theme of the MODERN ARCHITECTURE 01.pptx

2.  As the 20th century began modern architects believed it was
necessary to invent an architecture that expressed the spirit of a
new age and would surpass the styles, materials, and technologies
of earlier architecture.
 Modern Architecture takes its roots from the Industrial Age when
architects are exploring new materials such as steel and reinforced
concrete. The design of buildings are not anymore influenced by
religion nor classicism, but rather architecture is inspired by the
machine.
 Modern architecture began with advancement and the
modernization of efforts to reconcile the principles underlying
architectural design with rapid technological society.
 Modern architecture, emerged in many western countries in the
decade after world war.

3.  The notion that "form follows function", meaning that the result of design
should derive directly from its purpose
 Simplicity and clarity of forms and elimination of "unnecessary detail"
 Materials at 90 degrees to each other.
 Visual expression of structure (as opposed to the hiding of structural
elements.
 The related concept of "truth to materials", meaning that the true nature or
natural appearance of a material ought to be seen.
Use of industrially-produced materials.
 A visual emphasis on horizontal and vertical lines.
 Use of new technologies and new materials.
 Implementation of “skin and bone architecture”.
 Minimum wastage of materials, materials generally consists of glass and
steel.
 Fully utilization of spaces externally and internally.
 Modernism is broadly characterized by simplification of form and
subtraction of ornamentation from the structure and theme of the building.
 It was based on the "rational" use of modern materials, the principles of
functionalist planning, and the rejection of historical precedent and
ornament.

4. The two principal materials for the new forms
and high massive buildings:
 Steel (pioneered in Britain and brought into
general use in America)
 Reinforced concrete (developed in France)

5.  Architecture is a creation of something unique
not just building something.
 Science and arts of building.
 Continually evolving arts.
 Industrial revolution have brought many
technologies and the architecture is evolving
at an evolving rate.

6.  Turns in staircase.
 Rhythm of arcade.
 Introduction of dome.
 Sunlight patterns through windows.
E.G editor house clerestory windows, sunlight
patterns creates interest.

7. Industrial revolution
Machine age
New purposes New materials New methods of construction
Changes in architectural trends of the
20th century

8.  Launch of mankind in space.
 Mighty sky scrapers of Chicago and newYork.
REINFORCED
CONCRETE
STEEL FRAMES/
CURTAINWALLS
RISING LAND
PRICE
SKY SCRAPERS
ELECTRIC LIFTS/
ELEVATORS

9.  The architects of classicism faced many
difficulties to follow the new trends of
modernism.
 In the early years some of the examples of
high-rise buildings express some feeling of
classicism.
 They used decorative elements of classicism.

10.  The Woolworth Building, designed by
architect Cass Gilbert and completed in
1913, is an early US skyscraper The
Woolworth Building was designed in
the neo-Gothic style.
 Given its resemblance to
European Gothic cathedrals, the
structure was called "The Cathedral of
Commerce“. It remained the tallest
building in the world until the
construction of Chrysler Building
VictorEmanuelbuilding Equitablebuilding
One of the examples of classicism.(1885) The Equitable
Building is a 38-
story office building
in NewYork City.
The building is in
the neoclassical style

11. In 20th century, the new wave was occurred in architecture world. It is called
“Modernism”. and Three man sophisticated it.
The three men were le corbusier, frank lloyd wright, and Mies der rohe.
let me introduce their famous words and works.

12. • Born in Switzerland, 1987. trained as
an artist, he traveled extensively.
During this period he developed a keen
interest in the synthesis of the various
arts. Jeanneret-gris adopted the name
le Corbusier in the early 1920s.
• He is french
• His famous words are
“ A house is a machine for living”
• His works,” chapelle notre-dame-du-
hault, ronchamp”, “Villa savoye”.

13.  Domino House (1914–1915) is an open
floor plan structures, supported by
reinforced concrete columns meaning
that the floor space was free to be
configured into rooms without concern
for supporting walls and the physical .
The building envelope expression is an
independent expression subject to the
interpretation of Its Architect.
 The paradigm of the modern buildings
is the simple, Maison domino le
corbusier’s diagram of the skeletal “
machine for living”. It consist of a field
of regularly spaced column and floor
plates.
Early work was related to nature; later he developed the maison-domino, a
basic building prototype for mass production with free standing pillars and rigid
floors.

