Structural Rationalism and Structural Visionaries

Transcription

1 Structural Rationalism and Structural Visionaries

2 Eugène Emmanuel Viollet-le-Duc,

3 In architecture, there are two necessary ways of being true. It must be true according to the programme and true according to the methods of construction. To be true according to the programme is to fulfill exactly and simply the conditions imposed by need; to be true according to the methods of construction, is to employ the materials according to their qualities and properties purely artistic questions of symmetry and apparent form are only secondary condition in the presence of our dominant principles. Eugène Viollet-le-Duc Conversations on Architecture,

4 Eugene Emmanuel Viollet-Le-Duc, market place, Entretiens sur l architecture,

5 Viollet-Le-Duc, study for concert hall, Entretiens sur l architecture, (Conversation on Architecture.)

6 Viollet-Le-Duc, Study for a large hall Entretiens sur l architecture, (Conversation on Architecture.)

7 Eugene Emmanuel Viollet-Le-Duc, Iron details, Entretiens sur l architecture,

8 Victor Horta ( ). Shown here ca. 1900

9 Alphonse Balat, Royal Winter Garden at Laeken, Belgium,

10 Alphonse Balat, Royal Winter Garden at Laeken, Belgium,

11 Jan Toorop, The Three Brides, 1893, Belgium, member of the post impressionist group, Les XX.

12 Victor Horta, Hotel Tassel, Brussels, Facade, 1892

13 Victor Horta, Hotel Tassel, Brussels, plans and section, 1892

14 Victor Horta, Hotel Tassel, Brussels, Conservatory, 1892

15 Victor Horta, Hotel Tassel, Brussels, Central Hall, 1892

16 Victor Horta, Hotel Tassel, Brussels, Stair, 1892

17 Victor Horta, Hotel Tassel, Brussels, Detail of Door handle, 1892

18 Victor Horta, Home and Studio, Brussels,

19 Victor Horta, Home and Studio, Brussels, , gallery

20 Victor Horta, Van Eetvelde House, Brussels, Central Hall, 1899

21 Victor Horta, Van Eetvelde House, Brussels, Central Hall, 1899

22 Victor Horta, Maison du Peuple, Brussels,

23 Victor Horta, Maison du Peuple, Main Meeting Room, Brussels, it was an interesting commission as I saw straight away building a palace that wasn t to be a palace but a house whose luxury feature would be the light and air that had been missing for so long from the working-class slums Victor Horta on the Maison du Peuple.

24 Hector Guimard ( ), Studio, Castel Béranger, Paris,

25 A style of architecture, in order to be true, must be the product of the soil where it exists and of the period which needs it. The principles of the Middle Ages and those of the 19 th century, added to my doctrine, should supply us with a foundation for a French Renaissance and an entirely new style. Let the Belgians, the Germans and the English evolve for themselves a national art and assuredly in so doing they will perform a true, sound and useful work. Hector Guimard, (from Frampton, Modern Architecture, p.69)

