After Renaissance

8/6/2019 After Renaissance

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RENAISSANCE

recap

ICLASSICAL IDEAS

END OF MEDIVAL

BEGINING OF MODERN ERA


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EARLY RENAISSANCE 15th C

HIGH RENAISSANCE AND MANNERISM -16th C

BAROQUE & ROCOCO -17th and Early 18th C

NEOCLASSICM mid 18th C Early 19th C

ITALY


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ENGLISH RENAISSANCE

FOLLIES

19th CENTURY

DECORATIVE CONSTRUCTIONS ON PICTURESQUE LANDSCAPE

MOSTLY SMALL SCALE;

EXECUTED WITH FREEDOM

EG: RECONSTRUCTION OF CASTLES,GOTHIC CHAPELS,CLASSICAL TEMPLES

, PALLADIAN BRIDGES, CHIENESE PAGODAS

PASSION FOR ANTIQUITY

IT LED TO INCREASING INTEREST ON ANCIENT MONUMENTS


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ARCHITECTURE THROUGH THE INDUSTRIAL REVOLUTION PERIOD


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PROBLEMS OF INDUSTRIAL REVOLUTION

1. INCREASE IN URBAN POPULATION

2. GROWING URBAN WORKING CLASS

3. CHEAP LABOUR FOR GROWING INDUSTRIES

4. POLITICAL UNREST (MEXICO REV.-1911)


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STYLES

1. CLASSICAL STYLE - EVOKING ASPECTS OF CIVILISATION

2. INDUSTRAIL AND MERCANTILE MIDDLE AGES- SYMBOLICS

ECLECTISM- COMBINING FEATURES FROM DIFF SOURCES TO TH ORIGINAL EFFECT

VARIETY IN USE OF HISTORIC STYLES

DEPENDENCE ON THE PAST

NEW TYPES OF BLDGS. (RLWY.ST, FACTORIES..)


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POST RENAISSANCE BUILDING TYPES

1. RAILWAY STATIONS2. FACTORIES

3. DEPARTMENTAL STORES

4. PARLIAMENT BLDG.

5. TOWN HALLS6. SCHOOLS

7. HOUSES AND FLATS

8. CURCHES

NO ANCIENT PRECEDENTS

ELABORATE

INTENSIVE IMITATION ACCEPTED


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INDUSTRIAL REVOLUTION

1. DEVELOPMENT OF

NEW MATERIALS AND CONST.TEC

MATERIALS:

STRUCTURAL IRON AND STEEL

SHEET GLASS

RCC

TECHNIQUES:

PREFABRICATED ELEMENTS

PRESTRESSED CONCRETE

DOMINO' PATENT DESIGN- LECOB'S

CURTAIN WALL SYSTEM

PARABOLIC CONCRETE THIN VAULTS


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1850

1889


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1887-89


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2. VERNACULAR MATERIALS -RURAL AND SUBURB

WOODEN CONCTRUCTION

PITCHED ROOFS


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5. CAST IRON FACILITATED TALLER BLDG. AND OPEN

INTERIOR SPACES


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3. STRUCTURAL IRON WORK AND SHEET GLASS

LARGER DISPLAY OF WINDOWS, SHOP FRONTS


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6. RCC INVENTION CHALLENGED

L.B.W


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POST RENAISSANCE 1830 - 1900


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PALAIS DE JUSTICE, LYON ( 1835 42)

LOUIS PIERRE BALTARD

RATIONAL CLASSICISM OF BEAUX ARTS

24 GIANT CORINTHIAN COLUMNS

CENTRAL WIDER INTERCOLUMNATION


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S.GEORGE'S HALL , LIVERPOOL

(1840-54)

NEO CLASSICAL

AXIAL PLANNING,ELEMENTS EXPRESSED FREELY

INSPIRATION PLANNING: GREAT BATHS OF CARACALLA,ROME


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CENTRAL STATION, NEWCASTLE(1847-50)

ARCADED PORTICO

CURVED IRON ROOF OVER PLATFORMS

VICTORIAN CLASSICAL


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REVIVALISM:

LIBRARY OF S. GENEVIEVE

1844-50LABROUSTE

Neo renaissance

Symmetry and

Formal design


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Low ground

Stack room and offices

Low pitched metal roof

Iron ties in masonry of facade


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2nd storey

Reading room

2 Barrel vault span

Decorative use ofIron:

Scroll iron arches

springing from

Central line

of slender cast iron

column


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THE PALM HOUSE,

KEW GARDENS, LONDON

(1845- 7)DECIMUS BURTON AND

RICHARD TURNER

Transformation from

Decorative use toDisplay of structural properties

iron.

