THEORY I

MIDTERM 1 : LECTURE 1 - 9

LECTURE 1 : what is theory?

● Reading 1: Modern Architectural history: a Historical survey, 1673-1968 ( introduction)

○ Bullet points: what it’s like with
theory
○ 17th century theory
○ Enlightenment their
○ 19th century theory
○ 20th century theory
○ Theory is the history of
architectural ideas and it has almost always
been a reaction to the past
○ ARCHITECTURAL THOUGHT
THROUGHOUT 1673-1968
○ 1673: definition of of theory
and modern
○ Claude Perrault was the first to
use the world theory in architecture
○ 1968: what happened to
theory?
○ How theory differs from the
history of architecture
○ Bahaus and De stijl in relation
to theory

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 ● Reading 2:
1. The necessity of theory
2. The definition of theory
3. History and theory
4. How theory operates and ts
levels
5. Why do new theories arise?
6. Postmodern expands
limitations of modern
theory
7. 1960 theory and
postmodernism
8. Post modernism isnt a
singular style
9. Types of theory:

-Neutral ( descriptive)

-Prescriptive (New or revived solutions

for specific problems , New norms for
practice)

-Proscriptive (Same as prescriptive but

also states what to avoid - Absence of
negative attributes - Regulated by codes)

-Critical ( Evaluates the built environment

and its relationships to the society it
serves - Often expressed political and/or
ethical orientation - Simulates change,
sometimes utopian)

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 ● *Reading 3: The machine age
○ 1912
○ Period names: Jet Age, The
Detergent Decade, The 2nd industrial revolution
○ Technology and science
transformations have powerfully affected human
life.
○ Unlimited supplies of energy in our
hands is balanced or we would have an
uninhabitable planet.
○ If the electronics can do our
routine work we can rest and routine thoughts will
die.
○ Other things that affected man
kind: perfection of cavalry, growth of feudal
organizations, rise of money economy.
○ The technical revolution struck us
hard with a greater force than any other
revolution because the small things of life have
been visibly and audibly revolutionised as well.

○ Technology contributed to DOMESTIC

REVOLUTION since tiny machines took the housewives’ job.
○ Machine age started in 1912 but by then we have
been living in an industrial age for a century and a half.
○ Tiny machines affected life; phone changed
communication, portable typewriter helped poets,
gramophones changed music from social ceremonies to
domestic service.
○ 2nd machine age improved the same tech they
had, the second machine age was more affordable and touched
almost everyones life whilst the first one only the elites and the
elites bred architects, poets, painters, journalists,.......
○
○

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 ○ The elites dont know how to control the power,
they could buy the device but can never know the mechanics
in it or dirty their hands with the work.
○ When the machine was affordable to th
opinion-forming classes it had a big psychological affects and
was a revolution that struck deep
○ The transportations made going to places easier
and opened new possibilities “speed of transportation”
○ THE MAN MANIPULATED BY THE MOTOR
-Marinetti was different than the older horse men that ruled the
world since the time of Alexander the great
○ Their ideas had been revolutionized when the
motor came, it affected their writings since their ideas were
generated from moving from one place to another
○
○
○
○
○ Writer and the
telephone could no longer treat the
world with hostility or indifference
○ They hated Ruskin
because his view of the aims of art
and the function of design were as
diverse as could be.
○ PIONEERS OF THE
MODERN MOVEMENT: gropius,
William Morris, Ruskin, Pugin, William Blake.
○ The precious vessel of handicraft aesthetics was dropped and no one picked it
up.
○ Gropius talked of handicraft in his bauhaus Proclamation but he was talking to
himself.
○ Gropius was the head of a school devoted to machine age architecture and the
design of machine product, employing a machine age aesthetic that had been
worked out by other men in other places.
○
○

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 ○ The 1st machine age ppl considered
culture and adapted with it, the Futurists said fuck it,
lets drop everything and start new.
○ Perret And Garnier felt that the new
should be subjected to the old, or at least outlines of
it.
○ Between futurism and academic action
the theory and design of architecture of the first
machine age were evolved
○ We are still free-wheeling along with the
ideas from the 1st machine age, if anyone says we are
not should ask themself; are any of my ideas as
up-to-date ad i think them to be? How out-moded in
truth are the ideas i dismiss as mere fashion of the jazz
decades.
○

LECTURE 2 : CULTURAL TRANSFORMATIONS

● NeoClassicism emerged out of two different but related developments which radically
transformed the relationship between man and nature:

1-sudden increase in man’s capacity to exercise control over nature

2-fundamental shift in the nature of human consciousness, in response to major changes

taking place in nature

● Human consciousness yielded new categories of knowledge and a historicist mode of

thought
● Human consciousness led to the emergence of the humanist disciplines of the
Enlightenment, including the pioneer works of modern sociology, aesthetics, history
and archaeology
● Interiors of Rococo and secularization of the Enlightenment inspired architects of the
18th century to search for a true style through a precise reappraisal of antiquity
● Major controversy arose: which of the four Mediterranean cultures : The Egyptians, the
Etruscians, the Greeks, the Romans-should they look for a true style?
● Le Roy’s (in his Ruins de plus beaux monuments de la Grce -1758) promotion of Greek
architecture as the origin of true style that raised the chauvinist ire of the Italian

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 architect-engraver Giovanni Battista Piranesi
● Piranesi’s Della Magnificenza ed Architectura de Romani-1761 was a direct attack on Le
Roy’s polemic
● In 1769, Piranesi indulged in hallucinatory manipulations of historicist form
● George Dance, soon after his return to london in 1765, designed Newgate Gaol, a
superficially Piranesian structure whose rigorous organization may well have owed
something to the Neo-Palladian proportional theories of Robert Morris
● Final development of British Neoclassicism came in the work of Dance’s pupil John
Soane, who synthesized to a remarkable degree various influences drawn from Piranesi,
Adam, Dance, and even from the English Baroque
● FRANCE: Early awareness of cultural relativity in the late 17th century prompted Claude
Perrault to question the validity of the Vitruviun proportions
● Instead, he elaborated his thesis of positive beauty and arbitrary beauty
● This challenge to Vitruviun orthodoxy was codified by the Abbe de Codemoy in his
Noveau Traite de toute l’architecture (1706), where he replaced the Vitruviun attributes
of architecture (utility, solidity, beauty) by his own ordonnance, distribution and bien
seance
● Cordemoy was concerned with their geometrical purity in reaction against such Baroque
devices as irregular columniation, broken pediments and twisted columns
● He argued that some buildings required no ornamentation at all
● For him, the freestanding column was the essence of a pure architecture
● The Abbe Laugier in his Essai sur Ll’architecture (1753) reinterperted Cordemoy to posit
a universal ‘natural’ architecture
● He insisted the primal form as the basis for Gothic structure; there would be no arches
nor pilasters or pedestals
● Jacques-German Soufflot, who in 1755 was one of the first architects to visit the Doric
temples, was determined to recreate the lightness, spaciousness, and proportion of
Gothic architecture in Classical terms
● He adopted the Greek cross plan
● J.F. Blondel integrated the theory of Cordemoy and the magnum opus of Soufflot into
the French academic tradition
● He set out his main precepts concerning composition, type and character in his Cours
d’architecture
● His ideal church design, published in the second volume of Cours d’architecture
informed the work of his pupil Etienne-Louis Boullee, who devoted his life to the
projection of buildings so vast as to prelude their realization
● Boullee evoked the sublime emotions of terror and tranquility through the grandeur of