14.  Le corbusier’s idea began to take physical form,
mainly as house which he created as “a machine
for living in” and which incorporated his trademark
five points of architecture.
 Post war buildings rejected his earlier industrial
forms and utilized vernacular materials, Burt
concrete and articulated structure. Near the end of
his career he worked on several projects in India,
which utilize brutal materials and sculptural forms.
In these buildings he readopted the recessed
column, the expressive staircase, and the flat
undecorated plane of his celebrate five points of
architecture.

16.  The villa is
representative of the
bases of modern
architecture, and is
one of the most
easily recognizable
and renowned
examples of the
International style.
 TheVilla Savoye is
probably Corbusier's
best known building
from the 1930s

17.  It is based on five rules which le
corbusier makes.
 The rule is “ Pilotus free solid structure”
 “Free plane structure”
 “Horizontal run window”
 “ rooftop garden”
 It looks like starship.

18. Pilotis

20. ABOUT 1/3RD OFTHE
SPACE IS OCCUPIED BY
THE ROOFTERRACE
SECOND LEVELWITH
ROOF GARDEN
LIVINGAREA

21.  Until now load –bearing walls from
the ground they are superimposed,
forming the ground floor and the
upper stories, up to the eaves.The
layout is a slave to the supporting
walls. Reinforced concrete in the
house provides free plan.The floor
are no longer superimposed by
partition walls.They are free.
LIVING ROOM OPENING
TOWARDS
TERRACE (INTERIORS)

22.  The window is one of the essential of the house progress
bring liberation. Reinforced concrete provides a revolution in
the history of the window. Windows can run from one end of
the façade to other.
ELONGATEDWINDOWS

23.  The column set back
from the facades.
Inside the house.
The floor continuous
cantilevered. The
façade are no longer
anything but light
skins of insulating
walls or windows.
The façade is free.

24. •A grid of lines and color planes arranged to create an internal cohesion and
harmony.
•Piet Mondrian, 1930
•Oil in canvas 2’4 ½”*1’9 ½

26.  The Marseille unite d”habitation brings together Le
Corbusier’s vision for communal living with the needs and
realities of post war France. Up to 1600 people live in a
single slab ‘vertical village.
The unite introduce the world to raw concrete-beton brut-
with its texture defined by the wooden planks shaping it
when it was poured.
I have decided to make beauty by contrast. I will find its
compliment and establish a play between crudity and
finesse, between the dull and the intense, between precision
and accident. I will make people think and reflect, this is the
reason for the violent clamorous, triumphant polychromy of
the facades.

27.  Most of Le Corbusier five points
of architecture’ from the 1920 are
alive and well in the unite’.
 The strong pilotis creating
circulation space beneath, the
free facades now loud with a
careful pattern of single-and
double-height balconies
generated from fifteen different
types of apartment, and the roof
terrace reclaiming the lost land
beneath the building for
recreation.
HUGE PILOTIS
LEAVING THE
GROUND FREE

29. CONCRETE AS NOBLE MATERIAL
DOUBLE HEIGHT LIVING ROOMWITH
GLASSWALL
GLASSWALL OF 12’ X 16’
DOUBLE HEIGHT
BALCONIESTOO

30. ROOF NURSERY
COLOURFUL
WALLS IN
BALCONIES
NARROW ROOMS
( 8’ HIGH ROOMS)
OPENTERRACE

31.  Small brightly painted and apparently
irregular windows punched in these thick
walls give a dim but exciting light within
the cool building, enhanced by further
indirect light coming down the three light
towers.

32. Small, brightly painted and apparently irregular windows punched in these
thick walls give a dim but exciting light within the cool building, enhanced by
further indirect light coming down the three light towers.