DOUBLE VAULT

WROUGHT AND CAST IRON

AND GLASS

110 M LONG; 18.9M HIGH;

SPANS 32 M


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THE CRYSTAL PALACE, LONDON (1850 1)

JOSEPH PAXTON

REMARKABLE 19th C STRUCTUREFN: GREAT EXHIBITION , HYDE PARK

MOVED TO SYDENHEM(1852-4) BURNT 1936

COMPETITION PROJECT

Transformationfrom Decorative use toDisplayofstructuralproperties

iron.

MODULAR CONSTRUCTION

PREFABRICATED IRON SECTIONSSTRUCTURAL COMPONENTS TESTED BEFORE ERECTION

CAST IRON FRAME ,RIDGE AND FURROW GLAZING SYSTEM


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RESEMBL DOUBLE AISLE BASILICA ; 3TIRED;

124.4M SPAN80.4M

36.5M

AISLE AND NAVE DIVIDED BY TIERED OPEN GALLERIES


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49-inch glass sheets capable of spanning betweenfurrows 8 feet apart, with three ridges occurring

every 24 feet."


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RENAISSANCE REVIVALISM:

NEW LOUVRE , PARIS

1852-7UDOVICO TULLIO JOACHIM VISCOTI


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GRAND PAVILIONS

MANSARD ROOFS

PLAANING:

2 EXTENSIVE WINGS BUILT AROUN

INTERNAL COURTYARD


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FREE TRADE HALL,

MANCHESTER

(1853-4)

EDWARD WALTER

PALAZZO STYLE

BOLD MOULDINGS , RICH DETAILS,



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GF- OPEN ARCADE ,MASSIVE PIERS AND CARVED SPANDREL

SWAGGED

FRIEZE

CORNICE

BALUSTRADE

PIANONOBILE-PEDIMENTED WINDOWS,ARCADE OF PAIRED IONIC COLUMNS AND

CARVED TYMPANA

(REPRESENT WORLD TRADE)


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RUE DE DOUAI, PARIS (1857-60)

ARCHITECT : VIOLET DE DUC

APPARTMENT .HOUSE

MEDIEVAL FORMS ASPARSIAN STREET ARCHITECTURE

FACADE

RECTANGULAR OPENINGS

4TH F.-IRON ESCAPE BALCONY ON

STONE BRACKETS

2ND F.-WINDOWS

WITH SHORT BALCONIES

EMPHASISED BY

HEAVY STONE HOODS


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T

H

E

O

P

E

R

A

P

A

R

I

S

1861-74


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J.L.C. GARNIER

BAROQUE DEVELOPMENT

BEAUX ARTS PRINCIPLES IN PLANNING- STRONG AXIAL PLANNING

LARGE FOYER- WITH BRIGHTLY GILDED SCULPTURES , BAROQUE

ELEMENTS,VAULTED PAINTED CEILING,

GRAND STAIRWAY LEADING TO AUDITORIUM

STAGE -EXTENSIVE AREA

OPULENT GRANDUER;

GOOD ARCHITECTONIC CONTROL

EXTERIOR- HIGLY PLASTIC TREATMENT(CLASSICAL)


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1870-1900

BON MARCHE, PARIS. 1852

DEPARTMENTAL STORE

IRON GLASS STRUCT. ; CLASSICAL


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Sacre coeur church , Paris

1875-1919

Byzantine influence


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Paul Abadie

1919 fully completedLandmark

Byzantine influence

Medieval cathedral


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PALAU GUELL , BARCELONA (1885-9)


