MODERNISM WHEN INTRODUCED WAS HEAVILY CRITIZED, RESULTING INTO NEW

THEORIES AND JUSTIFICATIONS. CHARLES JENCKS AND KARL KROPH PRESENTS KEY
ARGUMENTS OF PHILOSOPHERS AND GURUS.

JAMES STIRLING (ARCHITECT)

IN HIS CRITIQUE, HE STATES HIS REVERENCE TOWARDS LE CORBUSIER AND ALSO HOW
HIS WORKS INSPIRED CONFUSION. ARCHITECT SAYS, VILLA GARCHES OF LE CORB IS A
PERFECT EXAMPLE OF NEO PALLADISM IN MODERN ARCHITECTURE AS EACH ELEMENT
IS POSITIONED TO EXACT GEOMETRY WHILE IN JAOUL, WITH EXCEPTION OF GLASS
THERE IS NO SYNTHETIC MATERIAL USED AND ALL WORK IS DONE BY LABOURERS, SO IN
TERMS OF TECHNOLOGY THERE IS NO ADVANCEMENT ON MEDIVIAL BUILDINGS.
ARCHITECT THAN COMPARES RONCHAMP CHAPEL ‘S OPENINGS WITH DE STIJIL ART
MOVEMENT.

KEVIN LYNCH(URBAN THEORIST)

THE IMAGE OF THE CITY BOOK PUBLISHED WHEN THE ARIDITY OF MODERNIST
THEORIES OF URBANISM REACHED EXTREME. THIS BOOK DISPLAYS PRAGMATIC
APPROACH TO URBAN FORM. THE ANALYSIS LIMITS ITSELF TO PHYSICAL AND
PERCEPTIBLE OBJECTS.BOOK REFERS TO 5 PHYSICAL FORMS NAMELY PATHS, EDGES,
DISTRICTS,NODES AND LANDMARKS.
HE ALSO PROVIDED WITH POINTS TO CONSIDER TO HIGHTEN URBAN ENVIRONMENT
1. SHARP BOUNDARIES
2. CLEAR AND SHARP FORM IN GEOMETRICAL SENSE.
3. CONTINUITY OF EDGE.
4. DOMINANCE OF ONE PART OVER OTHER BY MEANS OF SIZE AND INTENSITY
RESULTING OF THE WHOLE AS A PRINCIPLE FEATURES WITH ASSOSIATED CLUSTER.
5. CLEAR AND HIGH VISIBILITY OF JOINTS.
6. DIRECTIONAL DIFFERENTIATION:- GRADIENTS, ASSYMETRIES AND RADIAL
REFERENCES.
7. VISUAL SCOPE:- TRANSPERENCY, VISTA AND PANAROMAS.
8. NAMES AND MEANINGS.

JOHN HEBRAKEN(ARCHITECT)

THE ARCHITECT BELIEVES THAT BUILT ENVIRONMENT IS A LIVING THING. HE

INTRODUCES A SYSTEM OF SUPPORT STRUCTURES WHICH FOCUSES ON OVERALL
GEOMETRY ON URAN LEVEL, THAN CLUSTER LEVEL, THAN BUILDING LEVEL AND THAN
ON LAYOUT LEVEL RATHER THAN JUST FOLLOWING A MODERN BUILDING .

JANE JACOBS(JOURNALIST)

THE DEATH AND LIFE OF GREAT AMERICAN CITIES IS A BOOK WRITTEN BY JANE
JACOBS.IN IT SHE GIVES CERTAIN GUIDELINES FOR URBAN SCALE MODELS.

CLEAR DEMARCATION OF PUBLIC AND PRIVATE SPACE ON STREET. SIDEWALKS MUST

HAVE USERS ON IT CONTINUOUSLY. MOST OF THE BLOCKS MUST BE SHORT.(I.E.STREETS
AND OPPORTUNITIES TO TURN MUST BE FREQUENT)
DISTRICTS MUST HAVE SUFFICIENT DENSE CONCENTRATION OF PEOPLE.A CAN NOT BE A
WORK OF ART, IT SHOULD BE PLANNED WITH PROPER GUIDELINES AND CLARITY.

ALDO VAN EYCK (ARCHITECT)

ALDO VAN EYCK CONSTRUCTED VERY MODERN BUILDINGS BUT THEY DO HAVE
SUPRISES OF POSTMODERN ELEMENTS.

THE ARCHITECT TALKS ABOUT THE IN BETWEEN REALM BETWEEN TWO SPACES AND
BELIEVES THAT BOTH THE SPACES SHOULD DISSOLVE IN BETWEEN CITY AND HOUSE,
OUTSIDE AND INSIDE, LAND AND SEA AND BELIEVES THAT IT SOFTENS THE BOUNDARY
OF SPACE OFFERING THE OCCASION TO HAPPEN.