33. Notre’ Dame du Haut or Ronchamp -1955
Reinforced concrete in Expressionist Modern
Style

34.  Here we will build a monument dedicated to
nature and we will make it our lives’ purpose.’
 The thick, curved walls – especially the
buttress –shaped south wall- and the vast
shell of the concrete roof give the building a
massive, sculptural form.
 ‘The shell has been put on walls which are
absurdly but practically thick. Inside them
however are reinforced concrete columns.
The shell will rest on these columns but it will
not touch the wall. A horizontal crack of light
10cm wide will amaze.’

35.  NOTRE-DAM-DU-HAUT IS SITUATED ON SOURTHEN FOOTHILLS OF
THE VOSAGES
 LE CORBUSIER TACKLED THE PROBLEM FIRST OF ALL AS A MATTER
OF “PURE” SPACE
 IN THIS CONTEXT, LE CORBUSIER HIMSELF SPOKE OF LANDSCAPE
ACOUSTICS THUS CREATING AN ECHO IN THE HALL.
 THE FORM HE FINALLY CAME UP WITH EQUAL JUSTICE TO THE
PRACTICLE PURPOSE OF SANCTUARY AND THE EVOCATIVE
CHALLENGE OF THE LAND
 IT IS COVERED WITH MUSHROOM SHAPED ROOF
 FOLLOWING THE SHAPE OF HILL , THE NAVE OF THE CHURCH IS
INCLINED TOWARDS EAST.
 THE ROOF IS INDEPENDENT OF WALLS
 A THIN STRIP OF DAYLIGHT IS REVEALED BETWEEN THE CHAPEL
WALLS AND THE ROOF

36. •The main hall has a
capacity of 200 people
•It was this chpel that he
first formulated the idea
architecturally in the form
of periscope light shafts
capturing the sunlight and
spilling it over the altars of
the three sided chapel
•He played with mass and
void on the exteriors of
the walls.
MASSVOIDAPPEARANCE
INTERIOROF
THE CHAPEL
IRREGULAR
VOIDS

37.  Towards a New Architecture is collection of essays primarily by Le
Corbusier(Charles-Edouard Jeannaret),advocating for and exploring the
concept of modern architecture.
 The book has had an undeniable lasting effect on the architectural
profession, serving as the manifesto for a generation of architects

38. “You employee stones, wood and concrete, and with these materials
you build houses and palaces. That is construction. Ingenuity in
work.
But suddenly you touch my heart, You do me good, I am happy and I
say: this is beautiful. That is architecture. Art enters in.”
“Suppose that walls are towards heaven in such a way that I am
moved… the stones you have erected tell me so. They behold
something which expresses a thought. A thought which reveals
itself without word or sound, but solely by means of shapes which
stand in a certain relationship to one another. These shapes are
such that they are clearly revealed in light. The relationship between
them have not necessarily any reference to what is practical or
descriptive. They are a mathematical creation of your mind. They
are the language of architecture.”

39. Le Corbusier developed a scale of proportions which he called Le
Modular, based on a human body whose height is divided in golden
section commencing at the navel.
The graphic representation of the Modular is a stylized human figure
with one arm upraised stands next to two vertical measurements,
the red series based on the figure’s navel height then segmented
according to Phi, and the blue series based on the figure’s entire
height, double the navel height and likewise segmented.
A spiral, graphically developed between the red and blue segments
seems to mimic the volume of he human figure.

40.  He is German.
 He said,” Less is more”
It means an excessive thing is excluded.
 His work is.”Sengram Building””Farnsworth House”

41.  Born in Aachen, Germany in 1886, worked in the family stone- carving
business before apprenticing and joining thestudio of Peter Behrens in 1908
and remained until 1912.
 Developed a design approach based on advanced structural techniques but
used post and lintel construction for his designs in steel and glass.
 Mies worked with the magazine G which started in July 1923. he made major
contributions to architectural philosophies as Director Of the Bauhaus.
 Famous of his dictum”Less is More” attempted to create contemplative,
neutral spaces through an architecture based on material honesty and
structural integrity. Over the last twenty years of his life achived his vision of
a monumental ‘skin and bone’ architecture. His later works provide a fitting
denouement to a life dedicated to the idea of a universal, simplified
architecture.
 Mies died in Chicago.Iilinois in 1969.

