L Architecture Moderne Pdf Download
Latrisha Adan
Moderne architecture, also sometimes referred to as Style Moderne or simply Moderne, Jazz Age, Moderne,[1] Jazz Modern or Jazz style, describes certain styles of architecture popular from 1925 through the 1940s. It is closely related to Art Deco.[2] Both belong to the architectural Modern Movement, which broke with tradition on purpose to create a fresh look that was uninfluenced by earlier forms and styles.[3]
Originating in the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 1925, the style has expression in styles traditionally classified as Art Deco, Streamline Moderne, Late Moderne, and, in the U.S., PWA/WPA Moderne. Architectural historian Richard Guy Wilson characterized the style by the eclectic co-existence of "traditionalism and modernism".[4]
The Bauhaus movement, along with architects like Walter Gropius and Mies Van Der Rohe, Kickstarted Modernist architecture in Germany during the 1920s. After the Nazis shut down the Bauhaus in 1933, these architects brought their innovative style to the United States, where it became hugely popular and influential.
Even though they have different aesthetics, the Art Deco and Moderne styles are both occasionally referred to as "Modernistic". A new, more streamlined, less decorated architectural style,[5] the Moderne style of the 1930s was inspired by the Art Deco style, which had smoothly finished wall surfaces and characteristic ornamentation of chevrons, zigzags, and other geometrical motifs.
The Moderne style included rounded corners, curved glass, and smooth walls with minimal surface decoration.[6] Moderne architecture features bands of windows with a horizontal emphasis and flat roofs.[7] Certain structures in this style feature curving canopies, glass block window panels, straightforward pipe balustrades, and stainless steel or aluminum details.
The Moderne style of architecture appears as a descriptor in documentation of many buildings listed by the United States of America's National Register of Historic Places.[8] In general, there are not many examples of the Moderne style in the United States. It was popular for a comparatively short time until the International style for major commercial buildings swiftly took its place.
Modern architecture, also called modernist architecture, was an architectural movement and style that was prominent in the 20th century, between the earlier Art Deco and later postmodern movements. Modern architecture was based upon new and innovative technologies of construction (particularly the use of glass, steel, and concrete); the principle functionalism (i.e. that form should follow function); an embrace of minimalism; and a rejection of ornament.[1]
According to Le Corbusier, the roots of the movement were to be found in the works of Eugne Viollet le duc.[2] The movement emerged in the first half of the 20th century and became dominant after World War II until the 1980s, when it was gradually replaced as the principal style for institutional and corporate buildings by postmodern architecture.[3]
Modern architecture emerged at the end of the 19th century from revolutions in technology, engineering, and building materials, and from a desire to break away from historical architectural styles and invent something that was purely functional and new.
The revolution in materials came first, with the use of cast iron, drywall, plate glass, and reinforced concrete, to build structures that were stronger, lighter, and taller. The cast plate glass process was invented in 1848, allowing the manufacture of very large windows. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and plate glass construction, followed in 1864 by the first glass and metal curtain wall. These developments together led to the first steel-framed skyscraper, the ten-story Home Insurance Building in Chicago, built in 1884 by William Le Baron Jenney[4] and based on the works of Viollet le Duc.
French industrialist Franois Coignet was the first to use iron-reinforced concrete, that is, concrete strengthened with iron bars, as a technique for constructing buildings.[5] In 1853 Coignet built the first iron reinforced concrete structure, a four-storey house in the suburbs of Paris.[5] A further important step forward was the invention of the safety elevator by Elisha Otis, first demonstrated at the New York Crystal Palace exposition in 1854, which made tall office and apartment buildings practical.[6] Another important technology for the new architecture was electric light, which greatly reduced the inherent danger of fires caused by gas in the 19th century.[7]
The debut of new materials and techniques inspired architects to break away from the neoclassical and eclectic models that dominated European and American architecture in the late 19th century, most notably eclecticism, Victorian and Edwardian architecture, and the Beaux-Arts architectural style.[8] This break with the past was particularly urged by the architectural theorist and historian Eugne Viollet-le-Duc. In his 1872 book Entretiens sur L'Architecture, he urged: "use the means and knowledge given to us by our times, without the intervening traditions which are no longer viable today, and in that way we can inaugurate a new architecture. For each function its material; for each material its form and its ornament."[9] This book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaud.[10]
After the first World War, a prolonged struggle began between architects who favored the more traditional styles of neo-classicism and the Beaux-Arts architecture style, and the modernists, led by Le Corbusier and Robert Mallet-Stevens in France, Walter Gropius and Ludwig Mies van der Rohe in Germany, and Konstantin Melnikov in the new Soviet Union, who wanted only pure forms and the elimination of any decoration. Louis Sullivan popularized the axiom Form follows function to emphasize the importance of utilitarian simplicity in modern architecture. Art Deco architects such as Auguste Perret and Henri Sauvage often made a compromise between the two, combining modernist forms and stylized decoration.
