History of Architecture and Human Settlements - Iv

HISTORY OF ARCHITECTURE AND HUMAN SETTLEMENTS – IV
SECOND YEAR B.ARCH
POST RENAISSANCE/MODERN ARCHITECTURE
Prof. Ar. Varun Bhamare

M.Arch
POST RENAISSANCE PERIOD
• Renaissance Revival (sometimes referred to as "Neo-Renaissance") is an all-
encompassing designation that covers many 19th century architectural revival styles which
were neither Grecian nor Gothic but which instead drew inspiration from a wide range of
classicizing Italian modes.
•Under the broad designation "Renaissance architecture "nineteenth-century architects and
critics went beyond the architectural style which began in Florence and central Italy in the
early 15th century as an expression of Humanism they also included styles we would
identify as Mannerist or Baroque . Self-applied style designations were rife in the mid- and
later nineteenth century: "Neo-Renaissance" might be applied by contemporaries to
structures that others called "Italianate", or when many French Baroque features are
present .
•The divergent forms of Renaissance architecture in different parts of Europe, particularly in
France and Italy, has added to the difficulty of defining and recognizing Neo-Renaissance
architecture. A comparison between the breadth of its source material, such as the
English Wollaton Hall,[Italian Palazzo Pitti, the French Château de Chambord and the
Russian Palace of Facets — all deemed "Renaissance" — illustrates the variety of
appearances the same architectural label can take
•

• When in the 19th century Renaissance style architecture came into vogue, it often
materialized not just in its original form according to geography, but as a hybrid of all its
earlier forms according to the whims of architects and patrons rather than geography and
culture.
• If this were not confusing enough, the new Neo-Renaissance then frequently borrowed
architectural elements from the succeeding Mannerist period, and in many cases the
even later Baroque period. Mannerism and Baroque being two very opposing styles of
architecture. Mannerism was exemplified by the Palazzo del Te and Baroque by
the Wurzburg Residenz.
• Thus Italian, French and Flemish Renaissance coupled with the amount of borrowing
from these later periods can cause great difficulty and argument in correctly identifying
various forms of 19th-century architecture. Differentiating some forms of French Neo-
Renaissance buildings from those of the Gothic revival can at times be especially difficult,
as both styles were simultaneously popular during the 19th century.

• A common Baroque feature introduced into the Neo-Renaissance was the "imperial
staircase“.
•the Neo-Renaissance style was in reality an eclectic blending of past styles, which the
architect selected on the whims of his patrons. In the true Renaissance era there was
a division of labour between the architect, who designed the exterior highly visible shell,
and others the artisans who decorated and arranged the interior.
• Neo-Renaissance architecture, because of its diversity, is

perhaps the only style of architecture to have existed in so
many forms, yet still common to so many countries.

INDUSTRIAL REVOLUTION • Industrial revolution industrial revolution was the time
period which took place between 17th and 18th century .
• Started in Britain and spread throughout the world. The
industrial revolution was the transition to new
manufacturing processes.
• This transition included going from hand production

methods to machines, new chemical manufacturing and
iron production processes, improved efficiency of water
power, the increasing use of steam power and
development of machine tools.
• Major inventions the steam engine : invented by james

watt in 1785, whose proliferation into newly built machine
shop and iron foundries engendered an appropriate type
of building. Steam engine leads to invention of steam
ship , steam locomotives.
• Railway-a meaningful symbol of the new age which in

turn had consequences for architecture - stations, bridges,
tunnels the steam boat: an important means of
transportation which in turn had consequences for mass
migration from across the globe.
•
INDUSTRIAL REVOLUTION • Development in transportation system roads, railways
and canals were built. Canals-canals began to be built in
the late eighteenth century to link major manufacturing
centres rail road -the construction of major railways
connecting the larger cities and towns.
• Invention of building materials .Cast iron, an essentially

brittle material, is approximately four times as resistant to
compression as stone. Wrought iron, which is forty times
as resistant to tension and bending as stone, is only four
times heavier. It can be form and moulded into any shape.
•Glass can be manufactured in larger sizes and volumes.

Solid structures could be replaced by skeleton structures,
making it possible to erect buildings of almost
unrestricted height.
•Buildings could be constructed into any shape

INDUSTRIAL REVOLUTION • Previously, building materials had been restricted to a
few manmade materials along with those available in
nature: Stone, timber, lime mortar, and concrete.
•Metals were not available in sufficient quantity or

consistent quality to be used as anything more than
ornamentation. Structure was limited by the capabilities
of natural materials. The Industrial Revolution changed
this situation dramatically.
•In 1800, the worldwide tonnage of Iron produced was

825,000 tons. By 1900, with the Industrial Revolution in
full swing, worldwide production stood at 40 million tons,
almost 50 times as much. Iron was available in three
forms.
•The least processed form, cast iron, was brittle due to a

high percentage of impurities. It still displayed impressive
compressive strength, however. Wrought iron was a more
refined form of iron, malleable, though with low tensile
strength. Steel was the strongest, most versatile form of
iron.
INDUSTRIAL REVOLUTION • The explosion in the development of iron and steel
structures was driven initially by the advance of the
railroads. Bridges were required to span gorges and
Rivers.
•The new materials were not just used as skeletal

elements. In the 1850s, 1860s, and 1870s, cast iron was
used as a facade treatment.
•The Industrial Revolution provided more than just ferrous

building materials. A stronger, more durable and fire
resistant type of cement called Portland Cement was
developed in 1824. The new material was still limited by
low tensile strength, however, and could not be used in
many structural Application.
•The result was a strong, economical, easily produced

structural member that could take almost any form
imaginable, including columns, beams, arches, vaults, and
decorative elements. It is still one of the most common
building materials used today.

INDUSTRIAL REVOLUTION • The Iron Bridge.
• The Iron Rail Road Station.
•The Iron Market Place.
•The Iron Commercial Buildings.
•The Iron Cultural and Religious Buildings.
•The Iron Exhibition Buildings.

ART NONVEAU MOVEMENT • During the late 1800s, many European artists, graphic
designers, and architects rebelled against formal, classical
approaches to design. They believed that the greatest
beauty could be found in nature.
• It is a style of decoration and architectural detail popular

in the 1890s featuring sinuous, floral motifs.
• Art Nouveau (French for "New Style") was popularized

by the famous Maison de l'Art Nouveau, a Paris art gallery
operated by Siegfried Bing. Art Nouveau art and
architecture flourished in major European cities between
1890 and 1914.
• It embraced all forms of art and design: Architecture,

furniture, glassware, graphic design, jewellery, painting,
pottery, metalwork & textile.
• This was a sharp contrast to the traditional separation of

art into the distinct categories of fine art (painting and
sculpture) and applied arts (ceramics, furniture, and other
practical objects).
ART NONVEAU MOVEMENT Art Nouveau buildings have many of these features:
•Asymmetrical shapes
•Extensive use of arches and curved forms
•Curved glass
•Curving, plant-like embellishments
•Mosaics
•Stained glass
•Japanese motifs
•Pierre Fran castel divides Art Nouveau into two main

tendencies that could broadly termed the organic and the
rationalist.
•Mackintosh school Gaudi houseGlasglow, Scotland

Barcelona, Spain1897-1909 1903-dependent on the
straight line -gives precedence to the curved line and
floral shapes
•An abstract, structural style with A floral approach

focusing on a strong symbolic and dynamic tendency.The
linear, flat approach, with A structured, geometric style
heavy symbolic element.
ART NONVEAU MOVEMENT • While Art Nouveau promoted a more widespread
adoption of "beautiful" design, it did not diminish the
value of the machine or mass-production, but instead
took advantage of many technological innovations from
the late 19th century. Even so, by World War I, it too
succumbed to the more streamlined design processes
that were beginning to become available.
•Possibly its greatest influence was on 20th-century

advocates of integrated design, such as the
German Bauhaus design school and the Dutch design
movement De Stijl.
•Graphic art such as illustration and poster-design.

