DEV BHOOMI SCHOOL

OF ARCHITECTURE
THEORY OF
DESIGN
PRESENTED BY : MANSI BITOLIYA
B.ARCH PRESENTED TO: Ar. ETI
SEM :6TH AGARWAL
 BEGINNING OF MODERN ARCHITECTURE

 There is no clear beginning or singular building

that can be marked as the start of modernism in
architecture.

 There were however several independent

strands of ideas that were developing in Europe
around the turn of the century (1800’s-1900’s)
that show a clear connection to the movement.

 The buildings that resulted from these ideas

could all be strongly associated with the notion
of “progress.”
 It could also be said that modernism began not
just from a desire to express progression but
also from a rejection of the historical tenants
and imitations of past forms.
 The Industrial Revolution also played a
significant role in the development of
modern architecture.

 A new way of life prompted the

development of many new building
types which did not have a convention
or precedent.
 Perhaps a more obvious impact of the
industrial revolution was the
availability of new materials.

 New materials with superior

construction and engineering
capabilities allowed architects to
design longer spans, taller structures
and open floor plans.

 These new capabilities intrinsically

changed the way buildings look and
helped to brand the modernist
architectural aesthetic.
MODERN ARCHITECTURE

 With the industrial revolution, the availability

of newly-available building material such as
iron, steel and sheet glass drove the
invention of new building techniques.

 It was not until the early 1830s that Eaton

Hodgkinson introduced the section beam,
leading to widespread use of iron
construction.

 A further development was that of steel-

framed skyscraper in Chicago around 1890s
by William le baron jenney and louis sullivan
BUILDING FAÇADE SHOWING
WINDOWS
 MODERNISM

 Developed 1800s-1900s
 Directly related to the time period of movement
 Global architecture that emerge in response to accelerated
industrialization and social changes
 modernism utilize new material and advanced techniques
and rejected old tradition, style, and ornamentation
 Modernism emphasis on function and create new forms of
expression and aesthetic
 Basically, the new aesthetic resulted in modern building
characterized by clean lines, simple geometric shapes with
plain geometric shape and function flexible open
interior shapes with plain exposed structure that work
considered for all relation and culture BUILDING ELEMENTS
SHOWING E
FEATURES OF MODERN
ARCHITECTURE
HISTORY OF MODERNISM

 EARLY MODERNISM 1650-1940S

 LATE 19S MODERNISM
 EARLY 20S MODERNISM 1920S-1950S
 THE CRYSTAL PALCE
 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
 The Crystal Palace, designed by Sir Joseph Paxton, was
a remarkable construction of prefabricated parts.
 It consisted of an intricate network of slender iron rods
sustaining walls of clear glass.
 The main body of the building was 1,848 feet (563
meters) long and 408 feet (124 meters) wide; the
height of the central transept was 108 feet (33
meters).

SIR JOSEPH
PAXTON
 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
meters, or about 23 acres [9 hectares]).
 On the ground floor and galleries there were
more than 8 miles (13 km) of display tables.
 For a number of years the Crystal Palace was
the site of shows, exhibitions, concerts, football
(soccer) matches, and other entertainments.
 On the night of November 30–December 1,
1936, it was virtually destroyed by fire; the
towers that survived were finally demolished in
1941 because they were deemed
a conspicuous landmark for incoming German
bombers.

CRYTAL PALACE
 VIEW OF CRYSTAL
PALCE

GLASS WORK IN CRYSTAL PALCE STEEL FRAME

 LOUIS SULLEVIAN

 Louis Henry Sullivan (September 3, 1856 –

April 14, 1924) was an American architect, and
has been called the "father of skyscrapers“ and
"father of modernism".
 The phrase "Form follows function" is attributed to him

 He is considered by many as the creator of the

modern skyscraper, was an influential architect
and critic of the Chicago School
Chicago School

"Chicago School" is widely used to describe buildings

constructed in the city during the 1880s and 1890s,
BAY
WINDOES
Chicago buildings of the era displayed a wide variety of
styles and techniques. Contemporary publications used
the phrase "Commercial Style" to describe the innovative
tall buildings of the era rather than proposing any sort of
unified "school".

