Modernism - Exam 2 Study Guide - History of Architecture | ARCH 3116, Study notes of History of Architecture

Download Modernism - Exam 2 Study Guide - History of Architecture | ARCH 3116 and more Study notes History of Architecture in PDF only on Docsity! © Project for the Ideal City of Chaux-Satines de ChauxRoyal Saltworks at Aro-ct-Senans (1804) = Ledoux designed the semicircular complex to reflect a hierarchical organization of work. The complete plan included the building of an ideal city forming a perfect circle, like that of the sun. Louis XV had signed the edict authorizing the construction of the saltworks on 29 April 1773, and after approval of Ledoux’ second design, construction began in 1775. The city was never started, however. All that was completed was the diameter and a semicircle of buildings of the saltwarks. "Inthe second design, the entrance building sils al the mid-point of the semicircle and contains on one side guardrooms and on the other a prison and a forge. Other buildings on the semicircle include on the left, as one faces the entrance, quarters for carpenters and laborers, and on the right, marshals and coopers. At the center of the circle is the house of the Direetor, which has a belvedere on top. A monumental stairease led to a chapel that was destroyed by fire in 1918, following a lightning strike. On cither side of the Director's house are the sallworks themselves. ‘These two buildings are 80 meters long, 28 meters wide, and 20 meters high. They contain the drying ovens, the heating pots, lhe "Sales des Bosses", and the sall stores. Al each intersection of the diameter and the semicircle sit buildings that housed the works’ clerks. Behind the Director's house there is an elegant, small stables for the Director's horses. = The support of salt works by a state manopoly probably explains why this building is so grand. ‘Ihe gabelle was very unpopular and was one of the complaints thal led to the French Revolution. The Revolution ilsel probably curtailed the building of the ideal cily. © House of the Director with ils sirange round then square columns ChrysostomeQuairemére de Quincy (1785 1849) © was a French armchair archaeologist and architectural theorist, a Freemason, and an eflective arts administrator and influential writer on art, < Quatremére de Quincy transtormed the simple metaphor of ecture as language into a framework for reconceptualizing the structure of architecture; modern writers describing "vernacular" architecture, or the Baroque “idiom” or the “vocabulary” of Classicism owe a debt to Quatremére de Quincey e = Antoin Can Space (concept/dynai function) Shape a Building? Can the Void shape the Sol « There are two types of space in architecture: the figurative (ground) and the free (background). © Viguralive Space occurs when the ‘void’ ofa composition becomes the ground, figure, or object and become the background. « EXAMPLE: Bernini-Sant' Andrea al Quirinale (1670) © ree Space occurs when the ‘void’ ofa composition becomes the background and the form appears a © There are two pr for designing space: the storcotomic and the tectonic. © Slereolomic Space-Subtracti ve Proc: = Space is defined through the process of Removing form, carving out of the solid Tectonic Space-Additive Process = Space is defined by the addition or placement of form. Space and ‘Movement’: Pre-Modern Europe and America 19™.20"¢. © ‘The Industrial Revolution © was a period from the 18th to the 19th century where major changes in agriculture, manufacturing, mining, transport, and technology had a profound effect on the socioeconomic and cultural conditions starting in the United Kingdom, then subsequently spreading throughout Europe, North America, and eventually the world. The Industrial Revolution marks a major turning point in human history; almost every aspect of daily life was eventually influenced in some way. © Gottfried Semper (November 29, 1803 - May 15, 1879 © was a German archilecl, arl critic, and professor of archilecture, who designed and buill the Semper Opera [Touse in Dresden between 1838 and 1841. Semper wrote extensively about the origins of architecture. especially in his book The Four Elements of Architecture Jrom 1851, and he was one of the major figures in the controversy surrounding the polychrome architectural style of ancient Greece. Semper designed works at all scales, from a baton for Richard Wagner to major urban interventions like the re-design of the Ringsirape in Vienna. © Introduced ‘space’ as the principat theme of modern architecture. Semper proposed thal the first impulse of architecture is to enclose space. Space creation is the future ef architecture for Semper(probably derived from Hegel for whom in‘enclosure’ lies architecture's purposiveness)‘Enclosure’ existed as an idea among German architects in the 1840s but ne one proposed it as the fundamental property of architecture like Semper. He described the roof, the