Nowadays, Art Nouveau is viewed as an important bridge
between Neoclassicism and modernism, and a number of
its monuments are on the UNESCO World Heritage List,
notably the historic centre of Riga, Latvia with over 750
buildings in the Art Nouveau style.

BAUHAUS DESIGN SCHOOL • The Bauhaus has a special role to play in the history of 20th
century culture, architecture, design, art and new media. As a
School of Design, the Bauhaus revolutionised artistic and
architectural thinking and production worldwide, and is
considered a headstone of the Modern age, which may be
visited in Dessau until nowadays.
• Bauhaus, was an art school in Germany that combined

crafts and the fine arts, and was famous for the approach to
design that it publicised and taught. It operated from 1919 to
1933. At that time the German term Bauhaus literally "house
of construction"—was understood as meaning "School of
Building".
•The Bauhaus was first founded by Walter Gropius in Weimar.

In spite of its name, and the fact that its founder was an
architect, the Bauhaus during the first years of its existence
did not have an architecture department. 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 later became one of the
most influential currents in modern design, Modernist
architecture and art, design and architectural education.
BAUHAUS DESIGN SCHOOL • 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, Hannes Meyer from 1928 to
1930 and Ludwig Mies van der Rohe from 1930 until 1933
•Just as important was the influence of the 19th century

English designer William Morris,who had argued that art
should meet the needs of society and that there should be
no distinction between form and function. Thus the Bauhaus
style, also known as the International Style, was marked by
the absence of ornamentation and by harmony between the
function of an object or a building and its design.
•The 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.
BAUHAUS DESIGN SCHOOL

BAUHAUS DESIGN SCHOOL • The Bauhaus had a major impact on art and architecture
trends in Western Europe, the United States, Canada
and Israel in the decades following its demise, as many of
the artists involved fled, or were exiled by, the Nazi regime.
Tel Aviv in 2004 was named to the list of world heritage sites
by the UN due to its abundance of Bauhaus architecture;
•
•it had some 4,000 Bauhaus buildings erected from 1933 on.
•The influence of the Bauhaus on design education was

significant. One of the main objectives of the Bauhaus was
to unify art, craft, and technology, and this approach was
incorporated into the curriculum of the Bauhaus.

CRYSTAL PALACE •Crystal Palace, giant glass-and-iron exhibition hall in Hyde
Park, London, that housed the Great Exhibition of 1851. The
structure was taken down and rebuilt (1852–54) at Sydenham
Hill (now in the borough of Bromley), at which site it survived
until 1936.
•In 1849 Prince Albert, husband of Queen Victoria and president

of the Royal Society of Arts, conceived the idea of inviting
international exhibitors to participate in an exposition. Plans
were developed and the necessary funds speedily raised, with
Victoria herself heading the list of subscribers. The exhibition
opened in the Crystal Palace on May 1, 1851.
•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
metres) long and 408 feet (124 metres) wide; the height of the
central transept was 108 feet (33 metres). 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
metres, or about 23 acres [9 hectares]). On the ground floor and
galleries there were more than 8 miles (13 km) of display tables.
CRYSTAL PALACE •CrystalPalace, a huge building glass (400 tons) and
metal (4,000 tons), designed for the occasion by landscape
Designer Sir Joseph Paxton.
•Built out of prefabricated and wrought-iron elements and based

on a four-foot module, this 1,848-foot-long ferro-vitreous
construction was erected to the designs of Joseph Paxton and
Charles Fox, of Fox, Henderson & Co. Its interior volume was
organized into galleries which were alternately 24 feet and 48
feet wide. The roof of these galleries stepped up by 20 feet every
72 feet and culminated in a central nave 72 feet wide. The 'ridge
and furrow' roof glazing system specially devised for the occasion
required 49-inch glass sheets capable of spanning between
furrows 8 feet apart, with three ridges occurring every 24 feet.“
•The Crystal Palace established an architectural standard for later

international fairs and exhibitions that likewise were housed in
glass conservatories, the immediate successors being the Cork
Exhibition of 1852, the Dublin and New York City expositions of
1853, the Munich Exhibition of 1854, and the Paris Exposition of
1855.

LOUIS H. SULLIVAN •WORKS
• Auditorium Building, at Chicago, Illinois, 1886 to 1890.
• Babson House, at Riverside, Illinois, 1907.
• Bradley House, at Madison, Wisconsin, 1909 to 1910. at
ArchitectureWeek
• National Farmers' Bank, at Owatonna, Minnesota, 1907 to 1908.
• Pilgrim Baptist Church, at Chicago, Illinois, 1890 to 1891. (originally,
Kehilath Anshe Ma' ariv synagogue, until 1922). at ArchitectureWeek
• Schlesinger and Meyer Department Store, at Chicago, Illinois, 1899 to
1904.
• St. Paul's Church, at Cedar Rapids, Iowa, 1910 to 1914.
• Wainwright Building, at St. Louis, Missouri, 1890 to 1891.
•Louis Sullivan was born in Boston, Massachusetts in 1856. He studied architecture at the
Massachusetts Institute of Technology for one year. He then worked as a draughtsman for Furness
and Hewitt in Philadelphia and for William Le Baron Jenney in Chicago. In July 1874 Sullivan
travelled to Europe where he studied in the Vaudremer studio at the Ecole des Beaux Arts in Paris.
He returned to Chicago a year later.

LOUIS H. SULLIVAN • Sullivan's designs generally involved a simple geometric form
decorated with ornamentation based on organic symbolism. As an
organizer and formal theorist on aesthetics, he propounded an
architecture that exhibited the spirit of the time and needs of the
people. Considered one of the most influential forces in the Chicago
School, his philosophy that form should always follow function went
beyond functional and structural expressions.
•Sullivan has been called the "father of skyscrapers" and "father of

modernism". He is considered by many as the creator of the modern
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.
• Along with Henry Hobson Richardson and Wright, Sullivan is one of
"the recognized trinity of American architecture".[4] In 1944, he was
the second architect in history to posthumously receive the AIA Gold
Medal
•Considered the "Dean of American Architects", Sullivan died in
Chicago, Illinois 1924 shortly after The Autobiography of an Idea and
A System of Architectural Ornament. were published.
PETER BEHRENS •WORKS
• A. E. G. High Tension Factory, at Berlin, Germany, 1910.
Behrens House, at Darmstadt, Germany, 1901.
I. G. Farben Offices, at Frankfurt, Germany, 1920 to 1925.
Apartments at Weissenhofseidlung, at Stuttgart, Germany, 1926 to 1927.
•Peter Behrens was born in Hamburg in 1868. Originally trained as a painter, Behrens eventually
abandoned painting in favor of graphic and applied arts. In 1899 he was invited to the Artists'
Colony at Darmstadt where he maintained a leadership position. Afterwards he worked as the
Directore of the Kunstgewerkeschule in Dusseldorf. Behren's interim there stimulated a new
geometric abstraction in his work.
•From 1907 to 1914, Behrens worked as an artistic adviser to the AEG in Berlin. While with AEG he
created the world's first corporate image. Most of his architectural designs for the AEG borrowed
from industry both in terms of form and material. The Turbine Factory in Berlin-Moabit most
successfully displays the industrial nature of most of his buildings.
PETER BEHRENS • He was important for the modernist movement, and several of the
movement's leading names (including Ludwig Mies van der Rohe, Le
Corbusier and Walter Gropius) in earlier stages of their careers.
•He was one of the leaders of architectural reform at the turn of the
century and was a major designer of factories and office buildings in
brick, steel and glass. In 1903, Behrens was named director of
the Kunstgewerbeschule in Düsseldorf, where he implemented
successful reforms. In 1907, Behrens and ten other people.
•Behren can be considered a key figure in the transition from

Jugendstil to Industrial Classicism. He played a central role in the
evolution of German Modernism.

