SRUSHTI VIKAS GARADE-PATIL

SUBJECT- HISTORY OF ARCHITECTURE -4

YR- T.Y B.ARCH
SEM-V
SEC-B
ROLL NO. 180038
S.B.P.COAD
1. VARIOUS REVIVALS IN ARCHITECTURE (EXAMPLE GOTHIC
REVIVAL)
1. THE NEO-NORMAN ARCHITECTURE IS A STYLE OF VILLAS CREATED
ACCORDING TO CLAUDE MIGNOT BY JACQUES BAUMIER IN
HOULGATE IN THE SECOND HALF OF THE NINETEENTH CENTURY.
● NORMAN FORM OF REGIONALISM, IT IS CHARACTERIZED BY
BUILDINGS BUILT FROM A TRADITIONAL WOODEN PAN STRUCTURE,
BUT WITH MODERN MATERIALS.
● DEAUVILLE IS A FORERUNNER IN THE NEO-NORMAN STYLE AND
HAS BEEN MAKING MORE AND MORE BUILDINGS IN THIS STYLE
SINCE THE 2000S.
2. NEO-HAUSSMANNIAN
● THE NEO-HAUSSMANN STYLE WAS BORN IN THE EARLY 1990S,
TAKING THE STYLE HAUSSMANN, THEN STOPPED AFTER THE
SECOND WORLD WAR FOR A STYLE MORE IN FAVOR OF THE IDEAS OF
LE CORBUSIER ABANDONING STREET ALIGNMENT, THE LIMITATION
OF THE TEMPLATE, THE STREET ITSELF AND GENERATING THE
CREATION OF LARGE ENSEMBLES AND THUS THE CANCELLATION OF
THE AESTHETIC LAWS OF THE CAPITAL.
3. NEO-BYZANTINE ARCHITECTURE
● THE NEO-BYZANTINE ARCHITECTURE IS AN ARCHITECTURAL
STYLE OF THE SECOND HALF OF THE NINETEENTH CENTURY AND
EARLY TWENTIETH CENTURY. IT WAS USED ESPECIALLY IN PUBLIC
AND RELIGIOUS BUILDINGS.
● THIS STYLE IS CHARACTERIZED BY THE USE OF ARCADES AND
SEMICIRCULAR VAULTS AND DOMES; HE USES BRICK , STUCCO AND,
IN DECORATION , MOSAIC .
4. NEO-GOTHIC ARCHITECTURE
● THE NEO-GOTHIC STYLE IS AN ARCHITECTURAL STYLE BORN IN
THE MIDDLE OF THE 18TH CENTURY IN ENGLAND .
● THE NEO-GOTHIC MOVEMENT (OTHERWISE CALLED “GOTHIC
REVIVAL”, MODELED ON THE ENGLISH GOTHIC REVIVAL ) HAD A
SIGNIFICANT INFLUENCE IN EUROPE AND NORTH AMERICA , AND
THERE MAY HAVE BEEN MORE GOTHIC ARCHITECTURE THAT WAS
BUILT DURING THE NINETEENTH AND TWENTIETH CENTURIES
THAT THERE WAS AT THE END OF THE MIDDLE AGES AND EARLY
RENAISSANCE.
5. NEO-MOORISH ARCHITECTURE
● NEO-MOORISH ARCHITECTURE, OR MOORISH RENAISSANCE, IS ONE
OF THE EXOTIC ARCHITECTURAL STYLES THAT WERE ADOPTED IN
THE NINETEENTH CENTURY BY EUROPEAN AND AMERICAN
ARCHITECTS IN THE WAVE OF WESTERN ROMANTIC FASCINATION
2.THE CRYSTAL PALACE THE CRYSTAL PALACE WAS A GLASS AND
CAST IRON STRUCTURE BUILT IN LONDON, ENGLAND, FOR THE GREAT
EXHIBITION OF 1851.
THE BUILDING WAS DESIGNED BY SIR JOSEPH PAXTON, AN ARCHITECT AND
GARDENER, AND REVEALED BREAKTHROUGHS IN ARCHITECTURE,
CONSTRUCTION AND DESIGN.