26 Hector Guimard, Castel Béranger, Paris,

27 Hector Guimard, Castel Béranger, Paris, , entrance.

28 Hector Guimard, Castel Béranger, Paris, , entrance.

29 Hector Guimard, Castel Béranger, Paris, , entrance.

30 Hector Guimard, Ecole du Sacré Coeur, Paris, 1895.

31 Eugene Emmanuel Viollet-Le-Duc, market place, Entretiens sur l architecture,

32 First subway, 1863 Baker Street Station, London

33 Hector Guimard, Metro Station entry, Paris, France

34 Hector Guimard, Metro Station entry, Paris, France

35 Hector Guimard, Metro Station entry, Paris, France

36 Hector Guimard, Metro Station entry, detail, Paris, France

37 Hector Guimard, Metro Station entry, detail, Paris, France

38 Hector Guimard, Metro Station entry, detail, Paris, France

39 Hector Guimard, Metro Station entry, detail, Paris, France

40 Henry Van de Velde ( ) Shown here c

41 Henry Van de Velde, Garden in Kalmhout, c. 1892, oil on canvas

42 Henry Van de Velde, Abstract Plant Composition, c. 1893, pastel

43 Henry Van de Velde, Angel Watch, c. 1893, tapestry

44 Henry Van de Velde, Bloemenwert, house for himself, Uccle (near Brussels), 1895, Front and rear elevations.

45 Henry Van de Velde, Bloemenwert, house for himself, Uccle (near Brussels), 1895, sketch plan.

46 Henry Van de Velde, Bloemenwert, house for himself, Uccle (near Brussels), 1895

47 Henry Van de Velde, Bloemenwert, interior, Uccle (near Brussels), 1895

48 Henry Van de Velde, dresses for his wife, Maria published in Dekorative Kunst, 1901.

49 Samuel Bing s L Art Nouveau Store, Paris, 1895 where Van de Velde first exhibited his furniture.

50 Van de Velde s Smoking Room exhibited at Samuel Bing s L Art Nouveau Store, Paris, Yachting Style

51 The same laws which guide the work of an engineer also guide ornamentation, which I would like to place on an equal footing with technology in this work. The new architecture needs new ornamentation. The reflection and suppleness characteristic of the former must also be features of the latter. Van de Velde, Das neue Ornament, in Die Renaissance im modernen Kunstgewerbe, Berlin, Henry Van de Velde, Chair for Bloemenwert House, Uccle (near Brussels), 1895

52 Henry Van de Velde, Furniture Atelier, Brussels, 1897

53 Henry Van de Velde, Study shown at the Secession exhibition in Munich, 1896

54 Henry Van de Velde, Tropon Poster, Only poster designed by Van de Velde

55 Henry Van de Velde, Havana Cigar Store, Berlin, Empathy vs. Abstraction

56 Henry Van de Velde, Title Page design, Thus Spoke Zarathustra, 1908

57 I tell you that the time will come when the furnishing of a prison cell by Professor Van de Velde will be considered an aggravation of the sentence. Adolf Loos, as quoted in Frampton, Modern Architecture

58 Parody of Henry Van de Velde s designs, the Van der Bloede Bedroom.

59 Parody of Henry Van de Velde s New Style, Lustiger Bletter, Berlin, 1899.

60 On the Acropolis the living standing columns teach us that they do not exist, that they do not carry load, or rather that they are interspaced according to an end very different from that for which they were apparently erected. Even where they are still joined by an entablature, they proclaim in evidence that the columns around the Parthenon do not exist, but that between them gigantic perfect vases are poised, containing life, space and sun, sea and mountains, night and the stars. The entasis of the columns is transformed until the resultant space between one and the other has attained a perfect, eternal form. Henry Van de Velde, Frampton, p. 98

61 Henry Van de Velde, Art School and Applied Art School, Weimar, , plan

62 Henry Van de Velde in his studio on the upper floor of his Art School, Weimar, ca. 1907

63 Henry Van de Velde, Applied Art School, Weimar, 1902

64 Henry Van de Velde, Applied Art School, Weimar,

65 Henry Van de Velde, Art School, Weimar,

66 Henry Van de Velde, Art School, Weimar,

67 Henry Van de Velde, Art School, Weimar, , staircase

68 Henry Van de Velde, Model for Werkbund Theater, Cologne, 1913

69 Henry van de Velde, Werkbund Theater, Cologne, 1914, plan

70 Henry van de Velde, Werkbund Theater, Cologne, 1914, section

71 Henry Van de Velde, Werkbund Exhibition Theater, Cologne, 1914

72 Henry Van de Velde, Werkbund Exhibition Theater, Cologne, 1914

73 Henry Van de Velde, Werkbund Exhibition Theater, Cologne, 1914

74 Henry Van de Velde, Werkbund Exhibition Theater, Cologne, 1914

75 Henry Van de Velde, Werkbund Exhibition Theater, interior, Cologne, 1914

76 Italian Futurists and the Cult of the Machine

77 First Airship Flight, Graf Zeppelin s LZ 1, June 30, 1900.

78 Wright Brothers first flight at Kittyhawk, 1903.

79 The new Fiat S76, First to reach 131 mph.

80 Suddenly we hear the roar of starving cars Let us go, I cried, let us depart. Mythology and Mystic Idealism are defeated at last. We are in at the birth of the centaurs, we shall see the angels fly. We must rattle the doors of life, test the hinges and the bolts. Let us go. Oh beautiful, maternal factory ditch, how greedily I tasted your fortifying mire, that reminded me of the dark breasts of my Sudanese nurse. Yet when I emerged, ragged and sodden from the overturned vehicle, I felt the hot iron of a delicious joy pierce my heart. And so, our faces covered in good factory mud, plastered in slag, sweat and soot, bruised and in splints, but undaunted yet, we pronounced our fundamental will to live to all the live spirits of the world. Marinetti, 1909