ERICH MENDELSOHN •WORKS
• De La Warr Pavilion, at Bexhill-on-Sea, East Sussex, England, UK, 1935,
with Serge Chermayeff.
Einstein Tower, at near Potsdam, Germany, 1919 to 1921.
Schocken Department Store, at Stuttgart, Germany, 1926.
•Erich Mendelsohn was born in Allenstein, East Prussia (now Poland) in 1887. He studied in Berlin
and Munich where he became involved with Expressionism. These early experiences generated a
personal philosophy of "Dynamism" that demonstrated an attitude that was both expressionistic
and personal in nature.
•Mendelsohn used no historical precedents in formulating his designs. As a result, his early
buildings avoid the eclectic borrowing that mark so many of his contemporaries. Indeed, his
architectural ideas were derived from expressionistic sketches and romantic symbolism which
recognized that the qualities of modern building materials should dictate a new architecture. In
later designs, Mendehlson moved away from his earlier expressionist architecture, designing a
series of buildings in a more linear fashion.
ERICH MENDELSOHN • In 1933, Mendehlson fled from Nazi Germany to England where he
gained citizenship. He acted as a design partner with Serge
Chermayeff until 1939 when he moved to Palestine. In 1941 he
moved to the U.S. where he established a successful general practice.
While practicing, he lectured to students and wrote articles for
newspapers and magazines.
• Mendelsohn is a pioneer of the Art Deco and Streamline

Moderne architecture, notably with his 1921 Mossehaus design.

FRANK LLOYD WRIGHT
•WORKS
• Boomer Residence, at Phoenix, Arizona, 1953.
Coonley House, at Riverside, Illinois, 1908.
D. D. Martin House, at Buffalo, New York, 1904.
Ennis House, at Los Angeles, California, 1923.
Fallingwater, at Ohiopyle, (Bear Run), Pennsylvania, 1934 , 1938, 1948.
Guggenheim Museum, at New York, New York, 1956 to 1959.
Hanna Residence, at Palo Alto, California, 1936.
Imperial Hotel, at Tokyo, Japan, 1916 to 1922.
Jacobs House, Madison, at Madison, Wisconsin, 1936.
Jacobs House, Middleton, the Solar Hemicycle, at Middleton, Wisconsin,1944.
Johnson Wax Building, at Racine, Wisconsin, 1936 to 1939.

Larkin Building, at Buffalo, New York, 1904 , demolished 1950.
Marin Civic Center, at San Rafael, California, 1957.
Mrs. G. M. Millard House, at Pasadena, California, 1923.
Pfeiffer Chapel, at Lakeland, Florida, 1938.
Price Residence, at Paradise Valley, Arizona, 1954.
Price Tower, at Bartlesville, Oklahoma, 1952 to 1956.
Robie Residence, at Chicago, Illinois, 1909.
Rosenbaum House, at Florence, Alabama, 1939.
POST RENAISSANCE/MODERN Storer Residence, at Los Angeles, California, 1923.
ARCHITECTURE
FRANK LLOYD WRIGHT •WORKS
Taliesin, at Spring Green, Wisconsin, 1911 and 1925.
Taliesin West, at Scottsdale, Arizona, 1937 onward.
Wingspread, at Wind Point, Wisconsin, 1937.
Unitarian Meeting House, at Madison, Wisconsin, 1947 to 1951.
Unity Temple, at Oak Park, Illinois, 1906.
W. E. Martin House, at Oak Park, Illinois, 1903.
Walker Residence, at Carmel, California, 1948.
Ward Willits House, at Highland Park, Illinois, 1902.
Zimmerman House, at Manchester, New Hampshire, 1950.

FRANK LLOYD WRIGHT •Frank Lloyd Wright was born on June 8, 1867, in Richland Center,
Wisconsin. After college, he became chief assistant to architect Louis
Sullivan.
• Wright then founded his own firm and developed a style known as the
Prairie school, which strove for an "organic architecture" in designs for
homes and commercial buildings. Over his career he created numerous
iconic buildings. He died April 9, 1959.
• In 1885, the year Wright graduated from public high school in
Madison.
• Wright enrolled at the University of Wisconsin at Madison to study
civil engineering; in order to pay his tuition and help support his family,
he worked for the dean of the engineering department and assisted the
acclaimed architect Joseph Silsbee with the construction of the Unity
Chapel. The experience convinced Wright that he wanted to become an
architect, and in 1887 he dropped out of school to go to work for
Silsbee in Chicago.
• A year later, Wright began an apprenticeship with the Chicago
architectural firm of Adler and Sullivan, working directly under Louis
Sullivan, the great American architect best known as "the father of
skyscrapers." Frank Lloyd Wright home and studio, is considered his
first architectural masterpiece. It was there that Wright established his
own architectural practice upon leaving Adler and Sullivan in 1893.
FRANK LLOYD WRIGHT • Over the next several years, Wright designed a series of residences
and public buildings that became known as the leading examples of the
"Prairie School" of architecture. These were single-story homes with
low, pitched roofs and long rows of casement windows, employing only
locally available materials and wood that was always unstained and
unpainted, emphasizing its natural beauty. Wright's most celebrated
"Prairie School" buildings include the Robie House in Chicago and the
Unity Temple in Oak Park.
•Through experimentation, Wright developed the idea of the prairie

house - a long, low building with hovering planes and horizontal
emphasis. He developed these houses around the basic crucifix, L or T
shape and utilized a basic unit system of organization. He integrated
simple materials such as brick, wood, and plaster into the designs.

Robie Residence • Completed in 1910, the house Wright designed for Frederick C. Robie
is the consummate expression of his Prairie style.
• The house is conceived as an integral whole—site and structure,

interior and exterior, furniture, ornament and architecture, each
element is connected. Unrelentingly horizontal in its elevation and a
dynamic configuration of sliding planes in its plan, the Robie House is
the most innovative and forward thinking of all Wright’s Prairie houses.
•On the exterior, bands of brick and limestone anchor the building to
the earth, while overhanging eaves and dramatic cantilevered roofs
shelter the residence.
• The horizontality of the house is reinforced at every level of the design
—from the iconic roofline, to the very bricks and mortar of the building
itself. Through his use of materials, Wright achieves a remarkable
balance of tone and color, as iron-flecked brick harmonizes with the
iridescent leaded glass of the windows that encircle the building.
•Broad balconies and terraces cause interior and exterior space to flow
together, while urns and planters at every level were intended to bloom
with the seasons.