CHRISTOPHER ALEXANDER (ARCHITECT)

A CITY IS NOT A TREE IS A BOOK WRITTEN BY THE ARCHITECT. IN THE BOOK THE
ARCHITECT DESCRIBES TWO TYPES OF CITIES, NATURAL CITIES (I.E. SIENNA, LIVERPOOL,
KYOTO, ETC)AND ARTIFICIAL CITIES(I.E. CHANDIGARD). HE DESCRIBES TREE STRUCTURE
VS SEMI LATTICE STRUCTURE. IN SEMI LATTICE STRUCTURE THERE ARE COMMON
POINTS WHILE IN TREE STRUCTURE , SMALLER BRANCHES ARE CONNECTES TO BIGGER
BRANCHES BUT ARE NOT CONNECTED TO A SEPRATE BRANCH WHICH CREATES DIVISION
AND DISSASSOCIATION IF IMPLEMENTED ON URBAN LEVEL.

ALDO ROSSI (ARCHITECT)

THE ARCHITECT SAYS THAT TO UNDERSTAND ARCHITECTURE OF CITY ONE SHOULD

OBSERVE AND LEARN CONSTRUCTION TECHNIQUES AND OVERALL CONSTRUCTION OF
CITY IN THE COURSE OF TIME WHICH REVEALS THE MATERIALS, TECHNIQUES AND
SOCIAL STRUCTURE OF THE CITY. IN COURSE OF CONSTRUCTION THE OLD THEME
PERSISTS BUT AT THE SAME TIME IT MODIFIES.

PIANO + ROGERS

MUCH OF THEIR WORK INCLUDED FOLLOWING FACTORS

TO ANALYIS AND BROADEN THE BRIEF AND TO RETHINK THE TRADITIONAL HEIRARCHIES
FOR SPACES, SINGLE UNDEFINED COMMON SPACES, NO MAJOR CHANGE IN FAÇADE
AND SECTION EXCEPT IN DIRECTION OF GROWTH IN CLEAR SPAN STRUCTURE, TO USE
STANDARD CATALOGUES FOR PRICING AND TO ELIMINATE WET
CONSTRUCTION,MAXIMUM USE OF MINIMUM INDUSTRIAL MATERIAL, HIGH THERMAL
INSULATION AND GENERAL ENVIRONMENTAL CONTROL BY THE USE OF SOPHISTICATED
PANEL SYSTEMS, SKIN, STRUCTURE AND SERVICES CLEARLY DEFINED, INTERNAL AND
EXTERNAL ELEMENTS DEMOUNTABLE AND REUSABLE, USE OF BRIGHT COLOURS TO
BREAK THE REPETATION AND BREAKDOWN OF TRADITIONALLY HIERARCHICAL
PLANNING, REPLACED BY WORK FLOW PLANNING
PHILP JOHNSON

PHILIP TALKS ABOUT SEVEN CRUTCHES OF MODERN ARCHITECTURE.

1. CRUTCH OF HISTORY
HE DESCRIBES THAT IN OLD DAYS, PEOPLE USED TO RELY ON BOOKS AND LITERATURE AND
CAN THEY USED TO DEFEND THEIR PROJECTS USING EXAMPLES FROM HISTORY, NOT THAT
IS PROMINENT IN TODAY’S TIME.

2. CRUTCH OF PRETTY DRAWING

HE DESCRIBES THAT CREATING BUILDINGS IS DIFFICULT BUT MAKING PRETTY DRAWINGS IS
COMPARITIVELY EASY, BUT THAT IS PRETTY MUCH GONE NOW.

3. CRUTCH OF UTILITY
HE DESCRIBES THAT PEOPLE THINK THAT IF A BUILDING WORKS, THAN IT IS GOOD
ARCHITECTURE BUT IT IS NONSENSE, ALMOST ALL THE BUILDINGS WORKS. THERE IS MORE
THAN MERE UTILITY. IF ONLY USEFULLNESS IS KEPT AS PRECEDENCE OVER ART THAN IT WILL
BE JUST ASSEMBELIES OF THINGS NOT ARCHITECTURE.

4. CRUTCH OF COMFORT.
HE DESCRIBES THAT COMFORT IS IMPORTANT FOR USER BUT WHEN IT IS THE PRIMARY
TOOL TO DESIGN, IT BECOMES A CRUTCH.

5. CRUTCH OF CHEAPNESS
HE DESCRIBES THAT PEOPLE CONSIDER THAT IF A HOUSE IS BUILT IN A LESSER BUDGET BY
AN ARCHITECT THAN IT IS CONSIDERED A THING TO BE PROUD OF BUT IT IS THE ECONOMIC
CAPABILITY OF THAT PATICULAR PERSON RATHER THAN GOOD ARCHITECTURE.

6. CRUTCH OF SERVING THE CLIENT

HE DESCRIBES THAT IN CARRER WHILE FACING CRITISIM PEOPLE USE TO SAY THAT IT WAS
CLIENT’S WISH BUT PEOPLE NEED TO UNDERSTAND THAT SERVING THE CLIENT IS ONE
THING AND ARCHITECTURE ANOTHER.

