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Ar. Sheena S. Assayco BS-Architecture II TOA 2: 1:30-2:30 FN-RSW

Oineza, Hari Armoje M. Modernism

THEORY OF Functionalism ARCHITECTU Rationalism Brutalism

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MODERNISM Frank Lloyd Wright’s famous falling water house Architecture, like art, becomes iconic when it breaks from the current mode and challenges viewers and inhabitants to approach living with a new consciousness. Modernist houses introduced a new way to live with open floor plans and clean, modular designs free of unnecessary ornament. The most renowned examples include buildings like Frank Lloyd Wright’s Falling water and Philip Johnson’s Glass House, and though these sites have become meccas for modern aesthetes, they aren’t without their faults. Built without today’s advanced technology, many modernist homes suffer from leaky roofs at best and structural instability at worst, much to the dismay of the people who commissioned them. Though obviously intended for living, the homes were designed by their respective architects as examples of purity of form and high artistic expression. Unfortunately, these aesthetic goals led to notso-realistic living situations, and today many of these houses function not as residences but as museums honoring visionary design. What follows are the stories of five of the most iconic modernist homes, flaws and all. The most famous of Frank Lloyd Wright’s homes, Fallingwater in Mill Run, Pennsylvania, gained notoriety because of its cantilevered design inspired by Japanese architecture and its integration with the surrounding forest. Its structural issues, however, have been well documented—the distinctive cantilevered balconies had begun to dip over time due to insufficient reinforcement, and original owner Edgar Kaufmann Sr. had dubbed the home a “seven-bucket building” due to its leaky roof. The site, now a museum, has undergone extensive repairs over the years, and in 2002 the cantilever beams were permanently fixed.

Philip Johnson’s Glass House was completed in 1949 in New Canaan, Connecticut, as a home for the architect, with a glass-and-steel design influenced by the Farnsworth House. Now a museum and an icon of modernist architecture, the building was plagued by the familiar flat-roof issue: incessant leaks. In conversation with Frank Lloyd Wright, who called one of his own homes a “two-bucket house,” Johnson replied that his Glass House was a “four-bucket” home, with one in each corner.

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Another project by Zaha

Hadid Architects, the Capital Hill Residence in Moscow, Russia, is a building that emerges from the landscape while remaining partially embedded in the hillside. With an area of 2,650 square meters, the villa is strategically placed to merge with the sloped landscape. To take advantage of the breathtaking views of the Barvikha forest, a separate volume floats 22 meters above the ground. Over all the general design concept was to extend the exterior topography to the interior of the building, while geometrical definition was derived from the surrounding environment,

in order to create a continuous integration between interior and exterior spaces. [Type here]

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Functionalism

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Mies' design principle of "less is more" and emphasis on functional amenities created a fine example of early functionalism architecture, a groundbreaking new vision in building design at the time. Mies used a revolutionary iron framework, which enabled him to dispense with supporting walls and arrange the interior in order to achieve a feeling of space and light. One wall is a sliding sheet of plate glass that descends to the basement the way an [Type here]

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automobile window does. Mies specified all the furnishings, in collaboration with interior designer Lilly Reich (two armchairs designed for the building, the tudghent hat and the Brno chair, are still in production). There were no paintings or decorative items in the villa, but the interior was by no means austere due to the use of naturally patterned materials such as the captivating onyx wall and rare tropical woods. The onyx wall is partially translucent and changes appearance when the evening sun is low. The architect managed to make the magnificent view from the villa an integral part of the interior. The cost was very high due to the unusual construction method, luxurious materials, and the use of modern technology for heating and ventilation. The lower-ground level was used as a service area. An ultra-modern air-conditioning system was here and a glass façade that opens completely assisted by a mechanism built into the wall. The floor area was unusually large and open compared to the average family home of the period, which, in addition to the various storage rooms, made the structure unique if not confusing to visitors not used to such minimalism.

Le Corbusier was a painter, writer, architect and planner, but he was also an adept promoter of novel designs and theories. So when he debuted his Maison Dom-Ino concept home, it boasted a light and elegant form, but was also cleverly named — its title referenced the look and modularity of gaming “dominoes” with dots extruded to form columns as well as “domus,” the Latin word for house.In this project, Charles-Édouard Jeanneret, better known as Le Corbusier(or simply: Corbu), synthesized prefabrication, flexibility and minimalism. The design featured thin reinforced concrete floors supported by slim concrete columns. He described his solution as “a juxtaposable system of construction according to an infinite number of combinations of plans” to allow for “the construction of the dividing walls at any point on the facade or the interior.” At a time when load-bearing walls and masonry construction were the norm, this was an unusual approach to structural engineering. It would go on to inform much of his life’s work. [Type here]

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Rationalism Carlo Aymonino (18 July 1926 – 3 July 2010) was an Italian architect and urban planner best known for the Monte Amiata housing complex in Milan.