Robie Residence • The light-filled open plan is breathtaking in its simplicity—a single
room, comprising a living and dining space, divided only by a central
chimney. Doors and windows of leaded glass line the room, flooding
the interior with light. Iridescent, colored and clear glass composed in
patterns of flattened diamond shapes and diagonal geometries evoke
floral forms, while subtly echoing the plan and form of the building. In
his design of the Robie House.
•Wright achieves a dynamic balance between transparency and

enclosure, blurring the boundaries between interior space and the
world of nature beyond.

Robie Residence

Robie Residence

Falling water • Fallingwater is the name of a very special house that is built over a
waterfall. Frank Lloyd Wright, America’s most famous architect,
designed the house for his clients, the Kaufmann family. Fallingwater
was built between 1936 and 1939.
•Wright’s admiration for Japanese architecture was
important in his inspiration for this house, along with most of his work.
Just like in Japanese architecture, Wright wanted to create harmony
between man and nature, and his integration of the house with the
waterfall was successful in doing so.
• The house was meant to compliment its site while still competing
with the drama of the falls and their endless sounds of crashing water.
The power of the falls is always felt, not visually but through sound, as
the breaking water could constantly be heard throughout the entire
house.
•Fallingwater consists of two parts: The main house of the clients which
was built between 1936-1938, and the guest room which was
completed in 1939. The original house contains simple rooms furnished
by Wright himself, with an open living room and compact kitchen on
the first floor, and three small bedrooms located on the second floor.
The third floor was the location of the study and bedroom of Edgar Jr.,
the Kaufmann’s son.The rooms all relate towards the house’s natural
surroundings, and the living room even has steps that lead directly into
the water below.
Falling water

Falling water

Falling water

Falling water

Falling water

Falling water • The circulation through the house consists of dark, narrow
passageways, intended this way so that people experience a feeling of
compression when compared to that of expansion the closer they get
to the outdoors. The ceilings of the rooms are low, reaching only up to
6’4″ in some places, in order to direct the eye horizontally to look
outside. The beauty of these spaces is found in their extensions
towards nature, done with long cantilevered terraces. Shooting out at a
series of right angles, the terraces add an element of sculpture to the
houses aside from their function.
•The terraces form a complex, overriding horizontal force with their

protrusions that liberated space with their risen planes parallel to the
ground. In order to support them, Wright worked with engineers
Mendel Glickman and William Wesley Peters. Their solution was in the
materials. The house took on “a definite masonry form” that related to
the site, and for the terraces they decided on a reinforced-concrete
structure. It was Wright’s first time working with concrete for
residences and though at first he did not have much interest in the
material, it had the flexibility to be cast into any shape, and when
reinforced with steel it gained an extraordinary tensile strength.

Falling water

Falling water

Falling water •The exterior of Fallingwater enforces a strong horizontal pattern with
the bricks and long terraces. The windows on the facade have also have
a special condition where they open up at the corners, breaking the box
of the house and opening it to the vast outdoors. The perfection of
these details perfected the house itself, and even though the house
tends to have structural problems that need constant maintenance due
to its location, there is no question that Fallingwater, now a National
Historic Landmark, is a work of genius. From its daring cantilevers to its
corner window detail and constant sound of the waterfall, Fallingwater
is the physical and spiritual occurence of man and architecture in
harmony with nature.

Guggenheim Museum •The museum was established by the Solomon R. Guggenheim
Foundation in 1939 as the Museum of Non-Objective Painting, under
the guidance of its first director, the artist Hilla von Rebay . It adopted
its current name after the death of its founder, Solomon R.
Guggenheim, in 1952.
•In 1959, the museum moved from rented space to its current building,
a landmark work of 20th-century architecture. Designed by Frank Lloyd
Wright , the cylindrical building, wider at the top than the bottom, was
conceived as a "temple of the spirit".
• Its unique ramp gallery extends up from ground level in a long,
continuous spiral along the outer edges of the building to end just
under the ceiling skylight.
• The building underwent extensive expansion and renovations in 1992
• The Guggenheim Museum is an embodiment of Wright's attempts to
render the inherent plasticity of organic forms in architecture. His
inverted ziggurat (a stepped or winding pyramidal temple of Babylonian
origin) dispensed with the conventional approach to museum design,
which led visitors through a series of interconnected rooms and forced
them to retrace their steps when exiting. Instead, Wright whisked
people to the top of the building via elevator, and led them downward
at a leisurely pace on the gentle slope of a continuous ramp.
Guggenheim Museum •The building is a symphony of triangles, ovals, arcs, circles, and
squares. Forms echo one another throughout: oval-shaped columns, for
example, reiterate the geometry of the fountain and the stairwell of the
Than nhauser Building. Circularity is the leitmotif, from the rotunda to
the inlaid design of the terrazzo floors.
• The Solomon R. Guggenheim Museum of New York, is a gift of pure

architecture—or rather of sculpture. It is a continuous spatial helix, a
circular ramp that expands as it coils vertiginously around an
unobstructed well of space capped by a flat-ribbed glass dome. A
seamless construct, the building evoked for Wright 'the quiet unbroken
wave.'..."

Guggenheim Museum

Guggenheim Museum

Guggenheim Museum

Guggenheim Museum

Ludwig Mies van der Rohe •Works
•Barcelona Pavilion, at Barcelona, Spain, built 1928-1929,
demolished 1930.
Crown Hall, at Chicago, Illinois, 1950 to 1956.
Farnsworth House, at Plano, Illinois, 1946 to 1950.
H. Lange House, at Krefeld, Germany, 1928.
Lake Shore Drive Apartments, at Chicago, Illinois, 1948 to 1951.
New National Gallery, at Berlin, Germany, 1962 to 1968.
Seagram Building, at New York, New York, 1954 to 1958.
Tugendhat House, at Brno, Czech Republic, 1930.
Weissenhof Apartments, at Stuttgart, Germany, 1927.

Ludwig Mies • was born in aachen, germany, on march 27, 1886.
van der Rohe •After having trained with his father, a master stonemason.
at 19 he moved to berlin, where he worked for bruno paul, the art
nouveau architect and furniture designer.
• At 20 he received his first independent commission,
to plan a house for a philosopher (alois riehl). in 1908 he began working
for the architect peter behrens. he studied the architecture of the
Prussian Karl fried rich schinkel and frank Lloyd Wright. he opened his
own office in Berlin in 1912
• He is commonly referred to and was addressed as Mies, his surname.
Along with Le Corbusier and Frank Lloyd Wright, he is widely regarded as
one of the pioneering masters of modern architecture.
• Mies, like many of his post-World War I contemporaries, sought to
establish a new architectural style that could represent modern times
just as Classical and Gothic did for their own eras.
He created an influential twentieth-century architectural style, stated
with extreme clarity and simplicity. His mature buildings made use of
modern materials such as industrial steel and plate glass to define
interior spaces. He strove toward an architecture with a minimal
framework of structural order balanced against the implied freedom of
free-flowing open space
Ludwig Mies • He called his buildings "skin and bones" architecture. He sought a
van der Rohe rational approach that would guide the creative process of architectural
design, but he was always concerned with expressing the spirit of the
modern era. He is often associated with his quotation of the aphorisms,
"less is more" and "God is in the details".
•He made major contributions to the architectural philosophies of the

late 1920s and 1930s as artistic director of the Werkbund-sponsored
Weissenh of project and as Director of the Bauhaus.