The dominant figure in the rise of modernism in France was Charles-douard Jeanerette, a Swiss-French architect who in 1920 took the name Le Corbusier. In 1920 he co-founded a journal called 'L'Espirit Nouveau and energetically promoted architecture that was functional, pure, and free of any decoration or historical associations. He was also a passionate advocate of a new urbanism, based on planned cities. In 1922 he presented a design of a city for three million people, whose inhabitants lived in identical sixty-story tall skyscrapers surrounded by open parkland. He designed modular houses, which would be mass-produced on the same plan and assembled into apartment blocks, neighborhoods, and cities. In 1923 he published "Toward an Architecture", with his famous slogan, "a house is a machine for living in."[24] He tirelessly promoted his ideas through slogans, articles, books, conferences, and participation in Expositions.
In Germany, two important modernist movements appeared after the first World War, The Bauhaus was a school founded in Weimar in 1919 under the direction of Walter Gropius. Gropius was the son of the official state architect of Berlin, who studied before the war with Peter Behrens, and designed the modernist Fagus turbine factory. The Bauhaus was a fusion of the prewar Academy of Arts and the school of technology. In 1926 it was transferred from Weimar to Dessau; Gropius designed the new school and student dormitories in the new, purely functional modernist style he was encouraging. The school brought together modernists in all fields; the faculty included the modernist painters Vasily Kandinsky, Joseph Albers and Paul Klee, and the designer Marcel Breuer.
Gropius became an important theorist of modernism, writing The Idea and Construction in 1923. He was an advocate of standardization in architecture, and the mass construction of rationally designed apartment blocks for factory workers. In 1928 he was commissioned by the Siemens company to build apartment for workers in the suburbs of Berlin, and in 1929 he proposed the construction of clusters of slender eight- to ten-story high-rise apartment towers for workers.
While Gropius was active at the Bauhaus, Ludwig Mies van der Rohe led the modernist architectural movement in Berlin. Inspired by the De Stijl movement in the Netherlands, he built clusters of concrete summer houses and proposed a project for a glass office tower. He became the vice president of the German Werkbund, and became the head of the Bauhaus from 1930 to 1933. proposing a wide variety of modernist plans for urban reconstruction. His most famous modernist work was the German pavilion for the 1929 international exposition in Barcelona. It was a work of pure modernism, with glass and concrete walls and clean, horizontal lines. Though it was only a temporary structure, and was torn down in 1930, it became, along with Le Corbusier's Villa Savoye, one of the best-known landmarks of modernist architecture. A reconstructed version now stands on the original site in Barcelona.[26]
When the Nazis came to power in Germany, they viewed the Bauhaus as a training ground for communists, and closed the school in 1933. Gropius left Germany and went to England, then to the United States, where he and Marcel Breuer both joined the faculty of the Harvard Graduate School of Design, and became the teachers of a generation of American postwar architects. In 1937 Mies van der Rohe also moved to the United States; he became one of the most famous designers of postwar American skyscrapers.[26]
Expressionism, which appeared in Germany between 1910 and 1925, was a counter-movement against the strictly functional architecture of the Bauhaus and Werkbund. Its advocates, including Bruno Taut, Hans Poelzig, Fritz Hoger and Erich Mendelsohn, wanted to create architecture that was poetic, expressive, and optimistic. Many expressionist architects had fought in World War I and their experiences, combined with the political turmoil and social upheaval that followed the German Revolution of 1919, resulted in a utopian outlook and a romantic socialist agenda.[27] Economic conditions severely limited the number of built commissions between 1914 and the mid-1920s,[28] As result, many of the most innovative expressionist projects, including Bruno Taut's Alpine Architecture and Hermann Finsterlin's Formspiels, remained on paper. Scenography for theatre and films provided another outlet for the expressionist imagination,[29] and provided supplemental incomes for designers attempting to challenge conventions in a harsh economic climate. A particular type, using bricks to create its forms (rather than concrete) is known as Brick Expressionism.
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