USING COMBINATIONS OF PREFABRICATED CAST IRON, LAMINATED WOOD, AND
STANDARD SIZED GLASS SHEETS, PAXTON CREATED THE “RIDGE-AND-
FURROW” ROOF DESIGN.
5000 WORKERS HANDLED MORE THAN 1000 IRON COLUMNS AND 84,000
SQUARE METERS OF GLASS. ALL PARTS WERE PREFABRICATED AND EASY TO
ERECT, AND EVERY MODULAR UNIT WAS SELF SUPPORTING, ALLOWING THE
WORKERS FREEDOM IN ASSEMBLING THE PIECES. THANKS TO PAXTON’S
SIMPLE AND BRILLIANT DESIGN, OVER 18,000 PANES OF GLASS SHEETS WERE
INSTALLED PER WEEK, AND THE STRUCTURE WAS COMPLETED WITHIN 5
MONTHS. THE MAIN BODY OF THE BUILDING WAS 1,848 FEET (563 METRES)
LONG AND 408 FEET (124 METRES) WIDE; THE HEIGHT OF THE CENTRAL
TRANSEPT WAS 108 FEET (33 METRES).
THE CONSTRUCTION OCCUPIED SOME 18 ACRES (7 HECTARES) ON THE GROUND,
WHILE ITS TOTAL FLOOR AREA WAS ABOUT 990,000 SQUARE FEET (92,000
SQUARE METRES, OR ABOUT 23 ACRES [9 HECTARES]). ON THE GROUND FLOOR
AND GALLERIES THERE WERE MORE THAN 8 MILES (13 KM) OF DISPLAY
3. ART AND CRAFTS MOVEMENT
THE ARTS AND CRAFTS MOVEMENT, A DESIGN MOVEMENT AND
PHILOSOPHY, DEVELOPED IN ENGLAND IN THE LATE VICTORIAN ERA,
BEGINNING ROUGHLY IN THE 1860S. IT GOT ITS NAME FROM AN
ENGLISH ORGANIZATION CALLED THE ARTS & CRAFTS EXHIBITION
SOCIETY THAT BEGAN IN 1887.
AT THIS TIME IN ENGLAND, INDUSTRIALIZATION WAS IN FULL SWING.
THE ART AND CRAFTS MOVEMENT WAS A REACTION TO THIS SOCIETAL
UPHEAVAL. ITS MEMBERS WERE CONCERNED WITH THE GROWING
MASS-PRODUCTION OF CHEAP GOODS AND INCREASINGLY UNHEALTHY
URBAN ENVIRONMENTS. THE ARTS AND CRAFTS MOVEMENT WAS AS
MUCH ABOUT SOCIAL REFORM AS IT WAS ABOUT A SPECIFIC STYLE OF
DESIGN.
BECAUSE THE ARTS AND CRAFTS MOVEMENT WAS AS MUCH ABOUT A
REFORM PHILOSOPHY AS IT WAS A SPECIFIC TYPE OF DESIGN, THERE
ISN'T A SINGLE SET OF UNIFYING TRAITS THAT IDENTIFY ARTS AND
CRAFTS WORKS. WHILE SOME FINE ARTISTS WERE INVOLVED IN THE
ARTS AND CRAFTS MOVEMENT, MOST EXAMPLES OF THE STYLE CAN BE
FOUND IN AREAS SUCH AS ARCHITECTURE AND DECORATIVE ARTS. THE
LATTER INCLUDES THINGS SUCH AS CERAMICS, STAINED GLASS,
TEXTILE ARTS, WALLPAPER, FURNITURE, AND HOUSEHOLD GOODS.