81 George Braque Chateau de La Roche- Guyon. 1909

82 Pablo Picasso Ma Jolie (Woman with a Guitar)

83 Umberto Boccioni, Self Portrait, 1908

84 Umberto Boccioni, Powers of a Street 1911

85 Umberto Boccioni, State of Mind, 1911

86 Umberto Boccioni, Bottle Unfolding in Space, 1912 All these convictions compel me to search in sculpture not for pure form but pure plastic rhythm; not the construction of bodies, but the construction of the action of bodies. Thus I have as my ideal not a pyramidal architecture (static state), but a spiral architecture (dynamism) My inspiration moreover seeks through assiduous research a complete fusion of environment and object by the means of interpenetration of planes.

87 Umberto Boccioni, Unique Forms of Continuity In Space, 1913

88 Umberto Boccioni, Burden of the Swordsmen, 1915

89 Antonio Sant Elia

90 Filippo Tomaso Marinetti, (center) with Umberto Boccioni on his left. Paris, 1912

91 Fiat S76, Victory of Samothrace, Louvre Museum, Paris, B.C.E.

92 I COMBAT AND DESPISE: 1 All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German, and American; 2 All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty, and pleasing; 3 The embalming, reconstruction, and reproduction of ancient monuments and palaces; 4 Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive, and absolutely excluded from our utterly new sensibility; 5 The use of massive, voluminous, durable, antiquated, and costly materials. Antonio Sant Elia and Filippo Tommaso Marinetti, from the Futurist Manifesto

