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Modern Arhitecture Vol1 PDF

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606 views737 pages

Modern Arhitecture Vol1 PDF

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Jebe94
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modern architecture since 1900 is now well eablished the standord work on twentieth-century architecture. Truly worldwide in scope, it combines a general outline ofthe growth of o modern tradition with « masterly onalysis and interpretation of individual buildings. The author adopts an integrated approach blending proctcel, esthetic and social dimensions ~ yet the sitesi onthe formal and symbolic ‘ospects ofthe ort. The book deals with the expression of ideas in orchtectural terms For this new edition the text hos been radically revised and exponded, incorporating much new knowledge ond o fresh ‘oppreciation ofthe range ond complexity of modern crchitecture. Seven chaplers have been added, three of them ot the end in section on recent world developments This avoids fashionable rhelorc and places contemporary ‘orchitecure in historical ond cultural perspective. There ore ‘mony new illustrations in colour as well os black and white, ‘ond o wealth of plans ond drawings. The bibliography and notes hove been extended and brought up to date. Described by Jomes Ackerman of Harvard University, as “immeasurably the finest work covering this field in existence’, this book takes the long view, relating medern architecture to diverse earlior raditions, and showing how enduring principles continue tobe transformed. it has deservedly been called a ‘classe’ over illustration ludwig mies van der rohe, brick villa project, 1929, plon ——— modern architecture since 1900 sen william j.r. curtis modern ad Sa architecture SF ah | since | Bice a third edition ) port the formative strands of modern architecture prefaces; intraduction the idea of a modern architecture Inthe nineteenth century industrializetion and the city the skyscraper as type and symbol the search for new forms and the problem of arnament ss jonalism, the engineering tradition ond reinforced concrete forts and crafts ideals in britain ond the v.s.o. a responses to mechanization the deutscher werkbund ond futurism we the architectural system of frank lloyd wright 3 national myths and clossical transformations 3: cubism, de stil end new conceptions of space ports the crystallization of modern architecture between the corbusier's quest for ideal form walter gropivs, german expressionism and the bavhaus architecture and revolution skyscraper and suburb: the v.s.a. between the wars a» the ideol community: alterntives to the industrial city 44 1¢ international style, the individual tolent and the myth of furctionalism 47 the image and idea of le corbusier’s villa savoye at poissy the continuity of alder traditions noture and the machine: mies van di le corbusier in the 19308 ses roh wright and the spreod of moder orchi to britain and scondinovia yx» ture totalitarian critiques of the modern movement 35: international, national, regional the diversity of @ new tradition 57. ports 24 25 26 7 29 30 32 transformation ‘ond dissemination ofter 1940 modern architecture in the v.s.a immigrotion and consolidotion ses form ond meaning in the late works of le corbusier a the unite d'habitation at marseille 28 @ collective housing prototype clvar alto ond ecandinavion 4 disjunctions and continuities in the europe of the 19505 a7 jelopments 433 the process of absorption: lotin america, australia, japan ss fon monuments and monumentality: lovisi. kaha sis orchitectu 6 end ani ‘orchitectore extension ond critique in the 19605 modernity, tradition ond identity inthe developing world str pluralism in the 19705 8 port 4 33 35. continuity ond change in the lore twentieth century modern architecture and memory: ns of the past sy al ond the local: landscope, climate and culture tae technology, abstraction and i of nature saz conclu: outhenti a: modernity, trodition, bibliographical note sre notes 49 dex r0 ccknowledgements 735 Phaidon ress Limited Regen’ What | ASS Landon 964 Phaidon Pec. 10 Vac Stet [New York, 10014 ‘we phan com Fist pubabed 982 Sccondedion 1987 Thinkedion (revs expandd nd redepred 19% Repined 957,199,201 (ewe) 2002 205, ©1982, 1967, 1956 Phan Pres Limit “Tear © 1982, 1967, 196 Willan). X.Cunie 1714835242 hardback (0714833568 paperback) ACP alge record for thisbook seve from ‘thee Lbary Alig reseved Nopartotthispuicaion erie epeeaeel ose inarsera ator rani form oe byanrmeans cto ‘mechanical phoocopying, recoingor thers without pri permision ‘fPhaoo Pres Lined Prien Singapore Mhotrainsto part openen pp 18-19 Frank Lloyd Weg Robie Huse, South Woodleva, Chicap, 198-10, perpecine deeng p11 LeCorbsce, projector a use nea Cartage Nain Baizeu), 1927-9, sketch pass Louis Ka Sale tine for Biologia ences Lael Caria, 1939-6, seth ppstaats Frank Gehry Schabel House, Brentwood Cllor, 190, sch preface to the first edition “Modern architecture was evolved less than a century ‘ago to reconcile an idealized vision of society with the forces ofthe Industrial Revolution. While it ade drastic breaks with the pas it also allowed the basic principles of architecture to be rethought in ‘new ways. The reverberations of this major change are only just being felt world-wide, and it may be that we are nearer the beginning ofa tradition than the end of one. Even the recent reactions against ‘modem architecture rely forthe most parton theit ‘enemy for intellectual definition: as soon as forms are produced, they are seen tobe extensions of the discoveries made earlier in this century. It seems a ood moment to pause and to reflect onthe shape of this new tradition. That is what this book sets out to doy examining the architecture ofthe past eighty yearsin detail make no apologies for concentrating on buildings of high visual and intellectual quality: a tradition is formed from a sequence of such high ‘points which hand on their discoveries to lesser followers. Ihave emphasized the problem of architectural language and have tried 1 show how ‘anumber of extraordinarily imaginative individuals ‘expressed the deeper meanings oftheir mes in symbolic forms. I thought it would be a good thing tosstrip away myths and to present the complex picture of modem architecture as simply and honestly as possible. As far as [know the views presented here do not belong to a particular ‘schoo!’ Ihave posed the same basic his «questions — what, why and how? ask for any period. ‘While the book does not set out to substantiate a historical dogma or to persuade the reader that one styles better than another, it does reflect a point of view and does possess a strategy ofits own. Lhave ‘been concemed throughout with the ways in w ideas may be given form, and with the vital interplay ‘between individual invention and the conventions provided by period style and tradition, At the core isa concer for authenticity within a personal ‘vocabulary, in which form, function, structure and meaning are bound together with a certain conviction and character of inevitability. The reliance on ‘movements’ ofthe stockin-trade survey, with its flat treatment of individual buildings and architects, has been avoided. Instead, the sale of approach has been deliberately varied preface to the third edition It is over a decade now since Modern Arcbitectare Since 1900 was first published. There was a second cdltion in 1987 but, apart from an addendum on recent world architecture, the book remained the same. The time has now come for some major additions and revisions. A book of this natureis by definition an evolving project, a working hypothesis, that must be tested, reordered and refined. The author weleomes the chance to take into account his ‘own and other people's intervening researches and cliscoveries. With the third edition the aim has been to integrate new knowledge and experience in an existing structure and to accentuate themes that were leit underdeveloped. The intention isto reveal ‘more of the original soul while giving a better shape to the body. In the period since this book was first written there have been several studies and monographs which have underlined the internal complexity of ‘modem architecture and the richness and range of its theoretical intentions and formal sources. ‘Major inventors such as Frank Lloyd Wright, [Le Corbusier, Mies van der Rohe, Alvar Aalto or Louis Kahn, generated entire symbolic worlds and engaged with society on mythical as well as practical levels; they drew upon several cultures and traditions in formulating thei respective versions ‘of amodem architecture, and theit contribution ‘needs tobe seen in the ong term. While the polemical oversimplifications of the earlier histories have become less and less tenable, the need remains for texts charting large-scale developments, Itis increasingly clear that moder architecture combines numerous strands and inflections which evade monolithic descriptions of either a stylistic cor an ideological kind. The prototypes and principles defined earlier in this century continue tobe transformed, inverted, crss-bred, mannered and regionalized in unexpected ways. In effect the present heir toa diverse tradition. ‘When the first edition of Modern Architecture ‘Since 1900 was published, itwas common to hear that ‘modern architecture is dead’. But intellectual fashions come and go and substantial buildings remain: ‘postmodernism’ proved to bea temporary and localized phenomenon, while the string of ‘sms’ since then have continued inthe usual way to distort history fr their own purposes. Nevertheless, the sround has shifted and new questions have come to the surface. Certain ofthe ‘se-pieces' of earlier modern architectural literature are no longer adequate, The concept ofan ‘International Style’ for example, tends to obscure the richness and ‘ezional diversity of modernism between the wats. Liberal assumptions about the ‘democratic’ nature ‘of modem architecture require ever greater revision the more is known about Italy inthe 1930s or Spain inthe 1950s. A historiography based upon the cultural biases and power structures of the North Atlantic region eannot be justified when dealing with the world-wide dissemination of modern architecture in places lke Latin America, the Middle East or India. Much still needs to be done on the intermingling and collision of ‘universalizing’ types with national and regional traditions, a basic feature of modernism (and possibly of modernization itself} from the beginning. Greater precision has to be given tothe personal and petiod elements of style, and to the interplay between individual inventions, vernacular types and technological norms. Modernism needs to be ‘examined in relation to a variety of world-views andl socal projects, but while the political context may bbe crucial distinction mast be made between the outline of task and the symbolization which leads toarchitectural form. Many of these points were raised inthe first ‘edition of Modern Architecture Since 1900 , but the ‘time has come to pursue them further. The simplest ‘way of demonstrating how the thd edition differs from the firsts to lis the main changes and additions. (A more detailed rationale is supplied in the Bibliographical Note atthe end of the book ‘on page 691.) There are seven new chapters in all, 1905, Perret made a futher step by leaving the capletely exposed (though, admitedy. 4 by white paint in the garage design at 31 cu. tis possible that he fel freer v0 do ing whose anction ly closer othe warchouse acsthetic’ of Hennebigue than s apartments, And it may be tht in his amticulaton of the garage fgade, Peret was wading with second-hand knowledge of Chicago frame brildngs In any case, the result transcends ics influences ina clear statement infused with ate ‘personal syle. The concrete frame of the interior allowed considerable flesbiity in planning to facilitate the circulation and parking of eas. In less sensitive ands ths interior organization might well have led to a enue assemblage of rectangular ‘openings and stanchions in the fagade. Perret Inought order tothe design by subtle placement of the window panes to give the right sense of depth, and by organizing the pater of vertical and horizontal visual stresses —the apparent, not just che actual structure ~in a simple sythm of primary and secondary accents The armature of the ‘whole composition was defined by the stripped ‘plasters’ rising from top to bottom supporting the abstracted ‘cornice’ atthe tp. ‘There canbe lite doubt that Pesset had by this time decided thatthe ‘correct’ forms for conerere ‘were rectangular ones n part because of his acstheti prejudice, in pare because of the simplicity of making rectangular timber formwork {rom ‘which the concrete was cast in simple standard sections thus his conerete vocabulary was reminiscent in some ways of woode-frame buildings of the past, Bu is father had trained him fn the inteiacies of stone cutting and sereotomy. and the mouldings and details of Pere’ designs, which he could usually justify on extremely practical grounds (e,2. as drip mouldings), seem to be historical relatives ofthe flat wall and bracket clements observable in the French classical tradition running back tothe seventeenth century. Itis intriguing to speculate how the Abbé Laugier (the mid-

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