ARTS AND CRAFTS WORKS ALSO TEND TO FOCUS ON NATURE, BUT IN
SIMPLIFIED AND STYLIZED WAYS. AND THOSE WHO MADE THE
FURNITURE, CERAMICS, AND OTHER GOODS WORKED WITH
TRADITIONAL METHODS OF PRODUCTION, SUCH AS WOOD CARVING
AND BLOCK PRINTING. WORKS DONE IN THE ARTS AND CRAFT STYLE
HAVE PATTERNS THAT TEND TOWARD RECTILINEAR, OR
STRAIGHT-LINED AND ANGULAR FORMS, BUT THEY DO ALSO INCLUDE
CURVED LINES. IMAGES ARE VERY STYLIZED, BUT USE MANY NATURAL
ELEMENTS, SUCH AS FLOWERS, VINES, LEAVES, BIRDS, INSECTS, OR
ANIMALS. COLORS TEND TO BE NATURAL TONES, SUCH AS DEEP GREEN,
BROWNS, RICH REDDISH TERRA COTTAS, AND SIMILAR EARTH TONES.
4. ART NOUVEAU: PHILOSOPHY AND FEATURES
PHILOSOPHY-“ART NOUVEAU” IS DIRECTLY TRANSLATED AS NEW ART BUT
NOWHERE EXCEPT FOR FRANCE WAS THIS NEW STYLE EVER REFERRED TO AS
NEW ART. INSTEAD, ART NOUVEAU HAD LOCAL NAMES OR TERMS USED IN
VARIOUS NATIONS AND IN SEVERAL DIFFERENT LOCALITIES. THE MANY NAMES OF
ART NOUVEAU ATTEST TO ITS UBIQUITY AND TO ITS UNIVERSALITY OF SCOPE, NOT
JUST IN GEOGRAPHIC DISTANCE BUT ALSO IN THE NUMBER OF ART FORMS
ENCOMPASSED BY THE TERM/S. THE SIGNIFICANT OF ART NOUVEAU WAS ITS
INTERNATIONAL SCOPE THAT SUGGESTED THAT THERE WAS A WIDESPREAD FELT
NEED TO STRIKE BACK AGAINST THE THREAT OF THE MACHINE, BUT THE BROAD
SCOPE OF THE PHENOMENON WAS ALSO PROBLEMATIC IN THAT “ART NOUVEAU”
MEANT DIFFERENT THINGS TO DIFFERENT PEOPLE. ON ONE HAND THERE IS ART
NOUVEAU, THE HIGH ART STYLE DEFINED BY NAME ARTISTS; BUT ON THE OTHER
HAND, BECAUSE OF A POTENT COMBINATION OF MASS MEDIA AND CAPITALISM
AND CONSUMERISM, ART NOUVEAU BECAME INTERNATIONAL, A UNIVERSAL
STYLE KNOWN AND INHALED BY THE MASS PUBLIC.
FEATURES-THE DISTINGUISHING ORNAMENTAL CHARACTERISTIC OF ART
NOUVEAU IS ITS UNDULATING ASYMMETRICAL LINE, OFTEN TAKING THE FORM
OF FLOWER STALKS AND BUDS, VINE TENDRILS, INSECT WINGS, AND OTHER
DELICATE AND SINUOUS NATURAL OBJECTS; THE LINE MAY BE ELEGANT AND
GRACEFUL OR INFUSED WITH A POWERFULLY RHYTHMIC AND WHIPLIKE
FORCE. IN THE GRAPHIC ARTS THE LINE SUBORDINATES ALL OTHER PICTORIAL
ELEMENTS*FORM, TEXTURE, SPACE, AND COLOUR*TO ITS OWN DECORATIVE
EFFECT. IN ARCHITECTURE AND THE OTHER PLASTIC ARTS, THE WHOLE OF THE
THREE-DIMENSIONAL FORM BECOMES ENGULFED IN THE ORGANIC, LINEAR
RHYTHM, CREATING A FUSION BETWEEN STRUCTURE AND ORNAMENT.
