Section D- Architecture

SESSION- 1

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COURSE CONTENT
S.N. TOPIC REMARKS
1 History of architecture
2 Contemporary world architecture
3 Contemporary Nepalese architecture
4 Traditional architecture of Nepal
5 Architecture of Kathmandu Valley
6 Principles of architectural design
7 Factors to be considered while designing buildings
8 Standards to be followed while designing buildings in Nepal
9 Contemporary world architects and their works
10 Architectural landmarks in Nepal
11 Conservation of historic buildings
12 Ethics of architects in professional practice.

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PAST QUESTIONS
2067/68

9) The contribution of Le-Corbusier in the evolution of world contemporary architecture is found to be always
revolutionary. Explain with the help of sketches that his ideas are translated in to reality in High Court Building at
Chandigarh.

10) What is context based design? How is this applied in the bulding design and by-laws in the heritage cores of the
tradiotional towns of Kathmandu?

2068/69
9) Explain the vernacular architecture of Nepal ins different from place to place. Discuss the issue with reference to
topography, ethnicity, culture, geology and vegetation.

10) How does contemporary architecture effect the ecological systems of the region?

2070/71
9) “Art and artifact of the Kathmandu valley are reflected in monuments and dwellings which became basis for the
exploration of architecture in the context”. Explain with your agreement and disagreement with reasons.

10) State briefly the main problems in standardization of government building in Nepal.

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2071/72
9)What are the matters to keep in mind while designing and building a house? Describe briefly about each matters.

10) Which building has been designed by LOUIS KAHN in Kathmandu? What are the main features of that building?

2072/73
9) Write on vernacular architecture of Nepal in general and Kathmandu in particular.

10) What do you understand by traditional architecture in Nepal? Illustrate three architectural landmarks in Nepal.

2073/74
9) Draw the construction of roof of traditional buildings of Kathmandu Valley.

10) Compare broadly on the designing principles between Frank Llyod Wright and Mies –Vande Rohe.

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1. HISTORY OF
ARCHITECTURE
WESTERN ARCHITECTURE

REFERENCES:
IOE, Lecture Notes
Fletcher, Banister , A History of Architecture, 20th Ed.

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INTRODUCTION
• Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief"
and τέκτων "creator") is both the process and the product of planning, designing, and constructing buildings or
other structures.

• According to Merriam Webster Dictionary: Architecture is the art or science of building specifically : the art or practice
of designing and building structures and especially habitable ones.

• According to Britannica:
Architecture is the art and technique of designing and building, as distinguished from the skills associated
with construction. The practice of architecture is employed to fulfill both practical and expressive requirements, and thus it
serves both utilitarian and aesthetic ends.

• According to Vitruvius (Roman author, architect,),

Architecture is an imitation of nature. As birds and bees built their nests, so humans constructed housing from natural
materials, that gave them shelter against the elements.

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INTRODUCTION
• The characteristics that distinguish a work of architecture from other built structures are;

• (1) the suitability of the work to use by human beings in general and the adaptability of it to particular human
activities,

• (2) the stability and permanence of the work’s construction, and

• (3) the communication of experience and ideas through its form.

• All these conditions must be met in architecture. The second is a constant, while the first and third vary in relative
importance according to the social function of buildings.

• If the function is chiefly utilitarian, as in a factory, communication is of less importance. If the function is chiefly
expressive, as in a monumental tomb, utility is a minor concern. In some buildings, such as churches and city halls,
utility and communication may be of equal importance.

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INTRODUCTION
BASIS OF DEVELOPMENT OF ARCHITECTURE

FEAR, DEATH, LOVE and HOPE are the basis of development of architecture.

FEAR - From the primitive period used to protect themselves from the attacks of wild animals and the very
vigorous weather and thus created dwelling (shelter), which kept on changing with time and need. With advance of
intelligences, design for safety, comfort, luxury resulted in varied structures for various purposes.

DEATH - Death also has been responsible for many architecture constructions. Examples are: Historical Tomb,
Mosques are of this category monument.

HOPE - Pyramids, Temples, Churches - worship places have come up out of shear false, hopes of man.

LOVE - Instinct of love gave birth to many monumental works. e. g. Taj Mahal at Agra.

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INTRODUCTION
INFLUENCING FACTORS

The particular design of a building, from planning to walling, columns, openings as in doors and windows, roofing,
mouldings and ornaments, all of these designs are influenced by the following factors:

• Geographical – pinpoints the location of a particular country. It describes whether it is near the sea, an island, on the
mountains, deserts and others.

• Geological – describes the materials found in the Locality. The character and composition of the earth and the contour
of the ground. Materials like stones, trees, reeds, bamboo, and clay for bricks, marble, metals, all influence the
character of the buildings.

• Climatic – the prevailing weather in the country. If there is much sunshine or little rain, if there are winters with much
snow, these affect the character like for example the roofing of a country with snow should be steep to ward off the
snow while the windows in cold climates should be wide to permit light to enter and warm the rooms.

• Religion – this is the emotional temperament and spiritual tendencies of the peoples in a particular country. If they are
pagans they build temples for numerous gods if they are Christians they build churches with altars. Muslims build
mosques.

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INTRODUCTION
• Historical – the background of the people as a whole. Were there wars in the past? If so, buildings would have been
ruined and new structures built.

• Social and Political – how the people lived and governed. Whether they are hostile, friendly, ruled by a king or under
democratic rule.

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PRE HISTORIC
PREHISTORIC PERIOD: Periods without a historical record, no written language and medium to keep records

STONE AGE:

Paleolithic - (Paleo means Ancient) and the Lithic means stone) - 9000 BC and above period
Pleistocene - 9000-8000 BC
Mesolithic - (Meso means middle) - 8000-6000-4000 BC
Neolithic - (Neo means new) period - 4000-2500-2000 BC

BRONZE AGE:

Early period - 2200-750 BC

Late period - 750-50 BC

IRON AGE:

Start from 50 BC –
till date (Steel Age, Atomic Age and Silicon Age)

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• Upended stones or Menhirs - simplest
form of monuments - Menhirs were not
intended to enclose shape.

