Arch219 Lecture 11: Asia And The Americas

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Three principles of the International Style

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• Architecture as Volume rather than mass.

• Regularity rather than symmetry.

• Avoidance of Applied Decoration.

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modernist buildings

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The buildings characterized as International Style by Hitchcock and Johnson

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Modernism

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refers to a family ofconcepts, forms and buildings that first develop in the 1920s in Europe

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Schindler House and Studio (King’s Road House). LosAngeles (1922). Rudolph Schindler.

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Rudolph Schindler

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Schindler, originally from Vienna, traveled to theU.S. in 1914 and began working for Frank LloydWright in 1917.He opened his own office in Los Angeles afterspending time there supervising a Wright project.Schindler’s house and studio are very earlyexamples of European-influenced modernism in theU.S. Needless to say, Schindler was influenced byWright as well.

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Schindler House and Studio (King’s Road House). LosAngeles (1922). Rudolph Schindler.

Had different spaces for each adult in the house. Provided independence and experimented with a different way of living.

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Schindler House and Studio (King’s Road House). Los Angeles (1922). Rudolph Schindler.

One of the earliest modernist buildings

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Schindler House and Studio (King’s Road House). Los Angeles (1922). Rudolph Schindler.

Schindler designs this house for twocouples, with each of the four peoplehaving independent space.The concrete walls are precast, tilt-uppanels.

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Schindler House and Studio (King’s Road House). Los Angeles (1922). Rudolph Schindler.

Schindler designs this house for two couples, with each of the four people having independent space. The concrete walls are precast, tilt-up panels.

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Schindler House and Studio (King’s Road House). Los Angeles (1922). Rudolph Schindler.

Schindler designs this house for two couples, with each of the four people having independent space. The concrete walls are precast, tilt-up panels.

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Schindler House and Studio (King’s Road House). Los Angeles (1922).

Compare with use of wood, low ceilings,lightweight construction, sliding panels incommon historical Japanese house at right.

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Compare this common Japanese house to Schindler House and Studio (King’s Road House). Los Angeles (1922).

Compare with use of wood, low ceilings,lightweight construction, sliding panels incommon historical Japanese house at right.

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Compare this common Japanese house to Schindler House and Studio (King’s Road House). Los Angeles (1922).

Compare with use of wood, low ceilings,lightweight construction, sliding panels incommon historical Japanese house at right.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

He designed this house for Philip Lovell, a physician who emphasized sunlight,exercise and hygiene as elements of healthy living.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

He designed this house for Philip Lovell, a physician who emphasized sunlight,exercise and hygiene as elements of healthy living.

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Richard Neutra

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Neutra was Austrian. He came to the U.S. to work in Chicago, worked briefly for Wright, then moved to California in 1926. Friends with Schindler.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

The Lovell House was one of the first steel-framehouses in the U.S. Neutra used 4” square columnsand standardized windows.

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Lovell House (Health House). Los Angeles (1929). Richard Neutra.

The Lovell House was one of the first steel-framehouses in the U.S. Neutra used 4” square columnsand standardized windows.

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American Architects and the International Style

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Familiar with what was going on in Europe, however, many American designers argued that American buildings should bedistinctly American. Frank Lloyd Wright, a generation older than the Europeanmodernists, criticized them even as his own work showed parallels withmodernist architecture. U.S. modernismdid not become a style for public institutional buildings until after WWII.

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Frank Lloyd Wright

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Much of Frank Lloyd Wright’s work shared certain characteristics withEuropean modernist architecture: destruction of the box; freedom fromhistorical styles; asymmetric planning; flowing spaces.Wright, though, vehemently denied any European influence on his own workand disparaged European modernist architects

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950). Frank Lloyd Wright.

Resembles meditation, reflection, and the future.

People can move around freely from job positions. Outside noise cancelled.

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950).  Frank Lloyd Wright.

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950). Frank Lloyd Wright. Lilypad like columns that resembles canopies of trees in the rainforest.