7. CRUTCH OF STRUCTURE
HE DESCRIBES THAT THIS CRUTCH IS VERY TEMPTING FOR HIM AS WELL, THAT WE BELIEVE
CLEAN AND SYMMETRIC STRUCTURES ARE ITSELF ARCHITECTURE BUT ONE SHOULD GO
BEYOND IT AND SHALL HAVE THE COURAGE TO MAKE THE DESIGN TO WHICH PEOPLE CAN
LOOK UPON.

ALISON AND PETER SMITHSON AND THEO CROSBY(ARCHITECTS)

THEY INTRODUCE NEW BRUTALISM AS A NEW MOVMENT, THEY DESCRIBE THAT IT IS

BELIEVED THAT CONTEMPORARY STYLE HAS ITS EXISESTENCE FROM LE CORB’S WORKS BUT
HIS WORKS ARE INSPIRED FROM JAPANESE ARCHITECTURE .
NEW BRUTALISM DOES NOT FOLLOW THE PAST ARCHITECTURAL STYLES BUT TAKE THEIR
INSPIRATION FROM PEASEANT DWELLING FORMS . IT HAS NOTHING TO DO WITH CRAFT.
ARCHITECTURE IS SEEN AS DIRECT RESULT OF LIFE.
PAUL RUDOLPH (ARCHITECT)

PAUL EXPLAINS SIX DETERMINANTS OF FORM IN ARCHITECTURE.

1. 1ST DETERMINANT IS SURROUNDING ENVIRONMENT OF THE BUILDING.

A BUILDING SHOULD RELATE TO ITS SURROUNDINGS IN TERMS OF SCALE, FORM AND
PROPOTIONS. BUILDINGS SUCH AS GOVERNMENT STRUCTURES, RELIGIOUS BUILDINGS,
PALACES DEVOTED TO ENTERTAINMENT, GATEWAYS TO THE CITY, SHOULD SERVE AS
FOCAL POINTS WHILE BUILDINGS FOR COMMERCE, HOUSING, FINANCE, AND
ADMINISTRATION SHOULD NOT DOMINATE OUR ENVIRONMENT.

2. 2ND DETERMINANT OF FORM IS THE FUNCTIONAL ASPECT.

3. 3RD DETERMINANT OF FORM IS THE PARTICULAR REGION, CLIMATE, LANDSCAPE AND

NATURAL LIGHTING CONDITIONS WITH WHICH ONE IS CONFRONTED.

4. 4TH DETERMINANT OF FORM IS THE PARTICULAR MATERIALS WHICH ONE USES. NEW
MATERIALS LIKE PLASTICES AND FRAME STRUCTURES USED IN DOMES BY BUCKMINSTER
FULLER SHOULD BE USED ONLY FOR BUILDINGS WHICH REQUIRE GREAT AESTHETIC
APPEARANCE.

5. 5TH DETERMINANT OF FORM IS ARTICULATE SPACE TO DELIVER A PATICULAR

ATMOSPHERE AND IMPACT ON THE USER. ONE MUST LEARN TO CREATE A SILENT
SPACE, BUSTLING SPACE, ENCLOSED SPACE, TRANSITIONAL SPACE , SPACE THAT
CREATES AN AWE, INSPIRING SPACE,ETC.

6. 6TH DETERMINANT OF FORM IS SPIRIT OF TIMES. ONE MUST NOT UNDERESTIMATE

SELF’S PASSION FOR THE WORK AND FORM BY OTHER PERSON.

ALISON AND PETER SMITHSON(ARCHITECTS)

THE ARCHITECTS GIVE TOWN-BUILDING TECHNIQUES THAT CAN MAKE THE COMMUNITY
MORE COMPREHENSIBLE

TO DEVELOP THE ROAD AND COMMUNICATION SYSTEMS, TO RE-THINK ACCEPTED DENSITY

PATTERNS AND LOCATION OF FUNCTIONS IN RELATION TO THE NEW MEANS OF
COMMUNICATION, TO ACCEPT AND UNDERSTAND POSSIBILIETIES OFFERED BY
TECHNOLOGY, TO BE AESTHETICALLY AWARE AND OVERCOME THE CULTURAL
OBSOLESCENCE OF MOST MASS HOUSING.A COMMUNITY SHOULD HAVE A HEIRARCHY OF
ELEMENTS.

CHRISTOPHER ALEXANDER (ARCHITECT)

HE STUDIED MATHEMATICS AND ARCHITECTURE AND FUSED THEM TOGETHER TO DEVELOP

A MORE RATIONAL AND CLEAR SYSTEM OF DESIGN WHICH IS NOT CLOUDED BY CULTURAL
PRECONCEPTIONS. HE DESCRIBES ,FORM IS ULTIMATE OBJECT OF DESIGN BUT BEFORE
CLARITY OF FORM ONE SHOULD HAVE PROGRAMMATIC CLARITY AND FIND PATTERNS IN IT
AND WHILE DEVELOPING FORM , ONE SHOULD RESPOND TO CONTEXT
SIMULTANEOUSLY.FORM IS THE SOLUTION WHILE CONTEXT STATES THE PROBLEM.