• These object in mid space with their

mass and height-made them visual from
a long distance.

• They can be characterized as Directions

Foci represents - the first instance of a
principle organizing space.

Example - The stone avenue at near town

of Carnac (North of France) is the
conceptual of classical colonnade - 2000
megalith of local granite lined up for 4 km
north of the village in 10-13 rows towards
a circle.

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Dolmens are a type of single - chamber
megalithic tomb, usually consisting of
three or more upright stones (megaliths)
supporting a large flat horizontal
capstone (table).

Most date from the early Neolithic period

in Britain (4000 BC to 3000 BC). Dolmens
were usually covered with earth or
smaller stones to form a barrow.
Example: Locmariaquer at France - 3rd
millennium BC.

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NEAR EAST
Used to describe the present day - Arab State, Israel, Cyprus, Turkey, Iran and USSR countries- Georgia, Armenia, Azerbaijan
and Egypt along with Aegean region.

Technology:
• Building materials - mud, wood, stick & stone
• Building technology - post & beam
• Building with massive stone
• Development of plow allowed increased, Agricultural production.

Organizing & Planning:

• Clear organization early on - Grid street pattern.

JERICHO
It is believed by some to be the oldest continuously occupied settlement in the world. The civilization took place about
9000 BC near Israel. It had well organized communities. City form of Jericho was without any streets. The house and
shrines were linked with courtyards (limited city).

Many round and oval houses spreading over 4 ha (10 acres) were found in the lowest Neolithic levels of Jericho (8350-
7350 BC). Each was about 5 m (16 ft) in diameter. They were built of loaf-shaped mud-bricks with indentations on the
convex face to give a key to the clay mortar. The bricks supported domed superstructures of branches covered with clay.

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ARCHITECTURE CHARACTERISTICS

The mud of these two rivers gave the

fertile alluvial land

Its good quality of soil as raw materials

for making bricks

Burnt bricks for facing for special stress

Bitumen used as a cementing material

Use flat stone to protect from natural

environment

The people belonged to polytheism

(many gods)

Tower for Astrologers known by Ziggurats

arranged round courts large/small

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• Walls carrying Barrel Vaults / roofs flat with palm logs packed clay

• Symbolism and Superstitions prevailed

• Religion had not much effect on life and Architecture

• Building all around courts and room narrowed

• Architecture was Arcuated (Arch with Radiating Voussoirs from

3000 BC)
Ziggurat and Precinct of Ur
• Columns not used expect in some cases in the late Assyrian/Neo-
Babylon period

• Collassial winged bulls guarded the main entryways.

• Used glazed tiles to protect the bricks from Sipage

• Polychrome glazed tiles on walls and towers for decoration

purpose.

• Walls are white washed and developed Ziggurats painted in colours

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EGYPTIAN
Egyptian Architecture was influenced by:

• Geology (Building Materials)

• Climate
• Social
• Religion
• Historical

Building Materials (Geology):

Limestone, sand stone, granite and basalt that were considered very strong and durable were widely available in Egypt and
had been used for construction/decoration purposes. Timber was also available, used only during I-II dynasties for
construction purpose, but were widely used for making boats, coffins and roof constructions.

Climate:

Egypt falls in Tropic of Cancer and has only two seasons - spring and summer. Snow and frost are unknown to them. Rain is
very rare in the islands. Such conditions have contributed to the preservation of buildings. Brilliant sunshine made the
design simple in form. There is no need of windows as sufficient light and ventilation reached the interior through door
and slits. This resulted in the construction of unbroken massive wall, which provided an interior surface for decoration. In
absence of rain, stone slabs were used to cover the roof of buildings.

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• Buildings were decorated by motifs in
form of reads, lotus, papyrus and palm
at the head of columns capitals
(Vegetable origin).
• Their masonry walls were constructed
in trapezoidal form with exterior front
work left rough.
• For stability walls were diminished
course by course towards the top-
mainly because of the alternate
shrinkage and expansion of the soil.
For convenience their inner walls were
inclined, which remained one of the
principal characteristic of Egypt
Monumental Architecture in brick or
stone.
• Slopping walls were needed
structurally in building with mud bricks
and continued even in stone (although
not structurally needed) but a fashion.
• Surface decoration by practicing of
scratching pictures in the early mud
plastered walls.
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Chief Examples of Egyptian Architecture (Ritual & Funerary)

1. TOMBS - includes Private Tombs or Mastaba, Royal (Pyramids) and rock Hewn Tombs (developed in
old kingdom). The prestigious tombs were religious in origin and are the outcome of the Belief in Future Life (after
Death), which is the governing idea of the religion of the Egyptians (Basis of Hope). This is given the name of FUNERARY
ARCHITECTURE.

2. TEMPLES - The temples were sanctuaries (Religious Ceremonial places). Kings and Priests were
allowed, not used for common people. Priesthood was very strong during Dynastic rulers, not only for mysteries rites
but priestly procession. This is given as RITUAL ARCHITECTURE.

3. The Great Sphinx - Mysterious imaginary objects having body of lion and head of men/women (King
or Queen). The great sphinx at Giza - 22 m high 54 long. The face is about - 4 m wide. Mouth is 2.7 m. it was most
probably indented to guard the spirit of dead Pharaoh.

4. Obelisk - The monumental pillar normally seen near the entrance of temples. They were huge
monolithic stone, square in plan & tapering with a pyramidal summit. Here, height is ten times the size of base. The
largest obelisk is 35 m high, weighing 450 ton.

