HOA1&2 - Module 3 - PREHISTORCI ARCHITECTURE OF KERALA.pptx
modern architecture.pptx
1. Auguste Perret
Auguste Perret was an important pioneer of the modern movement. His most
significant buildings were constructed in reinforced concrete in the years between
1902 to 1922.
He was the youngest of the first generation of modernists being only 28 when he
built his first major building, his family-owned apartments at 25 bis Rue Franklin,
Paris in 1902. Like Frank Lloyd Wright in America, he had a long career and died
well into the 1950s when modernism was at its height.
Perret studied for a brief time in the academic Ecole des Beaux Arts, the
conservative, classical-revival design school of the period. But he left this formal
architectural training early to work with his father and brother in the family’s
concrete construction business. These two early experiences shaped two stylistic
characteristics of Perret ’s work:
1) His use of classical proportion and symmetry
2) His functional approach to design and construction in reinforced concrete.
2. • Auguste Perret was one of the very first architects to give a modern
architectural expression to reinforced concrete. Modern cement-
based concrete was patented in 1867 by the French gardener
Joseph Monier, but during the Victorian period it remained hidden
behind stone façades and veneers because it was considered a
crude building material.
In the 1890s Francois Henne bique introduced the trebeated
structural system of reinforced concreting, but it was with Auguste
Perret that this new, industrial material became expressed
architecturally on the facade of buildings.
3. Up till 1908 the young Le Corbusier worked in Perret ’s architectural
practice.
From him Le Corbusier learned about:
●using reinforced concrete to create skeletal structures for building
●using classical proportions and composition in modern design
●using standardised components in design and construction
●a geometric approach to design and the flat roof as living space.
4. Stylistic features of Perret’s buildings
• As a pioneer of the architecturally expressed reinforced concrete frame, Perret
’s buildings feature large areas of glazing on the non-weight-bearing walls.
Internal spaces are open and generous and often lit by skylights.
• Perret ’s buildings are often described as ‘stripped classical’. They have the
symmetrical, balanced and harmonious proportions and rhythms of classical
architecture, often with abstract references to columns and cornices. He stripped
away the ornament and detailing indulged in by the Beaux Arts classical-revival
architects of the day. These qualities give his buildings formality and dignity.
• Perret ’s buildings have a rational functionalism
Concrete is left raw, though sometimes with colored or patterned elements to
them. His designs arose out of modern functional considerations rather than
aesthetic ones.
5. Stylistic features of Perret’s Rue Franklin Apartments
At street level the Perrets had their architecture studio. This large, open space exposed
the uprights of the concrete frame and became forerunners of Le Corbusier’s pilotis.
The non-weight-bearing walls are expressed as slightly-recessed infill panels of floral-
patterned ceramic tile.
The trabeated, rectangular concrete frame throughout building is not exposed directly, but
is expressed by the plain tiles on the façade.
U-shaped front façade inspired by statutory light courts at the rear of Parisian apartment
buildings.
The rectangular frame allows for roof terraces on setbacks of upper apartments.
6. Dining room Drawing room Bedroom
At the sixth story apartment a reinforced concrete
frame breaks free of the wall surface. This looks
forward to the airy, transparent effects of the
International Style.
Entrance - A full appreciation of the building’s
form can be gained only by moving across its
entire façade. This experiential dimension to
architectural form and space is modernist
7. The interior of his Paris Theater des
Champs-Élysées (1913).
Perret’s Church of Notre-Dame at Le
Raincy (1922–23)
8. Deutscher Werkbund (1898-1927) – A national association of artists, designers and
architects founded in Munich.
Deutscher Werkbund
The establishment and evolution of AEG—the
initials for the German Allgemeine Elektricitäts-
Gesellschaft, or General Electric Company—was
quintessentially linked to the rise of modernism.
9. Peter Behrens, Turbine Factory, 1909-10
A monumental structure of steel,
glass and concrete.
10. The glass chain : European
architectural expressionism
We live for the most part within enclosed spaces. These form the environment from
which our culture grows. Our culture is in a sense a product of our architecture. if we
wish to raise our culture to a higher level we are forced for better or for worse to
transform our architecture. And this will be possible if we remove the enclosed quality
from the space within which we live. This can be done only through the introduction of
glass architecture that lets the sunlight and the light of the moon and stars in to our
rooms not merely through a few windows, but simultaneously through the greatest
possible number of walls that are made entirely glass – colored glass. The new
environment that we shall thereby create must bring with it a new culture.
11. Taut Glass Pavilion
The Glass Pavilion, designed by Bruno
Taut and built in 1914, was a
prismatic glass dome structure at
the Cologne Deutscher Werkbund
Exhibition.
They financed the structure that was
considered a house of art. The
purpose of the building was to
demonstrate the potential of different
types of glass for architecture.
12. The Grosses Schauspielhaus was a theatre in Berlin often described as an example
of expressionist architecture, designed by Hans Poelzig for theatre impresario Max
Reinhardt. The structure was originally a market built by architect Friedrich Hitzig,
and it retained its external, gabled form. It was renovated by Poelzig and reopened
in 1919, contained seating for 3500 people.
13. Painted red, it was a cavernous,
domed space and had no balconies,
which contributed to its vastness. Its
dome and the pillars were decorated
with Muqarnas, a honeycombed
pendentive ornament, which
resembled stalactites. When
illuminated, the ceiling's lightbulbs
formed patterns of celestial
constellations, and the vaulted
ceiling took on another concept, the
night sky. In the lobby and
elsewhere, Poelzig used coloured
lightbulbs to create striking visual
backdrops.