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 his conceptions.
● He began to develop his genre terrible, in which the immensity of the vista and the
unadorned geometrical purity of monumental form are combined in such a way as to
promote exhilaration and anxiety
● Boulee was obsessed with the capacity of light to evoke the presence of the divine
● Napoleonic era required useful structures of appropriate grandeur, achieved as cheaply
as possible
● Jean-Nicolas-Louis Durand, first tutor in architecture at the Ecole Polytechnique,, sought
to establish a universal building methodology
● Ledoux’s semicircular salt works itself may be seen as one of the first essays in industrial
architecture
● Ledoux extended the idea of an architectural “physiognomy” to symbolize the social
intentions of his otherwise abstract forms
● Post Revolution- Neoclassicism evolved with the need to accommodate the new
institutions of the bourgeois society and the new republican state
● Henri Labrouste insisted on the primary structure and on the deviation of all ornament
from construction
● Structural Rationalism
● Baroque and Roccoco ended in the mid eighteenth century
● Change of atmosphere in Europe
● Palladianism -Vitruvius:
○ In England and Scotland
○ Jones- godfather of early palladianism
○ Wren- geo beauty
● Eighteenth Century English Landscape
○ Agricultural revolution (rural landcape)
○ William Kent- lept the fence and found all nature was a garden
○ Landscape of ‘controlled nature’
● Picturesque- interaction of house and garden (bridges, temples, grottos)
● Neoclassicim:
○ Palladianism replaced by striced
○ Shift in the nature of human consciousness
○ The grand tour- only specific class not everyone could affordchoisy
● Structural Classicism - Mid Nineteenth Century
○ Ended by Choisy (Histore de l’arch)
○ Architecture - abstraction
● According to Auguste Choisy “the essence of architecture is its construction”

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LECTURE 3 : TERRITORIAL AND TECHNICAL TRANSFORMATION

● Urban developments 1800-1909

● The finite city (in Europe) was transformed by the interaction of unprecedented
technical and socio economic forces, many 1st emerged during the second half of the
18th century
● Abraham Darby: mass production of cast iron rails 1767
● Jethro Tull: seed drill cultivation of crops in rows (adopted after 1731)
● Darby’s invention(mass production of cast iron rails) led to Henry Cort’s development of
the puddling process for the simplified conversion of cast to wrought iron in 1784
● Jethro Tull’s seed drill cultivation was essential to the perfection of Charles
Town-Shend’s four crop rotation system (the principle of ‘high farming’)
● The cottage weaving industry (helped to sustain the agrarian economy in the first half of
the 18th century) was changed by first by James Hargreaves’s spinning jenny then by
Edmund Cartwright’s steam powered loom
● Invention of multi story fireproof mill.
● Simon weil called uprooting “Enracinement”
● Progress of Uprooting, or Enracinement was influenced by several factors:
○ - Agricultural Revolution
○ - Cottage weaving industry growing into Miltowns
○ - Steam traction for transport
● This led to:
○ - Extension of former walled finite city
○ - Mass migration to the New World
○ - Growth of the suburbs
○ - Drop in mortality due to improved nutrition and medical techniques
○ - High Population increase in cities
● Richard Trevithick first demonstrated the locomotive on cast iron rails in 1804
● The first public rail service was between Stockton and Darlington in 1825- was followed
by rapid development of new infrastructure in britain
● Sudden drop in mortality due to improved standards in nutrition and medical
techniques- gave rise to unprecedented urban concentrations
● New york was laid out as a gridded city in 1811
● Chicago’s population grew rapidly from 300 people at the time of thompsons grid of
1833 to around 30,000 by 1850- then becoming a city of 2 million
● Cities had to accommodate the laboring masses.

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 ● Sudden overpopulation led to:
○ - slums and overcrowded settings
○ - spread of diseases such as tuberculosis and cholera
● - Increase in population pushed for a more flexible city that had to be transformed
● - Massive urban renewal took place due to the dense population
● Cities had to accommodate a growing urban middle class
● In addition to housing, there was demand for urban public facilities and services
● There were governmental and legislative acts to deal with overpopulation and the
conditions of working class
● The public health act of 1848 in addition to others, made local authorities legally
responsible for sewage, refuse collection and water supplies- similar provisions were to
occupy Haussmann during the rebuilding of paris
● Result of the legislation in england was to make society vaguely aware of the need to
upgrade working-class housing
● Henry Roberts generic design of stacking of apartments in paris around a common
staircase was to influence the planning of working class housing for the rest of the
century
● The slum clearance acts of 1868 and 1875 and the housing of the working class act of
1890 resulted in: local authorities were required to provide public housing
● The architects department made an effort to deinstitutionalize the image of such
housing by: adapting the Arts and Crafts domestic style. (exmp. The millbank estate)
● Those who manifested an early concern for integrated industrial settlements:
○ Robert Owen: his New Lanark in scotland 1815 was designed as a pioneering
institution of the co-operative movement
○ Sir Titus Salt: his Saltaire near Bradford was a paternalistic mill town, complete
with traditional urban institutions (parks, schools, church etc.)
● Charles Fourier’s ‘new industrial world’
● English Park Movement:
○ - Founded by gardener Humphrey Repton
○ - Concerned with residential requirements of middle class
○ - Attempted to project “landscape country estate” into the city
○ - The neoclassical country house set in an irregular landscape (derived from the
Picturesque)
○ - Model was adapted in Liverpool by Paxton and by Olmsted in Central Park,
NYC
○ - Health, social and political spaces
○ - Rebuilding a city - major transformations