Barcelona Pavilion •The Barcelona Pavilion designed byLudwig Mies van der Rohe, was
the German Pavilion for the 1929 International Exposition in Barcelona,
Spain.
• This building was used for the official opening of the German section of
the exhibition. It is an important building in the history of modern
architecture, known for its simple form and its spectacular use of
extravagant materials, such as marble, red onyx and travertine.
• The same features of minimalism and spectacular can be applied to the
prestigious furniture specifically designed for the building, among which
the iconic Barcelona chair. It has inspired many important modernist
buildings, including Michael Manser's Capel Manor House in Kent.
•Mies was offered the commission of this building in 1928 after his
successful administration of the 1927 Werkbund exhibition in Stuttgart.
•The German Republic entrusted Mies with the artistic management and
erection of not only the Barcelona Pavilion, but for the buildings for all the
German sections at the 1929 International Exhibition. However, Mies had
severe time constraints—he had to design the Barcelona Pavilion in less
than a year—and was also dealing with uncertain economic conditions.

Barcelona Pavilion
• he building stood on a large podium alongside a pool. The structure itself consists of eight
steel posts supporting a flat roof, with curtain walls of glass and a small number of partition
walls. Mies designed his now famous Barcelona chair especially for this building.

Barcelona Pavilion

Barcelona Pavilion
•The pavilion was going to be bare, no trade exhibits, just the structure accompanying a single
sculpture and purpose-designed furniture (the Barcelona Chair). This lack of accommodation
enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The
design was predicated on an absolute distinction between structure and enclosure—a regular
grid of cruciform steel columns interspersed by freely spaced planes“
•The structure was more of a hybrid style, some of these planes also acted as supports.
• The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-
shaped enclosure, also of travertine, helps form a service annex and a large water basin.
•The floor slabs of the pavilion project out and over the pool—once again connecting inside and
out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin.
This is where the statue by Georg Kolbe sits. The roof plates, relatively small, are supported by
the chrome-clad, cruciform columns. This gives the impression of a hovering roof.
•Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof
plane down, not to be bearing its weight
•Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who
should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a
real exhibition space, the building itself was to become the exhibit.
Seagram Building •The Seagram Building is a skyscraper, located at 375 Park Avenue,
between 52nd Street and 53rd Street in Midtown Manhattan, New York
City. The structure was designed by German architect Ludwig Mies van der
Rohe while the lobby and other internal aspects were designed by Philip
Johnson.
•The building stands 515 feet (157 m) tall with 38 stories, and was
completed in 1958. It stands as one of the finest examples of
the functionalist aesthetic and a masterpiece of corporate modernism. It
was designed as the headquarters for the Canadian distillers Joseph E.
Seagram's & Sons with the active interest of Phyllis Lamber.
•This structure, and the International style in which it was built, had
enormous influences on American architecture. One of the style's
characteristic traits was to express or articulate the structure of buildings
externally.
•It was a style that argued that the functional utility of the building’s
structural elements when made visible, could supplant a formal decorative
articulation; and more honestly converse with the public than any system
of applied ornamentation

Seagram Building •A building's structural elements should be visible, Mies thought. The
Seagram Building, like virtually all large buildings of the time, was built of
a steel frame, from which non-structural glass walls were hung. Mies
would have preferred the steel frame to be visible to all; however,
American building codes required that all structural steel be covered in a
fireproof material, usually concrete, because improperly protected steel
columns or beams may soften and fail in confined fires.
•Concrete hid the structure of the building — something Mies wanted to
avoid at all costs — so Mies used non-structural bronze-toned I-beams to
suggest structure instead. These are visible from the outside of the
building, and run vertically, like mullions, surrounding the large glass
windows.
•This method of construction using an interior reinforced concrete shell to
support a larger non-structural edifice has since become commonplace. As
designed, the building used 1,500 tons of bronze in its construction.
• The 38-story structure combines a steel moment frame and a steel and
reinforced concrete core for lateral stiffness. The concrete core shear walls
extend up to the 17th floor, and diagonal core bracing (shear trusses)
extends to the 29th floor.

Seagram Building •
According to Severud Associates, the structural engineering consultants, it
was the first tall building to use high strength bolted connections, the first
tall building to combine a braced frame with a moment frame, one of the
first tall buildings to use a vertical truss bracing system and the first tall
building to employ a composite steel and concrete lateral frame

Buckminster Fuller Richard Buckminster "Bucky" Fuller (July 12, 1895 – July 1, 1983)
was an American neo-futuristic architect, systems theorist, author,
designer, and inventor.
•Fuller published more than 30 books, coining or popularizing terms
such as "Spaceship Earth", ephemeralization, and synergetic. He also
developed numerous inventions, mainly architectural designs, and
popularized the widely known geodesic dome. Carbon molecules
known as fullerenes were later named by scientists for their
resemblance to geodesic spheres.
•He often made items from materials he brought home from the
woods, and sometimes made his own tools. He experimented with
designing a new apparatus for human propulsion of small boats. By
the age of 12 he had "invented" a 'push pull' system for propelling a
row boat through the use of an inverted umbrella connected to the
transom with a simple oar lock which allowed the user to face forward
to point the boat toward its destination. Later in life Fuller took
exception to the term "invention“
•Years later, he decided that this sort of experience had provided him
with not only an interest in design, but also a habit of being familiar
with and knowledgeable about the materials that his later projects
would require.

Buckminster Fuller • Fuller earned a machinist's certification, and knew how to use
the press brake, stretch press, and other tools and equipment used in
the sheet metal trade.
•For the next half-century, Fuller developed many ideas, designs and
inventions, particularly regarding practical, inexpensive shelter and
transportation. He documented his life, philosophy and ideas
scrupulously by a daily diary (later called the Dymaxion Chronofile),
and by twenty-eight publications. Fuller financed some of his
experiments with inherited funds.
•Fuller was most famous for his lattice shell structures – geodesic
domes, which have been used as parts of military radar stations, civic
buildings, environmental protest camps and exhibition attractions. An
examination of the geodesic design by Walther Bauersfeld for
the Zeiss-Planetarium, built some 20 years prior to Fuller's work,
reveals that Fuller's Geodesic Dome patent

Buckminster Fuller • A geodesic dome is a spherical or partial-spherical shell structure or
lattice shell based on a network of great circles(geodesics) on the
surface of a sphere. The geodesics intersect to
form triangular elements that have local triangular rigidity and also
distribute the stress across the structure. When completed to form a
complete sphere, it is a geodesic sphere. A dome is enclosed, unlike
open geodesic structures such as playground climbers.
•Geodesic designs can be used to form any curved, enclosed space.

Standard designs tend to be used because unusual configurations may
require complex, expensive custom design of each strut, vertex and
panel.

Frei Otto Frei Paul Otto (31 May 1925 – 9 March 2015) was a German architect
and structural engineer noted for his use of lightweight structures, in
particular tensile and membrane structures, including the roof of the
Olympic Stadium in Munich for the 1972 Summer Olympics.
•Otto was born in Siegmar, Germany, and grew up in Berlin. He

studied architecture in Berlin before being drafted into the
Luftwaffe as a fighter pilot in the last years of World War II.
•After the war he studied briefly in the US and visited Erich
Mendelsohn, Mies van der Rohe, Richard Neutra , and Frank Lloyd
Wright.
•He began a private practice in Germany in 1952. His saddle-shaped
cable-net music pavilion at the Bundesgartenschau(Federal Garden
Exposition) in Kassel brought him his first significant attention. He
earned a doctorate in tensioned constructions in 1954.
•Otto specialised in lightweight tensile and membrane structures, and
pioneered advances in structural mathematics and civil engineering.
• He founded the Institute for Lightweight Structures at the University

of Stuttgart in 1964 and headed the institute until his retirement as
university professor.