building shell and the carth excavations as jaintly surrounding and protecting, the hearth, the communal heart of the building. Semper altribuled to the building shell a role which was unusual al thal time and is often defined as the “theory of clothing” (Bekleidungstheorie). © = The Crystal Palace  was a cast-iron and glass building originally erected in Hyde Park, London, England, to house the Great Exhibition of 1851. More than 14,000 exhibitors from around the world gathered in the Palace's 990,000 square feet (92,000 1m”) of exhibition space to display examples of the latest technology developed in the Industrial Revolution. Designed by Joseph Paxton, the Great Exhibition building was 1,851 feet (564 m) long, with an interior height of 128 feet (39 m). «The Eiffel Tower 5 (nicknameLa dame de fer. the iron lady) is an iron lattice tower located on the Champ de Mars in Paris. Built in 1889, it has become both a glcbal icon of France and one of the most recognizable structures in the world. The tower is the tallest building in Paris[10] and the most-visited paid monument in the world; millions of people ascend it every year. Named for ils designer, engincer Gustave Eiffel, the lower was built as the entrance arch to the 1889 World's Fair. The structure was buill between 1887 and 1889 as the entrance arch for the Exposition Universelle, a World's Fair marking the centennial celebration of the French Revolution. «* The Chicago World's Fair ° was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus's arrival in the Kew World in 1492. I'he fair had a profound effect on architecture, the arts, Chicago's self-image, and American industrial optimism. ‘he Chicago Columbian Exposition was, in large part, designed by Daniel Bumham and Frederick Law Olmsted. It was the prototype of what Burnham and his colleagues thought a city should be. It was designed to follow Beaux Arts principles of design, namely French neoclassical architecture principles based on symmetry, balance and splendour. yeau is an inLemational movement and s peaked in popularity at the tum of le of art, architecture and applied ari—especially the decorative arts—that © 20th century (1890-1905). The name "Art Nouveau" is French for "new art" Tis also known as Jugendstil, German for "youth style", named afer the magazine Jugend, which promoted il, and, inTaly, Stile Liherty from the department store in London, Liberly & Co.. which popularised the style. A reaction lo academic art of the 19th century, itis characterized by organic, especially Moral and other plant-inspired moti as well as highly stylized, lowing curvilinear forms. Arl Nouveau is an approach to design according to which artisis should work on everything [rom architecture to fumiture, making art part of everyday life. Although Art Nouveau fell out of favor with the arrival of 20th-century modernist styles, iL is seen today as an important bridge between the historicism of Neoclassicism and modernism Tn architecture, hyperbolas and parabolas in windows, arches and doors are common, and decorative mouldings ‘grow! into plant-derived forms. Like most design styles, Art Nouveau sought to harmonise ils forms. The text above the Paris Metro entrance follows the qualities of the rest of the iron work in the structure, Art Nouveau in architecture and interior design eschewed the eclectic revival styles of the Victorian era. Though Art Nouveau designers selected and 'modernized' some of the more abstract elements of Rococo style, such as flame and shell textures, they also advocated the use of highly stylized organic forms as a source of inspiration, expanding the ‘natural’ repertoire to embrace seaweed, grasses, and insects « = ArtDeco 2 2 is an eclectic artistic and design style that blossomed in Paris in the 1920s and flourished internationally throughout. the 1930s, into the World War II era. The style influenced all areas of design, including architecture and interior design, industrial design, fashion and jewelry, as well as the visual arts such as painting, graphic arts and film. The term "art deco" first saw wide use in 1966, after an exhibition in Paris, Les Années 25' sub-titled Art Deco, celebrating the 1925 Exposition Internationale des Arts DécoratifsetIndustrielsModernes that was the culmination of high-end style moderne in Paris. At its zenith, Art Deco embodied elegance, glamour, functionality and modernity. "Art Deco is characterized by a linear, hard edge or angular composition, often with a vertical emphasis, and highlighted with stylized decoration" (Blumensen 77) « Adolf Franz Kar] Viktor Maria Loos (10 December 1870 - 23 August 1933) 2 © © was a Moravian-born Austro-Hungarian architect. He was influential in European Modern architecture, and in his essay Ornament and Crime he repudiated the florid style of the Vienna Secession, the Austrian version of Art Nouveau. In this and many other essays he contributed to the elaboration