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ANTONI GAUDI

FACADE

TWIN PARABOLIC PORTALS

GRILLS OF CURVILINEAR

IRON WORK

(PRESAGE ART NOVEAU)

INTERIOR

CLIMAXED BY

HIGH CENTRAL ROOM

WITH ORGAN'S AND MINSTREL'S

GALLERY

RISING TO ABLUE TILED PARABOLIC DOME


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CASA VICENCE ,

BARCELONA

1878 DESIGNED

GAUDI

SUBURBAN VILLA

STEPPED STALACTITIC FORM

(ISLAMIC PRECEDENTS)


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RUBBLE AND BRICK WALL

EMBELLISHED WITH

POLYCHROME TILES


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AMERICA

SHINGLE ROOF CAPEN HOUSE,MASSACHUSETS

LOG CABIN CONSTRUCTION

DEEP BALCONIES AND PORCHES

POST COLONIAL- NEOCLASSICISMEG: WHITE HOUSE

TERRACE STYLE

GREEK REVIVALCLASSICAL STYLE IMPOSED IN LATIN AMERICA

GOTHIC- 25 YRS

PICTUREQUE OR GARDENESQUE

VICTORIAN HLUSE STYLE

BALOON FRAMESTREETCAR SUBURB- 3 DECKER HOUSE WITH GABLES


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WHITE HOUSE , WASHINGTON DC


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White House, Washington DC (1792- 1829)

Official residence of presidents of USA

By James Hoban

Anglo Irish Palladian style

1812 war damaged


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STATE CAPITOL, RICHMOND , VIRGINA

(1789-98)

THOMAS JEFFERSON

NEO CLASSICAL STYLE

PALLADIAN : CELLA FENESTRATION

IONIC ORDER

EXTERNAL LINES OF ANTIQUE FORM ADOPTED

STATE HOUSE BOSTON


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STATE HOUSE , BOSTON

MASSACHUSSETS (1795-8)

CHARLES BULFINCH

FRENCH AND ENGLISHNEOCLASSICAL INFLUENCE

ARCADED ENTRANCE

COLONNADED LOGGIA ABOVE

ADAM LIKE WINDOW AT

EXTREME ENDS OF FACADEDOME INCORPORATED


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WASHINGTON MONUMENT


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US STATE CAPITOL, WASHINGTON DC

FEDERAL STYLE


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UNITED STATES CAPITOL, WASHINGTON DC

(1793 1867)

SEAT OF THE UNITED STATES GOVERNMENT

WILLIAM THORTON

PALLADIAN STYLE

CENTRAL ROTUNDAREBUILT AFTER WAR IN 1812

FLANKING WINGS AND GREAT DOME LATER ADDITIONS

REPLACING PANTHEON LIKE DOME

DOME OF CAST IRON 30M INT.DIA. AND 68M HT.


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asymmetrical floor plan

extensive exterior detailing.

two-stories in height

corner towers, turrets, or projecting bays.

Exterior wall surfaces- mixtures of brick, wood siding, stone, and wood

shingles.

Large wraparound porches with milled columns and balusters are usually

present on the main facade.

Windows are one-over-one sash or of small multi-light design.

Brackets or decorative vergeboard are often found in the gables .

Eg: 711 Douglas Avenue and 600 E. Chicago Street.


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1880 -1900


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exterior wall sheathing of wood shingles (interlocking shapes and

provide a rich texture to the exterior )

front porch columns are sheathed in shingles.

Decorative windows and doors;turned porch railings and balusters.


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STOUGHTON HOUSE , CAMBRIDE , MASSACHUCETS(1882-3)


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1690s - 1830: Georgian Colonial House

Styles


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DANKMAR ADLER

SULLIVAN

4300 SEATER GRAND OPERA

LIT BY INCADECENT LAMPS

CENTRAL AIRCONDITIONING

BEAUX ARTS:


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WAINWRIGHT BUILDING, ST.LOUIS, MISSOURI

(1890-1) (44.81 M Ht.)