42. ‘Less is More’

43. The original 1929 pavilian building, despite its enormious influence on
the emerging International Style of architecture, we demolished the
year after the international Exibition when nobody wanted to buy
itfeom the German Government. It was recreated in its original form
and on the same site in 1981-1986 by the Barcelona City Council.

44. The Barcelona pavilion was designed by Mies van de roheas the German
national pavilion for the 1929 barcelona international exhibition. The steel
skeletron and the pavilion’s walls, placed vertically and horizontally, could
be freely positioned and made it possible that space seems to flow
through them. This use of the open plan achieves extreme lightness and
movement.

45. Despite its apparently simple rectangular plan, there are almost no
corners in the building, or anything that suggest you are in a box. The
generous canopy roof, walls that stop well short of abutting one
another, and the floor-to-ceiling glazing break down the distinction

46. ‘For me working in Barcel’

47. “Artistic expression is a manifestation of the unity of design and material.
This once again underlines the necessity of incorporating works of
sculpture(or painting) creatively into the interior setting from the outset. In
the great epochs of cultural history this was done by architects as a
matter of course and, no doubt, without conscious reflection.”

48. “Right from the beginning I had a clear idea of what to do with that pavilion. But
nothing was fixed yet, it was still a bit hazy. But then when I visited the
showrooms of a marble firm at Hamburg, I said: “Tell me, haven’t you got
something else, something really beautiful?’’ I thought of that freestanding wall I
had, and so they said:” well, we have a big block of onyx. But that block is sold –
to the North German Lloyd.” they want to make big vases from it for the dinning
room in a new steamer. So I said: ‘Listen, let me see it, ‘and they at once
shouted: ‘No, no, no, that can’t be done, for Heaven’s sake you must not touch
that marvelous piece.” But I said: “Just give me a hammer, will you, and I will
show you how we used to do so at home. “so reluctantly they brought a hammer
and they were curious whether I want to chip away a corner. But no, I hit the
block hard just once right in the middle, and off came a thin slab the size of my
hand.’ now go and polish it at once so that I can see it. “And so we decided to
use onyx. We fixed the quantities and brought the stone.

49. • It harmonizes with natural place.
• This is an argumentative house, Because it has a few pillars and walls, so it floats in
the sky.

50. A transport box framed by eight exterior steel columns, the Farnsworth house
is one of the most radically minimalist houses ever designed and it has been
called an icon of international style modernism.
Its interior ,a single room, is subdivided by partitions and completely enclosed
in glass.

51. Seagram building 1954-1958 New York City Modern steel frame with
curtain wall, bronze exterior “columns”

52. Skyscrapers reveal their bold structural pattern during construction. Only then
does the gigantic steel web seem impressive. When the outer walls are put in
place, the structural system, which is the basis for all artistic design, is hidden
by a chaos of meaningless and trivial forms.. Instead of trying to solve old
problems with these old forms we should develop new forms from the very
nature of the new problems. We can see the new structural principles most
clearly when we use glass in place of the outer walls, which is feasible today
since in a skeleton building these outer walls do not carry weight. The use of
glass imposes new solutions.

53. View of plaza from the lobby of Seagram Building, New york

54. National Gallery –Berlin -1965-68 Modern –Glass and steel

55. Nearly all of the museum’s display space is located underground

56. “A chair is a difficult object. A skyscraper is almost easier.”
Under construction, 1950/51 lake shore drive apartment building

57. The scheme consist of two identical 26-story towers placed 46 feet
apart with their long axes set perpendicular to each other. the steel
skeletal frame is based on a 21-foot grid and is clearly expressed in
the elevations, indicated by the black- painted steel sheets
covering the fireproofed columns and beams. The rigorous
consistency of the design is seen in the uniform treatment of each
building face regardless of orientation. Each bay is subdivided into
four window units by three wide-flange steel mullions. A
supplementary mullion is welded to the face of the exterior by the
others. Within these divisions aluminum-framed floor-to-ceiling
windows are set. The significance of this work is a pioneer curtain-
wall expression as well as a fulfillment of the all-glass skyscraper
scraper schemes proposed by Mies three decades earlier.