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Special features of Temple Architecture:

o LOGGIA - A gallery behind an open arcade or colonnade

o PARAPET - Portion of wall above the roof gutter, also on balconies, platform.

o PYLON - Term applied to the mass of masonry with central openings, forming a
monumental entrance to Egyptian temples.

o HYPOSTYLE HALL A pillared hall in which the roofs on columns. Applied to the many columned halls with stone
slab/beam on Egyptian temples.

o CLEARSTORY - An upper stage in a building with windows above adjacent roofs, specially applied
to these features in church.

o TREBEATED - a style of architecture in which post and beam from the main construction features
(framed structure) in which the roof rests on columns - applied to the many halls of Egyptian temples

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GREEK
The Greeks derived norms from nature and behaviors of man himself. The Greek philosopher Protagorus said, "Man is the
measure of all things" (Typical remark of the Greek attitude towards the life).

The Greek Architecture is influenced by following factor: -

Geographical/Climate

Greece is the country divided into small states by long ranges of mountains with plains intervening. Its coastlines are very
irregular and broken. Classical Greece includes some parts of Asia Minor and colonies in the south Italy and Sicily. The
climate over most of the territory is Mediterranean with temperate climate.

Geology

The Greece world has very large sources of high quality building stone, particularly limestone and marble. Therefore the
materials used for constructions were buildings stones which were quarried without difficulty. There were also good
sources of clay, from which burnt brick were manufactured and used as construction materials. Timber is also available in
Greece but was used limited to construction of floors and roofs.

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History

Due to series of separate plains, different communities lived in different parts of country. There was clear understanding for
unity among peoples. This aspect is reflected in the annual meetings of Olympic Games.

There was constant internal rivalry too. A certain degree of cooperation among different groups of people was achieved
against the Persians, whose incursion with Europe was ended by Greek Victories. It was largely to celebrate these victories
that the fine buildings of the Acropolis were built at Athens (under Athenian leadership). After the death of Alexander the
great, the country split into separate provinces and City-state. They all came under the organized power of Rome in the later
stages.

Anatolia, the Levant and Iran - The archives of the Hittite Capital Hattusas are the main source of knowledge of the history
and civilization of the Hittite State in the 2nd millennium BC. A major disruption occurred with the invasion of the sea
peoples, bringing the philistines to occupy part of the land which has ever since retained their name as Palestine. The most
important result of the event was the development of iron-working.

Religion

The Greek religion was based largely on natural and god or goddess epitomized human activities and each. There was the
Goddess of victory, sea, peace and so on. Religion belonged to the whole people and priesthood did not form separate
classes, as had been in Egypt.

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Social Structure

The social life of Greeks varied from state of state. The Athenian was more democratic, though most of their ideas were
limited to the rights of freedom. Most of the Greeks were trader and great commercial people. Their love for natural beauty
was expressed in many ways by their national game and sculpture. Their culture activities such as music, poetry and drama
were well-known.

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ARCHITECTURAL CHARACTER

The principal of Greek Architecture begins

with the selection of appropriate sites. This
aspect can be verified by noting natural
platforms for temples and hilly side of
theaters.

Greek architecture exposes clearly the

structural parts of the building. The stylobate
expresses the foundation upon which the
buildings rest. The columns and continuous
lintels call attention to the principle of vertical
and horizontal constructional members.

The pediments at each end of the column

indicate the roof and serves as terminating
features. The ornamental parts and the
sculptured incidents are in variably in
subordination to the oneness the building.

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A few optical refinements are:

i) Entasis:
The columns are tapered as they raised such columns looks straight
from a distance. Tapering is done to eliminate the false impression of
building out of the columns at the top. This also eliminates false
impression that two vertical columns would meet at a low height.

ii) End columns of outer colonnade were kept out a less distance
from other columns because the space between outer and next column
would be open to clear atmosphere of bright sunlight which would give
the feeling of the distance being more than usual.

iii) Long straight beam were curved upwards at center so as to

look straight from a distance.

iv) Letters at the top were of big size so that they appear of same
size from a distance

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The best known contribution in Architecture was
Style called Order for Columns and their
accompanying Entablature, which was believed to
be developed in 7th century BC.

The Order reflects the geographic division of Greek

at that time. At first there were only two Orders -
Doric order in the mainland and Ionic in the eastern
part of Greek area of Aegean islands and in the
coast of Asia Minor. In 15th Century BC the third
Greek Order appeared called Corinthian order,
which was seldom used by the Greeks, but became
favorite during Roman. Roman added two more
orders during their period - Tuscan and Composite
Orders.

In classic architecture, Order consists of upright

columnar support. These support included base,
capital of the column and horizontal entablature.
The proportion of column and entablature varies in
different orders.

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Features Doric Ionic Corinthian
Nature Plain, powerful looking, masculine and robust Feminine and elegant Maiden

Order Natural order of Doric race, strong Display more refinement and richly ornamented Oriental decorations

Column Height Height lower than Ionic Higher and slender Comparatively high

Base No base Base 1/2 D Base l/2 D

Shaft 20 flutes with sharp arrises 24 flutes with alternate fillets Have flutes

Capital Plain in nature More elaborate/ornament Very elaborate, decorated with

abacus and echinus acanthus leaves

Architrave Single molded stone beam Divided into three flat strips fasciae Divided

Freeze with triglyph/metope Usually plain/sometimes Plain

decorative

Cornice Ornaments in soffit Plain simple as in frieze Plain

Sloped Sloped Flat

Materials Timber/Stone Stone only Stone

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URBAN ARCHITECTURE

A classical Greek city was either a result of continuous growth from long prehistoric period, or the creation of a single
moment, usually the result of colonial settlement. Former had streets following lines of communication curving and bending
where necessary to avoid obstacles or ease gradients; the latter generally had grid plane with straight streets crossing at
right angles, ignoring obstacles and becoming stairways, where the gradients were too steep.

Towns always had fixed boundaries. By 6th century BC some had fortifications; later frequent, even when no walls
demarcation between interior and exterior was clear. Temples may be outside and graves usually outside. There were
sometimes suburban or rural farmhouses, but generally the public preferred the safety and companionship of urban
settlements.

