Lecture5 early modern

THE EARLY MODERN ARCHITECTURE
Prepared by: Nor Zalina Md Nor
SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT
AB 243

SUMMARY OF
MODERN ARCHITECTURE
EARLY MODERN
Ca. 1850 – 1900
1. Iron-frame architecture, e.g.
Crystal Palace, Eiffel Tower
1. Chicago School:
Skyscrapers (Jenney)
Functionalism (Sullivan)
AB 243 IA History 02 : Lecture 03
LATE MODERN
Ca. 1900 – 1960
1. International Style – Walter
Gropius, Corbusier, Mies Van
De Rohe.
1. Organic architecture – Frank
Lloyd Wright

THE APPLIED ART CRISIS
1. From the Industrial Revolution (ca.
1750-1850) onward, the world has
been filled with machine-made
products, which led many artists to
fear the decline of applied arts
(works of art that serve a practical
purpose).
2. The production of furniture, for
instance, no longer required a
skilled woodworker; it could simply
be made out of a machine.

THE APPLIED ART CRISIS
2 major positions emerged in response
One position, known as the Arts and
Crafts Movement
Advocate traditional, hand-made
applied arts.
Emerged in late nineteenth-century
England, spread across Europe and
the United States.
Argued that mass-produced goods,
could indeed be beautiful works of art if
it is skillfully designed.
Machine production can results in
products with simple geometric forms
and plain, unornamented surfaces.
instead of rejecting these properties as
cold and lifeless, some artists argued
that they should be embraced. This
approach fuelled the gradual rise of the
modern aesthetic.

THE RISE OF METAL FRAME ARCHITECTURE
The early stage of Early modern is the metal frame architecture
The fundamental technical requirement to large-scale modern architecture was
the development of metal framing.
In this period, the machine-manufacturing plays a major role in shaping the style
of architecture.

THE RISE OF METAL FRAME ARCHITECTURE
During this period, cast iron framing was introduced
to masonry buildings;
masonry walls were no longer the structure for the
building, instead it was becoming a cosmetic "skin"
over an iron skeleton of the building.

THE NEW MATERIALS
The two principal materials for the new forms and high
massive buildings
Steel
(pioneered in Britain and brought
into general use in America)
Reinforced Concrete
(developed in France)

IRON FRAME ARCHITECTURE as Transitional Phase

MODERNISM IN ARCHITECTURE
The defining feature of modern architecture is the modern aesthetic
which may be summarized as “plain geometric forms”
Modern Architecture takes its roots from the Industrial Age when architects
are exploring new materials such as steel and reinforced concrete. The
design of buildings are not anymore influenced by religion nor classicism,
but rather architecture is inspired by the machine.

Glass and iron & Iron frame
Crystal Palace, Joseph Paxton , 1851 Eiffel Tower, Gustav Eiffel, 1887
THE NEW MATERIALS

CHICAGO SCHOOL
1880 -1900

CHICAGO SCHOOL
The next step in the development of modern architecture was the shift
from iron-frame to steel-frame construction.
Steel-frame architecture emerged in Chicago, among a circle of
architects known as the Chicago school, which flourished ca. 1880-1900.

CHICAGO SCHOOL
In the history of architecture, the Chicago School was a school of
architects, active in Chicago at the turn of the 20th Century.
The Chicago fire of
1871 destroyed most
of the city and gave
an opportunity for
architects to design
and built new
structures

CHICAGO SCHOOL
At the time cities grew and property values
increasing, and at this point in history,
architects faced intense pressure to extend
buildings upward,
In response, the Chicago school built the
world's first skyscrapers.
The Home Insurance Building, by William Le
Baron Jenney (a member of the Chicago
school), is usually considered the very first
skyscraper.
William Le Baron Jenney

CHICAGO SCHOOL
Home Insurance Building
‘THE FIRST MODERN SKYSCRAPER’
Location & Year: Chicago, Illinois (1885)
Designed by: Engineer William Le Baron Jenney
• Steel frame allow much greater height & stability
without greater weight of traditional masonry.
• William’s revolutionary design utilized an inner
skeleton of vertical columns and horizontal
beams made out of steel.
• As result the wall is thinner, the structure is lighter
but stronger and more windows can be built.
• The steel structure supports the building weight,
and the brick exterior is merely acted as a ‘skin’
protecting the building from weather.

CHICAGO SCHOOL
Home Insurance Building
• 1885 - Originally 10 storeys
• 1890 – Two additional floors were added at the
top – 12 storeys.
• The building set the standard for various other
building innovations, including rapid, safe
elevators, wind bracing and modern plumbing.

