutionary lifestyle that didn't exist yet.
Experiementers largely favored a machine look and also in creating a building that was dynamic and had motion. Litterally moving parts of the building.
The Russian architects were not as successful as their bourgousie european neighbors at making forms explemplifying the communual lifestyle they hoped for. Russian modern architects might not had enough time to fully build up a mature language. When Russia started leaning towards authoritarian rule, the architectural trends turned away from modernism. The totalitarian rulers favored architecture with very direct symbolism and was somewhat familiar with the past.
Saturday, February 25, 2012
Modern Arch Since 1900 Ch11
walter gropius, german expressionism and the bauhaus
The time after world war one led to an intense period of thought. The economy in Germany was in bad shape and not suitable to finance new building projects. There architects had to settle for models of their ideas knowing they wouldn't go on to be realized.
Because their buildings wouldn't go on to be buildings, a spiritual mentality took place. In fact some architecture teachers taught like gurus and encouraged meditation and so forth. The machine was also downgraded and placed subordinate to nature.
This is also the time the Bauhaus came to be. It was proposed to stop the artistic vacuum happening in German society because of the after effects of the war. It focused on the building to be the end of all arts.
The fruits of this school would be ostracized by German politics and ultimately shut it down. But the experimentation done there would prime some important modern architects for important works. They fled from oppression and dispersed away from Germany.
The time after world war one led to an intense period of thought. The economy in Germany was in bad shape and not suitable to finance new building projects. There architects had to settle for models of their ideas knowing they wouldn't go on to be realized.
Because their buildings wouldn't go on to be buildings, a spiritual mentality took place. In fact some architecture teachers taught like gurus and encouraged meditation and so forth. The machine was also downgraded and placed subordinate to nature.
This is also the time the Bauhaus came to be. It was proposed to stop the artistic vacuum happening in German society because of the after effects of the war. It focused on the building to be the end of all arts.
The fruits of this school would be ostracized by German politics and ultimately shut it down. But the experimentation done there would prime some important modern architects for important works. They fled from oppression and dispersed away from Germany.
Friday, February 24, 2012
Modern Arch Since 1900 Ch10
le corbusier's quest for ideal form
Le corbusier was not interested in throwing out the past. Much inspired by it, he advocated taking the zest of it into a modern form. He respected buildings such as the parthenon as pinicale of a building form. One that brought an advanced language of the time together.
He was compelled to make large scheme designs where communities of people live in one area designed by him. Largely he had to compromise for the obvious reason that such grand schemes require people to comply and fund them. Most of his commissions were mostly wealthy people without the desire to fill their houses with lots of stuff. The houses were complete by themselves but showed signs they were just experiments that could be done on a larger scale.
The start of Le Corbusier's language is geometry. In isolation geometry is the basic unit of a language. Shapes mean nothing on their own but put in a cluster some thematic elements arrive based on their relation to others.
While he respected the past, there were traditional elements of building that were turned on it's head. Particular his diminution of the base of the building. Typically this is where the most functional rooms were like the kitchen. It was also where buildings were the most sturdiest. But Le Corbusier understated this part picturing a modern city where this space will be used to for things like traffic.
His approach to design praised function and economy as well as giving content. Especially in contrasting urban and rural aspects of houses.
Le corbusier was not interested in throwing out the past. Much inspired by it, he advocated taking the zest of it into a modern form. He respected buildings such as the parthenon as pinicale of a building form. One that brought an advanced language of the time together.
He was compelled to make large scheme designs where communities of people live in one area designed by him. Largely he had to compromise for the obvious reason that such grand schemes require people to comply and fund them. Most of his commissions were mostly wealthy people without the desire to fill their houses with lots of stuff. The houses were complete by themselves but showed signs they were just experiments that could be done on a larger scale.
The start of Le Corbusier's language is geometry. In isolation geometry is the basic unit of a language. Shapes mean nothing on their own but put in a cluster some thematic elements arrive based on their relation to others.
While he respected the past, there were traditional elements of building that were turned on it's head. Particular his diminution of the base of the building. Typically this is where the most functional rooms were like the kitchen. It was also where buildings were the most sturdiest. But Le Corbusier understated this part picturing a modern city where this space will be used to for things like traffic.
His approach to design praised function and economy as well as giving content. Especially in contrasting urban and rural aspects of houses.
Sunday, February 19, 2012
Modern Arch Since 1900 Ch7
the architectural system of frank lloyd wright
Turn of the century Chicago saw an influx of middle class businessmen. Frank Lloyd Wright would solidify an architecture for these people. His clients wanted an aesthetic that matched their lifestyle: a contrast of economy with with wealth.
Wrights work consisted mainly in houses so his architectural metaphors spoke of the domestic life. These houses were primarily suburban and emphasized a detachment from the urban city to something more pastoral. His key motifs were the central fire place and the horizontal lay out.
The fire place is a very old motif that may have lost its ritual importance by the early modern period, but none the less still translated as a metaphor for domestic life.
The language of tall office buildings were about being vertical. The horizontal layout was a hallmark of the house. It allowed easy access to the whole house and suggested simplicity. It was well embraced as a template for an appropriate house.
Turn of the century Chicago saw an influx of middle class businessmen. Frank Lloyd Wright would solidify an architecture for these people. His clients wanted an aesthetic that matched their lifestyle: a contrast of economy with with wealth.
Wrights work consisted mainly in houses so his architectural metaphors spoke of the domestic life. These houses were primarily suburban and emphasized a detachment from the urban city to something more pastoral. His key motifs were the central fire place and the horizontal lay out.
The fire place is a very old motif that may have lost its ritual importance by the early modern period, but none the less still translated as a metaphor for domestic life.
The language of tall office buildings were about being vertical. The horizontal layout was a hallmark of the house. It allowed easy access to the whole house and suggested simplicity. It was well embraced as a template for an appropriate house.
Modern Arch Since 1900 Ch6
responses to mechanization: the deutscher werkbund and futurism
Unlike it's American counter part, Germany and Italy romanticized the factory in the early days of modernization. They didn't need to sort out how to make a vernacular for a warehouse, they needed to sort out how to elevate it as a worshiping space. Both of these civilizations felt these buildings would build the future and the buildings form needed to reflect that.
Unlike it's American counter part, Germany and Italy romanticized the factory in the early days of modernization. They didn't need to sort out how to make a vernacular for a warehouse, they needed to sort out how to elevate it as a worshiping space. Both of these civilizations felt these buildings would build the future and the buildings form needed to reflect that.
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