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950). Frank Lloyd Wright. Built a full scale mock up to convince builders that the columns can be made and is structurally sound.

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950). Frank Lloyd Wright.

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950). Frank Lloyd Wright.

Gentle curves and no squares.

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950). Frank Lloyd Wright.

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Johnson Wax Building. Racine, WI (1936-37; tower completed 1950). Frank Lloyd Wright. Interesting use of glass to allow a little bit of light in.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

Wright was at odds with the ideological and architectural positions of Europeanarchitects. He emphasized the relation to landscape and nature; “organic”development of architecture; democracy and individuality.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

Wright was at odds with the ideological and architectural positions of Europeanarchitects. He emphasized the relation to landscape and nature; “organic”development of architecture; democracy and individuality.

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“But most ‘modernistic’ houses manage to look asthough cut from cardboard with scissors . . . glued together in box-like forms--in achildish attempt to make buildings resemble steamships, flying machines orlocomotives . . . “

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Frank Lloyd Wright on European modernism

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

Wanted to relate site and building.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

Wanted to relate site and building.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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Kaufmann House (Falling Water). Bear Run, PA (1936-38). Frank Lloyd Wright.

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William Wurster and California

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California architect who shaped thearchitecture of the state through hisroles as architect and educator.Although fully familiar with Europeanmodernism, he espoused an approachbased on the culture and climate ofCalifornia.Wurster’s philosophy may be describedas contextual modernism; he usedelements and concepts from Europeanmodernism selectively depending onthe circumstances of the commission.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster.

Wurster argued that California climate, social factors, and heritage require uniquearchitectural development. He adopted certain aspects of European modernism butadapted them to California.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster.

Wurster argued that California climate, social factors, and heritage require unique architectural development. He adopted certain aspects of European modernism but adapted them to California.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster.

Ribbon windows, non-load bearing walls, redwood exterior material, linear, not expensive, overhanging roof for sunny climate, lifted by columns, free facade and plan, roof terrace on top.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster.

Ribbon windows, non-load bearing walls, redwood exterior material, linear, not expensive, overhanging roof for sunny climate, lifted by columns, free facade and plan, roof terrace on top.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster.

Stairs are a main expressive element.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster. Roof terrace.

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Schuckl Canning Company. Sunnyvale, Ca. (1942). William Wurster. Roof terrace.

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Brazil

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In the early twentieth century, FrenchBeaux-Arts architecture dominatedlarge-scale public architecture in Riode Janeiro (e.g. Teatro Municipal,1909).By the late 1920s, progressiveBrazilian architects had begunbuilding modernist houses. LeCorbusier visited Brazil in 1929,sketching plans for the city.

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Lucio Costa

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Lucio Costa (1902-1998) became thefirst prominent Brazilian modernist,mentoring many younger architectssuch as Oscar Niemeyer (1907-2012).

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Ministry of Education and Health. Rio de Janeiro, Brazil (1937-43).  Lucio Costa and others.

This was one of the earliest uses of Le Corbusier’s 5 Points for an institutionalbuilding; Le Corbusier served as an advisor and approved of the design whenvisiting Brazil in 1936. Note the brise-soleil on the north façade.

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Ministry of Education and Health. Rio de Janeiro, Brazil (1937-43).  Lucio Costa and others.

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Ministry of Education and Health. Rio de Janeiro, Brazil (1937-43).   Lucio Costa and others.

A strong symbol of a modern statebureaucracy.

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Ministry of Education and Health. Rio de Janeiro, Brazil (1937-43).   Lucio Costa and others.

A strong symbol of a modern statebureaucracy.

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Roof garden, Ministry of Education and Health. Roberto Burle Marx. Compare with Joan Miró’sComposition (1933).

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Ministry of Education and Health. Rio de Janeiro, Brazil (1937-43).   Lucio Costa and others.

Curves and color.

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Ministry of Education and Health. Rio de Janeiro, Brazil (1937-43).   Lucio Costa and others.