DANKMAR ADLER

LOUIS SULLIVAN

STRIPPED CLASSICAL

ARTICULATION

2 STOREY BASESANDSTONE CLAD

DEEP WINDOWS

7 STOREY SUPERSTRUCTURE

PIERED ;

LEAF ORNAMENTATION BET.PLAIN BRICK PIERS FOR

EMPHASIS

CROWNING DEEP FRIEZE AND

CORNICE, TERRACOTTA

SCROLL DECORARTION

BEAUX ARTS:


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WAINWRIGHT BUILDING, ST.LOUIS, MISSOURI

(1890-1)

DANKMAR ADLER

LOUIS SULLIVAN

STRIPPED CLASSICAL ARTICULATION

CLASSICA

2 STOREY BASE7 STOREY SUPERSTRUCTURE

CROWNING DEEP FRIEZE AND CORNICE

ORNAMENTATION BET. PLAIN BRICK PIERS FOR EMPHASIS


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Er. J. A. ROEBLING NY

1870-83

STEEL SUSPENSION CABLES

STONE MASONRY PIERS

1600' LONG

TWIN MASONRY

SUPPORT TOWERS

FOUNDATION 78' BELOW

WATER


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CAPEN HOUSE

WHITE HOUSE , WASHINGTON DCUS CAPITOL , WASHINGTON DC (1793- 1867)

BOSTON SYMPHONY HALL

AUDITORIUM BUILDING , CHICAGO

WAINWRIGHT BUILDING


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INFLUENCE OF INDUSTRIAL REVOLUTION

EVOLUTION

MODERN ARCHITECTURE UPTO FIRST WORLD WAR

ARTS AND CRAFTS MOVEMENTART NOUVEAU

VIENNA SCHOOL

CHICAGO SCHOOL

MONUMENTALISM

EXPRESSIONISM

USE OF RCC


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EVOLUTION

OF THE

MODERN ARCHITECTURE


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ARTS AND CRAFTS MOVEMENT

1. CONCERN FOR USE OF HONEST BUILDING

MATERIALS

2. Rejecting excess aesthetic eclectismPromoted handmade

EG: DOUR MASONRY OF THE GLASGOW SCHOOL OF ARTS

BY CHARLES MAKINTOSH , IS SUGGESTIVE OF TRADITIONAL SCOTTISH BUILDING

EG:THE USE OF BRICKS IN THE AMSTERDAM STOCK EXCHANGE MARKET(1898-1903)

BY HENDRICK BERLAGE


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CONSERVATIVE IDEALS

JOHN RUSKINWILLIAM MORRIS

PHILIP WEBB

WILLIAM LETHABY

GUSTAV STICKLEY

CHARLES AND HENRY GREENE


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PRINCIPLES

1. LEARNING & RESPECTING TRADITIONAL CRAFTS

2. CORRECT RELATIONSHIP OF DESIGN TO MATERIALS

3. RELATIONSHIP OF BUILDINGS TO THEIR SITE

4. REVERENCE FOR VERNACULAR ARCHITECTURE AND

ITS BUILDING TECHNIQUES.


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LEARNING & RESPECTING TRADITIONAL CRAFTS

DID NOT DEMAND EXACT FINISH OR REFINEMENT


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Beaux Arts

1885-1925

Preference for ordered spirit in

Buildings

USE OF classical Greek and

Roman architecture with

Renaissance


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VIENNA SCHOOL

OTTO WAGNER


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BUILDINGS SHOULD FIT THE PURPOSE , HABIT AND EMOTIONS

OF MODERN LIFE

ADOLF LOOS-PROMOTED RICH SIMPLIFIED SURFACES,

OPEN PLANS AS CORRECT SETTING

DUETSCHER WERKBUND(1907)-TO PROMOTELINK BETWEEN INDUSTRY AND ARTS -HERMAN MUTHESIUS

STYLELESSNESS

INDUSTRIAL BUILDINGS BY PETER BEHRENS, HANS POELZIG

FLAT ROOFED, FREEPLAN, USE OF NEW INDUSTRIALISED

BUILDING MATERIALS


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They believed that the greatest beauty could be found in nature.

Art Nouveau (French for "New Style")

Maison de l'Art Nouveau, a Paris art gallery

Against formal, classical approaches to design

flourished in major European cities between 1890 and 1914.