Much area was devoted to public rather than private use such as the gathering place - Agora, placed on flat ground easily
accessible from all direction. Coastal cities sometimes put agora by the harbor. The Agora is not just a marketplace, but a
public forum for all inhabitants and on all days, a bustling place that served as the democratic alternative to the two great
organizing facts of non-Greek cities, the temple precinct and the palace complex. It was a place for public speeches, citizen's
assembly shows, as well as social and commercial activity. The market place was surrounded by public buildings, which were
formal and monumental, without enclosing it.

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Stoa is as distinctive a Greek building type as is the
temple and much more flexible in form and function. It
came to use about the same time as the full-blown stone
temple in the late 7th century BC.
Its first role was in the context of sanctuaries.
It was a free standing portico, modest in materials and
structure but able to serve a number of loosely related
functions - shelter from the weather, overnight
accommodation for pilgrims and patients who were
brought to the sanctuaries to be healed.

Public sessions of the courts (occasionally city council)

were held there; official banquets given; public notices
displayed in the walks around.
The stoas were frequented visited by students of human
behavior like Zeno of school of philosophy.

It was quite naturally a place where people lingered;

shopped and browsed.

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ROMAN
Rome began as a village on the banks of River Tibres. The
traditional date of its foundation was 753 BC, when it
was supposed to have been founded by Romulus (Latin
tribes), who gave the new settlement his name.

The central and commanding position of Italy in the

Mediterranean Sea enabled Rome to act as an
intermediary in spreading art and civilization over
Europe, Western Asia and North Africa. The methods
adopted by Rome for extending its influence differed
from those of Greece. The Romans were not a seafaring
people like the Greeks, and depended for the extension
of their power, not on colonization, but on conquest. The
Roman Empire was not only confined geographically to
Italy, but included all those parts of Europe, North Africa
and Western Asia which constituted the then-known
world.

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TUSCAN ORDER

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Roman adopted Greek method of using large stone blocks without mortars but their practical mind eventually hit open
greater economy of materials by the use of concrete (made out of Pazzolenna mixed with line).

Besides many colored marble, cement and stucco were used to wall surfaces and polished mosaic on vaults and floors.
Characters of Roman Architecture depend largely on the extensive use of vaulting, which was standardized as a structural
system.

The various vaults used in Roman buildings were as follows:

A. Roman Wagon Vault

It was semicircular or wagon-headed vault otherwise known as the Barrel or Tunnel vault. It was borne throughout its
length on the two parallel walls of a rectangular apartment.

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B. Roman Wagon Vault with Intersecting Vault

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C. Cross-Vault

It is formed by the intersection of two semi-circular vaults of equal span, was used over a square apartment-and
the pressure was taken by the four angles. When cross-vaults were used over long halls or corridors, the hall was
divided by piers into square bays, each of which was covered with a cross-vault. This is allowed of the insertion of
windows in the upper part of the walls, as in the central hall of the Thermae of Caracalla. The Lines of intersection
of these cross-vaults are known as "Groins".

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EARLY CHRISTIAN This Architectural style belongs to the Western Europe
(Roman Empire), which resulted after the decline of
Roman Empire.

During this period of mass disturbance and civil wars,

people used to move around for shelter/livelihood and
churches provided this shelter.
Although churches were used for specific purpose, it
remained as shelter for civilization and culture
throughout the dark period.

Religions were preached in churches and something

unseen was taken of God.

Therefore no provisions for shelter have been than the

statue of God in their temples as in Greek and Roman.
This design of church was more or less that of Roman
Basilica.

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• In the basilican style, one very strong
principle observed was concentrated interest
on the interior.
• Outsides consist of simple masses of brick,
juxtaposed but not merging with one
another. The walls are fairly thin because they
do not have to support weight.
• Inside what is immediately striking is the way
the eye of the worshipper is drawn towards
the altar by means of receding lines columns,
guttered walls and floors all contribute to this
effect which is reinforced by the covering.

• Consistent with Roman basilica design

traditions these architects covered their
buildings with a timber frame truss that was
hidden from view by wooden ceiling. This
allowed an impression of lightness which was
transmitted to the walls and further
reinforced by the use of columns.

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BYZANTINE Byzantium was founded as a Greek colony 660 BC and 330 AD
became the capital of the Roman Empire. On the death of the
Emperor Theodosius I (395 AD) the Empire was finally divid¬ed
and Byzantium continued to be the capital of the Eastern
Empire.
Throughout the Middle Ages, it was the bulwarks of Christianity
against the attacks of slay barbarians on the west and of
Moslem in the East.

The history of the Byzantine Empire from the 5th to the 11th
century is one of fluctuating and gradually declining fortunes.

The style of Architecture named after this empire, Byzantine

Architecture, flourished for 1000 years. During this period, most
secular buildings were destroyed, except the church. They are
dominated by a dome construction in bricks (Trabeated) backed
with Terracotta. A dome emphasis and defines its space
beneath it. When combined with others vaults, it creates a rich
spatial organization within a building, with colored marble
columns/mosaic and gold background

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ARCHITECTURE CHARACTERISTICS
The character of Byzantine Architecture lies in development of the Dome to cover the polygonal/Square plan for church,
Baptisteries with the help of pendentive. (Romans had Dome to cover only Polygonal/circular plans).

• Brick replaced stone, classical orders were used more freely, mosaics replaced carved decoration, and complex domes were
erected.

• Byzantine Builder provided a cylinder on the pendentive over which Dome was built.

• Walls from brick and internally finished with rich colored marbles/shining mosaic/glass mosaics.

• External walls are comparatively plain.

• Arches or semicircular Arch - used to support the galleries.

• Door usually spaced by semi circular Arch/Horseshoe arch.

• Windows - small and stained to similar way by semi circular arch

• The integrity of plan per functions.

• Final solution of unity where structural/decoration/decoration function combined more in Harmony.

• Discovery of decoration system with colored marble and mosaic on golden background.