Frei Otto • Major works include the West German Pavilion at the Montreal Expo
in 1967 and the roof of the 1972 Munich Olympic Arena.

Le Corbusier • Charles-Édouard Jeanneret-Gris, who was better known as
Le Corbusier (October 6, 1887 – August 27, 1965), was a Swiss-
French architect, designer, painter, urban planner, writer, and one of
the pioneers of what is now called modern architecture.
• His architecture, he chiefly built with steel and reinforced concrete
and worked with elemental geometric forms. Le Corbusier’s painting
emphasized clear forms and structures, which corresponded to his
architecture.
• At age 13, Le Corbusier left primary school to attend Arts Décoratifs
at La Chaux-de-Fonds, where he would learn the art of enameling and
engraving watch faces, following in the footsteps of his father.
• L’Eplattenier taught Le Corbusier art history, drawing and the
naturalist aesthetics of art nouveau. continued his studies in art and
decoration, intending to become a painter. L’Eplattenier insisted that
his pupil also study architecture, and he arranged for his first
commissions working on local projects.
• After designing his first house, in 1907, at age 20, Le Corbusier took
trips through central Europe and the Mediterranean, including Italy,
Vienna, Munich and Paris. His travels included apprenticeships with
various architects, most significantly with structural rationalist Auguste
Perret, a pioneer of reinforced concrete construction, and later with
renowned architect Peter Behrens, with whom Le Corbusier worked
from October 1910 to March 1911, near Berlin.
Le Corbusier • These trips played a pivotal role in Le Corbusier’s education. He
made three major architectural discoveries. In various settings, he
witnessed and absorbed the importance of
1 the contrast between large collective spaces and individual
compartmentalized spaces, an observation that formed the basis for
his vision of residential buildings and later became vastly influential;
2 classical proportion via Renaissance architecture; and (3) geometric
forms and the use of landscape as an architectural tool.
• In 1912, Le Corbusier returned to La Chaux-de-Fonds to teach
alongside L’Eplattenier and to open his own architectural practice. He
designed a series of villas and began to theorize on the use of
reinforced concrete as a structural frame, a thoroughly modern
technique.
•Corbusier prepared the master plan for the planned city

of Chandigarh, India, and contributed specific designs for several
buildings there.

Villa Savoye • Villa Savoye is a modernist villa in Poissy, in the outskirts
of Paris, France. It was designed by Le Corbusier and his cousin, Pierre
Jeanneret, and built between 1928 and 1931 using reinforced
concrete.
• A manifesto of Le Corbusier's "five points" of new architecture, the
villa is representative of the bases of modern architecture, and is one
of the most easily recognizable and renowned examples of
the International style.
1. The pilotis, or ground-level supporting columns, elevating the
building.
2. A flat roof terrace reclaims the area of the building site for
domestic purposes, including a garden area.
3. The free plan, made possible by the elimination of load-bearing
walls.
4. Horizontal windows provide even illumination and ventilation.
5. The freely-designed facade, unconstrained by load-bearing
considerations, consists of a thin skin of wall and windows.
• The mass of the building hovers above a grass plane on thin

concrete pilotti, with strip windows, and a flat roof with a deck
area, ramp, and a few contained touches of curvaceous walls.

Villa Savoye • The intention was to cause as little disturbance as possible to the
existing natural surroundings. Le Corbusier put a lot of consideration
into how people were to experience the house. The approach and
initial experiences were of great importance, arriving by vehicle at the
site would be integrated into the experience of the house. The house
would appear majestically from behind a screen of thick trees, thus
maximising the impact.
• On the ground floor he placed the main entrance hall, ramp and
stairs, garage, chauffeur and maid's rooms. At first floor the master
bedroom, the son's bedroom, guest bedroom, kitchen, salon and
external terraces. The salon was oriented to the south east whilst the
terrace faced the east. The son's bedroom faced the north west and
the kitchen and service terrace were on the south west. At second
floor level were a series of sculpted spaces that formed a solarium.
• The plan was set out using the principal ratios of the Golden section:
in this case a square divided into sixteen equal parts, extended on two
sides to incorporate the projecting façades and then further divided to
give the position of the ramp and the entrance.
• The four columns in the entrance hall seemingly direct the visitor up
the ramp. This ramp, that can be seen from almost everywhere in the
house continues up to the first floor living area and salon before
continuing externally from the first floor roof terrace up to the second
floor solarium
Villa Savoye

Villa Savoye
The horizontal ribbon windows found in his earlier villas. Unlike his contemporaries, Corbusier
often chose to use timber windows rather than metal ones. It has been suggested that this is
because he was interested in glass for its planar properties and that the set-back position of the
glass in the timber frame allowed the façade to be seen as a series of parallel planes.
City Beautiful Movement • The City Beautiful Movement was a reform philosophy of North
American architecture and urban planning that flourished during the
1890s and 1900s with the intent of
introducing beautification andmonumental grandeur in cities. The
movement, which was originally associated mainly
withChicago, Cleveland, Detroit, and Washington, D.C., promoted
beauty not only for its own sake, but also to create moral and civic
virtue among urban populations.
• Advocates of the philosophy believed that such beautification could
thus promote a harmonious social order that would increase the
quality of life, while critics would complain that the movement was
overly concerned with aesthetics at the expense of social
reform; Jane Jacobs referred to the movement as an "architectural
design cult.
• The movement began in the United States in response to crowding
in tenement districts, a consequence of high birth rates, increased
immigration and consolidation of rural populations into cities. The
movement flourished for several decades, and in addition to the
construction of monuments, it also achieved great influence in urban
planning that endured throughout the 20th century, in particular in
regard to the later creation of housing projects in the United States.

City Beautiful Movement • The "Garden City" movement in Britain influenced the
contemporary planning of some newer suburbs of London, and there
was cross-influence between the two aesthetics, one based in formal
garden plans and urbanization schemes and the other, with its
"semi-detached villas" evoking a more rural atmosphere.
• The particular architectural style of the movement borrowed
mainly from the contemporary Beaux Arts and neoclassical
architectures, which emphasized the necessity of order, dignity, and
harmony.
•
•The first large-scale elaboration of the City Beautiful occurred
during the World's Columbian Exposition of 1893 in Chicago. The
planning of the exposition was directed by architect Daniel Burnham,
who hired architects from the eastern United States, as well as
the sculptor Augustus Saint-Gaudens, to build large-scale Beaux-Arts
monuments that were vaguely classical with uniform cornice height.
The exposition displayed a model city of grand scale, known as the
"White City", with modern transport systems and no poverty visible.
The exposition is credited with resulting in the large-scale adoption
of monumentalism for American architecture for the next 15
years. Richmond, Virginia's Monument Avenue is one expression of
this initial phase.
City Beautiful Movement • The City Beautiful movement also looked to examples inEurope of
“broad public squares and avenues surrounded by buildings in a
coordinatedarchitectural style” such as Trafalgar Square (Fig. 3) in
London, England; Place DomPedro (Fig. 4) in Lisbon, Portugal; Place
de la Concorde, Avenue des Champs-Élysées,the Louvre, and Palais
Royal (Fig. 5) in Paris, France; and Unter den Linden (Fig. 6) inBerlin,
Germany.