93 Antonio Sant Elia Casa a Gradinata For Cittá Nuova 1914

94 Antonio Sant Elia Torre di Faro (Lighthouse) For Cittá Nuova 1914

95 Antonio Sant Elia Projects for La Cittá Nuova

96 Antonio Sant Elia Project for Cittá Nuova 1914

97 Antonio Sant Elia Hydroelectric Dam La Cittá Nuova

98 Antonio Sant Elia Central Railway Station and Airport Sketch for Cittá Nuova

99 Antonio Sant Elia Central Railway Station and Airport For Cittá Nuova

100 Giacomo Balla Futurist Clothing from Manifesto Futurista, 1914

101 F. T. Marinetti, Cover of magazine entitled: Zang, Tumb, Tuum: Adrianopolis, October 1912, Words in Freedom, 1914

102 Tony Garnier and Une Cite Industrielle

103 Claude-Nicolas Ledoux, ideal city of Chaux, 1804

104 Jean-Baptiste Godin, Cast Iron Stove Factory familistere Guise, France View today.

105 Ebenezer Howard s Garden City from Tomorrow: A Peaceful Path to Real Reform, 1898.

106 Tony Garnier ( )

107 Tony Garnier, Cité Industrielle, plan,

108 Tony Garnier, Cité Industrielle, plan,

109 Tony Garnier, Cité Industrielle, aerial view,

110 Tony Garnier, Cité Industrielle, aerial view,

111 Tony Garnier, Cité Industrielle, detail of assembly building,

112 Tony Garnier, Assembly Rooms portico, Cité Industrielle,

113 Tony Garnier, Theater, Cité Industrielle,

114 Tony Garnier, Public Bath, Cité Industrielle,

115 Tony Garnier, Public Bath, Cité Industrielle, , elevation

116 Tony Garnier, hospital area, Cité Industrielle,

117 Tony Garnier, hospital, Cité Industrielle,

118 Tony Garnier, Train Station, Cité Industrielle,

119 Tony Garnier, Art School, Cité Industrielle,

120 Tony Garnier, Art School, Cité Industrielle, , interior of main hall

121 Main Hall, Ecole des Beaux Arts, Paris, where Garnier studied architecture

122 Tony Garnier, housing, Cité Industrielle,

123 Tony Garnier, Home Entry Courtyards, Cité Industrielle,

124 Tony Garnier, Typical Apartment House, Cité Industrielle,

125 Tony Garnier, port, Cité Industrielle,

126 Tony Garnier, Power Plant, Cité Industrielle,

127 Lebbeus Woods, Mechano, ca. 1995

128 Tony Garnier, Abattoir, La Mouche, Lyons, 1917, design

129 Tony Garnier, Abattoir, La Mouche, Lyons, 1917

130 Tony Garnier, Abattoir, La Mouche, Lyons, 1917, as built

131 Tony Garnier, Abattoir, La Mouche, Lyons, 1917, interior today

132 Auguste Perret, Portrait by Theo van Rysselberghe 1914

133 Auguste Perret, 25 bis rue Franklin Paris, 1903

134 Auguste Perret, 25 bis rue Franklin Paris, 1903

135 Auguste Perret, 25 bis rue Franklin Paris, 1903

136 Auguste Perret, 25 bis rue Franklin Paris, 1903 Section and Elevation of left entryway

137 Auguste Perret, 25 bis rue Franklin Paris, 1903 Entry in 1904

138 Auguste Perret, 25 bis rue Franklin Views and plan Paris, 1903

139 Auguste Perret, 25 bis rue Franklin Paris, View from 7 th Floor terrace

140 Auguste Perret, 25 bis rue Franklin Paris, 1903

141 Auguste Perret, 25 bis rue Franklin, Paris, th Floor terrace

142 Auguste Perret, 25 bis rue Franklin, Paris, 1903 rooftop view

143 Auguste Perret, Mechanical Parking Garage Rue de Pontheiu, Paris, 1905.

144 Auguste Perret, Théâtre des Champs-Élysées, Paris,

145 Auguste Perret, Théâtre des Champs-Élysées, Paris, , sectional axonometric

146 Auguste Perret, Théâtre des Champs-Élysées, Paris, , section

147 Auguste Perret, Théâtre des Champs-Élysées, Paris, , entry

148 Auguste Perret, Notre Dame, Le Raincy, 1924.

149 Auguste Perret, Notre Dame, Le Raincy, 1924, plan

150 Auguste Perret, Notre Dame, Le Raincy, 1924.

151 Auguste Perret, Notre Dame, Le Raincy, 1924.

152 Auguste Perret, Notre Dame, Le Raincy, 1924, Stair detail

153 Auguste Perret, Théâtre Exposition des Arts Décoratives Paris, 1925.

154 Russian Constructivism

155 Winter Palace, The Hermitage, St. Petersburg, Russia,

156 Carlo Rossi, Carlo Rossi Street, St. Petersburg, Russia, c. 1830

157 Victor Vasnetsov, Chapel, Abramtesvo, Russia, 1882

158 Alfred Parland, Church on Spilt Blood, St. Petersburg, Russia, 1881

159 Influences from the West

160 Ernst Ludwig Kirchner Portrait of a Woman 1911

161 George Braque Chateau de La Roche-Guyon. 1909

162 Pablo Picasso Ma Jolie (Woman with a Guitar)

163 Umberto Boccioni, Unique Forms of Continuity In Space, 1913

164 Antonio Sant Elia Torre di Faro (Lighthouse) For Cittá Nuova 1914

165 Kazimir Malevich, Self-Portrait, 1912 Mystical Idealist

166 Malevich, Black Square, 1915

167 Kazimir Severinovich Malevich, Suprematist Compostition: Airplane Flying, 1915

168 Malevich, Malevich pictures in 0.10 exhibit, St. Petersburg, December 1915, the appropriate means of representation is always the one which gives fullest possible expression to feeling as such and which ignores the familiar appearance of objects. Malevich Black square = feeling, white=void beyond the feeling. Suprematism.

