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Theory of Architecture. Fourth Stage Architecture Engineering Department. functionalism is the principle that architects should design a building based on the purpose of that building .
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Theory of Architecture Fourth Stage Architecture Engineering Department
functionalism is the principle that architects should design a building based on the purpose of that building. • the form of a building should be determined by practical considerations such as use, material, and structure, as distinct from the attitude that plan and structure must conform to a preconceived picture in the designer’s mind. • "there should be no features about a building which are not necessary for convenience, construction, or propriety" and "all ornament should consist of enrichment of the essential construction of the building". • A building should satisfy functional parameters, as creating work flows, visitor flows, supply flow, waste flow, etc. The same building should provide proper environment, with fresh clean air, proper humidity, proper temperature, etc. Functionalism
Adolf Loos is best-known for his 1908 essay "Ornament & Crime." • This and other essays by Loos describe the suppression of decoration as necessary for modern culture to exist and evolve beyond past cultures. • Ornamentation, even "body art" like tattoos, is best left for primitive people, like the natives of Papua. "The modern man who tattoos himself is either a criminal or a degenerate”. • " Ornament does not heighten my joy in life or the joy in life of any cultivated person. If I want to eat a piece of gingerbread I choose one that is quite smooth and not a piece representing a heart or a baby or a rider, which is covered all over with ornaments. The man of the fifteenth century won't understand me. But all modern people will.“ • " Freedom from ornament is a sign of spiritual strength." Adolf Loose
CongrèsInternationauxd'ArchitectureModerne, the International Congresses of Modern Architecture • was an organization founded in 1928 and disbanded in 1959, by a group of 28 European architects organized by Le Corbusier, and Sigfried Giedion (the first secretary-general). • It’s objective is spreading the principles of the Modern Movement focusing in all the main domains of architecture (such as landscape, urbanism, industrial design, and many others). • CIAM manifesto is "architecture as a social art". CIAM
The International Style is a major architectural style that was developed in the 1920s and 1930s and was closely related to modernism and modern architecture. First in Europe after the World War I, and then in USA (International Style in America: Second Chicago School, and spread throughout the world, becoming the dominant architectural style until the 1970s • The "International Style", is shaped by the activities of the Dutch De Stijl movement, Le Corbusier, Ludwig Mies van der Rohe, Philip Johnson, Frank Lloyd Wright and the Bauhaus International Style
More practically, the International Style did not suit oneclimate much better than another, and could be adapted to the frozen stretches of Finland as easily as the arid plains of Mexico or California. • “The best works of this style are beautiful not only because they happen to fit the function for which they are built, but because they are designed by men of tact and taste who knew how to make a building fit for its purpose and yet ‘right’ for the eye.” The Seagram Building, New York City, by Ludwig Mies van der Rohe and Philip Johnson, 1956–58 The Glass House, by Philip C. Johnson
The International Style emerged largely as a result of four factors that confronted architects at the beginning of the 20th century: • Increasing dissatisfaction with building designs that incorporated a mixture of decorative features from different architectural periods, especially where the resulting design bore little or no relation to the function of the building • The need to build large numbers of commercial and civic buildings that served a rapidly industrializing society • The successful development of new construction techniques involving the use of steel, reinforced concrete, and glass • A strong desire to create a "modern" style of architecture for "modern man". This underlined the need for a neutral, functional style, without any of the decorative features of Romanesque, Gothic, or Renaissance architecture, all of which were old-fashioned. International Style
During the summer of 1932 a new exhibition was touring the United States, New York. Entitled Modern Architecture: International Exhibition, it was the Museum of Modern Art’s first architectural show, • Part of the exhibition’s aims to introduce Americans to a new and important style of architecture, which the show’s director, US architect Philip Johnsonnamed the International Style. • “There exists in the important countries of the world today a new architecture,” wrote Johnson. • Their exhibition included US practitioners such as Richard Neutra and referenced the work of Frank Lloyd Wright, but also featured the creations ofLe Corbusier, Walter Gropius, Ludwig Mies van der Rohe and other European talents. International Style
Hitchcock and Johnson's exhibition catalog identified three principles of the style: • volume of space (as opposed to mass and solidity) • Regularity (the emphasis on balance rather than preconceived symmetry). • flexibility. • Common characteristics of the International Style include: • 1. a radical simplification of form • 2. a rejection of ornament • 3. adoption of glass, steel and concrete as preferred materials. • 4. the transparency of buildings, construction (called the honest expression of structure) • 5. acceptance of industrialized mass-production techniques contributed to the international style's design philosophy. (repetitive modular forms). • 6. the machine aesthetic • 7. logical design decisions leading to support building function were used by the International architect to create buildings reaching beyond historicism. • 8. the use of flat surfaces, typically alternating with areas of glass International Style
The ideals of the style are commonly summed up in these slogans: • 1. ornament is a crime • 2. truth to materials (modern buildings should reflect a clear harmony between appearance, function, and technology). • 3. form follows function • 4. "A house is a machine to live in" International Style The Farnsworth House 1951 Mies van der Rohe Lake Shore Drive, 1949-51 Mies van der Rohe Le Corbusier with his model for Villa Savoye, 1928
By the 1970s, the International Style was so dominant that innovation was dead. • Mies continued to design beautiful buildings, but was copied everywhere.(Matches Boxes) • As the saying went: "You got off an airplane in the 1970s, and you didn't know where you were." • As a result, many architects felt dissatisfied with the limitations and formulaic methodology of the International Style. They wanted to design buildings with more individual character and with more decoration. • Modernist International Style architecture had removed all traces of historical designs, so architects wanted them back. • All this led to a revolt against modernism and a renewed exploration of how to create more innovative design and ornamentation. • By the late 1970s, modernism and the International Style were finished. International Style Decline
The Wendell O. Pruitt Homes and William Igoe Apartments, known as Pruitt–Igoe, housing projects occupied in 1954 in the US, Missouri. Living conditions in Pruitt–Igoe began to decline by the late 1960s, the complex had become internationally famous for its poverty, crime, and racial segregation. the project has become an icon of failure of Modernism and its death according to Charles Jenks. All 33 buildings were demolished with explosives in 1972. The complex was designed by architectMinoru Yamasaki, who also designed theWorld Trade Center towers.
Modernism in BaghdadOperah Baghdad, Frank Lloyd Wright, 1957
Modernism in BaghdadUniversity of Baghdad, Walter Gropius, 1957