of a body of theory and criticism of Modernism in architecture. In his essays, Loos was fond of using the provocative catch phrase and has become noted for one particular essay/manifesto entitle Ornament and Crime, written in 1908, in which he repudiated the florid style of the Vienna Secession, the Austrian version of Art houveau. In this essay, he explored the idea that the progress of culture is associated with the deletion of omament from everyday objects, anc that it was therefore a crime to force craftsmen or builders to waste their time on ornamentation that served to hasten the time when an object would become obsolete. Perhaps surprisingly, Locs's own architectural work is often elaborately decorated. ‘he visual distinction is not between complicated andl simple, but between "organic" and superfluous decoration. Loos, through his writings and his groundbreaking projects in Vienna and the major cities of the Czech Republic, was able to influence other architects and clesigners. His careful selection of materials and use of ‘Raumplan'—the considered ordering and size of interior spaces based on function--are still admired today. = Ornament and Crime art movements since. As much as involving itself in designs for industry, the Constructivists worked on public festivals and street designs for the post-October revolution Bolshevik government. © Tatlin’s Tower or The Monument to the Third International is a grand monumental building envisioned by the Russian artist and architect Vladimir Tatlin, but never built. It was planned to be erected in Petrograd after the Bolshevik Revolution of 1917, as the headquarters and monument of the Comintern (the third international). = Noi Trotsky, Leningrad Town Hall (1932-1934) = Shukhoy Tower (1922) International Style: was a major architectural style that emerged in the 1920s and 1930s, the formative decades of Modernist architecture. The term had its origin from the name of a book by Henry-Russell Hitchcock and Philip Johnson written to record the International Exhibition of Modern Architecture held at the Museum of Modern Art in New York City in 1932 which identified, categorized and expanded upon characteristics common to Modernism across the world. As a result, the focus was more on the stylistic aspects of Modernism. Hitchcock's and Johnson's aims were to detine a style of the time, which would encapsulate this modern architecture. They identified three different principles: the expression of volume rather than mass, balance rather than preconceived symmetry and the expulsion of applied ornament, All the works which were displayed as part of the exhibition were carefully selected, as only works which strictly followed the set of rules were displayed. Previous uses of the term in the same context can be attributed to Walter Gropius in /nternationaledrchitektur, and Ludwig Hilberseimer in /niemationaleneueBaukunst. The International Style as such blossomed in 1920s Western Europe. Researchers find significant contemporary common ground among the Dutch de Stijl movement, the work of visionary French/Swiss arcl Le Corbusier and various German to industriahze crall traditions, which resulted in the formation of the DeutscherWerkbund large civic worker-housing ts in Frankfurt and Stutigart, and, most famously, the Bauhaus. The Bauhaus was one of a number of Kuropean schools and associations concemed with reconciling erall tradition and industrial technology: By the 1920s the most important figures in modern architecture had established their reputations. ‘lhe big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. ion of form 9 arejection of emament oan adoption of glass, steel and concrete as preferred materials Further, the transparency of buildings, construction (called the honest expression of structure), and acceptance of industrialized mass-production techniques contributed to the international style's design philosophy. Finally, the machine aesthetic. and logical design decisions leading to support building function were used by the International architect to create buildings reaching beyond historicism. The ideals of the style are commonly summed up in four slogans: ornament is a crime, truth to materials, form follows function, and Le Corbusier's description of houses as "machines for living" In 1927, one of the first and most defining manifestations of the International Style was the Weissenhof Estate in Stuttgart, built as a component of the exhibition "Die Weohnung," organized by the DeutscherWerkbund, and overseen by Mies van der Rohe. The fifteen contributing architects included Mies, and other names most associated with the movement: Peter Behrens, Le Corbusier, Walter Gropius, J.P. Oud, Mart Stam, and Brano Taut. The exhibition was enormously popular, with thousands of daily visitors. Bauhaus (louse of Construction/Building School): “The Total work of art” Weimar (1919-19: o Dessau (1 o Berlin (19: = Bauhaus