City Beautiful Movement • The City Beautiful movement continues to influence the city
planning methods oftoday without the limit of the Beaux-Arts
style. In addition to architecture and landscapeinfluences, the
reform ideas of the City Beautiful movement continue to have an
impacton the socio-political discussions of today

The Garden Cities •It was conceived by Ebenezer Howard in 1898 in the book titled
by Ebenezer Howard ‘Tomorrow’
•A town designed for healthy living and industry of a size that makes
possible a full measure of social life but not larger, surrounded by a
rural belt; the whole of the land being in public ownership, or held in
trust for the community.
•It came about because he was disturbed by the depressing ugliness,
haphazard growth and unhealthy conditions of the cities.
•Ex.- Letchworth, Welwyn
•It is a complete unit having all facilities, like residences, schools ,
factories, etc. The cities have a specific population and area, i.e.,
approx. 30 people per acre.
•The land would remain in the single ownership of the community.
•The dwellings would be distributed about a large central court in
which the public buildings would be located. The shopping centre
would be on the edge of the town and industries on the outskirts.
•The city would have a population of about 30,000 people in an area
of 1,000 acres. Surrounding the entire city would be a permanent
belt of agricultural land of 5,000 acres.
•There would be no necessity for rapid transportation systems.
•There were both arterial and communication roads.
•There should be as much green space as possible around a house
and the city.
The Garden Cities •He illustrated the idea with his famous Three Magnets diagram
by Ebenezer Howard (pictured), which addressed the question 'Where will the people
go?', the choices being 'Town', 'Country' or 'Town-Country'. Garden
Cities of Tomorrow proposed that society be reorganised with
networks of garden cities that would break the strong hold of
capitalism and lead to cooperative socialism

The Garden Cities
by Ebenezer Howard

The Garden Cities
by Ebenezer Howard

The Garden Cities •First garden city to be built. Situated 34 miles north of London. 4500
acres in size.
LETCHWORTH •Designed for 35,000 population with an agricultural belt of 3000
acres. In 30 years, grown to a population of 15,000 and 150 shops
plus 60 industries.
•The original land on which Letchworth was built cost the First
Garden City, Ltd £160, 378 and covered 3826 acres. However, more
land was purchased and the property increased to 4710 acres.
•The Letchworth garden city was to sustain a population of between
30,000 and 35,000 people, and would be laid out as Howard
explained in his book.There would be a central town, agricultural
belt, shops, factories, residences, civic centres and open spaces, this
division of land for specific purposes is now referred to as zoning and
is an important practice within town planning.
•Howard constructed Letchworth as an example of how the Garden
City could be achieved, and hoped that in its success many other
towns would be built emulating the same ideals. Some criticisms of
Letchworth exist, claims it to too spacious and there are few
architecturally impressive designs. However, it can be argued the
space is what makes Letchworth pleasant, and the architecture,
while not highly impressive and uniform, has consistency of colour
and is satisfying to the needs of the people.
The Garden Cities •
LETCHWORTH Planning Features :
• Specific areas permitted only specific types of buildings, ex. Only
factories and workshops in industrial zone.
•The city could not expand into the green agricultural belt
surrounding it, hence land value increased within the city.
•The railway system is efficiently shared by the commercial,
industrial and residential parts of the city.

The Garden Cities •Welwyn Garden City was the second garden city in England
WELWYN (founded 1920) and one of the first new towns (designated 1948).
•It is unique in being both a garden city and a new town and
exemplifies the physical, social and cultural planning ideals of the
periods in which it was built.
•Started in 1920, the second garden city. Situated 20 miles north of

London. Size – 2,400 acres, designed for a population of 40,000
people. In 27 years, it had a population of 18,000 and 70 industries.
Welwyn was an area of woodlands and open fields before the

garden city was constructed.Welwyn was Howard's second Garden
City after Letchworth.Howard purchased the land with £5000
borrowed from friends. Welwyn captured the charm of the
countryside and managed to stay unspoiled by urbanisation. The
architecture in Welwyn has been described as pleasant, and the
residential cottages with their wide roads and open spaces make
Welwyn a refreshing picture when compared to London of the time.
After 10 years of existence Welwyn had a population of 10,000, with
well-established residential, industrial and commercial zones.In 1930
the health of Welwyn inhabitants was considered greater than those
living in London, as Welwyn recorded lower death rates and infant
mortality rates.
The Garden Cities • The increased health in Welwyn was understood to be due to the
WELWYN principles of the Garden City.
It could be argued that Welwyn fell short of Howard's ideals, Howard
wanted investors to invest for the sake of philanthropy, but investors
wanted returns and local democracy failed with an exclusive
government group formed. Finally, Welwyn was marketed as a
middle class commuter suburb, entirely disrespecting the garden city
ideals of a self-reliant city
Planning Features :
• The railway network functions in two perpendicular axes, catering
to all zones efficiently. The commercial area was located centrally,
catering to the residential and the industrial areas.
•The city could not expand into the green agricultural belt
surrounding it, hence land value increased within the city.

The Garden Cities • After the partition of India in 1947, a search was launched to find a
CHANDIGARH capital for East Punjab. The state government appointed a
committee under the chairmanship of P.L. Verma in 1948. After
through survey, the existing town were rejected for fresh
development of a new capital city on an open site.
• After considering various possibilities, the team expert chose the
site, located 260 km from Delhi. The site was found suitable due to
fairly central location in the state, availability of sufficient water with
Shivalik hills in background, this state also help promise of science
beauty and imaginative.
•The conception of the city has been formulated on the basis of four
major function: living, working, care of the body & Spirit and
circulation.
•The roads were slightly curved to follow major traffic arteries would
appear dull and monotonous if kept straight, the capital complex
was proposed at the northern end of the city. The city centre
laterally in the center and the industrial sector in the east, two
natural valley which run across the site were proposed to be
developed park strip. “super block” become the unit of housing each
with 500meterby 1000 meter dimension.
The Garden Cities
CHANDIGARH