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ROMANESQUE The areas of Europe when buildings were constructed during
the decline of Roman were sources of inspiration (faith in
Christianity) for a new style named Romanesque Architecture.

Romanesque is characterized by the use of round arches, barrel

vaults, cruciform piers supporting vaults and groin vaults.

Europe was a shambles of crude wooden houses and churches

from 300-1000 AD. This was in sharp contract with the
continuation of Roman building techniques in the Byzantium
and Islamic Empires in the east. There had been only one short
break in these dark ages. The reign of Charlemagne (768-814
AD) was marked by the erection of his palace Chapel (792-805
AD) at Aachen (now in Germany), which is a copy of San Vital in
Ravena. Shortly after some centuries, however a miraculous
transformation occurred. Large masonry churches were
simultaneously built all over Europe. This was a Religious
Architecture, built by anonymous architects according to
symbolic prescriptions.

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This style of architecture is arculated and stresses every structural division in order to produce unified compositions.

The most innovation of this style were

• The evolution of new concepts in external massing with development of pier forms

• The introduction of gallery triforium (an upper aisles) an important role which break up the smooth wall surface and
transforming them in the articulate architecture units
• Use of round arches, barrel vaults, cruciform piers supporting vaults, and groin vaults.

• This style was the reproduction of Roman vaulted style and developed based on Roman Art transformation of style of
classic Roman having a common structural approach although detailed varied from regions/nations.

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• The addition of transepts and the prolongation of the sanctuary
made the church a well-defined cross on plan

• Transepts were generally the same breadth as the nave, which was
usually twice the width of the aisles
•
• The choir was often raised on piers above the level of the nave and
over a vaulted crypt, in which saint or martyr had been buried

• A pair of towers on the west (sometimes on the east) and spires to give
the sense of height and its importance

• Attached columns, with rough capitals supporting semicircular arches,

formed wall arcading, which was a frequent decorative feature

• Variations of Corinthian or Ionic capitals were used

• Mouldings were often elaborately carved

• Glass seems not to have come into general use till the 9th century

• A rose or wheel window was often placed over the west door

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GOTHIC While crusade of 13th century uprising the Latin Empire in the
east was dissolved, in the North Europe the energetic
development produced buildings with pointed masonry arches
and with vaults capable of covering the vast nave and transepts
of the Romanesque model. This term used to describe the
Architecture between 12th and 16th century, is given the name
as Gothic Architecture. This style generally accepted that the
notion of the pointed arch was imported from the east, where
it had been used by the Arabs for centuries. At the same time
there were elements in Romanesque Art which probably
contribute to the formation of this new style.

Gothic architecture is a style of architecture, particularly

associated with cathedrals and other churches, which
flourished in Europe during the high and late medieval period.
Beginning in twelfth century France, it was known as "the
French Style" (Opus Francigenum) during the period, with the
term Gothic first appearing in the Reformation era.

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ARCHITECTURAL CHARACTER

• The basic character of Gothic Architecture was the

pointed arch, the flying buttress and the ribbed
vaults. Other features developed as the
consequence of the use of the pointed arch.

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• Pointed arch made it much easier to vaults an opening or bay
and with varieties of height. In any vaulting compartments, it
can be controlled with much greater visual success.

• To support the greater thrust of stone vaults and the greater

strain put on the remains section of walls, once windows had
become larger, it was necessary to use heavier and heavier
Buttress.

• Internally there is a focus on large stained-glass windows that

allow more light to enter than was possible with the previous
Romanesque style. To achieve this lightness, flying buttresses
were used between windows as a means of support to
enable higher ceilings and slender columns. Many of these
features had already appeared, for example in Durham
Cathedral. In flying Buttress, thrust can be transferred by an
arch or a series of arches from the nave, over the roof of the
aisles to a flying buttress that may be free standing or
attached to the aisles.

55
• The pointed arch was introduced for both visual and structural reasons. Visually, the verticality suggests an
aspiration to Heaven. Structurally, its use gives a greater flexibility to Architectural form. The Gothic vault, unlike
the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly
shaped plans such as trapezoids.
• The other advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep
angle.

• In Gothic Architecture the pointed arch is utilized in every location where a vaulted shape is called for, both
structural and decorative.

• Gothic openings such as doorways, windows, arcades and galleries have pointed arches. Gothic vaulting above
spaces both large and small is usually supported by richly molded ribs.

• Rows of arches upon delicate shafts form a typical wall decoration known as blind arcading.

• Niches with pointed arches and containing statuary are a major external feature. The pointed arch leant itself to
elaborate intersecting shapes which developed within window spaces into complex Gothic tracery forming the
structural support of the large windows that are characteristic of the style.

56
• Pointed stained glass was used to form
brilliant transparent picture in windows
under the pointed vault arch.

• Gothic was fundamentally an Ecclesiastical

(Religious) Style.

• A church style with specific means went

hand to hand with the development of
Gothic sculpture, stained glass and with
plentiful quota preferment spiritual
residents.

57
RENAISSANCE • The broad term Renaissance derived from the Latin meaning
“to be born again”.

• This notion of rebirth is mostly applied to the social,

economic and political changes that took place during 14th
and 15th century AD in Italy, which was rich in ancient Roman
monuments, and was the pioneer in the Renaissance
movement.

• Renaissance Architecture is a style which used Gothic

methods in construction but, classical character of Roman
Architecture.

• The Renaissance Architect adopted Byzantine treatment of

domes over square compartments.

• They made the exterior of domes dominating features by

further increasing the height of drum and decorating not
only with windows but also with new columns.

• The pointed arch was now ousted by semicircular Roman

Arch.

58
59
• Gothic vault gave place to the
ancient Roman semi-circular vaults
and cross vaults.

• By the end of 15th century AD parts

of Northern Europe were also
affected and in the 16th century AD,
wider spread changes were occurred
in art/architecture.