Ilistory « The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a ‘total’ work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. « — The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, Ilannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. = Bauhaus Influence e The most important influence on Bauhaus was modernism, a cultural movement whose origins lay as far back as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. ‘he design innovations commonly associated with Gropius and the Bauhaus _ the radically simplified forms, the rationality and functionality, and the idea that mass-production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers! organization DeutscherWerkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craitsmanship vs. mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and. whether or not a single proper form could exist, were argued out among its 1,870 members (by 1914). © The entire movement of German architectural modernism was known as NeuesPauen. Regimning in June 1907, Peter Behrens! pioneering industrial the German electrical company igned consumer developed a nt corporate identity, built the modemist landmark AEG Turbine Factory. and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund. and both Walter Gropius and Adolf Meier worked for him in this peried. « The Bauhaus was founded at a time when the German zeitgeist ("spirit of the times") had turned from emotional Expressionism to the matter-of fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Brune ‘laut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They alse responded to the promise ofa "minimal dwelling” written into the new Weimar Constitution. Ernst May, Bruno laut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. ‘I'he acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate o ‘“trehiteets, painters, sculptors, we must all return to erafts! For there is no such thing as “professional art”. There is no essential difference between the artist and the crafisman. The artist is an exalted crafisman. Ly the grace of dieaven aad in rare moments of inspiration which transcend the will, art may unconsciousty blossom from the labour of his hand, but a base in handicrafts is essential to every artist. It is there that the original source of creativity lies.Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant harrier between craftsmen and artists! Ler us desire, conceive, and create the new building of the furure together. Ir will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.” — Walter Gropius * Walter Adolph Georg Gropius (May 18, 1883 — July 5, 1969 © was a German architect and founder of the Bauhaus School who, along with Ludwig Mies van der Rohe and Le Corbusier, is widely regarded as one of the pioneering masters of modern architecture, © In 1908 Gropivs found employment with the firm of Peter Behrens, one of the first members of the utilitarian school. His fellow employees at this tume included Ludwig Mies van der Rohe, Le Corbusier, and Dietrich Marcks, © In 1910 Gropius lett the firm of Behrens and together with fellow employee Adolf Meyer established a practice in Berlin. Together they share credit for one of the seminal modernist buildings created during this period: the Faguswerk in Alfeld-an-der-Leine, Germany, a shoe last factory. Although Gropius and Meyer only designed the facade, the glass curtain walls of this building demonstrated both the modernist principle that form reflects function. and Gropius’s concern with providing healthful conditions for the working class. Other works of this early period include the office and factory budding for the Werkbund Exhibition (1914) in Cologne. = Fagus Shoe Factory (1913) = Monument to the March Dead (1921) = Bauhaus, Dessau (1926) = Gropius House (1938) © Wassily Kandinsky o The Bauhaus was an innovative architecture and art school whose objectives included the merging of plastic arts with applied arts, reflected in its teaching methods based on the theoretical and practical application of the plastic arts synthesis. Kandinsky taught the b: for beginners and the course on advanced theery, and also conducted painting classes and a workshop where he completed his colour theory with new clements of form psychology. The development of nis works on forms study, particularly on peint and different forms of lines, lead to the publication of his second major theoretical hock Pow and Line to Plane in 1 9 Geometrical clements took on increasing importance in his teaching as well as mm his painting, particularly ¢ hall-cirele, the angle, straight lines and curves. This period was a period of intense production. The freedom of which is characterised in cach of his works by the treatment of planes rich in colours and magnificent gradations as inthe painting Fellow — red— blue (1925), where Kandinsky shows his distance from constructivism and suprematism movements whose influence was increasing