169 Malevich, Suprematist Composition: White on White, 1918

170 El Lissitzky, Self-Portrait: The Constructor, 1924

171 Agit-Prop Train, 1919

172 El Lissitzky, The Factory Workbenches Await You. Propaganda Board in Vitebsk,

173 El Lissitzky A Supremist Tale about Two Squares: 6. They Fly on to the Earth from far away and 1920

174 El Lissitzky Design for The Lenin Tribune, 1920

175 El Lissitzky, Proun. [Project For the Affirmation of the New] N 1-A, 1921

176 El Lissitzky, Proun 19D, 1922

177 El Lissitzky, Proun Room, 1923

178 El Lissitzky, Cloud Hangar Project, 1925

179 El Lissitzky, Skyscraper near Nikitskii Gates, 1925

180 Eliel Saarinen, Chicago Tribune Competition entry, Chicago, 1922

181 El Lissitzky, Axonometric design drawing for Yacht Club of International Red Stadium in Lenin s Hills, 1925

182 El Lissitzky, Soviet Pavilion, Pressa Exhibition, Cologne, Germany, 1928

183 Vladimir Tatlin ( ) wearing coat he designed and in front of a stove he designed in 1919.

184 Vladimir Tatlin, Corner Relief, Suspended Type, 1915 Productivist

185 Vladimir Tatlin Monument to 3 rd International, St. Petersburg, 1920, elevation

186 Vladimir Tatlin Monument to 3 rd International, St. Petersburg, 1920, model

187 Alexandr Rodchenko, 1920.

188 Alexandr Rodchenko, Non-Objective Painting: Black on Black, (MOMA) 1918.

189 Alexandr Rodchenko, Spatial Constructions on view at the Second Spring Exhibition of the Society of Young Artists, 1921.

190 Alexandr Rodchenko, Design for the insignia for the state airline Dobrolet, 1923.

191 Alexandr Rodchenko, Workers Club, Paris, 1925

192 Aleksandr and Victor Vesnin, Moscow, Palace of Labor competition,

193 Alexandr and Victor Vesnin, Leningrad Pravda Building Competition, Leningrad, 1924 Elevation

194 Konstantin Melnikov, ( )

195 Konstantin Melnikov, Sucharev Market, Moscow, (ASNOVA Assoc. of New Arch.)

196 Konstantin Melnikov, USSR Pavilion, Exposition des Arts Decoratifs, Paris, 1925, elevation

197 Konstantin Melnikov, USSR Pavilion, Exposition des Arts Decoratifs, Paris, 1925, plans

198 Konstantin Melnikov, USSR Pavilion, Exposition des Arts Decoratifs, Paris, 1925

199 Des Galeries Lafayette (Department Store) pavilion, Exposition des Arts Decoratifs, Paris, 1925

200 Le Corbusier, L Esprit Nouveau, Pavilion, Exposition des Arts Decoratifs, Paris, 1925

201 Konstantin Melnikov, Rusakov [Tram] Workers Club, Moscow, , plan and section

202 Konstantin Melnikov, Rusakov [Tram] Workers Club, Moscow,

203 Konstantin Melnikov, Rusakov [Tram] Workers Club, Moscow,

204 Konstantin Melnikov, Melnikov House, Moscow,

205 Ol, Ivanov and Lavinsky, interlocking duplex apartments with central corridor, OSA (Organization of Comtemporary Architecture) competition, 1927 [left]; Design for a compact kitchen module with concealing screens, by the Building Committee of the Economic Council of the USSR.

206 Moisei Ginsberg and Ignati Milinis, Narkomfin Apartment Building, Moscow,

207 Moisei Ginsberg and Ignati Milinis, Narkomfin Apartment Building, Moscow,

208 Moisei Ginsberg and Ignati Milinis, Narkomfin Apartment Building, Moscow,

209 El Lissitzky, Model for Type F residential unit, Narkomfin, Moscow, 1929.

210 Ivan Leonidov, c. 1920

211 Ivan Leonidov, Design for Lenin Institute of Librarianship, 1927

212 Ivan Leonidov, Design for Lenin Institute of Librarianship, 1927, model

213 Ivan Leonidov, Design for Lenin Institute of Librarianship, 1927, model