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 ● “Haussmann’s Paris”
○ - who is Hausmann:
■ - French official under Napoleon III who carried out massive urban
renewal of Paris
■ - There was polluted water supply and cholera outbreaks
■ - He introduced new boulevards, parks and public works
■ - Converted Paris into a regional metropolis
○ - Regularized Paris by cutting streets through dense existing fabric
○ - Axial and focal structure
○ - Shed light on standardization
○ - “Basic cross” encircled by a ring boulevard, tied to the major traffic distributer
built around the Arc de Triumph
○ - With this came standard residential plan types and regularized facades
○ Issue of standardization
● The Downtown High - Rise and the Garden Suburb, American forms of urban
development:
○ - 1891, extensive exploitation of the city center was made possible due to two
developments essential to the erection of high rise buildings:
■ - 1. Invention of the passenger lift in 1853
■ - 2. Perfection of steel frame in 1890
○ - Suburbanization already started around Chicago with the layout in 1869 of the
suburb of riverside.
○ - Rapid changes and means of urban access which helped suburbanization:
■ - Steam-powered cable cars allowed further expansion
■ - Electric streetcar in 1890s (suburban transit extended its range, speed
and frequency)
■ - Railways brought modern agricultural equipment
■ - Refrigerated packing cars
■ - Growth in trade
○ What dictated the manner in which parisian parks were to be used?
■ the circulation system dictated the manner
● Steam Power & Iron Frame
○ - Iron; artificial building material
■ - Rail became unit of construction
■ - Used for transit-related buildings, arcades, exhibition halls and railway
stations
○ - first unit of construction: rails

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 ○ - Rotary steam power came into being at same time
○ - Cast iron; first used for bridges, later on for mill construction
○ - Cast iron columns and t section beams also used
○ - Wrought iron masonry reinforcement originated in France
○ - Wrought iron masonry encouraged growing specialization of architecture and
engineering
○ - Iron suspension construction underwent an evaluation, with chain suspension
leading onto
○ wire suspension bridges
● Wrought iron is heated then worked with tools - cast iron is melted and poured in a
mold
● Railway Industry
○ - Boom by the 1850s
○ - T Beam/I beam cast and wrought iron development
○ - Midcentury; cast iron columns and wrought iron nails used in conjunction with
modular glazing became the standard technique for rapid prefabrication and
erection of urban distribution centers
○ - System made it easier to transport pre- fabricated materials over the world
○ - Train stations; great example for new building type
○ - Fontaine, Galerie d’Orleans, Paris 1892
● Crystal Palace
○ - designed by Joseph Paxton
○ - Orthogonal 3-tiered glass house for Great Exhibition of 1851
○ - More of a building process
○ - Highly flexible kit of parts
○ - Represented mass production and systematic assembly
○ Particularly unique about the crystal palace: early example of mass production
with iron and it was put together very fast/speedy state of construction
● Eiffel Tower:
○ - Wrought iron lattice tower
○ - by Gustave Eiffel (french engineer)
○ - 1889 World Fair
○ - Designed and erected under pressure
○ - Structure; had to be provided with an access system for rapid movement of
visitors
○ - Speed was essential
○ - Prime symbol for new social and technical order

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 ● Concrete Technology
○ - Development of hydraulic cement
○ - After revolution in France; there were material restrictions
○ - Led to synthesis of hydraulic cement and tradition of building In pise (rammed
earth), accelerated material evolution
○ - Technique for strengthening concrete using metal mesh; ferroconcrete
construction
○ -ferroconcrete Used to build sewage systems and other public structures
○ -in 1867 a 6 storey apartment block was built in ferroconcrete
● Reinforced Concrete:
○ - Francois Hannebique: monolithic reinforced concrete patented in 1892
○ - Resisted local stress when joints binded
○ - 1900 Paris Exhibition gave enormous boost to concrete construction
○ - 1912, reinforced concrete frame became normative technique
○ - Appropriation as primary expressive element of an architectural language came
with Le Corbusiers Maison Dom-ino
○ - Flat concrete roofs were seen as able to sustain the vibration of dynamic
moving loads
○ - Flat slabs and prefabricated folded shells were to be achieved in Turin
Exhibition Hall in 1948

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LECTURE 4: Structural Rationalism and the influence of Viollet-le-Duc : Gaudi,
Horta,Guimard and Berlage 1880-1910

What is structural rationalism?

1-The period when Villiot-Le-Duc described

that architecture have to be true through two
necessary ways (True Architecture)

2-Viollet-Le-Duc influence on Gaudi, Horta

,Guimard and Berlage

3-Antoni Gaudi Achievements or goals -

Madrid sovereignty over Catalonia and results

1-Antoni Gaudi socialist ideas before meeting

Count Guell

2-Casa Vicens

3-the traditional Catalan or Roussillon vault

4-Palau Guell designed for Count Guell

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 1-Guell and the idea of the
transformation of society at
large was to be effected
through the garden city

2- Guell commissioned Gaudi

and Berenguer to design
Colonia Guell which was
followed by the design of Park
Guell

3- Mountain Montserrat
(serrated profile )hugely
influenced Guadi’s works

4- Guadi decided to leave the

principles of Viollet-Le-Duc by
transforming his raw materials
into an assembly of powerful
images

5- Casa Milla was the first

project by Gaudi that
isolated him from structural
rationalism.

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 1-Belgian Architects'
condition was similar to the
catalan architects' search
for a new national style.

2-the architectural avant

Garde accused Joseph
Poeleart for his
Neoclassical Palais de
Justice

3-One year After the

publication of Entretiens A
Newly formed society
started to look for a new
style in their magazine
l'Emulation “We are called
to create ……”

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 1- E.Allard The major
theorist of L’Emulation
wrote a quote which
showed the importance
of searching for new
identity related to the
national condition and
rejecting the foreign
influences

2- Victor Horta begin his

career by designing
Hotel Tassel

3- Horta was the first

architect to make an
extensive use of iron in
domestic architecture

4-horta was influenced

by the Dutch Indonesian
artist Jan Troop

5- horta style was based

on two techniques

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 1- Masion du Peuple was the only project
by Horta in which he felt free to pursue the
principles of Viollet-Le-Duc

2- Anatole de Baudot (the master of Hector

Guimard ) passes the line of succession
from Viollet-Le-Duc to Hector

3-designed by Horta , Ecole du Sacre

Coeur and his Maison Carpeaux was
influenced by both Anatole de Baudot and
Viollet-Le-Duc

4-Guimard openly acknowledged his debt

to Le-Duc “ Decoratively my principles
are…. Without being fascinated by middle
ages

5- Guimard wrote about the importance of

achieving a native style

6- Guimard like Gaudi and Horta with

minding the evolution of the constituent
elements of a national style as advocated
by Viollet-Le-Duc

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 1- Guimard's own style :
rustic,loose and mixed media
expression that is best described
in his country chalets which is
designed with an urban style.