at this time. The large two meter width painting that is Fellow — red — blue (1925) consists of a number of main forms: a vertical yellow rectangle, a slightly inclined red cross and a large dark blue circle, while a multitude of straight black or sinuous lines, ares of circles, monochromatic circles and scattering of coloured checkerboards contribute to its delicate complexity. Kandinsky was one of Die BlaueVier (Blue Four), with Klee, Feininger and von Jawlensky formed in 1923. They lectured and exhibited together in the USA in 1924. Paul Klee 2 D Paul Klee taught at the Bauhaus from January, 1921 to April, 1931. [le was a “Form” master in the bookbinding, stamed glass, and mural painting workshops and was provided with two studios. Tn 1922, Kandinsky joined the staff and resumed his friendship with Klee. Tater that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials.[38] Klee welcomed that there were many confheting theories and opinions within the Bauhaus: “T also approve of these forces competing one with the other if the resull is achievement.” Klee was also a member of Die Blaue Vier (The Blue Four), with Kandinsky, Feininger, and Jawlensky; formed in 1923, th clured and exhibited together m the USA in 1925. That same year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists. Moholy-hagy ° In 1923, Moholy-Nagy replaced Johannes |tten as the instructor of the foundation course at the Bauhaus. ‘This effectively marked the end of the school’s expressionistic leanings and moved it closer towards its original aims as a school of design ancl industrial integration. ‘he Bauhaus became known for the versatility of its artists, and Mcholy- Nagy was no exception. ‘lhroughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was photography. He coined the term “the New Vision” for his belief that photography could create a whole new way of seemg the outside world that the human eye could not. His theory of art and teaching is summed up in the book fhe New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlain on top of it, called photogram. While studying at the Bauhaus, Moholy’s teaching in diverse media —_ including painting, sculpture, photography, photomontage and metal —_ hac a profound influence on a number of his students, inclucing Marianne Brandt. Bauhaus Furiture 9 One of the most important contributions of the Bauhaus is in the field of modem furniture design. The ubiquitous Cantilever chair and the Wassily Charr designed by Marcel Breuer are Lwo examples. (Breuer eventually lost a legal battle in Germany with Dutch architect/designer Mart Stam over the rights to the cantilever chair patent. Although Stam had worked on the design of the Bauhaus's 1923 exhibit in Weimar, and guest-lectured at the Bauhaus later in the 1920s, he was not formally associated with the school, and he and Breuer had worked independently on the cantilever concept, thus leading to the patent dispute.) = Josef Albers, Nesting Tables (1923) Marcel Breuer 2 ° ° Known to his friends and associates as Lajko, Breuer studied and taught at the Bauhaus in the 1920s. The Bauhaus curriculum stressed the simultaneous education of its students in elements of visual art, craft and the technology of industrial production. Breuer was eventually appointed to a teaching position as head of the school's carpentry workshop. Ie later practiced in Berlin, designing houses and commercial spaces. In the 1920s and 1930s, Breuer pioneered the design of tubular steel furniture. Later in his career he would also turn his attention to the creation of innovative and experimental wooden furniture. Perhaps the most widely-recognized of Breuer's early designs was the first bent tubular steel chair, later known as the Wassily Chair, designed in 1925 and was inspired, in part, by the curved tubular steel handlebars on Breuer's Adler bicycle. Despite the widespread popular belief that the chair was designed for painter Wassily Kandinsky, Breuer's colleague on the Bauhaus faculty, it was not; Kandinsky admired Breuer's finished chair design, and only then did Breuer make an additional copy for Kandinsky's use in his home. When the chair was re-released in the 1960s, iL was designated "Wassily" by ils Mahan manufacturer, who had learned that Kandinsky had been the recipient of one of the carhest post-prototype units. = Marcel Breuer Chair (1928) "When stone is used in a wall, the aim is not to evoke some notion of rock. but to build a clear-cut slab—made of stone hecause stone is a good and durable and texturally pleasant material,... It should be clear that this is a wall built by a mason, executing drawings with dimensions ven geomelry; iLis nol a grotto or part of a romanlic anachronism.” "The structure is simullancously developed with the plan. The thinking about form and detail is all part of the same process: the design. Tam as much interested in the smallest detail as in the whole structure.” buidrig