Lecture 7 pop and plastics to memphis2 feb 2010
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The document discusses the development of modern architecture in the 20th century. It covers key architects and styles including Le Corbusier and his "Five Points of Architecture" exemplified by Villa Savoye, Mies van der Rohe's German Pavilion made of steel and glass, and Frank Lloyd Wright's Usonian houses and Falling Water that featured cantilevered structures. The document also mentions the Memphis Group in the 1980s that experimented with new materials like plastics and fibreglass to create colorful furniture and lighting designs.
Lecture 7 pop and plastics to memphis2 feb 2010
- 1. Pop and Plastics to Memphis Lecture 8 Pop and Plastics to Memphis
- 4. popular redundant iconic predictable symbolic Post-modern POP architecture POP ARCHITECTURE: Having heightened sense of symbolism, because architecture needed to communicate with society to satisfy certain need. Allowing historicism to be part of contemporary architecture.
- 6. experimented with the new material - fibreglass + plastics developed contemporary furniture and lighting. products created - limited production of unusual objects and functional designs. plastic laminate surfaces, bright colours and bold patterns. MemphisgroupEttore Sotsaas
- 9. Postmodern
- 10. Le Corbusier Two ideal villas - Villa Stein at Garches 1927 - Villa Savoye at Poissy 1929-31 In formal terms the two villas can be seen as abstract cubes in space in which various geometric elements are freely disposed as in a Purist painting Idea developed (from 1914 Domino system) into the 5 points of architecture
- 11. Villa Stein at Garches 1927
- 12. The plan of Villa Stein
- 13. Free façade The columns set back from the facades, inside the house. The floor continues cantilevered. The facades are no longer anything but light skins of insulating walls or windows. The façade is free
- 14. The free standing column freeing from the ground – pilotis The reinforced concrete gives us the pilotis, the house is up in the air, free from the ground. Ground floor provides free circulation for various activities
- 15. The external wall and the internal wall independent of structural skeleton – ribbon window The window is one of the essential features of the house. Reinforced concrete provides a revolution in the history of the window. Window can run from one end of the façade to the other
- 16. Free plan Until now, load bearing walls, from the ground they are superimposed; forming the ground floor and upper stories, up to the eaves. The layout is a slave to the supporting walls. Reinforced concrete in the house provides a free plan. The floors are no longer superimposed by partition walls
- 17. Roof garden The garden is also over the house, on the roof. Returning the ground taken up by the foot of the house back to the garden
- 18. Ludwig Mies Van Der Rohe Deals mostly with town planning - Simplicity – Less is more - Lightness – Steel and glass, structurally very light - Material honesty and structural integrity - Plane wall – structural - Floating – meet the ground only through plan structural wall - Within nature – blend together German Pavilion, World Exhibition, Barcelona 1929 Fansworth House 1950
- 19. The German Pavilion Barcelona
- 20. The roof rested on walls, or more properly wall planes, placed asymmetrically but always in parallels or perpendicular, so that they appear to slide past each other in a space through which the viewer could walk more or less endlessly, without ever being stopped within a cubical area. This open plan, with its intimation of an intimate freedom of movement, was at the same time qualified by two rows of equally spaced, cruciform columns that stood in martial formation amid the gliding walls. The columnar arrangement constituted to Mies’s first use as an ordering factor in this building
- 21. Illusionary surface readings effected by the use of green tinted glass screens, to emerge as the mirror equivalents of the main bounding planes. These planes, faced in polished green Tinian marble, in their turn reflected the highlights of the chromium vertical glazing bars holding the glass in place A comparable play in terms of texture and colour was affected by the contrast between the internal core plane of polished onyx (the equivalent of Wright’s centrally placed chimney core) and the long travertine wall that flanked the main terrace with its large reflecting pool
- 22. Here, bounded by travertine and agitated by the wind, the broken surface of the water distorted the mirror image of the building. In contrast to this, the internal space of the pavilion, modulated by columns and mullions, terminated in an enclosed court, containing a reflecting pool lined with black glass Above and in this implacable, perfect mirror, there stood the frozen form and image of George Kolbe’s Dancer. Yet despite all these delicate aesthetic contrasts the building was simply structured about eight free-standing cruciform columns that supported its flat roof
- 23. Frank Lloyd Wright The Usonian houses In 1928, Wright coined the term ‘Usonia’ to denote an egalitarian culture that would spontaneously emerge in the United States. By this, he seems to have intended not only a grassroots individualism but also the realization of a new, dispersed form of civilization such as had recently been made possible by mass ownership of automobile
- 24. The presentation drawing of an Usonian house
- 25. The elevations of an Usonian house
- 26. The exterior of an Usonian house
- 27. The interior of an Usonian house
- 28. Falling Water, Bear Run, Pennsylvania In Falling Water, reinforced concrete afforded the point of departure; only this time the cantilevering gesture was extravagant to the point of folly Falling Water projected itself out from the natural rock in which it was anchored, as a free floating platform poised over a small waterfall
- 29. Guggenheim Museum, New York, 1943 The structural idea and parti for the museum date back to his sketch for the Gordon Strong Planetarium of 1925 At Guggenheim, he simply turned the diminishing helix of the planetarium inside out, inverting and thereby converting what had previously been a car ramp into an internal, spiraling gallery, an extended spatial helix which Wright later referred to as an unbroken wave It also combines the structural and spatial principles of Falling Water
- 31. THE END