ARCHITECTURE PARTICULARLY SHOWS THIS SYNTHESIS OF ORNAMENT AND
STRUCTURE; A LIBERAL COMBINATION OF MATERIALS*IRONWORK, GLASS,
CERAMIC, AND BRICKWORK*WAS EMPLOYED
5. ART NOUVEAU : PROMINENT ARCHITECTS AND BUILDING.

1. AUGUST ENDELL
PLACE OF BIRTH: BERLIN, GERMANY
NATIONALITY: GERMANY
STYLE: ART NOUVEAU
STRUCTURES: ELVIRA STUDIO
AUGUST ENDELL WAS A DESIGNER, WRITER, TEACHER, AND GERMAN
JUGENDSTIL ARCHITECT. HE IS ALSO KNOWN AS ONE OF THE FOUNDERS
OF THE JUGENDSTIL MOVEMENT, THE GERMAN EXPRESSIONIST
MOVEMENT OF ART NOUVEAU. AUGUST ENDELL WAS A DESIGNER AND
AN ARCHITECT. FROM THERE HE MOVED ON TO THE IDEA OF A NEW
VISUAL ART AND BEGAN CREATING FINE ART WORKS THAT WERE
ARCHITECTURALLY STRUCTURED WHILE STILL EXPRESSING THE
QUALITIES OF OTHER FORMS OF ART. HE BEGAN CREATING AND
BUILDING THINGS SUCH AS GATES, ARCHES, STAIRWAY RAILS, AND
OTHER DECORATIVE WALL ELEMENTS.
2. CHARLES RENNIE MACKINTOSH
PLACE OF BIRTH: GLASGOW, UNITED KINGDOM
NATIONALITY: UNITED KINGDOM
STYLE: ART NOUVEAU
STRUCTURES: HILL HOUSE, QUEEN'S CROSS CHURCH, GLASGOW,
CRANSTON TEAROOM, THE LIGHTHOUSE
CHARLES RENNIE MACKINTOSH WAS A SCOTTISH ARCHITECT,
DESIGNER, WATER COLOURIST AND ARTIST. HE WAS A DESIGNER IN THE
POST IMPRESSIONIST MOVEMENT AND ALSO THE MAIN
REPRESENTATIVE OF ART NOUVEAU IN THE UNITED KINGDOM. HIS
CONCERN WAS TO BUILD AROUND THE NEEDS OF PEOPLE: PEOPLE SEEN,
NOT AS MASSES, BUT AS INDIVIDUALS WHO NEEDED NOT A MACHINE
FOR LIVING IN BUT A WORK OF ART. MACKINTOSH TOOK HIS
INSPIRATION FROM HIS SCOTTISH UPBRINGING AND BLENDED THEM
WITH THE FLOURISH OF ART NOUVEAU AND THE SIMPLICITY OF
JAPANESE FORMS.
6. BAUHAUS:PHILOSOPHY AND IMPORTANT EVENTS
ANS: THE BAUHAUS WAS FOUNDED IN 1919 IN THE CITY OF WEIMAR BY
GERMAN ARCHITECT WALTER GROPIUS (1883+1969). ITS CORE OBJECTIVE WAS
A RADICAL CONCEPT: TO REIMAGINE THE MATERIAL WORLD TO REFLECT THE
UNITY OF ALL THE ARTS. GROPIUS DEVELOPED A CRAFT-BASED CURRICULUM
THAT WOULD TURN OUT ARTISANS AND DESIGNERS CAPABLE OF CREATING
USEFUL AND BEAUTIFUL OBJECTS APPROPRIATE TO THIS NEW SYSTEM OF
LIVING. THE BAUHAUS COMBINED ELEMENTS OF BOTH FINE ARTS AND
DESIGN EDUCATION. THE CURRICULUM COMMENCED WITH A PRELIMINARY
COURSE THAT IMMERSED THE STUDENTS, WHO CAME FROM A DIVERSE
RANGE OF SOCIAL AND EDUCATIONAL BACKGROUNDS, IN THE STUDY OF
MATERIALS, COLOUR THEORY, AND FORMAL RELATIONSHIPS IN
PREPARATION FOR MORE SPECIALIZED STUDIES. 8 BAUHAUS WAS AN
INFLUENTIAL ART AND DESIGN MOVEMENT THAT BEGAN IN 1919 IN WEIMAR,
GERMANY. THE MOVEMENT ENCOURAGED TEACHERS AND STUDENTS TO
PURSUE THEIR CRAFTS TOGETHER IN DESIGN STUDIOS AND WORKSHOPS. THE
SCHOOL MOVED TO DESSAU IN 1925 AND THEN TO BERLIN IN 1932, AFTER
WHICH BAUHAUS*UNDER CONSTANT HARASSMENT BY THE NAZIS*FINALLY
CLOSED.