Mies van der Rohe (1886-1969) oo © “God is in the Details” “Less is More” Like many cther avantgarcle architects of the day, Mies based his own architectural theories and principles on his own personal re-combination of ideas developed by many other thinkers and designers who had pondered the 2 © Briey-en-Forét (1956) e = Berlin (1957) «= Firminy (1960) V. Chapelle Notre-Dame-du-Taut (1954) Functionalism: The Forming of Space/The Forming of Form Louis Sullivan, Frank Lloyd Wright, and Louis Kahn « Efficiency (Commodity + Firmness = Delight) ¢ Functionalism 2 2 ° ° is the principle that architects should design a building based on the purpose of that building, In the early years of the 20th century, Chicago architect Louis Sullivan popularized the phrase “FORM FOLLOWS TUNCTION” to capture his belief that a building's size. massing, spatial grammar and other characteristics should be driven solely by the function of the building. The implication is that if the functional aspects are satisfied, architectural beauty would naturally and necessarily follow. -Wikipedia Functionalist architects and artists design utilitarian structures in which the interior program dictates the outward form, without regard to such traditional devices as axial symmetry and classical proportions. Functionalism, in art and architecture, an aesthetic doctrine developed in the early 20th cent. out of Louis Ilenry Sullivan's aphorism that form ever follows function. Functionalist architects and artists design utilitarian structures in which the interior program dictates the outward form, without regard to such traditional devices as axial symmetry and classical proportions. After World War I, the German Bauhaus produced a number of influential architects and designers. notably Walter Gropius and Ludwig Mies van der Rohe, who worked within this aesthetic. Functionalism was subsequently absorbed into the International style as one of its guiding principles. « American Functionalism ° Louis Henri Sullivan (September 3, 1856 April 14, 1924) = was an American architect, and has been called the "father of skyscrapers” and "father of modernism.” He is considered by many as the creator of the modem skyscraper, was an influential architect and critic of the Chicago School, was a mentor to Frank Lloyd Wright, and an inspiration to the Chicago group of architects who have come to be known as the Prairie School. © Wainwright Building (1891) 9 The Wainwright Bi ing (also known as the Wainwright State Office Building) is a 10-story red brick office building at 709 Chestnut Street in downtown St. Louis, Missouri. Designed by Dankmar Adler and Louis Sullivan in the Palazzo style and built between 1890 and 1891, it was among the [irst skyscrapers in the world. = Louis Sullivan coined the phrase "form ever follows function", which, shorlened to "form follows function,” would become the greal battle-cry of modernist architects. This credo, which placed the demands of practical use above aesthetics, would later be taken by influential designers lo imply that decorative elements, which architects call "ornament," were superfluous in moder buildings. But Sullivan himself neither thought nor designed along such dogmatic Tmes during the peak of his carcer. Indeed. while his. buildings could be spare and crisp in their principal masses, he often punctuated their plain surfaces with eruptions of lush Art Nouveau and something like Celtic Revival decorations, us ally cast in iron or terra ivy, Lo more geometric designs, and interlace, inspired esign heritage. Terra colla is lighter jer Lo work with than stone masonry. Sullivan used rrehitecture because it had a malleability that was appropriate for his omament. Probably the most famous example is the withing green ironwork ‘hal covers the entrance canopies of the Carson Pirie Scott store on South State Street. These emaments, often executed by the talented younger drafisman in Sullivan's employ, would eventually become Sullivan's trademark; to students of architecture, they are his instantly-recognizable signature. = Form fol fu e isa principle associated with modern architecture and industrial design in the 20th century. The principle is that the shape of a building or object should be primarily based upon its intended function or purpose e Inthe context of design professions form follows function intuitively seems like good sense, but on closer examination it becomes problematic and open to interpretation. Linking the relationship between the form of an object and its intended purpose is not always by itself’ a complete design solution. Detining the precise meaning(s) of the phrase 'form follows function! opens a discussion of design integrity that remains an important, lively debate. = The Guaranty Building, © which is now called the Prudential Building, was designed by T.cuis Sullivan and Dankmar Adler, and built in Buffalo, New York. Sullivan's design for the building