Curves and color.

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Casino Pampulha. Pampulha, Brazil (1942-43). Oscar Niemeyer.

In the 1940s, a suburban leisure area for the upper classes was planned at Pampulhaaround an artificial lake. Here modernist architecture was used not for socially orpolitically progressive ideals, but for an escape from the existing city.

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Casino Pampulha. Pampulha, Brazil (1942-43). Oscar Niemeyer.

In the 1940s, a suburban leisure area for the upper classes was planned at Pampulhaaround an artificial lake. Here modernist architecture was used not for socially orpolitically progressive ideals, but for an escape from the existing city.

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Casino Pampulha. Pampulha, Brazil (1942-43). Oscar Niemeyer.

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Casino Pampulha. Pampulha, Brazil (1942-43). Oscar Niemeyer.

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Casino Pampulha. Pampulha, Brazil (1942-43). Oscar Niemeyer.

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Casa do Baile. Pampulha, Brazil (1942). Oscar Niemeyer.

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Casa do Baile. Pampulha, Brazil (1942). Oscar Niemeyer.

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Casa do Baile. Pampulha, Brazil (1942). Oscar Niemeyer.

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“It is not the right angle that attractsme, nor the straight line—hard and inflexible—created by man. What attracts me is the free andsensual curve, the curve that I find in themountains of my country, in the sinuous course ofits rivers, in the body of the beloved woman.”

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Niemeyer on Casa do Baile in Pampulha, Brazil

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Japan

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In the 1920s, Japanese architects began adopting modernist ideas from Europe.In 1928, Kunio Maekawa became the first Japanese architecture to work in LeCorbusier’s atelier, and after returning to Japan he served as a mentor to manyyoung architects.Many Japanese modernists drew parallels between historical Japanesearchitecture and modern European buildings. The flexible spaces, light skeletalstructure, large wall openings, and absence of applied ornament linkedconventional Japanese wooden houses with modernist ideals.

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Sutemi Horiguchi (1894-1984)

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As a young architect, Horiguchi was one of themembers of the Bunriha Kenchikukai(Secession Architectural Association), the firstradical modernist movement in Japan.However, he also had deep interests inhistorical Japanese architecture, particularly inteahouses and gardens.

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Okada House. Tokyo (1933). Sutemi Horiguchi .

Horiguchi was one of the members of the Bunriha, one of the earliest Japanesemodernist groups. His approach varied according to the commission, but for houseshe often incorporated elements inspired by historical Japanese buildings

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Okada House. Tokyo (1933). Sutemi Horiguchi .

Two different parts of the house: western and japanese

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Okada House. Tokyo (1933). Sutemi Horiguchi .

Horiguchi remodels the existing wooden building and adds a concrete wing.

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Okada House. Tokyo (1933). Sutemi Horiguchi .

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Okada House. Tokyo (1933). Sutemi Horiguchi .

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Okada House. Tokyo (1933). Sutemi Horiguchi .

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“architecture connected to an international world, but appropriate toJapan.”

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Sutemi Horiguchi

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“The grasses usedhere are all closely related to the life and literary and artistic traditions of theJapanese and have a direct, emotional appeal to them.”

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Horiguchi on the view out to the Garden of Autumn Grasses

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Okada House. Tokyo (1933). Sutemi Horiguchi.

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Okada House. Tokyo (1933). Sutemi Horiguchi.

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Oshima Weather Station (1938). Sutemi Horiguchi.

Modernism for an essentially modern function: the scientific measurement ofatmospheric forces.

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Oshima Weather Station (1938). Sutemi Horiguchi.

Modernism for an essentially modern function: the scientific measurement ofatmospheric forces.

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Oshima Weather Station (1938). Sutemi Horiguchi.

“Functional” derivation of shapes for the building:a “style-less” architecture?

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Oshima Weather Station (1938). Sutemi Horiguchi.

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Oshima Weather Station (1938). Sutemi Horiguchi.