As the dust settled following the Second World War much of Europe was left with a crippling shortage of housing. In Milan, a series of plans were drafted in response to the crisis, laying out satellite communities for the northern Italian city which would each house between 50,000 to 130,000 people. Construction the first of these communities began in 1946, one year after the end of the conflict; ten years later in 1956, the adoption of Il Piano Regolatore Generale—a new master plan—set the stage for the development of the second, known as 'Gallaratese'. The site of the new community was split into parts 1 and 2, the latter of which was owned by the Monte Amiata Società Mineraria per Azioni. When the plan allowed for private development of Gallaratese 2 in late 1967, the commission for the project was given to Studio Ayde and, in particular, its partner Carlo Aymonino. Two months later Aymonino would invite Aldo Rossi to design a building for the complex and the two Italians set about realizing their respective visions for the ideal microcosmic community.

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The Teatro Carlo Felice-is the main opera house of the city of Genoa, in Italy. Originally built on the site of a Dominican church in the nineteenth century, the opera house suffered damage in the context of World War II, in 1941, when a British warship-fired shell came crashing through the roof. In 1943 and 1944, air raids caused further damage reduced the opera house to outside walls and heaps of rubble.Following the tumultuous history, Aldo Rossi provided a design in 1977. The outside design follows that of the original structure; however, the inside is entirely rethought and redrawn. In 1991, the opera house finally reopened. The Teatro Carlo Felice’s outside speaks of the olden days, in the past century and before. However, the inside incorporates excellent acoustics, a beautiful set of balconies, private boxes and windows (which I found surprising) and an overall modern setup which can accommodate many visitors and venue guests. With this kind of building, and in terms of architecture, it’s almost guaranteed that there will be something for everyone.

Rockefeller Center-is a large complex consisting of 19 commercial buildings covering 22 acres (89,000 m2) between 48th Street and 51st Street in Midtown Manhattan, New York City. The 14 original Art Deco buildings, commissioned by the Rockefeller family, span the area between Fifth Avenue and Sixth Avenue, split by a large sunken square and a private street called Rockefeller Plaza. Later additions include 75 Rockefeller Plaza across 51st Street at the north end of Rockefeller Plaza, and four International Style buildings located on the west side of Sixth Avenue. In 1928, the site's then-owner, Columbia University, leased the land to John D. Rockefeller Jr., who was the main person behind the complex's construction. Originally envisioned as the site for a new Metropolitan Opera building, the current Rockefeller Center came about after the Met could not afford to move to the proposed new building. Various plans were discussed before the current one was approved in 1932. Construction of Rockefeller Center started in 1931, and the first buildings opened in 1933. The core of the complex was completed by 1939. The original center has several sections. Radio City, along Sixth Avenue and centered on 30 Rockefeller Plaza, includes Radio City Music Hall and was built for RCA's radiorelated enterprises such as NBC. The International Complex along Fifth Avenue was built to house foreign-based tenants. The remainder of the original complex originally hosted printed media as well as Eastern Air Lines. While 600 Fifth Avenue is located at the southeast corner of the complex, it was built by private interests in the 1950s and was only acquired by the center in 1963. Described as one of the greatest projects of the Great Depression era, Rockefeller Center was declared a New York City landmark in 1985 and a National Historic Landmark in 1987. It is noted for the large quantities of art present in almost all of its Art Deco buildings, its expansive underground concourse, and its ice-skating rink. The complex is also famous for its annual lighting of the Rockefeller Center Christmas Tree.

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Brutalism The Bank of London and South America One aspect of brutalism that's often overlooked is the airy interiors. For obvious reasons, architecture critics and fans alike tend to fetishize the hulking exteriors of these behemoths rather than the grandly spacious halls that are created by all that cold, hard concrete. The brutalism exterior is all about heaviness. But inside, as you see here, a certain lightness abounds. BOLSA comes up again and again on lists and overviews about brutalism. It's hard to ignore. It was included in an internationally traveling exhibition that celebrated the 20th century's most important works of architecture. Location: Buenos Aires Year built: 1966 Architects: Clorindo Testa and SEPRA Geisel Library Location: La Jolla, California Year built: 1970 Architects: William L. Pereira & Associates For fans of both brutalism and Dr. Seuss, there's only one building that matters: Geisel Library. Named after local La Jolla author and benefactor Theodor Seuss Geisel, the library is the somewhat unlikely home to a vast collection of Dr. Seuss drawings, books, audio recordings, and memorabilia—over 8,500 items in all, plus a large bronze statue of the Cat in the Hat that greets visitors. Architect William Pereira was the creator of many a memorable building, especially in California—the Transamerica Pyramid tower in San Francisco, CBS's Television City in Hollywood, and Pepperdine University in Malibu, to name a few. The unique futuristic design is representative of hands (the splaying concrete piers) holding up books (the glassed-in floors).

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The Met Breuer Location: New York City Year built: 1966 Architect: Marcel Breuer When he was at the famous German art school the Bauhaus, Marcel Breuer invented a series of steel tubular-framed furniture pieces that have become modernist icons and are still in production today. His architectural efforts are equally revered. This inverted ziggurat made of concrete and granite was, and still is, one of the most avant-garde buildings in Manhattan. Wildly disliked when it opened as the Whitney Museum of American Art in 1966, it has since been cited as one of Breuer's best works and a definitive example of the brutalism movement. Despite all the masterpieces that have passed through its doors, the building itself continues to be a star. Reference:

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