2-He designed the Paris Metro

stations and he was famous as a
creator of ‘style metro’

3- Guimard designed his

Humbert de Romans concert hall
which was completed in 1901
and demolished in 1906

4-Humbert de Romans concert

hall was regarded as one of the
major achievements of structural
rationalism and was also
regarded by Fernand Mazade.

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 1- the dutch architect Hendrik Petrus
Berlage didn't allow his principles to
become compromised by the
acquired alien testes of an arristive
middle class .

2-The stable social conditions

allowed Berlage to enjoy his practice.

3-He studied under the followers of

Gotifered Semper from whom he
would have received an extremely
rational and typological education

4- he associated with P.J.H Cuijpers

who is in accordance with the
principles of rational structuralism he
sought to rationalize his own
eclecticism style in an effort to evolve
a new national style

5-Berlage participated in Amsterdam exchange and won the forth place then he passed the
building into four versions and during this developments he published a series of theoretical
studies in ‘thoughts of style in architecture ‘ and ‘Principles and Evolution of Architecture ‘

6- Reyner Banham has observed the silent principles and writes “ the primacy of
space…...systematic proportions”

7- the distillation of the exchange showed Berlage views of the essential role of masonry “
Before all else the wall ...an embarrassment “ .the art of master builder ….the complexity of

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the walling”

1-Berlage prevales his

socio-political
commitment in his
book “Art and
Society”

2-He stated that

socialism was a prime
article of faith . he
subscribed to
Hermann Muthesius’s
view that the general
level of a culture could
only be raised the
production high
quality , well designed
objects.

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 1-Berlage has the
opportunity to put his
urban theory into
practice

2- the German planner

Stubbben

3-Berlage revised his

plan to incorporate
Avenues of
Haussman-like scale
like Amestellaan ,
converging at a sector

4- the reaction against

Berlage design from
CIAM founded 1928

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AWN Pugin

John Ruskin

William Morris

- felt something was missing

John Ruskin

- Nature and society

- Radicalism

- Spoke against the industrialist ‘division of labour’

- Romantic attitude

- Create an art derived from nature (his ideal)

- “Was it done with enjoyment?” - towards ornaments

William Morris

- abandoned architecture for painting

- Inspired by craft ideals of Ruskin

- Focused on furnishing his red house

- Focused on domestic commissions

- Founded Socialist League in 1885 and shifted his focus to politics

- Refused to come to terms with industrial method

Red House

- Designed by Phillip Webb for William Morris

- Gothic revival style

- His concern:arts and c

- Structural Integrity

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- Integrate building into site

- Integrate into local culture

- Against excessive use of ornament

Nowhere

- Utopian vision

- All distinction between town and country disappeared

- Focused on wind and water

- New social order was established

- Society where work was based on Werkbund and education was free and unforced

Richard Norman Shaw

- Known for country houses

- Influenced by Ruskin’s socio-culture concerns

- Red brick style and timber construction

Evolution of the Garden City movement

- Tied with the development of the Arts and Crafts movement

- Social policy combined urban dispersal with rural colonization and decentralized

government

- Ebenezer Howard advocated that city should derive its revenue from a balanced

combination of industry and agriculture

- Restricted growth of garden city

- Attempts to improve living and working conditions

Guild model

- Mackmurdo founded Century Guild in 1882

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- Developed a unique style that turned into Art nouveau movement

- 1887 - Ashbee founded Guild of Handicraft

- Goal: direct social reform

- A man of compromise

- Advocated the decentralization of existing urban concentrations and their institutions

- Link between garden city movements and arts and crafts movement

- Opposed nationalization of land

Charles Voysey

- Derived his style from Webb’s principles of respect for traditional methods and local

materials

- Essential components of his style:

- Slate roof with overhanging eaves

- Wrought iron gutter brackets

- Rough cast walls pierced by horizontal windows and marked at intervals by battered

buttresses

End of arts and crafts movement

- Lethaby, Shaws chief assistant had an important role

- 1892 - he demonstrated how architecture had always been universally informed by

cosmic

and religious paradigms

- 1910 - argued against his thesis that one cannot instill magic into architecture when its

totally absent in the society

- 1915- arguing for pure functionalism - pointing at German Werkbund for the way to the

future

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Structural Rationalism

- Must be true according to the program and methods of construction

- Move away from historicism (significance to a past moment)

- Focuses on architecture as a rational structural approach

- Materials and structural integrity

Viollet le Duc

Antoni Gaudi

What affected his work?

- Catalan independence from Spain

- Church supported the giving even more power

- Social reform issues

- Desires were to revive indigenous architecture and create totally new forms of
expression

Casa Mila

- Suppression of building steel structure behind facade

- Articulation of structure is pushed back (clear move away from Le Duc)

- Gaudi - moving away from structural rationalism

Victor Horta

- Founder of Art Nouveau movement

- Call for new style in Belgium

- Constant search for local Belgium culture

Hotel Tassel

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- Discrete expression inside

- Classical exterior

Maison du Peuple

- considered one of his most original works

- Full celebration of construction

- Following Le Duc

- Exposed steel framework - can see how its constructed

Hector Guimard

- French architect and designer

- Designed the metro entrances in Paris

Hendrik Petrus Berlage

- Dutch architect

- Influenced by iron with brick

- Load bearing brick walls - creators of the form are key characteristics

- Educated under Godfried Semper ( wrote 4 elements of architecture - through

anthropological lens - heart, roof, enclosure, mound)

- Amsterdam Exchange - stressed importance of space, need for systematic proportions

- Marked points of where materials suddenly change

- Articulated arch

- Berlage - Le Duc

- Importance of community

1. 3 Main points:

- Quest for a true style with structural rationalism

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- Focus on nationalism

- Arts and crafts movement - socialism

2. What was Arts and Crafts movement?

Social movement that developed in England

Reaction against industrial revolution

3. Webbs principles:

- Structural Integrity

- Integrate building into site

- Integrate into local culture

4. What was “Nowhere”?

- Utopian vision

- All distinction between town and country disappeared

- Focused on wind and water

- New social order was established

- Society where work was based on Werkbund and education was free and unforced

5. Describe the situation in Brussels at the end of the century and how architects reacted
to

what was happening

Actual independence, obsession with national identity, accumulation of growth

6. What is structural rationalism?

- Must be true according to the program and methods of construction

- Move away from historicism (significance to a past moment)

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- Focuses on architecture as a rational structural approach

- Materials and structural integrity

7. Viollet De Luc

- French architectural theorist

- Precluded the architectural tradition of French classical rationalism

- Advocated a return to regional buildings

8. What were Gaudi’s main architectural desires? Who strayed away from le-Ducs
principles in

his work?