58. But what if we are dealing with fools?
(On design juries)

59. True education is concerned not with practical goals but also
with values. Our aims assure us of our material life, our
values make possible our spiritual life.

60. Economic, technical and cultural conditions have changed
radically. It is very important for our culture and our society, as
well as for technology and industry, and indeed, European
industry as a whole must understand and solve the specific
tasks.The path must lead from quantity towards quality from
the extensive to the intensive.Along this path industry and
technology will join with the forces of thought and culture.

61.  He is American.
 His maxim is “A building must be based on a
site and must be built” so his work is balanced
with nature.
 His famous work is Guggenheim Museum and
“falling water”

62.  Born in RichlandCenter,Wisconsin in 1867. took some mechanical
drawing and basic mathematic courses and departed forChigago and
eventually sought employment with Adler and Sullivan.
 A new concept of interior space in Architecture rejected the existing view
of rooms as single function boxes created overlapping and
interpenetrating rooms with shared spaces. Designated used areas with
screening devices and subtle changes in ceiling heights and created the
idea of defined space as opposed to enclosed space.
 Experimental and developed the idea of the Prairie house along low
building with hovering planes and horizontal emphasis; developed these
houses around the basic crucifix, L orT shape; integrated simple
materials such as brick, wood, and plastic into the designs.
 Produced few works during the 1920s; began moving in a new direction
that would lead to some of his greatest works; moved toward more solid,
protective forms.

63. •In 1932 established the Taliesin Fellowship – a group of
apprentices who did construction work, domestic
chores, and design studies, four years later, he
designed and built both Falling water and the Johnson
Administration building – re-invigorated his career and to
led to a steady flow of commissions, particularly for low
income housing. Wright responded to the need for low
income housing with the Usonion house, a development
from his earlier prairie house.
•During the last year of his life, Wright produced a wide
range of work. Particularly important was Taliesin West,
a winter retreat and studio he built in Phoenix, Arizona.
He died at Taliesin West in 1959.

64.  While many artists embraced the expension of
mechanization and growth of technology, other
artists immersed themselves instead in a search
for the organic and natural.
 Frank Lloyd Wright sought to develop in his
architecture an organic unity of planning,
structure, materials and site.

65. “Organic architecture is an part of building where aesthetic and
construction not only approve but prove each other.”

66. “Organic buildings are the strength and lightness of the spiders’
spinning, buildings qualified by light, bred by native character to
environment, married to ground.”

67. “This philosophy of organic character develops new strength; timely
apprehensions going deep (and wider); penetration into the heart of
the “matter”; the true nature of a new building-construction is now
indigenous. When understood as a principle it applies to architecture
anywhere on earth.”

68. Imperial Hotel-Tokyo - 1916

69. “Building is an organism only if in accord with outside with inside and
both with the character and nature of its purpose, process, place and
time.”

70. UnityTemple (1906-07)

71. “The essence of organic building is space, space flowing outward,
space flowing inward. Both plan and construction are seen to be
inspired from within.”
“If one would get the essential character of an organic building, it
could not be by camera, inasmuch as it is wholly a matter of
experience. One must be in the building before he can understand
what makes it is.”

72. “ We are not building a circular composition of compartments, but one where all is one
great space on a continuous floor… the whole is cast in concrete more an eggshell in
form then a crisscross stick structure. The concrete is rendered strong enough
everywhere to do its work by filaments of steel, separate or in mesh. Structural
calculations are thus those of cantilever and continuity rather than the conventional post
and beam formula. The net result of such construction is greater respose,an
atmosphere of the unbroken wave –no meeting of the eye with the angular or abrupt
changes in form. All is as one and as near indestructureable as it is possible to make a
building.”

73.  Frank LloydWright’s “ prairie house” design
in Chicago has long, unconfined ground-
hugging lines.
 It includes enclosed patios, overhanging
roofs, and strip windows.
 The open ground plan interior is composed of
intricately joined spaces grouped freely
around a central fireplace.
 Frank LloydWright’s, Robie House, Chicago,
Illinois, 1907-09.

74. Frank LloydWright, plan of the Robie House, Chicago, Illinois,1907-09