7. BAUHAUS : PRODUCT AND BUILDINGS

ANS : 1. WASSILY CHAIR BY MARCEL BREUER

THE WASSILY CHAIR, ALSO KNOWN AS THE MODEL B3 CHAIR, WAS
DESIGNED BY HUNGARIAN-BORN MODERNIST ARCHITECT AND
FURNITURE DESIGNER BREUER BETWEEN 1925-1926.
BREUER WAS INSPIRED TO CREATE THE CHAIR WHILE RIDING HIS
BICYCLE + HE ENVISIONED TAKING THE TUBULAR STEEL USED FOR
THE HANDLEBARS AND BENDING IT INTO PIECES OF FURNITURE.
BREUER TOOK THE TRADITIONAL FORM OF AN OVERSTUFFED CLUB
CHAIR AND SIMPLIFIED IT DOWN UNTIL IT WAS JUST AN OUTLINE,
WITH A CANVAS SEAT, BACK AND ARMS. THE CHAIR SOON BECAME
KNOWN AS THE WASSILY CHAIR, NAMED AFTER THE RUSSIAN
PAINTER WASSILY KANDINSKY + BREUER'S FRIEND AND FELLOW
BAUHAUS INSTRUCTOR + WHO PRAISED THE DESIGN WHEN IT WAS
FIRST PRODUCED.
2. BAUHAUS CHESS SET BY JOSEF HARTWIG
MUNICH-BORN ARTIST JOSEF HARTWIG DESIGNED A 32-PIECE CHESS
SET FOR THE BAUHAUS BETWEEN 1923 AND 1924 USING MINIMAL
LINES, CIRCLES AND SQUARES, TO REDUCE THE PIECES TO THEIR
BASIC FUNCTION OF MOVEMENT.
FOR EXAMPLE, THE X-SHAPED BISHOP REPRESENTS ITS DIAGONAL
MOVEMENTS, WHILE THE NEAR-LIMITLESS MOVEMENTS OF THE
QUEEN ARE REPRESENTED WITH A SPHERE ON TOP OF A CUBE.
BY ELIMINATING ALL RELIGIOUS AND MONARCHICAL SYMBOLS
TYPICALLY USED IN CHESS, THE GERMAN DESIGNER AIMED TO
REDESIGN THE GAME FOR A MODERN AGE.

3. SEAGRAM BUILDING IN NEW YORK

THE SEAGRAM BUILDING IS ONE OF THE BEST EXAMPLES OF BAUHAUS
OR THE INTERNATIONAL STYLE AS THE FIRST TALL STRUCTURE TO USE
VERTICAL TRUSS SYSTEM (NOW POPULARIZED AS THE I-BEAMS). SITED
JUST ACROSS PARK AVENUE, THE BUILDING LOOKS LIKE A SIMPLE
BRONZE BOX (IT USED 1,500 TONNES OF BRONZE IN ITS CONSTRUCTION)
BUT IS SEAMLESSLY INTEGRATED WITH THE SURROUNDING WITH AN
OPEN GRANITE PLAZA + YOU’VE PROBABLY SEEN THIS IN THE 1961 FILM
BREAKFAST AT TIFFANY’S. ITS ARCHITECT, MIES VAN DER ROHE
INTENDED TO CREATE AN OPEN SPACE IN FRONT OF THE PLAZA AS A
4.WASSILY CHAIR BY MARCEL BREUER
THE WASSILY CHAIR, ALSO KNOWN AS THE MODEL B3 CHAIR, WAS DESIGNED
BY HUNGARIAN-BORN MODERNIST ARCHITECT AND FURNITURE DESIGNER
BREUER BETWEEN 1925-1926.