14. The Einstein Tower
Designed by the German architect Erich
Mendelsohn, is one of the best-known
examples of German expressionist
architecture. Designed as an amorphic
structure of reinforced concrete,
Mendelsohn wanted the tower to represent
as well as facilitate the study of Einstein’s
radical theory of relativity – a
groundbreaking theorem of motion, light
and space.
16. Hugo Haring - Gut Garkau
Cow sheds beautifully formed from
engineered lattice of wood to form the
roof.
Formally very interesting also;
functional justification behind the
almost sculptural forms.
18. The Bauhaus – The evolution of an idea 1919 - 32
Bauhaus architecture is a school of design and architecture founded by architect
Walter Gropius in 1919, in Weimar, Germany. The school was founded to unite fine
arts (like painting and sculpture) with applied arts (like industrial design or
building design).
Chicago Tribune Tower
Walter Gropius and Adolf Meyer,
1922
Walter Gropius and Adolf Meyer submitted their
much admired yet unrealised design for an
exceptionally modern glass and metal high-rise,
which transcended all historic forms of
architecture.
19. Bauhaus architecture’s characteristics include functional shapes, abstract shapes
used sparingly for décor, simple color schemes, holistic design, and basic industrial
materials like concrete, steel, and glass.
• The façades testify that
the Bauhaus is very much
a typical building of
modernity.
• Flat roofs of vast
extension
20. Structure
A steel and concrete structure forms the frame of the building, ensuring
the unity of the complex and allowing for the existence of three
different façades, built with very innovative though fragile materials
such as glass.
22. The Bauhaus light fittings of
pressed metal and opalescent
glass, mass produced under the
direction of H. Meyer
23. The new objectivity Germany Holland and swizerland 1923 - 33
Art movement of the 1920s and early 1930s. It
was partly a response to the experience of the
First World War, with images containing
elements of satire and social commentary.
Stylistically it was sober and restrained,
moving away from Expressionism to depictions
based on close observation. Major figures
associated with this style are George Grosz,
Otto Dix and Kathe Kollwitz.
This artwork is a poster from the modern
period. It belongs to the abstract art style.
lissitzky cover of veshch
24. Hannes Meyer and Hans Wittwer were
guided by the nature and goals of the
League of Nations, founded in 1920. Its
central concerns were the establishment
of a public sphere and transparency for
resolving international problems, and the
maintenance of peace.
25. This design, envisaged a two-part
architectural body linked with a multiple-
storey bridge. The assembly chamber
complex featured a hall capable of seating
2,600 people, the oval ground-plan of which
was covered with a dome and surrounded by
four floors of foyers and meeting-rooms, as
well as the general secretariat offices and the
press office. The secretariat complex was to
consist of a 24-storey tower with an adjoining
low building which was to house additional
assembly rooms, a library with reading
rooms and a book depository. The building’s
transport links were to involve non-
intersecting one-way traffic.
Palace of the League of Nations’, Geneva,
design: Hannes Meyer / Hans Wittwer, 1927.
26. Hannes Meyer and Hans Wittwer’s entry in the
architecture competition for the Petersschule
building in the old town of Basel was rejected in
1926 in the first round. However, its radical
character, which embraced every element of New
Objectivity, made it the most important of all
the designs submitted.
Hannes Meyer and Hans Wittwer’s experimented
with constructivist forms and functionalist
methods. These formed the basis for their
competition designs for the Petersschule (St.
Peter’s school) in Basel.
27. Van Nelle Factory on the Schie river in
Rotterdam, is one of the most important
historic industrial buildings in the
Netherlands. It is a former factory currently
used as an office complex for design and
media firms.
The building was designed by architects
Johannes Brinkman and Leendert van der
Vlugt and built between 1925 and 1931. It is
an example of Nieuwe Bouwen, modern
architecture in the Netherlands. It was
commissioned by the then-director of the
Van Nelle company, Cees van der Leeuw.
The Van Nelle company was a major
producer of tobacco products, coffee and
tea.
Van Nelle Factory
29. Gropius total theater
This unrealized project by Walter Gropius for Erwin Piscator was one of the most impressive projects of
the 20th century. It consisted of a variable theatre space which would have been modified in
accordance with the staging needs and intentions of the director. Three basic models were designed: a)
an arena arrangement, b) a proscenium stage and c) a classic depth perspective theatre.
30. Dutch for The Style, Die Stijl was founded
in 1917.
The artists most recognized with the
movement were the painters Theo van
Doesburg, who was also a writer and a
critic, and Piet Mondrian, along with the
architect Gerrit Reitveld.
The movement proposed ultimate
simplicity and abstraction through which
they could express a Utopian idea of
harmony and order.
The harmony and order was established
through a reduction of elements to pure
geometric forms and primary colors.
De stijl the evolution and dissolution of neo – plasticism 1917 - 31
31. The Elling buffet 1919 by Gerrit Rietveld embodies the essence of the De Stijl movement, where in
pure abstraction of vertical and horizontal compositions and universality became popularized. For the
design’s centennial, Cassina has produced the storage unit for the first time since its debut. Elling
buffet’s pure lines create a grid based on a structural core to which surfaces, drawers and storage units
are added.
The Elling buffet
32. The Rietveld Schröder House is an embodiment of De Stijl.
Characteristic features include the fluid transitions between
interior and exterior, the clean horizontal and vertical lines and
the use of all primary colours, alongside white, grey and black.
33. Sliding walls on the first floor. By day, this was an open space, but in the
evening, the Schröder family could split it up into three separate rooms.
34. Another of Rietveld's clever ideas was the iconic corner window on
the top floor. Both the large window and the small one perpendicular
to it swing open, dissolving the corner to make it feel like one is
35. The staircase is concealed behind
a sliding door. This created a quiet
spot for the telephone in the
hallway and also served to shut out
the cold.