Revive indigenous architecture and create totally new forms of expression

Gaudi

9. Give two ways in which Berlarge’s Exchange followed principles of Structural

Rationalism?

Load bearing brick structure articulated in accordance with principles of structural

rationalism

materials suddenly change

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LECTURE 5 : NEWS FROM NOWHERE

● Thomas Carlyle and AWN pugin called for spiritual and cultural discontents of second
half of 19th century
● Carlyle was atheist and with radical chartist movement while pugin was a catholic for the
return of spiritual values
● Pugin is credited for the homogeneity of gothic revival
● John Ruskin spoke out against industrialist division of labour
● His book the Stones of Venice devotes to the place of craftsman in relationship to art
● Pre- Raphaelitism was a brotherhood aiming to found a school for expressive painting
of ideas and emotions. AIM : create art from nature not from renaissance
● Crafts oriented pre raphaelitism : happened when students of oxford met morris and
Burne-jones and got exposed to ruskin lectures and pugin
● Morris had a phase of painting abandoning architecture creating “ le belle “ a painting
of his wife
● The red house by Philip Webb was a commission for Morris
● Red House Significance : concern for structural integrity , integrating building to site
and culture
● That was achieved through : practical design , sensitive site layout , use of local
materials and respect to traditional building methods
● Creation of Red House influenced The english free architecture as movement and
Lethaby , CFA voysey and Shaw as architects
● TOTAL WORK OF ART : it is that work must necessarily be of a much more complete
order than any single artist were incidentally employed in the usual manner
● Morris Read Karl Marx work and then found the socialist league and Manifesto with
themes of socialism , culture and society
● NEWS FROM NOWHERE : a famous utopian romance poetry
● Nowhere is a land where distinction between town and country had disappeared , wind
and water are the sole sources of power , society without money of property , roads are
only way for transportation , no crime no punishment no parliament
● Morris vision of nowhere contradicts his real life practice as he practiced with upper
middle class only
● Bedford Park was by Shaw : it discussed socio cultural concerns and gothic revival
matters
● Bournville Birmingham : first paternalistic garden city founded by George Cadbury and
designed by Heaton and others

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 ● The evolution of garden city movement is linked to developments of arts and crafts
movement
● Garden City :
- Combined urban dispersal with rural colonization and decentralized
government
- - Derive revenue from a balanced combination of agriculture and industry
● Letchworth Garden City : Garden CIty Ideal in real life
● It wasnt the same as the original diagram because railway bisected the city and
shopping areas were exposed
● CENTURY GUILD ; found by Mackmurdo : a group of artists that engage in design of
domestic objects developing a unique style
● GUILD OF HANDICRAFT; was tackling social reform , expressed purpose of usefully
employing and training London Journey Men
● CFA Voysey , architect that derived his style from Webb’s principles of respecting
traditional methods and local materials
● COMPONENTS OF VOYSEY STYLE :
- Slate roof with overhanging eaves
- Wrought iron gutter brackets
- Rendered rough cast walls
- Battered buttresses and chimneys

● ARTWORKERS GUILD : institutionalized arts and crafts movement the the

establishments of ARTS AND CRAFTS EXHIBITION SOCIETY
● Lethaby was an architect that marked his abilities as a teacher within arts and crafts
movement
● He published ( Architecture , Mysticism , and Myth )
● It discussed how past architecture was universally informed by cosmic and religious
paradigms and he tried to implement that in his work
● Lethaby is one of the last Gothic Revival socialists
● WW1 : with it happening the arts and crafts movement and the ideals of english country
houses by webb shaw and Nesfield came to an end . they were rendered by Edwin
Lutyens
● It was almost impossible for these socio economic ideals to survive such a large scale
industrialized war
● Lutyens has an Arts and Crafts heritage with a taste for Palladianism
●

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LECTURE 6 : Adler & Sullivan - The Auditorium and the High Rise 1886-95

● The year Sullivan worked for Furness proved critical for his career because: (influences)

1- Gained experience in 'Orientalized' Gothic manner.

2- Met John Edelman who introduced him to the Chicago architectural establishment

● Who was part of this Chicago Architectural Establishment?

● • William Le Baron Jenney.

-He was the pioneer of steel frame construction

-He then worked for Adler

● Who is Louis Sullivan? -an American architect

-He was an influential architect of the Chicago School, a mentor to Frank Lloyd Wright

● The Great Chicago Fire and Chicago construction:

⁃ Adler and Sullivan were preoccupied with meeting the urgent demand of a booming
Chicago.

⁃ Sullivan worked for Jenney

⁃ In Sullivan essay, 1926, he wrote of the powerful forces that lit this method of
building.

● Steel frame, The architect of the Chicago and the architect of the East:

⁃ The architect of the Chicago welcomed the steel frame and did something with it.

⁃ the architect of the East were applied by it and could make no contribution to it .

● Richardson's Marshall Field's store aesthetics:

⁃ Aesthetically, the project was based on the attenuation of the syntax of the Marshall
Field's Store.

⁃ Richardson used rusticated stone blocks throughout

⁃ Sullivan varied the façade material to modulate its greater height and mass

⁃ He changes from rusticated blocks to smooth ashlar (fine stone masonry unit) above

33
 the third floor

● Evolution of an architectural language to the high-rise frame:

• Sullivan may be credited for this evolution

• Wainwright Building is the first statement of this syntax, in which the suppression of
the transom already evident in Richardson's Marshall Field Building is taken to its logical
conclusion

• The façade is articulated by gridded piers, clad in brick, while transoms (like a lintel)
are recessed and faced in terracotta so as to fuse with the fenestration (arrangement of
windows).

● Auditorium Building:

⁃ a structure whose overall contribution to Chicago culture

⁃ was to be as much technological as conceptual.

⁃ The basic arrangement of this multi-use complex .

⁃ was exemplary.

⁃ The architects had been asked to install, within a half- block of the Chicago grid, a
large modern opera house flanked on two sides by eleven storeys of accommodation,
to be given over in part to offices and in part to a hotel.