BREUER WAS INSPIRED TO CREATE THE CHAIR WHILE RIDING HIS BICYCLE +
HE ENVISIONED TAKING THE TUBULAR STEEL USED FOR THE HANDLEBARS
AND BENDING IT INTO PIECES OF FURNITURE. BREUER TOOK THE TRADITIONAL
FORM OF AN OVERSTUFFED CLUB CHAIR AND SIMPLIFIED IT DOWN UNTIL IT
WAS JUST AN OUTLINE, WITH A CANVAS SEAT, BACK AND ARMS.
THE CHAIR SOON BECAME KNOWN AS THE WASSILY CHAIR, NAMED AFTER THE
RUSSIAN PAINTER WASSILY KANDINSKY + BREUER'S FRIEND AND FELLOW
BAUHAUS INSTRUCTOR + WHO PRAISED THE DESIGN WHEN IT WAS FIRST
PRODUCED.

5.BAUHAUS BUILDING + WALTER GROPIUS

THE BUILDING WAS DESIGNED BY THE FOUNDER OF THE BAUHAUS, WALTER
GROPIUS, AND COMMISSIONED BY THE CITY OF DESSAU. THE PLANS WERE
DRAFTED IN GROPIUS’S PRIVATE OFFICE + THE BAUHAUS DID NOT HAVE ITS
OWN DEPARTMENT OF ARCHITECTURE UNTIL 1927. THE INTERIOR FITTINGS
WERE MADE IN THE BAUHAUS WORKSHOPS. THE CITY OF DESSAU FINANCED
THE PROJECT AND ALSO PROVIDED THE BUILDING PLOT.
8. CUBISM
ANS: CUBISM WAS AN IMPORTANT ART STYLE PIONEERED BY PABLO
PICASSO AND GEORGES BRAQUE IN THE EARLY 20TH CENTURY. CUBISM
IS AVANT-GARDE IN NATURE, MEANING IT WAS EXPERIMENTAL AND
RADICAL. LOUIS VAUXCELLES COINED THE TERM “CUBISM” IN 1908
AFTER OBSERVING THE LANDSCAPES PAINTED BY BRAQUE AND
REMARKING HOW THE GEOMETRIC FORMS WERE “CUBES.”
CUBISM ARCHITECTURE BORROWED HEAVILY FROM CUBIST ART
REGARDING GEOMETRIC FORMS AND SHAPES. AT FIRST, THIS
MANIFESTED ITSELF IN THE DESIGN OF RADICAL EXPERIMENTAL
BUILDINGS. THE MOST COMMON CHARACTERISTICS SHARED WERE
TRANSPARENCY, SPATIAL AMBIGUITY, FORM-FACETING, AND
MULTIPLICITY. CUBISM ARCHITECTURE BRINGS OUT CONCEPTIONS LIKE
ABSTRACTION, GEOMETRIZATION, SYMBOLISM, DISTORTION,
FRAGMENTATION, AND ILLUSION. THE BUILDINGS ARE CHARACTERIZED
BY SHARP, CLEAR LINES TO ENABLE PERSPECTIVE VIEWING. THE
WINDOWS HAVE A CUBIC OR RECTANGULAR FORM AND DO NOT
NECESSARILY LINE UP WITH EACH OTHER, CREATING A REVOLUTIONARY
APPEARANCE. THE USE OF REINFORCED CONCRETE STRUCTURES ALSO
GAVE CUBISM AN EDGE IN THE BUILDING INDUSTRY.