was based on his belief that "form follows function". He and Adler divided the building into four zones. The basement was the mechanical and utility area. Since this level was below ground. it did net show on the face of the building. The next zone was the ground-floor zone which was the public areas for street- facing shops, public entrances and lobbies. The third zone was the office floors with identical office cells clustered around the central elevator shafts. The final zone was the term inating zone, consisting of elevator equipment, utilities and a few offices. The supporting steel structure of the building was embellished with terra cotta blocks. Different styles of block delineated the three visible zones of the budding. Sullivan was quoted as saying, "It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.” Harold C. Bradley House, * also known as Mrs. Josephine Crane Bradley Residence. is a Prairic School home designed by Touis H. Sullivan and George Grant Elmslie, located in Madison. Wisconsin « Sullivan's role in the design of the Bradley House is often overstated. Designed very late in his career, "both of the late residences (Babson anc Bradley) were designed by Elmslie with only occasional suggestions from Sullivan."[4] his can be seen in the heavy Prairie School emphasis in the design, influenced by the residential designs of Krank Lloyd Wright and other Chicago area architects of the period. New Orleans Union Station © was a railroad station in New Orleans, Louisiana. Tk was designed by T.ouis H. Sullivan for the THinois Central Railroad and opened on June 1, 1892. e = It fronted on South Rampart Street, riverwards from the current New Orleans Union Passenger Terminal. © The station was used primarily by the Thinois Central Railroad, as the Lerminus for its mam line from Chicago. bul, over time, erved a number of other lines, including the Southern Pacific Railroad and the Yazoo and Mississippi Valley Railroad. By the 1940s, 4 total of 13 passenger trains arrived and departed from the station daily. ® New Orleans Union Station was the only train station architect Louis Sullivan designed. It was constructed in the architect's well-known 'Chicago Schoel' style and decorated with his iconic omament. Adler and Sullivan's head draftsman Frank Lloyd Wright was involved in the final work: under Sullivan's supervision. ° Hrank Lloyd Wright (hune 8, 1867 April 9, 1959) (bornFrank Lincoln Wright) was an American architect, interior designer, writer and educator, who designed more than 1,000 projects, which resulted in more than 500 completed works. Wright promoted organic architecture (exemplified by Fallingwater), was a leader of the Prairie School movement of architecture (exemplified by the Robie Ilouse, the Westcott Ilouse, and the Darwin D. Martin Ilouse), and developed the concept of the Lisonian home (exemplified by the Rosenbaum [ouse). [lis work includes original and innovative examples of many different building types, including offices. churches. schools, skyscrapers, hotels, and museums. Wright alse often designed many of the interior elements of his buildings, such as the furniture and stained glass Wright authored 20 books and many articles. and was a popular lecturer in the United States and in Europe Ilis colorful personal life often made headlines, most notably for the 1914 fire and murders at his Taliesin studio. Already well-known during his lifetime, Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time.” I. Prairie Design e = The works of the Prairie School architects are usually marked by horizontal lines, flat or hipped roots with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornament. Horizontal lines were thought to evoke and relate to the native prairie landscape. © The most fameus proponent of the style, Frank Lloyd Wright, promoted an idea of "organic architecture", the primary tenet of which was that a structure should look as if it naturally grew from the site. Wright also fell that a horizontal orientalion was a distinctly American design motil, in that the younger country had much more open, undeveloped land than found in most older, urbanized European nations. « = Dana-lhomas House o In 1893, Frank Lloyd Wright (1867 1959) left the office of his mentor, Louis Sullivan, and began to practice as an independent architect. Fully agreeing with Sullivan's doctrine of “organic architecture", Wright expanded it into a full-fledged system of congruence between the interior of a building and its surroundings, which came to be called the "Prairie Style". o Susan Lawrence Dana's 1902 commission to Wright to plan the "remodeling" of the Lawrence's Victorian mansion was the largest commission that Wright had enjoyed up to that time. ‘he architect, who recognized a kindred spirit in Mrs. Dana, expanded the boundaries of his commission to design and build what was, in effect, an entirely new house. The Robie Tlouse 9 is one of the