• The Renaissance was a period of

discovery in manifolds of new
scientific laws, new forms of arts and
literature, new religions and political
ideas new lands including America.
The first concern of the period was
the revival of ancient culture.

60
Domes

The dome is used frequently, both as a very large structural feature that is visible from the exterior, and also as a
means of roofing smaller spaces where they are only visible internally. While the Byzantines contributed the
pendentive domes, allowing domical vaults to be erected over polygonal compartments, a particular development
was raising a high drum above pendentives to accommodate not only windows but decoration with the classical
columns. The dome is crowned with a lantern and the pointed arch of the Gothic was changed into the Roman
semi-circular arch. Domes had been used only rarely in the Middle Ages, but after the success of the dome in
Brunelleschi’s design for the Basilica di Santa Maria del Fiore and its use in Bramante’s plan for St. Peter's
Basilica (1506) in Rome, the dome became an indispensable element in church architecture and later even for
secular architecture, such as Palladio's Villa Rotonda.

61
Walls
External walls are generally of highly-finished ashlar masonry, laid in straight
courses. The corners of buildings are often emphasized by rusticated
“quoins”. Basements and ground floors were often rusticated, as modeled on
the Palazzo Medici Riccardi (1444-1460) in Florence. Internal walls are
smoothly plastered and surfaced with white-chalk paint. For more formal
spaces, internal surfaces are decorated with frescoes.

Details

Courses, moldings and all decorative details are carved with great precision.
Studying and mastering the details of the ancient Romans was one of the
important aspects of Renaissance. The different orders each required
different sets of details. Some architects were stricter in their use of classical
details than others, but there was also a good deal of innovation in solving
problems, especially at corners. Moldings stand out around doors and
windows rather than being recessed, as in Gothic Architecture. Sculptured
figures may be set in niches or placed on plinths. They are not integral to the
building as in medieval architecture. Baluster was also introduced, not
known to the Romans. Baluster is one of a number of short vertical members
often circular in section used to support a stair handrail or a coping.

62
This style revival of ancient architectural principles began in Florence with
the work of Fillippo Brunelleschi (1377-1446 AD). The underlying feature of
the work of Brunelleschi was "order". The leading architects of the Early
Renaissance or Quattrocento were Brunelleschi, Michelozzo and Alberti.

The next well known developer of this period was Leon Battisti Alberta
(1404-1472 AD) who went for Antiquity (Archaeological) and introduced
specific ancient feature such as triumphal arch and temple font into
churches.

This style of architecture is based on:

• Simple modular proportion

• Clarity of design
• Standardized vocabulary of monolithic grey stone columns and pilasters
set against white plaster walls
• Forms details more on Tuscan Romanesque
• Arches supported on columns (is the norm)
• Pendentive vaults

63
NEOCLASSICAL

During mid 18th century a new style evolved called Neo-

Classical which is a revival of classical style. The Greek revival
did not hold in Italy for long but during the period of
Napoleone, a wave of French inspired Neo Classical public
building, as well as grand some town planning scheme.
Architect Giovanni Battista Piranesi (1720-1778 AD) is best
known for his dramatic architectural etching and for
championing Roman Architecture at the expense of Greek.

EXAMPLES

SS. SIMEONE E GIUDA, Venice (1718-1738 AD)

LA SCALA, Milan (1776-1780 AD)

64
STUDY TIPS:
1. Focus on architectural characteristics of each period and 1 building
example.

2. Special priority on greek, roman and renaissance architecture.

65
2. Contemporary world
architecture
INDUSTRIAL REVOLUTION, ART NOUVEAU , BAUHAUS,
EXPRESSIONISM

66
Industrial Revolution

67
CONSTRUCTION TECHNOLOGY
Structural innovations were made possible by the use of
metal, also led to increased use of metal in construction.
GLASS (instead of oiled papers) became popular for
windows panes.
Cast iron and wrought iron took over as fire resistant
roofing material. Cast iron columns replaced wooden
posts. Introduction of modern hinged & sliding windows.
R.C.C. : - Modern Revival of Concrete by the invention of
Portland Cement (1824)
Light/ transparent Glass topped canopy replaced the
solid canopy across gothic vaults
Barrel vault was preferred for spanning commercial
arcade or covered shopping street
Land got independent economic value, a liquid
negotiable commodity
There was a demand for new type of building to meet
new social need

68
The IRON culture – Religious buildings
St. Isaac’s Cathedral dome, St. Petersburg (Leningrad) –
A. Richard de Montferrand
University Museum, Oxford - Benjamin Woodward
The IRON Exhibition Building
Crystal palace
- Building Committee Design, Richard Turner and
Joseph Paxton
- Virtually created the method of pre-fabrication
i.e. produced at the manufacturers’ premises and
assembled on site
- Build in 6 months, designed on 24 feet module,
used 3300 iron columns, 2150 girders, 372 roof beams,
24 miles of gutter, 259 miles of sash bar and 293635
glass panels
Eiffel Tower, Paris Exhibition – Gustave Eiffel
Galerie des Machines, Paris Exhibition – Dutret and
Contamin

69
The IRON Exhibition Building
Crystal palace 1851-52
- Building Committee Design, Richard Turner and
Joseph Paxton
- Virtually created the method of pre-fabrication
i.e. produced at the manufacturers’ premises and
assembled on site
- Build in 6 months, designed on 24 feet module,
used 3300 iron columns, 2150 girders, 372 roof beams,
24 miles of gutter, 259 miles of sash bar and 293635
glass panels
Eiffel Tower, Paris Exhibition – Gustave Eiffel
Galerie des Machines, Paris Exhibition – Dutret and
Contamin

70
Crystal Palace:
By J. Paxton – One of the most remarkable
buildings of nineteenth century and is
culmination of Victorian Technology. And
Engineer Associate Charles Fox
It is a doubled aisles basilica rising in three tiers
the lowest 124.4m wide and next inner aisles
80.4m and nave /topmost is 36.4m and nave and
aisles is divided from with tired open galleries.
And in the middle a transept was introduced
A Prefabricated building with iron, glass and
another materials
Build in 6 months, designed on 24 feet
module, used 3300 iron columns, 2150 girders,
372 roof beams, 24 miles of gutter, 259 miles of
sash bar and 293635 glass panels

71
The conservatory:
An early venture in iron and glass by Joseph
Paxton assisted by Decimus Burton
An unprecedented Structure 84m long 37m wide
and 20.4m ht to the center and arched principals
were of laminated timber and glass arranged in a
ridge.
This structure anticipated the Crystal Palace

72
Art Nouveau
73
 Introduction
Art nouveau, the “NEW ART” in French
is an art movement.

It is the movement and style of

decoration of the late 19th and early 20th
centuries in Europe.