9. DE STIJL
ANS: DE STIJL, (DUTCH: “THE STYLE”) GROUP OF DUTCH ARTISTS IN
AMSTERDAM IN 1917, INCLUDING THE PAINTERS PIET MONDRIAN, THEO
VAN DOESBURG, AND VILMOS HUSZÁR, THE ARCHITECT JACOBUS
JOHANNES PIETER OUD, AND THE POET A. KOK
AS A MOVEMENT, DE STIJL INFLUENCED PAINTING, DECORATIVE ARTS
(INCLUDING FURNITURE DESIGN), TYPOGRAPHY, AND ARCHITECTURE,
BUT IT WAS PRINCIPALLY ARCHITECTURE THAT REALIZED BOTH DE
STIJL’S STYLISTIC AIMS AND ITS GOAL OF CLOSE COLLABORATION AMONG
THE ARTS. GERRIT RIETVELD, ANOTHER ARCHITECT ASSOCIATED WITH
DE STIJL, APPLIED ITS STYLISTIC PRINCIPLES IN HIS WORK; THE
SCHRÖDER HOUSE IN UTRECHT (1924), FOR EXAMPLE, RESEMBLES A
MONDRIAN PAINTING IN THE SEVERE PURITY OF ITS FACADE AND IN ITS
INTERIOR PLAN. BEYOND THE NETHERLANDS, THE DE STIJL AESTHETIC
FOUND EXPRESSION AT THE BAUHAUS IN GERMANY DURING THE 1920S
AND IN THE INTERNATIONAL STYLE. DE STIJL IS ALSO THE NAME OF A
JOURNAL THAT WAS PUBLISHED BY THE DUTCH PAINTER, DESIGNER,
WRITER, AND CRITIC THEO VAN DOESBURG THAT SERVED TO PROPAGATE
THE GROUP'S THEORIES.
DE STIJL WAS INFLUENCED BY CUBIST PAINTING AS WELL AS BY THE
MYSTICISM AND THE IDEAS ABOUT "IDEAL" GEOMETRIC FORMS (SUCH AS
THE "PERFECT STRAIGHT LINE") IN THE NEOPLATONIC PHILOSOPHY OF
MATHEMATICIAN M. H. J. SCHOENMAEKERS. THE DE STIJL MOVEMENT
WAS ALSO INFLUENCED BY NEOPOSITIVISM.[7] THE WORKS OF DE STIJL
WOULD INFLUENCE THE BAUHAUS STYLE AND THE INTERNATIONAL
STYLE OF ARCHITECTURE AS WELL AS CLOTHING AND INTERIOR DESIGN.
HOWEVER, IT DID NOT FOLLOW THE GENERAL GUIDELINES OF AN "-ISM"
(E.G., CUBISM, FUTURISM, SURREALISM), NOR DID IT ADHERE TO THE
PRINCIPLES OF ART SCHOOLS LIKE THE BAUHAUS; IT WAS A COLLECTIVE
PROJECT, A JOINT ENTERPRISE.
10. POSTMODERNISM : ARCHITECTS AND PROJECTS
ANS : ARCHITECTS :
1. ROBERT VENTURI
ROBERT VENTURI (BORN 1925) WAS BOTH A PROMINENT THEORIST OF
POSTMODERNISM AND AN ARCHITECT WHOSE BUILDINGS ILLUSTRATED
HIS IDEAS. AFTER STUDYING AT THE AMERICAN ACADEMY IN ROME, HE
WORKED IN THE OFFICES OF THE MODERNISTS EERO SAARINEN AND
LOUIS KAHN UNTIL 1958, AND THEN BECAME A PROFESSOR OF
ARCHITECTURE AT YALE UNIVERSITY. ONE OF HIS FIRST BUILDINGS WAS
THE GUILD HOUSE IN PHILADELPHIA, BUILT BETWEEN 1960 AND 1963,
AND A HOUSE FOR HIS MOTHER IN CHESTNUT HILL, IN PHILADELPHIA.
THESE TWO HOUSES BECAME SYMBOLS OF THE POSTMODERN
MOVEMENT. HE WENT ON TO DESIGN, IN THE 1960S AND 1970S, A SERIES
OF BUILDINGS WHICH TOOK INTO ACCOUNT BOTH HISTORIC
PRECEDENTS, AND THE IDEAS AND FORMS EXISTING IN THE REAL LIFE OF
THE CITIES AROUND THEM.