best known examples of Frank Lloyd Wright's Prairie style of architecture. The term was ccined by architectural critics and historians (not by Wright) who neticed how the buildings and their various components owed their design influence to the landscape and plant life of the midwest prairie of the United States. Typical of Wright's Prairie houses, he designed not only the house. but all of the interiors, the windows, lighting, rigs, furniture and textiles. As Wright wrote in 1910. "it is quite impossible to consider the building one thing and its furnishings another. ... They are all mere structural details of its character and completeness.” Every clement Wright designed is meant to be thought of as part of the larger artistic idea of the house. Nine Principles of a New Architecture 1. NATURE means not just the “out-of doors,” clouds, trees, storms, the terrain and animal life, but refers to their nature as to the nature of materials or the “nature” of a plan, a sentiment, or a tool. Aman or anything conceming him, from within. Interior nature with capital N. Inherent PRINCIPLE. 2. The word ORGANIC denotes about on two feet or be cultivate intrinsic would the means part-to-whol organic. TNTRINSIC. 3. FORM FOLLOWS FUNCTION. ‘This isa much abused slogan. Naturally form does so. But ona lower level and the term is useful only as inclicating the platform upon which architectural form rests, As the skeleton is no finality of human form any more than grammar is the “form” of poetry, just so function is to architectural form. Rattling the bones is not architecture. Less is only more where more is ne good.Form is precicated by function but, so far as poetic imagination can go with it without destruction, transcends it. “erm follows function” has become spiritually insignificant: a stock phrase. Only when we say or write “form and function are one” is the slogan significant. It is now the password for sterility. Internationally. 4. ROMANCE, like the word BEAUTY, refers to a quality. Reactionary use of this honorable but sentimentalized term by critics and current writers is contusing. Organic architecture sees actuality as the intrinsic romance of human creation or sees essential romance as actual in creation. So romance is the new reality. Creativity divines this. No teamwork can conceive it. A conunittee can only receive it asa gift from the inspired individual. In the realm of organic architecture human imagination must render the harsh language of structure into becoming humane expressions of form instead of devising inanimate facades or rattling the bones of construction. Poetry of form is as necessary to great architecture as foliage is to the tree, blossoms to the plant or flesh to the body. Because sentimentality ran away with this human need and negation is now abusing it is no good reason for taking the abuse of the thing for the thing. Until the mechanization of buildings is in the service of creative architecture and not creative architecture in the service of mechanization we will have no great architecture. 5. TRADITION may have many traditions just is TRUTII may have many truths. When we of organic architecture speak of truth we speak of generic principle. The genus “bird * may fly away as flocks of infinitely differing birds of almost unimaginable variety: all of them merely derivative. So in speaking of tradition we use the word as also a generic term. Flocks of traditions may proceed to fly from generic tradition into unimaginable many. Perhaps none have creative capacity because all are only derivative. Imitations of imitation destroy an original tradition. TRUTH is a divinity in architecture. 6, ORM AME: Integral element of architecture, ornament is to architecture what efflorescence of a tree or plant is to its structure. Of the thing, not on it. Emotional in its nature, ornament is- if well conceivec-not only the poetry but is the character of structure revealed and enhanced. Lf not well conceived, architecture is destroyed by ornament. 7. SPIRIT. What is spirit? Tn the language of organic architecture the something descending upon the thing [rom above as a kind of illumination but exists within the thing itself very life. Spirit grows upward from within and outward. Spirit docs not come down from above to be suspended there by skyhocks or set up on posts. There are two uses of nearly every word or term in usual language but in organic sense any term is used in rele the inner not the outer substance. A word. such as “nature” for instance, may be used to denote a ical means Lo an end. Or the same word may be used with spiritual significance inarchitecture not merely whal may hang ina butcher shop, get ina field. The word orwanie refers to entity, perhaps integral or fore be a better word Lo use. As originally used in architecture, organic whole-is-lo-part. So entity as integral is what is really meant by the word ence Lo uppermost in use in every case