Art Nouveau in US - Louis Comfort Tiffany, Louis Sullivan, and Frank

Lloyd Wright.

Art Nouveau


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SPANISH MODERNISM

BARCELONA


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Casa batllo

1904-7

Roots from

Spanish gothic, baroque,

Art nouveau,tile vaulting,Catalan crafts(metal),

Glass ceramics

Imbricated roof,

Plastic

Ovoid stone surrounds

Slender bony columns

Wall surface-blue,green glass


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Sagrada familia basilca

1882 planned

1906-design completed


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Darmstad ,Germany

Art Nouveau buildings have many of these features:


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Art Nouveau buildings have many of these features:

Asymmetrical shapes

Extensive use of arches and curved forms

Curved glass

Curving, plant-like embellishments

Mosaics

Stained glass

Japanese motifs


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Other Names for Art Nouveau:

Style Moderne, in France

Style Nouille (Noodle Style), in France

Jugendstil, in Germany

Sezession, in Austria

Stile Liberty, in Italy

Arte Noven, in Spain


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Eg:

in St. Louis, Missouri, by Louis Sullivan and Dankmar Adler

Parque Gell in Barcelona, Spain by Antoni Gaud

Majolika Haus in Vienna, Austria by Otto Wagner

The Marquette Building in Chicago, Illinois, by William Holabird andMartin Roche with Coydon T. Purdy

The Municipal House in Prague, Czech Republic

`

EXPRESSIONISM


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EXPRESSIONISM

Sculpted curves

Functional

Station for astraunomical

Observation

Einstein Tower

Potsdam(1920)

Erich Mendelsohn.

EXPRESSIONIS


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distorted shapes

fragmented lines

organic or biomorphic forms

massive sculpted shapes

extensive use of concrete and brick

lack of symmetry

many fanciful works rendered on paper but

never built

EXPRESSIONIS

M

Chicago School


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Chicago School

Steel frame blg

Masonry cladding or terracotta clad

Facade-

gridbaywindows,oriel windows


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"Chicago window"

three-part window

of a large fixed center panel

flanked by two smaller

double-hung sash window


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Architects

Henry Hobson RichardsonWilliam Le Baron Jenney

Martin Roche

Louis Sullivan

FL Wright


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BAUHAUS

Germany 1919-33

BetweenWorld wars

Architecture of the new era

absence of ornamentation


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absence of ornamentation

harmony between the function of an object

or a building and its design.

functional, economical and consistent with

mass production

unify art, craft, and technology.

machine considered a positive element

industrial and product design were important components.

Vorkurs "Basic Design" course- foundational courses offered

no teaching of history in the school because- design and create

according to first principles rather than by following precedent.


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Weimer- 1919-25 ; Walter Gropius

Desau 1925 32; Hannes Meyer

Berlin 1932- 33 ; Ludwig Mies van der Rohe


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3 CONNECTED WINGS

/BRIGES- PI.N WHEEL CONFIG

2 STOREY STSPAN APPROACH ROAD FROM DESSAU

LOWER ADMINISTRATION

UPPER -PVT. OFFICE

DORMITORIES,SCHOOL BIDGATTCHED AS WINGS

ASSEMBLE HALL,DINING SPACE AND

STAGE BETWEEN

RCC FRAMEWORK,BRICK WALLS

MUSHROOM SHAPES CEILING AT LOWER LEVELS

ASPHALT TILE ROOFING

STRUCTURAL TRANSPERANCY


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Chrysler Building

NY

William Van Alen

Year: 1928-1930

Height: 319 meters / 1,047 feet

Stories: 77

Stainless steel exterior

hood ornaments, hubcaps,and abstract images of cars.

AIG BUILDING NY


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AIG BUILDING, NY

(1932 COMPLETED)

ART DECO


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BRUTALIST STYLE


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Alison and Peter Smithson,

AT&T Headquarters


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AT&T Headquarters

Philip Johnson

INTERNATIONAL STYLE

1984

Height: 197 meters / 647feet

Stories: 37

After Renaissance

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