⁃ Their unique organization of this brief incorporated such innovations as locating the
hotel kitchen and dining facilities on the roof so that the fumes would not disturb the
residents.

⁃ the auditorium itself offered plenty of scope for Adler's technological imagination.

⁃ Adler met the demands for a variable capacity by using folding ceiling panels and
vertical screens.

● Guaranty Building :

⁃ Fullest realization of the principles he outlined in his essay "The Tall Office Building
Artistically Considered" (1896)

⁃ 13-storey office building

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 ⁃ Sullivan created a decorative structure :"The ornament is applied in the sense of
being cut in yet it should appear when completed, as though by the outworking of
some beneficent agency, it had come forth from the very substance of the material." ...

⁃ Ornamental terracotta envelops the exterior

⁃ Motifs penetrate into the metalwork of the lobby

⁃ Representation of his famous slogan ( form follows function)

● Political ideology:

• He saw himself as the lone creator of the culture of the New World.

• He was heavily inspired by Nietzsche.

• In A System of Architectural Ornament According with a Philosophy of Man's Powers,

under the image of a sycamore seed, he placed a Nietzschean caption: "The Germ is
the real thing: the seat of identity. Within its delicate mechanism lies the will to power,
the function of which is to seek and eventually to find its full expression in form."

● What happened to Sullivan?

⁃ He was ignored because of his over-idealized egalitarian culture

⁃ He insisted on creating a new civilization comparable to the Assyrians

⁃ People preferred the Baroque as opposed to the Orientalized architecture

⁃ People's rejection destroyed Sullivan's morale

⁃ His powers began to decline

⁃ By the turn of the century he separated from Adler

● Columbia Exhibition of 1893 :

⁃ was designed by the architect of Chicago school

⁃ Represents the Beaux Art classical style

⁃ It was based in geometrical grid

⁃ Become new model of urbanism focus on the form of skyscrapers.

35
 ● Louis Sullivan
○ - Inspiration to Chicago group of architects (Prairie School)
○ - Form follows function
○ - Moved to Chicago 1873, took part in the building boom
○ - Worked for William Jenny - first steel framed buildings
○ - Studied at Ecole des Beaux - Art
○ - Worked for Adler - marked most productive years
○ - The year he worked for Furness - proved critical for his career
■ - Gained experience in “Orientalized” Gothic manner
■ - Met John Edelman who introduced him to the Chicago architectural
establishment
○ - Chicago Architectural Establishment:
■ - William Le Baron Jenney
■ - Pioneer of steel frame construction
● Dankmar Adler
● Chicago building boom
○ - Process of rebuilding after fire
● The Auditorium
○ - Multi use
○ - Large opera house - Hotel - Offices
○ - Aesthetics:
■ - Based on the attenuation of the syntax of Marshall Fields Store
■ - Rusticated stone blocks throughout
■ - Varied the facade material to modulate its greater height and mass
■ - Changes from rusticated blocks to smooth ashlar above third floor
● Attitude towards ornamentation
○ - Not a necessity
● Evolution of an architectural language to the high - rise
● - Sullivan may be credited for this evolution
● - Wainwright building is the first statement of this syntax - suppression of the transom
already evident in
○ - Richardson's Marshall Field Building taken to its logical conclusion
○ - The façade is articulated by gridded piers, clad in brick, while transoms (like a
lintel) are recessed and faced in terracotta so as to fuse with the fenestration
(arrangement of
○ windows)
○

36
 ● Guaranty Building
○ - Fullest realization of the principles he outlined. in his essay "The Tall Office
Building
○ Artistically Considered"' (1896)
○ - 13-storey office building
○ - Sullivan created a decorative structure: “The. ornament is applied in the sense
of being cut in or cut on... yet it should appear when completed, as though by
the outworking of some beneficent agency, it had come forth from the very
substance of the material.”
○ - Ornamental terracotta envelops the exterior
○ - Motifs penetrate into the metalwork of the lobby
● Political ideology
○ - He saw himself as the lone creator of the culture of the New World
○ - He was heavily inspired by Nietzsche.
○ - In A System of Architectural Ornament According with a Philosophy of Man's
Powers, under the image of a sycamore seed, he placed a Nietzschean caption:
"The Germ is the real thing: the seat of identity. Within its delicate mechanism
lies the will to power, the function of which is to seek and eventually to find its
full expression in form."
● What happened to Sullivan?
○ - He was ignored because of his over-idealized egalitarian culture
○ - He insisted on creating a new civilization comparable to the Assyrians
○ - People preferred the Baroque as opposed to the Orientalized architecture
○ - People's rejection destroyed Sullivan' morale
○ - His powers began to decline
○ - By the turn of the century, he separated from Adler Amsterdam Exchange
● 1. Discuss and write what you think are the 3 main points of today's readings.
○ - Chicago had to rebuild after the fire
○ - Population pressure and rises after the Chicago boom
○ - Political ideology affecting not only ways of construction but also ways of
living a new culture
● 2. Why did working at Frank Furness' firm prove to be critical for Sullivan's career?
○ - Gained experience in “Orientalized” Gothic manner
○ - Met John Edelman who introduced him to the Chicago architectural
establishment
● 4. How did the Chicago fire affect architecture at the time?
○ - City needed to be rebuilt after its destruction by fire. They had to be familiar

37
 with the
○ technical aspects of Chicago construction which led to the use of the fireproof
steel frame
● 5. What were some of the innovations exemplified in the Auditorium Building?
○ - locating the kitchen and dining facilities on the roof so the fumes would not
disturb the
● residents
● 6. Key formal characteristics of the Wainwright Building:
○ - Facade articulated by gridded piers
○ - Clad in brick transoms are recessed and faced in a terracotta to fuse with the
fenestration

38
LECTURE 7 : The Myth of the Prairie 1890-1916 FRANK LLOYD WRIGHT

1. Adler and Sullivan inspired him

2. Back and forth between authority of classical, vitality of
asymmetrical.
3. Richardson: asymmetry for domestic settings, symmetry
public institutions
a. Houses unifying density
b. Romanesque and style for the new world
c. Feeling of shingled facades in timber houses
d. GLESSNER HOUSE, shingle gave away to stone,
4. asymmetrical = irrefutable monumentality
5. Issue of monumentality to sullivan and wright
6. Urban vs rural
7. New world shouldnt be based on catholic and
romanesque
8. Owen Jones bc he had examples from different cultures