CHICAGO SCHOOL
The skyscraper was the great
technical achievement of the
Chicago school.
The school is also responsible for a
great aesthetic achievement: the
gradual reduction of traditional
ornamentation in skyscraper design.
Skyscrapers were an entirely new
building type, which accelerated
the development of the modern
aesthetic.

LOUIS SULLIVAN
THE FATHER OF MODERN ARCHITECTURE
SEPTEMBER 3, 1856 – APRIL 14, 1924

LOUIS SULLIVAN
1856-1924
THE EARLY MODERN ARCHITECTURE – CHICAGO SCHOOL
• Louis Henry Sullivan was an American architect, and has
been called the "father of skyscrapers" and "father of
modernism.”
• An influential architect and critic of the Chicago School.
• A mentor to Frank Lloyd Wright, and an inspiration to the
Chicago group of architects who have come to be
known as the Prairie School.
• Sullivan is one of the ‘Recognized Trinity of American
Architecture.’
• He posthumously received the AIA Gold Medal in 1944.

LOUIS SULLIVAN
THE EARLY MODERN ARCHITECTURE - CHICAGO SCHOOL
His Famous Quotes
"It is the pervading law of all things organic, and inorganic,
of all things physical and metaphysical,
of all things human and all things super-human,
of all true manifestations of the head, of the heart,
of the soul, that the life is recognizable in its expression,
that form ever follows function.
This is the law."

LOUIS SULLIVAN
Louis Sullivan coined the phrase;
‘form follow function’
Sullivan’s philosophy became one of the
basic principles of the twentieth Century
architecture.

LOUIS SULLIVAN
Louis Sullivan Design Style
Ornament and structure were integral; their
subtle rhythm sustained a high emotional
tension, yet produced a sense of serenity.
But the building's identity resided in the
ornament. Sullivan's philosophy that "form
follows function" became one of the basic
principles of twentieth century architecture,
and was one of the foundations of Prairie
School style design

LOUIS SULLIVAN
He uses simple geometric forms but highly ornamented

LOUIS SULLIVAN
He uses simple geometric forms but highly
ornamented

LOUIS SULLIVAN
Manipulation of the organic.

LOUIS SULLIVAN
Sullivan developed a style of ornamentation
reflected nature through symmetrical use of
stylized foliage & weaving geometric forms.

LOUIS SULLIVAN
Another elements of Sullivan’s work is the massive, semi-circular arch.
Sullivan employed such arches throughout his career – in shaping entrances, in
framing windows or as interior design.

LOUIS SULLIVAN
Decoration in Terra Cotta

ADLER & SULLIVAN : Wainwright Building
The Wainwright Building was designed by the famed architects Adler and Sullivan
in 1891. The Wainwright building is credited for being the first successful utilization
of steel frame construction.

The first two floors are faced in brown
sandstone, the next seven stories rise in
continuous brick piers.
Terra cotta panels of ornate foliage relief's
decorate the each floor.
The tenth story is a frieze of intertwined leaf
scrolls framing circular windows, and is capped
with Sullivan's characteristic overhanging roof
slab.
The building became a City Landmark in
1972. The Wainwright building is also a National
Historic Landmark.

LOUIS SULLIVAN : Auditorium Building (1886)
• It was the commission in 1886 to design the
Auditorium Building in Chicago that marked
the first period of Sullivan’s design maturity
• The Auditorium Building in Chicago is one of
the best-known designs of Louis
Sullivan and Dankmar Adler built in 1889.
• Sullivan ultimately chose to design the
building in the Richardson Romanesque
style that is characterized by
massive rusticated stone walls, heavy
rounded arches and deeply recessed
windows.

• While Sullivan handled the building’s visual design, Adler was responsible for its engineering
and acoustical design
• When completed, it was the tallest building in the city and largest building in the US.
• It is a 10-story-high building of granite and limestone with a 17-story tower.

• In the center of the building was
a 4,300 seat auditorium,
originally intended primarily for
production of Grand Opera.
• The auditorium was designed so
that all seats would have good
views and acoustics.
• Housed in the building around
the central space were an 1890
addition of 136 offices and a
400-room hotel

Front Elevation Side Elevation

Auditorium Hotel – Dining hall

Interior detail of the Auditorium Theatre

LOUIS SULLIVAN : Auditorium Building
Auditorium Theatre interior from the balcony

Exterior detail

Lecture5 early modern

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