The Garden Cities
CHANDIGARH

The Garden Cities
CHANDIGARH

The Garden Cities • Each super block is made of three block which would contain
CHANDIGARH housing, school and shopping centers, etc.
•Three types of housing for low, middle and high income groups
were planned around the central green space. He also planned one
super block to accommodate the low income group. For out door
recreation, the sector greens cut through the each neighborhood,
enabling the resident to view without obstruction the changing of
panorama of Shivalik range.
•The sector traversed only slow traffic streets, fast-traffic roads being
restricted to its periphery. This ensure tranquility and safety within
the living spaces. A novel feature of Chandigarh’s Master plan is the
scheme of traffic segregation, called 7Vs developed by Le Corbusier.
It establishes a hierarchy of traffic circulation.
•Le Corbusier visited the site on february 18, 1951and discussed the
Master plan with Jeanneret and Fry. He said “ the site is marvellous.
It is big chance to have such a view. I admire Thaper and Vema. They
have seen the possibilities of the site. They are big man. The
landscape all over will be open”. The Indian government gave the
maximum possible freedom to the architecture to design the new
city, but shortage of funds, labour oriented technology and variation
in climate were constraints which played a major role in design.
The Garden Cities • The master plan, which was to be realized in two phases due to
CHANDIGARH economic constraints, catered to a total population of half
supporting units, known as sector, covering an area of 3.642
hectares and catering to the needs of the 1,500,000 persons. The
second phased was envisaged for much higher density with 17
sector road over an area of 2.428 hectares to accommodate
3,50,000 persons.
• Corbusier simplified Mayer's curvilinear road system by adopting
the grid iron pattern of straight roads because circulation of traffic
demand a straight line; the curve is ruinous, difficult and dangerous;
it is paralyzing thing. The straight line enter in to all human act.
Towns are biological phenomena, according to Corbusier, and they
have a brain, heart, lungs, limbs and arteries like human beings.
The capital complex was placed at the top of town because he
linked it to the intellect of man, which emanates from the brain or
the head.
The industrial and institutional belt on either side of the city
symbolize the limbs. The city centre with commercial buildings,
shops and office represents the heart.
 The spacious park and green belt which run through the city
provide the lungs. The network of roads for vehicular traffic and foot
paths for pedestrians constitutes the circulatory system.
The Garden Cities • The spacious park and green belt which run through the city
CHANDIGARH provide the lungs. The network of roads for vehicular traffic and foot
paths for pedestrians constitutes the circulatory system.
•The basic planning unit of the city a sector, 800 by 1200 meters with
a population varying between 3,000 and 20,000 depending upon the
size of the plot and the topography of the area. The dimension of the
sector are derived from a “modular” conception.
• Each sector is based on the concept of neighborhood unit which
ensure necessities like shops, education, health centre, place of
recreation and workshop within a walk able distance.
• Each house has its own open courtyard and each group of houses
has a central open space. Although the plans of the sectors has not
identical, they follow the same basic principles.
•The shop are located along roads which run north-west to south-
east across the sector. The building designed as three-storied shop-
cum-flats, with shops on ground floor and residential on upper floor
for the shop owner, keeping in view the Indian shop owner.

The Garden Cities The road system of Chandigarh is based on the 7 ‘Vs’
CHANDIGARH •V1 : Regional highway leading up to the city from outside.
•V2 : Immediately the succession of V1 at the periphery of the city.
•V3 : surrounded the sector forming grid iron pattern of city.
•V4 : shopping streets, usually linking with those in adjoining sector.
•V5 : neighborhood street typically a loop road going round the
interior of sector.
•V6 : Access – lanes to houses.
•V7 : Pedestrian path, and cycle-tracks to be planned throughout the
city meandering through its green spaces.
• Le Corbusier designed the four building which he called on capital

includes, high court, assembly hall, secretariat and museum, open
hand.
• Open hand indicate “OPEN TO GIVE AND OPEN TO RECEIVE”.
•Recreational facilities are important aspect of today life. They
increase the living standard of the people for general health and
being of the community. Recreational facilities are important for
people of all age groups can avail this facility.
•The green band open space runs from one sector to another
through the residential units, to the commercial centre.
•There is provision for large central parks and sufficient open spaces
in all sector.
•A green belt surrounds the city.
The Garden Cities
CHANDIGARH

The Garden Cities •There is provision for large central parks and sufficient open spaces
CHANDIGARH in all sector.
•A green belt surrounds the city.
•Industries are placed at the outskirt of city and 600 acres land have
set a side for factories.
• Industrial building are near railway station for easy transportation.
• industrial building are located in southern side.
• A green belt of 100 by 150 meter segregate the residential part
with industries.
• the industries sector is planned leeward of the city is free from
smell noise dust etc.
• waste material is treated and then set in open ground.

The Garden Cities •The town is bounded on the north by double rows of low
CHANDIGARH picturesque Sivalik hills and enclosed on either side by two river
beds nearly 5 km. apart, with the himalayas as a permanent
background.
•The town is located some 8km of Delhi-Kalka road. Maximum
advantage is taken of its wealth of natural beauty. Its scenic charm is
further enhanced by forming an artificial lake on its northern part by
obstructing the Sukhna-chose River. A beautiful park now surrounds
the lake.
• The capital has planned landscape. The landscape architect has
determined what kind trees should grow and where. It has given
Chandigarh distinctive character from architectural point of view. For
example , a illiterate person can easily identify a road from the kind
of trees that grow along the sides. All open spaces along the roads
are grassed. Water basins and fountain are laid at suitable place.

History of Architecture and Human Settlements - Iv

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HISTORY OF ARCHITECTURE AND HUMAN SETTLEMENTS – IV

SECOND YEAR B.ARCH

POST RENAISSANCE/MODERN ARCHITECTURE

Prof. Ar. Varun Bhamare

POST RENAISSANCE/MODERN ARCHITECTURE

POST RENAISSANCE/MODERN ARCHITECTURE

• Neo-Renaissance architecture, because of its diversity, is

POST RENAISSANCE/MODERN ARCHITECTURE

• This transition included going from hand production

• Major inventions the steam engine : invented by james

• Railway-a meaningful symbol of the new age which in

• Invention of building materials .Cast iron, an essentially

•Glass can be manufactured in larger sizes and volumes.

•Buildings could be constructed into any shape

POST RENAISSANCE/MODERN ARCHITECTURE

•Metals were not available in sufficient quantity or

•In 1800, the worldwide tonnage of Iron produced was

•The least processed form, cast iron, was brittle due to a

•The new materials were not just used as skeletal

•The Industrial Revolution provided more than just ferrous

•The result was a strong, economical, easily produced

POST RENAISSANCE/MODERN ARCHITECTURE

POST RENAISSANCE/MODERN ARCHITECTURE

• It is a style of decoration and architectural detail popular

• Art Nouveau (French for "New Style") was popularized

• It embraced all forms of art and design: Architecture,

• This was a sharp contrast to the traditional separation of

•Pierre Fran castel divides Art Nouveau into two main

•Mackintosh school Gaudi houseGlasglow, Scotland

•An abstract, structural style with A floral approach

•Possibly its greatest influence was on 20th-century

•Graphic art such as illustration and poster-design.

POST RENAISSANCE/MODERN ARCHITECTURE

• Bauhaus, was an art school in Germany that combined

•The Bauhaus was first founded by Walter Gropius in Weimar.

•Under three different architect-directors: Walter

•Just as important was the influence of the 19th century

•The design innovations commonly associated

POST RENAISSANCE/MODERN ARCHITECTURE

•The influence of the Bauhaus on design education was

POST RENAISSANCE/MODERN ARCHITECTURE

•In 1849 Prince Albert, husband of Queen Victoria and president

•The Crystal Palace, designed by Sir Joseph Paxton, was a

•Built out of prefabricated and wrought-iron elements and based

•The Crystal Palace established an architectural standard for later

POST RENAISSANCE/MODERN ARCHITECTURE

POST RENAISSANCE/MODERN ARCHITECTURE

•Sullivan has been called the "father of skyscrapers" and "father of

•Behren can be considered a key figure in the transition from

POST RENAISSANCE/MODERN ARCHITECTURE

• Mendelsohn is a pioneer of the Art Deco and Streamline

POST RENAISSANCE/MODERN ARCHITECTURE

Johnson Wax Building, at Racine, Wisconsin, 1936 to 1939.

POST RENAISSANCE/MODERN ARCHITECTURE

•Through experimentation, Wright developed the idea of the prairie

POST RENAISSANCE/MODERN ARCHITECTURE

• The house is conceived as an integral whole—site and structure,

POST RENAISSANCE/MODERN ARCHITECTURE

•Wright achieves a dynamic balance between transparency and

POST RENAISSANCE/MODERN ARCHITECTURE

POST RENAISSANCE/MODERN ARCHITECTURE

POST RENAISSANCE/MODERN ARCHITECTURE

POST RENAISSANCE/MODERN ARCHITECTURE