It is characterized as an organic style

derived from natural form that convey a
sense of movement exemplified by the
famous sinuous curve.

This is one of the main movement of

20th century modernism, which acted as
a transition period, thus paved a way
for the emergence of a new and more
dynamic stage of development during
the next decade.
74
General Characteristics
Pictorial elements as form, texture,
space and color are represented with
decorative effect.

The decoration may be in3D form,

inflated in the organic linear system
creating a fusion between structure and
ornament.

In some versions, it is characterized

by abstract form as being purer
expressionism.

It is deliberate attempt to create new

style, free from imitative historicism.

75
General Characteristics
 Art Nouveau is the organic style derived from
natural forms like flowers, stalk, buds, vines,
tendrils, birds beak, insect wings, image of
women and other delicate and sinuous natural
objects.

 It is richly ornamental style with flexible curved

lines and decorative pattern.

 The wavy movement is represented by use of

undulating asymmetrical lines. The line may be
elegant and graceful or infused with a powerfully
rhythmic and wipe like force.

76
Antonio Gaudi
 Born in Reus, Catalonia, Spain in 1852 and graduated from university of Barcelona in 1878.
Architect and designer, Antonio Gaudi is one of the greatest figure in Spanish architecture. He
had also contribute a lot to art nouveau movement in Catalonia.
 In school life, Gaudi’s drawings were so creative and imaginative that it was termed as a work
of genius. Gaudi’s almost entire professional activities occurred in Barcelona.
 Found inspiration for his works within medieval books, in gothic style art, and from organic
shapes in nature. Throughout his career, he was inspired from art nouveau to a great extent,
This influence of art nouveau motivated styles and his own way.
 One of the main objectives of art nouveau is to unify major and minor parts. In his design he
not only importance to external facades but also to the interiors. Besides building designs, he
had designed furniture as well.
 Since his childhood, Gaudi was very talented with rich imagination. His buildings are identified
to be very dynamic with sculptural facades.

77
Gaudi’s Works
I. 1883-1888 Casa Vincen
II. 1884-1887 Pavellons Guell
III. 1884-1926 Sagrada Familia
IV. 1886-1889 Palau Guell
V. 1888-1894 Colegio Teressano
VI. 1892-1893 Tangiries Project (unrealized)
VII. 1895-1898 Bodegas Guell
VIII. 1898-1904 Casa Calvet
IX. 1898-1915 Colonia Guell
X. 1900-1902 Bellesguard
XI. 1900-1914 Park Guell
XII. 1901-1902 Puerta de la finca Miralles
XIII. 1904 Storage Shed
XIV. 1905 American Hotel (unrealized)
XV. 1904-1906 Casa Batllo
XVI. 1906-1910 Casa Mila
XVII. 1909-1910 Sagarda Familia Parish School

78
 Casa Batllo
Architect – Antonio Gaudi
Location –Barcelona, Spain
Date – 1905 to 1910
Building type – Multi family
housing
Climate – Mediterranean
Context – Urban
Style – Art nouvau
Notes – Expressionistic, fantastic,
organic forms in undulating façade
and roof line, light court.

79
Casa Batllo
The colorful Casa Batllo is
an apartment building, it
was renovated by Gaudi.

It reflects an intense

naturalism; the façade
covered by mosaics with
splendid and subtle colors.

A facade extends between

the two, including a number
of small, elegantly curved
balconies that seem to stick
to the front of the house
like birds' nests on the face
of the cliff.

80
 Casa Batllo
The first floor level has an
undulating façade with striking
stone structure, which is
supported by columns that
frame windows decorated with
glass.

The colorful façade is

intervened by aggressive iron
balconies. These balconies used
on the façade looks like pieces
of skull with eyes and mouth.

81
Casa Batllo
There are no edges or corners
here; even the walls are rounded in
undulations and have in essence
the feel of the smooth skin of a sea
serpent about them.

The wrought-iron balconies were

the design of Josep Maria Jujol,
Gaudí's frequent collaborator. Each
is different and was improvised in
the forge.

82
Casa Mila  Architect – Antonio Gaudi
 Location – Barcelona, Spain
 Date - 1905-1910
 Building Type – Multi Family
Housing
 Construction System –
Masonry and concrete
 Climate – Mediterranean
 Context – Urban
 Style – Art Nouvoue
 Note – Expressionistic,
Fantastic, Organic form in
undulating façade and roof
lime, light court

83
Casa Mila
Casa Mila one of the main
work of Gaudi is an apartment
blocks in Barcelona for Mila
family.

Exquisitely crafted wrought

iron work has been used on
balconies.

This building is considered one

of the strangest building in the
world. It is known as sculpture
rather than a building.

84
 Casa Mila
 The façade is harmonious mass of undulating stone
with out straight lines. Windows and doors, seems as
if it is dug out from the stone mass.

 The Chimneys look like warriors in a forest of

surprising figures.

 Situated on asymmetrical corner lot, this building

was immediately dubbed "la pedrera," or "the
quarry," because of its cliff-like walls.

85
 Casa Mila
Various theories have been advanced as to the source of
Gaudí's inspiration: from ocean waves to a variety of specific
mountains, even a mountain crest with clouds.