The Chicago Building

by Holabird & Roche (1904–1905) is
a prime example of the Chicago
School,
 The "Chicago window" originated in this FIXED PANEL MOVABLE
school. It is a three-part window consisting PANNEL
of a large fixed center panel flanked by two
smaller double-hung sash windows.
 The arrangement of windows on the facade
typically creates a grid pattern, with some
projecting out from the facade forming bay
windows.
 The Chicago window combined the
functions of light-gathering and natural
ventilation; a single central pane was
usually fixed, while the two surrounding
panes were operable.
 These windows were often deployed in bays,
known as oriel windows, that projected out
over the street.
Chicago School window grid
Some of the distinguishing features
of the Chicago School
 the use of steel-frame buildings with
masonry cladding (usually terra cotta),
 allowing large plate-glass window
areas and limiting the amount of GLASS WORK
exterior ornamentation.
 Sometimes elements of neoclassical
architecture are used in Chicago
School skyscrapers. CHICAGO
 Many Chicago School skyscrapers
WINDOWS
contain the three parts of a
classical column.
 The lowest floors functions as the base,
the middle stories, usually with little
ornamental detail, act as the shaft of
the column, and the last floor or two,
often capped with a cornice and often
with more ornamental detail, represent
the capital.
2ND BUILDING OF SHIKAGO SCHOOL
(JOHN HANCOCK CENTER IN SHIKAGO)
 In the 1940s, a "Second Chicago School"
emerged from the work of Ludwig Mies van der
Roche and his efforts of education at the Illinois
Institute of Technology in Chicago. John Hancock
Center in Chicag
 Its first and purest expression was the 860–880 o, designed in
Lake Shore Drive Apartments (1951) and their 1965 and
technological achievements. finished in 1969,
is an example of
 This was supported and enlarged in the 1960s the trussed tube
due to the ideas of Chicago structural structural design
engineer Fazlur Khan.

 He introduced a new structural system of

framed tubes in skyscraper design and
construction.
 The Bangladeshi-born engineer Fazlur Khan
defined the framed tube structure as "a three
dimensional space structure composed of three,
four, or possibly more frames, braced frames, or
shear walls, joined at or near their edges to form
a vertical tube-like structural system capable of
resisting lateral forces in any direction by
cantilevering from the foundation.
 Closely spaced interconnected exterior columns
form the tube.
 Horizontal loads, for example wind, are
supported by the structure as a whole.
 About half the exterior surface is available for
windows. Framed tubes allow fewer interior
columns, and so create more usable floor space.
 Where larger openings like garage doors are
required, the tube frame must be interrupted,
Willis Tower
with transfer girders used to maintain structural
integrity.
TURBINE FACTORY

Located in the Moabit district of Berlin, the AEG

Turbine Factory was Behrens’ first factory design.
The structure was to house the production of
steam turbines—engines that use pressurized
steam to generate electricity—a rapidly growing
industry in the early-20th century Germany.

The essential contours of the factory—a steel-

frame rectangular structure, approximately 122
meters long, 40 meters wide and 26 meters tall—
were specified by AEG’s turbine fabrication director
Oscar Lasche.
The main assembly hall had to accommodate two
large cranes, capable of lifting 100 tons and
installed at such a height that the largest turbine TURBINE
parts could be lifted over the machines on the FACTORY
assembly floor.
 Smaller, flanking constructions were also
necessary for storage and secondary
manufacturing operations, and it was
imperative that railroad cars enter directly
into the work space.
 As a self-taught architect, untrained in
engineering, Behrens was willingly reliant
on the expertise of Lasche and other
talented engineers when it came to the
building’s materials and structural
dimensions.
 But as an artist, Behrens was able to give
form and meaning to the factory in way
 that eluded
Behrens sawthe
theengineers.
Turbine Factory as a symbol of
modernism, and its attributes of speed, noise
and power. He wanted to make the interior and
exterior as simple as possible
ELEVATION OF TURBINE FACTORY
 The monumental iconic façade—at the center of
which stood Behren’s hexagonal logo for the
AEG

 In its materiality, the concrete façade serves no

structural purpose.

 But in its mass, it accomplishes what the

elongated steel beams of the structure’s
skeleton does not.

 The Turbine factory was not Germany’s first

major iron and glass building, nor was it the
country’s first industrial construction.

 It was unprecedented because it served as a

cultural icon of modern industrial power. It
expanded the realm of the architect’s work and
INTERIOR OF TURBINE FACTORY
established new guidelines for mass-production.
 ART NOUVEAU

 Art nouveau is literally mean (new art)

 It was an art movement start popular in Europe

 Started in 1890s to before start of world war-Ist

 ‘it include art, design and architecture

 It was making use of ornamentation and elaborated

A door
styles
 Arising as a reaction to 19th-century designs showing
dominated by historicism in general and architectural
neoclassicism in particular features like :
Blue and
brown color,
curves
 CHARECTERISTICS OF ART NOUVEAU

 It is distinct in Europe, weather the structure is

house church or a façade of commercial buildings

 Structure including shapes and drawing from nature,

insects, birds, graceful, plant

 Ribbon like rays than band back on them selves

structures are often asymmetrical

 Door and windows often have a sloping arches

 Buildings are a combination of nature and industry,

 Features design done in terra-cotta A good example of Riga’s

Art Nouveau architecture
 Colorful glazed tiles and mosaic elements

 Many building had modern material

metal and glass,

 Color used were colors like brown,

yellows, blues, greens, that recalled
nature

Perpendicular Art
Eclectic Art Nouveau: A Nouveau: The present
building on Alberta Ministry of Education
iela by Mikhail
Eisenstein.
CAT HOUSE

