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Lecture 3 From Here to Modernity

Lecture 3 From Here to Modernity. Mies van der Rohe Crown Hall, Chicago, 1952-6. Michael Shewan Gray’s School of Art, 1966. Mies van der Rohe Farnsworth House, Illinois, 1946-50. Josef and Anni Alber’s living room at the Dessau Bauhaus, 1920s.

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Lecture 3 From Here to Modernity

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  1. Lecture 3From Here to Modernity

  2. Mies van der Rohe Crown Hall, Chicago, 1952-6 Michael Shewan Gray’s School of Art, 1966

  3. Mies van der Rohe Farnsworth House, Illinois, 1946-50

  4. Josef and Anni Alber’s living room at the Dessau Bauhaus, 1920s

  5. Josef and Anni Alber’s living room in Connecticut USA, 1970s

  6. The minimum could be defined as the perfection that an artefact achieves when it is no longer possible to improve it by subtraction. This is the quality that an object has when every component, every detail, and every junction has been reduced or condensed to the essentials. It is the result of the omission of the inessentials. John Pawson - Minimum, 1996

  7. Flowers, even salt and pepper get in the way… John Pawson Evolution is synonymous with the removal of ornament from objects of everyday use Adolf Loos (Ornament and Crime, 1928) John Pawson 1990s

  8. Utopia / Dystopia Things to Come 1936 Things to Come William Cameron Menzies 1936

  9. Utopia / Dystopia Thamesmead, London 1960s

  10. Le Corbusier, Villa Savoye, 1928-31 ‘This is a shot of the main façade … it’s somewhat blank and forbidding … giving the impression (later to be disproved) of a completely symmetrical building.’ Nathan Coley, Villa Savoye, 1997

  11. ‘The site is expansive, bordered by trees on three sides, and has long views towards the softly rolling fields and valleys.’ ‘At first sight, there is a shock of recognition - a sense of formal inevitability. What can be more natural than this horizontal white box, poised on pillars, set off against the rural surroundings, the far panorama and the sky?’

  12. ‘This shows you how the long window becomes part of the façade solution.’ ‘The moment one steps inside the villa one finds a new structural rhythm taking over.’

  13. Vladimir Tatlin Monument to the Third International, Petrograd, 1920 Dan Flavin Untitled (monument for V. Tatlin) 1975

  14. My arrangements I’ve found are essentially the simplest I can arrive at, given a material and a place … Carl Andre Carl Andre (1935-) Equivalent VIII, 1966

  15. Mathieu Mercier Drum and Bass, 2003 Combat(after Rodchenko), 2003

  16. David Mabb Self Portrait posing as Rodchenko, dressed in a Rodchenko Production Suit made from the ‘Fruit’ William Morris fabric 2002

  17. Peter van der Jagt (Droog Design) Bottom’s Up doorbell, 1994

  18. Less is More • Mies van der Rohe • Less is a Bore • Robert Venturi

  19. Marcel Breuer 1925 Alessandro Mendini, Redesign of Modern Movement Chairs - Wassily by Breuer, 1978

  20. I like elements which are hybrid rather than ‘pure’, compromising rather than ‘clean’, distorted rather than ‘straightforward’, ambiguous rather than ‘articulated’, perverse as well as impersonal, boring as well as ‘interesting’, conventional rather than ‘designed’, accommodating rather than excluding, vestigial as well as well as innovating, inconsistent and equivocal rather than direct and clear. Robert Venturi 1966 (Architect)

  21. I am for richness of meaning rather than clarity of meaning; for the implicit function as well as the explicit function. Robert Venturi 1966 (Architect)

  22. The Titanic - Photomontage, Stanley Tigerman, 1978, USA

  23. Functionalism, Yes, But.Robert Venturi and Denise Scott Brown 1929 2003

  24. We can no longer fulfill our obligations as architects if we carry on as cake decorators. Our role is far greater than that. We, the authors of architecture, have to take on the task of reinvestigating Modernity Zaha Hadid 1983 Zaha Hadid Terminus, Strasbourg France, 2001

  25. Andreas Gursky, Hong Kong and Shanghai Bank, 1994

  26. Surely it is time for a new Baroque, based on the clean, cold legacy of Modernism Contemporary Magazine 2004 Won Ju Lim Ruby, 2001

  27. Modernism is the expression by individual human beings of how they will live their own present, and consequently there are a thousand modernisms for every thousand persons. Octavio Paz (Nobel Prize reception speech)

  28. To Modernity and Beyond? (happy christmas)

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