Street or urban elevation: symmetrical and axial

Garden or rural elevation: asymmetrical and entered

from the side

9. Winslow House: 2 different settings (urban,rural) &

solution
10. Winslow House was transitional
11. Prairie roof first appearance
12. Sullivan's influence: ornamented entrance ( Sullivans
Tombs), arcaded fireplace ( Schiller Theatre)
13. Japanese architectures influence ho-o-den temple

39
 1. Description of Ho-o-den temple
2. The fireplace being the heart and its
significance
3. Frank was still not committed to one style
4. Desperate to find a style: 2 modes
(examplles: Heller and Husser houses, Francisco Terrace
apartments)
5. Took 2 years to create the style
6. Prairie
7. The final prairie style was with his theoretical
maturity
8. Authors said printing will eliminate
architecture, frank said it would not
9. Richard bock influence
10. Bock became abstract evident in dana
house

1. Figure at the entrance of Dana house

2. Prairie style crystallized Ladies Home Journal
3. Larkin Building and Martin house represent
Franks mature style

40
 1. House, church, office building. All with the
same architectural systems
2. Martin house modulated tartan plan form
3. In the church he had the same elevations for
the 4 sides to express unity
4. Temple equipped with built-in ducted hot air
heating, Larkin Building was one of the first
air-conditioned office structures
5. The universal scene of the hearth and its
significance on Frank
6. His goal

1. He didnt like it when the clients changed his design

even the slightest, the house was safe from change but the
office building wasnt
2. Assembled a team to create Gesamtkunstwerk (a
total work of art)
3. 1905 syntax of prairie house was firmly established:
had 2 options)
4. Midway Gardens was his last work in chicago
5. Imperial Hotel in tokyo, establishing his vision as a
universal expression
6. Description of midway gardens
7. In the Imperial hotel he derived the structure from
Midway Gardens
8. When he was removed from the american context
he sought affinities with the local masonry tradition

41
 1. How he dealt with the change of context
2. The imperial hotel was valued for its structure
3. It stood against an earthquake
4. Sullivan praised frank for it

Elements of prairie style: strong horizontal lines - hidden

entries

42
LECTURE 8 : Tony Garnier and Auguste Perret

● Decentralization
● Industrial city
● Socialism
● Tony Garnier
● Won prix de Rome - French architecture scholarship
● Studied under gode

● Lyons, France
● Radical syndicalism and socialism
● One of most progressive industrial centers in 19th century
● First main railway links in France
● Main center for technical and industrial innovation

● Industrial city
● Between mountain and river to access hydroelectric power
● People could be easily educated
● No churches or police buildings - people in-charge of themselves
● Zonings
● Utopian socialist city
● No walls or private property
● Unbuilt surface was public park land
● Strict standards for light and green space
● Hierarchy of streets
● Expandable
● Emile Zola:
○ Plans were influenced by his writings
○ French novelist
○ Naturalism focused on scientific objectivism
○ Socialist ideas
○ Garniers earliest sketches reflected zolas ideas

43
 ● Classical Rationalism
○ Less about the structural rational approach - more about classical tradition
○ More classical facades
○ Do not celebrate materiality and structure - contradicts principles of Le Duc

● Auguste Perret was a French architect

● Avenue Wagram Building 1902
● Align molded openings with classical facades on either sides
● Not architecture or articulate structure
● Opposed le ducs ideology

● Influences
● Auguste Choisy
● Essence of architecture was construction
● Emphasis on greek and gothic architecture
● Perret follows his ideas and insists on detailing his structures
● Paul Christophe - fabrication and design of reinforced concrete frame

● Rue Franklin Apartments 1903

● Perret comes closest to le ducs structural rationalism in this project
● Articulation of columns
● Concrete is visible
● Setback proof creates gothic feeling
● Frame led to an open plan which leads to Le Corbusier's open plan

● Perret Freres (Auguste and Gustave Perret)

● Firm played an essential role in development of Perrets style
● They designed a house that was executed in reinforced concrete
● Showed progressive refinement of a rational trabeated Perret house style

44
 ● Moving towards classical
● Theatre des Champs Elysees
● Exposition des Arts decoratifs - most lucid and lyrical statement that Perret ever made
● Timber columns carrying steel reinforced beams
● Exterior was finished with synthetic stone

● What was the Industrial City?

● Between mountain and river to access hydroelectric power
● It is a city where people could be easily educated
● Utopian socialist city

● The difference between Garden city and cite industielle

45
 ● Determining factors in the establishment of a city should be the proximity of raw
materials, or the existence of natural force

46
 ● What influenced Garnier? OR What reflection was found in cite industrielle?
● Technical and industrial renovations such as the main railway in France

● 19 century was one of the most progressive centries in Europe

● Silk and metallurgical industries established

47
 ● Garnier believes that cities of the future would have to be based on the industry
● Lyons culture aspects that was featured in Garniers cite : and why Garnier

48
 included an old medieval town within the confines of his industrial city?
1. Because of the French regionalist movement in favor of reviving local culture

● The importance of Lyons municipality in Garnier’s youth

● Julian Guadt was a professor of theory taught both Garnier and Perret

● Zole’s vision of a new socio-economic order

49
 ● CIAM

50
 ● What are the 4 characteristics of an industrial city?
● Mountain and river to access hydroelectric power
● People could be easily educated
● No churches or police buildings - people in-charge of themselves
● No walls or private property
● Unbuilt surface was public park land
● Strict standards for light and green space
● Hierarchy of street

● Space of public appearance

● Library-baths-swimming pools-theatre

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 ● “And there it was that they sang and danced…” this was directly evoked that
classical arcadian life and landscape that Garnier had first fully understood after

52
 his first visit to Greece
● Like the agora
● The city industrielle remained above all else the vision of a Mediterranean
socialist arcadian
● French urbanist influenced Garnier: Leon Juassly and Eugene Henard

53
 ● Garnier was very focused on materials
● He inspired Le corb

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LECTURE 9 : - Antonio Sant’Elia and Futurist Architcture
● “ who ferret in the bellies of red hotlocomotives as they hurtle forward at insensate speeds..” - Filippo
Marinetti -- shows the worry and the frantic nation in this period
● “Muttered devotions of the old canal and the creaking of the arthritic, ivy bearded palaces…” - Filippo
Marinetti -- you feel the worry and frantic and anxiety
● Filippo Marinetti : Italian poet and theorist - founder of the futurist movement
● Abbaye de Créteil: futurist movement inspired by this utopian community/ group in 1906
named after abbey in Paris, lasting 2 years inspired by their utopian ideas and thinking