2. CHARLES MOORE
FRANK GEHRY (BORN 1929) WAS A MAJOR FIGURE IN POSTMODERNIST
ARCHITECTURE, AND IS ONE OF THE MOST PROMINENT FIGURES IN
CONTEMPORARY ARCHITECTURE. AFTER STUDYING AT THE UNIVERSITY
OF SOUTHERN CALIFORNIA IN LOS ANGELES AND THEN THE HARVARD
GRADUATE SCHOOL OF DESIGN, HE OPENED HIS OWN OFFICE IN LOS
ANGELES IN 1962.IN HIS EARLY BUILDINGS, DIFFERENT PARTS OF THE
BUILDINGS WERE OFTEN DIFFERENT BRIGHT COLOURS. IN THE 1980S HE
BEGAN TO RECEIVE MAJOR COMMISSIONS, INCLUDING THE LOYOLA LAW
SCHOOL (1978+1984), AND THE CALIFORNIA AEROSPACE MUSEUM
(1982+1984), THEN INTERNATIONAL COMMISSIONS IN THE
NETHERLANDS AND CZECH REPUBLIC. HIS "DANCING HOUSE" IN PRAGUE
(1996), CONSTRUCTED WITH AN UNDULATING FAÇADE OF PLAQUES OF
CONCRETE; PARTS OF THE WALLS WERE COMPOSED OF GLASS, WHICH
REVEALED THE CONCRETE PILLARS UNDERNEATH. HIS MOST PROMINENT
PROJECT WAS THE GUGGENHEIM BILBAO MUSEUM (1991+1997), CLAD IN
UNDULATING SKINS OF TITANIUM, A MATERIAL WHICH UNTIL THEN WAS
USED MAINLY IN BUILDING AIRCRAFT, WHICH CHANGED COLOUR
DEPENDING UPON THE LIGHT.
BUILDINGS:
1. THE SEA RANCH CONDOMINIUM, SONOMA COUNTY, CALIFORNIA, USA,
1965
WHILE, THIS COLLABORATIVE PROJECT, WHICH CAME EARLIER IN
MOORE’S CAREER, IS LABELLED A MODERNIST BUILDING, IT
HIGHLIGHTS THE EVOLUTION OF NOT ONLY MOORE BUT MANY OTHER
POSTMODERN ARCHITECTS, MOST OF WHOM BEGAN THEIR CAREER
UNDER MODERNISM.
HOWEVER, MORE RESTRAINED THAN HIS LATER WORK, IT IS DESIGNED
TO UNFOLD AN INTERIOR STAGE FOR THE INHABITANTS TO ACT OUT
THEIR EXPERIENCE. CONTRADICTION IS RIFE: WHIMSY MEETS
RATIONALITY, AND THE QUALITY OF DISCOVERY IS CENTRAL.
MOORE IMPLORED ARCHITECTS TO DESIGN BUILDINGS WITH THE USER
IN MIND: TO CREATE A THREE-DIMENSIONAL "USER-EXPERIENCE,"
NOT AN ABSTRACT AND FROZEN TWO-DIMENSIONAL "VISUAL
EXPERIENCE," AS THIS HOUSE EXEMPLIFIES.
2. THE GUGGENHEIM MUSEUM, BILBAO, SPAIN, 1997
FRANK GEHRY IS ONE OF THE MOST WELL-KNOWN LIVING ARCHITECTS
AND THE GUGGENHEIM MUSEUM IN BILBAO AMONGST HIS MOST
WELL-KNOWN BUILDINGS. HIS DESIGNS DEMONSTRATE A
CONTEMPORARY EVOLUTION OF POSTMODERNISM, BRANCHING OFF TO
FORM A SUB-MOVEMENT KNOWN AS DECONSTRUCTIVISM.
THE UNUSUAL FABRICATED SHAPES DEFY THE RATIONAL OF