 "The Cat House (Latvian: Kaku nams) is a

building situated at 10 Meistaru iela in the old
town of Riga, the capital of Latvia.
 It was built in 1909 according to the blueprint of
architect Friedrich Scheffel.
 The building is styled as medieval architecture
with some elements of Art Nouveau.
 It is known for the two cat sculptures, with
arched backs and raised tails, on its roof.
 It is said that the owner of the house wanted
the cats to be placed with their tails turned
towards the house of the Great Guild, which is
nearby, as he held a grudge against its
members.
 It was later ordered that the cats should be
CAT HOUSE
turned so as to face the guildhouse.
 The legend known by most Rigans, which is also
told to tourists, comes in at least two versions.

 One version of the legend has it that the

wealthy tradesman who commissioned the
building was refused membership of the Riga
Tradesmen's Guild, mostly just called the Great
Guild.

 The central element of both versions is the

anecdote that seeking retribution the tradesman
had two copper statues of angry-looking cats
with arched backs and raised tails placed on the
turret rooftops with their tails turned towards
the house of the Great Guild, situated across the
street.
"The leaf work dome ('golden
cabbage')

 the Vienna Secession brought together Naturalists,

Modernists, Impressionists and cross-pollinated among all
disciplines forming a total work of art;
 In this respect, the Secession drew inspiration from William
Morris and the English Arts and Crafts movement which
sought to re-unite fine and applied arts.
 Like Morris, the Secessionists spurned 19th century
manufacturing techniques and favored quality handmade
objects, believing that a return to handwork could rescue
society from the moral decay caused by industrialization.
Images showing richly ornated
ornated dome with metal leaf
 Secession Building
Vienna, Austria
Built: 1898

Architect: Joseph Maria Olbrich,

Style: Art Nouveau/Secessionist

84-88 renovation architect: Adolf Krischanit

The Secession Building (German: Wiener

Secessions gebäude) is an exhibition hall built in
1898 by Joseph Maria Olbrich as an architectural
manifesto for the Vienna Secession, located
in Vienna, Austria. Secession refers to the seceding
of a group of rebel artists from the long- Secession building
established fine art institution.
 The dominant form was the square and the recurring motifs
were the grid and checkerboard.

 The influence came not so much from French and Belgian

Art Nouveau, but again from the Arts and Crafts movement.

 In particular the work of William Ashbee and Charles

Renee Mackintosh both of whom incorporated geometric
design and floral-inspired decorative motifs, played a large
part in forming the Secession-style.

 The Secessionist admiration of Mackintosh’s work was

evident by the fact that he was brought to Vienna for the 8th
Secession exhibition.

Art work at the entrance

 Japanese design was quickly incorporated by the
Secessionists for its restrained use of decoration,

 its preference for natural materials over artifice, the

preference for handwork over machine-made, and its balance
of negative and positive space.

 In a way, the Secessionists saw in Japanese design their

ideals of a , whereby design was seamlessly incorporated
into everyday life.

 So strong were these ties that they devoted the Secession

exhibit of 1903 to Japanese art.

INTERIOR VIEW
 CASA- BATTLO

 The building was designed by Gaudi for Josep Batlló a wealthy aristocrat,as an upmarket home.
 Señor Batlló lived in the lower two floors with his family and the upper floors were rented out as
apartments.
 This building is a stunningly original work and well worth the visit.

 From the outside the façade of Casa Batlló looks like it has been made from skulls and bones.
 The "Skulls" are in fact balconies and the "bones" are supporting pillars.
 Gaudí used colors and shapes found in marine life as inspiration for his creativity in this building
e.g. the colors chosen for the façade are those found in natural coral.
 Casa Batlló is one of the greatest examples of Gaudí’s genius. This building
located in the very center of the city has a very iconic façade,
 characterized for the use of broken ceramic tiles (trencadís) as a mosaic and the
bone-like structures making the balconies (it is sometimes locally referred as
the House of Bones).
 The colored ceramics on
the façade were
You can clearly see the
influenced by the colours
bone-like columns in this
of natural corals.
Casa Batlló Façade photo of the main window
The interior of the house is also quite remarkable.
Following Gaudí’s style, straight lines were heavily
avoided.
The loft (service area) is decorated with series of
white arches, mimicking an animal’s ribcage.
The noble floor, the most outstanding part of the
interior, uses waving and curling patterns,
including the windows, and it reminds of sand
patterns caused by the waves of the sea, probably
an homage to the Mediterranean sea.

INTERIOR