● Le Futurisme :
- Came as a reaction towards the Italian condition
- a condition in which the middle class is unifying
- came after an incident that happened in a race in Milan
- this race incident reminded Marrietti by his own incident by the destruction
and speed
○ Nothing to do with the past
○ Admired technology, fascist ideas, cars, planes, and speed
○ In their manifesto: he is fantasizing about the destruction of cars.
○ Let’s embrace the mud and sweat and take it with us to the future
○ Celebrating the body instead of the spirit
○ A chance for rebirth from destruction
○ 11 points in the manifesto
○ Futurists are excited about the success of industrialization and now let’s adapt to
the technology and bring it to our culture and oppose to culture and history
○ It is not a style or a form - it is an ideology
● Technical Maniefsto of Futurist Sculpture: Boccioni and Futurism
- the idea of anti-culture began with Umberto Boccioni
- he published this manifesto and produced 2 paintings that the manifesto is based on
- he criticized the secessionist in Germany: “​ We find in Germanic countries a ridiculous obsession with a
Hellenized Gothic style that is industrialized in Berlin and enervated in Munich”
example of that: Tietz Store in Dusseldorf by Josef Olbrich / Wertheim Store in Berlin by ALferd Messel
● Boccioni focused on sculpture and how the sculpture can be part of the atmosphere
that it is in
● Non- nationalistic impression, looking at mechanical for inspiration instead of nature
● Excluded the nude and focused on simple ideas
● Replaced material of marble and bronze with mixed media like glass

59
 ● He influenced constructivism in Russia
● Gave the intellectual aesthetics frame of the network
● “ All these convictions compel me to search in sculpture, not for pure form but pure plastic rhythm; “
● Pure Plastic: the ability to change and manable
● Futurist Architecture was inspired by these two:
1) Filippo Marinetti, Geometric & Mechanical Splendor & the Numerical Sensibility,
2) Umberto Boccioni, Technical Manifesto of Futurist Sculpture

● Filippo Marinetti : “ Nothing in the world is more beautiful than a great humming power station,
holding back the hydraulic pressures of a whole mountain range, and the electric power for a whole
landscape, synthesized in control panels bristling with levers and gleaming commutators.”:
- Shows the idealization of mechanics-ilsm
● Antonio Sant’Elia : futurist influenced this architect and designed power station
● 17 years old, got his degree in building
● 24 years old: took architecture course and designed small villa
● He entered a design competition for central station
● He was considered part of the Italian renaissance; a movement
gained national admire after the Floreale Building of his
● Buildings that influenced him :
- Stile Floreale. Raimondo D'Aronco pavilion for the Exhibition of Decorative Art
( Sussionist style ) - which influenced his new style
● Giuseppe Sommaruga, Faccanoni Mausoleum - ( new bourge )
● His work:
- Monza Cemetery :
- considered a departure for his work
- “ beginning of the break of the new existing things “ idea
was in it
- Messaggio & Città Nuova :
- He joined his friends to form the nuovo citta
- Wrote and did exhibition that showed his drawings of the “ new city
- At this time he was clearly under the influence of the futurist
- But he still didn’t clearly say it but the clear resemblance in his work
revealed that
- Messaggio: The introduction for the exhibition ; which shows the idea of
breaking from the past and thinking of now
- ( Messagio Antonio wrote: )
“The problem of modern architecture is not a problem of rearranging its line; not a question of
finding new moldings […] …. But to raise the new built structure on a sane plane, gleaning every
benefit of science and technology… establishing new forms, new lines, new reasons for existence
solely out of the special conditions of modern living and its projection as aesthetic value in our
sensibilities..” - Antonio Sant’Elia,
- He started designing large scale projects and architecture with his brother
that focused on the new industrial period they lived in
- Not like Garnier, he focused on mobile community and thinking about a
city that is expandable

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 - “ demand instead large well ventilated apartment houses, railways of absolute reliability, tunnels, iron bridges,
vast high speed loners, immense meeting halls and bathrooms designed for the rapid daily care of the body…’” -
Antiono

- He talks about democracy and how now we have cars

- Criticizing royal authority and the religion after the break of the church’s
power
- In the quote, he is describing the idea of time, where the train station
would take you to another country and you are suddenly in a new city -
The idea of transportation, travel and time
- “ We must invent and rebuild ex novo our modern city like an immense and tumultuous shipyard,
active mobile and everywhere dynamic, and the modern buildings like a gigantic machine” - Antonio
- Shows how they saw architecture and how it operates
- In Antonio’s drawings, he represents the mentality and speed
- Some of his sketches were not consistent with his ideas and were
contradicting
● Manifesto Of Futurist Architecture:
- They published the manifesto and in it Antonio officially labeled himself as a
futurist
- Antonio republished all his work and added futurism labels
- He is the only one who signed it but Marriett edited it
- The idea of the manifesto is that nothing is constant.
- The manifesto had 11 points :
- First four pints talks about the Avant-garde of Austria
- All revival movements are opposed ( baroque, renaissance,
ect) that talks about beauty and ornament
- Despises looking at historical architecture like greek and
Rome
- Taking ownership
- Pushing Limits of materiality like iron, glass
- Against all ornamentation
- Finding inspiration in factories and the world of
mechanization rather than nature,
- Form doesn't follow function
- Making architecture that is about now and the human in
contrast to spirituality
- Erasing the past and building for the new
- Complete elimination trace of tradition and history

- After world war 1 Antonio died and was honored by a monument

- Giuseppe Terragni, Monument to the Fallen Soldiers of World War I
- After 1919: Russians took those futurist ideas and ran with it
Ex: El Lissitzky, Photo by the artist of his design ‘Cloud Iron.
Vladimir Tatlin, Monument to the Third International,

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Filippo Marinetti
Technological advances

Abbaya de Creteil
Self contained utopian community
Influences Marinetti and his writing

Futurism
Golden era
Against history
Support facisim architecture
11 points of futurist manifesto
Significance of mechanical speed
Dynamism emerges
Plastic arts and futurism
Absolute motion
Relative transformation which the object undergoes
Umberto Boccini
Technical Manifesto of Futurist Manifesto
Movement
Criticized
Move away monumental
Mixed media
Influenced Russian constructivism
Antonio SantElia
Isolated from futurists
Part of italian succession

Rue Franklin Apartments

Innovative use of concrete
New style
Auguste Choisy and Paul Christophe
Columns and set back roof - gothic feeling
Service basement
Commercial ground floor
First building to expose concrete
Art decoratifs theatre
New national classical styke
Perret: first to use concrete
Influenced by guadet and choisy

62