Regardless of the springs of creation, this limestone building

seems sculptural, with contrasts between curves, concavities,
and voids, with pale stone contrasting with dark iron.

86
Sagrada Familia
 Architect - Antonio Gaudi
 Location - Barcelona, Spain
 Date - 1882 to 1926
 Building Type – Church
 Construction System – Masonry
 Climate – Mediterranean
 Context – Urban
 Style – Expressionist
 Notes – “Church of the Holy Family”

87
 Sagrada Familia
 The Sagrada Familia is located in Barcelona, Spain.
was a church, which is his most famous
achievement.

Beginning in 1883, Gaudi spend 43 years of his life

on this project, working until the day of his death
June 10, 1926.

88
Sagrada Familia
It has basic Gothic Basilica floor plan, looks
like a Latin cross, consists mainly of three
transepts and five naves.

The church has three main façade and each

façade is around 100m.

89
 Sagrada Familia
When Gaudí died in a trolley accident in
1926, the cathedral was left unfinished.
Despite controversy over whether the
cathedral should remain in its uncompleted
form as a monument to the architect,
construction began again in 1979, closely
following Gaudí’s original plan. Woodfin
Camp and Associates, Inc./Robert Frerck
Expand Victor Horta’s House The elaborate
wrought-iron and glass-window façade.

90
Charles Rennie Mackintosh

Charles Rennie Mackintosh an architect and designer, born in 1868 in

Glasgow, Scotland. He enrolled at Glasgow School of Art, taking courses in
subjects such as Building Construction and drawing in variety of media
He was one of the most important contributors in the movement of Art
Nouveau in Scotland. In his designs, he blend Scottish traditional
architecture, Art Nouveau and simple Japanese form.
Mackintosh’s best known in Glasgow as he worked there for 20 years. In
Europe the originality of Mackintosh’s style was quickly appreciated.
In 1923, Mackintosh left London for south of France, where he finally
gave up all thought of architecture and devoted him entirely to painting.
He died in London of cancer on 10th of December 1928

91
Mackintosh’s Work
I. 1893-1895 The light house
II. 1895-1897 Martyr’s Public School
III. 1896-1899 Glasgow School of Art
IV. 1897-1899 Queen’s Cross Church
V. 1898-1899 Ruchill Church Hall
VI. 1900-1901 Daily Record Building
VII. 1900-1901 House of an Art Lover
VIII. 1903-1904 The Hill House
IX. 1903-1904 The Willow Tea
Rooms
X. 1903-1906 Scotland Street
School

92
Glasgow School of Art
Architect - Charle Renni Mackintosh
Location - Glasgow, Scotland
Date - 1897 to 1909
BuildingType - College
Construction System –Bearing masonry
Climate – Temperate
Context – Urban
Style - Arts and Crafts, Art Nouveau
Notes - West wing built second, from 1907
to 1909.

93
 Glasgow School of Art

 Glasgow school of art, his first commission

and most important building was started as
early as in 1896 to 1899.

 It is located at the edge of sleepy sloping

facing hill, the building stretches along an
entire block, facing a major street to the
north.

94
Glasgow School of Art

95
 Conclusion
Art Nouveau is the artistic version of architecture.

This was popular in many countries in Europe though it

lasted only for short period.

It gave platform to artists and architects to express

their feeling with new materials and technology.

Art Nouveau is the transition period, which acted as a

transitional phase between 19th century historism to
20th century modernism.

96
Bauhaus

97
 Bauhaus
The Bauhaus holds a place of its own in the
culture and visual art history of 20th century.
This outstanding school affirmed innovative
training methods and also created a place of
production and a focus of international
debate..
The Bauhaus stood almost alone in attempt to
achieve reconciliation between the aesthetics
of design and the more commercial demands
of industrial mass production

98
 Bauhaus
The Bauhaus began with an utopian definition: "The building of the future" was to combine all the arts in ideal
unity....

The Bauhaus was a German school of art that encompassed crafts, design and architecture... “

the Bauhaus believes the machine to be our modern medium of design and seeks to come to terms with it." -
Walter Gropius

The Bauhaus was founded in 1919 by the architect Walter Gropius as a school of art, architecture, crafts, and
theater, with the focus of instruction on the unity of art and technology...

99
 Bauhaus
Bauhaus is a German expression meaning house for building.

In 1919, the economy in Germany was collapsing after a crushing war.

Architect Walter Gropius was appointed to head a new institution that would help rebuild the country and
form a new social order. Called the Bauhaus, the Institution called for a new "rational" social housing for the
workers.

Bauhaus architects rejected "bourgeois" details such as cornices, eaves, and decorative details. They wanted
to use principles of Classical architecture in their most pure form: without ornamentation of any kind.

100
- A very influential German school of art and design. Underlying the Bauhaus aesthetic was a fervent
utopianism, based upon ideals of simplified forms and unadorned functionalism, and a belief that the machine
economy could deliver elegantly designed items for the masses, using techniques and materials employed
especially in industrial fabrication and manufacture — steel, concrete, chrome, glass, etc., including carpentry,
weaving, pottery, stagecraft, graphic arts, and graphic design.
It was founded in 1919, and closed by the Nazis in 1933.

Walter Gropius (German-American, 1883-1969), Ludwig Mies van der Rohe (German-American, 1886-1969),
Wassily Kandinsky (Russian-German, 1866-1944), Lyonel Feininger (American, 1871-1956), Paul Klee (Swiss-
German, 1879-1940), Oskar Schlemmer (German, 1888-1943), László Moholy-Nagy (German, born Hungary,
1895-1946, active in the US), Josef Albers (German-American, 1899-1976), his wife Anni Fleischman Albers
(German-American, 1899-1994), and other important artists were teachers there.

Even though their styles were often quite varied, the artists of the Bauhaus had such a strong effect on art and
art education that this school is often considered an art movement in itself.
Once the school was closed, many Bauhaus teachers emigrated to the U.S.A.

101
 Bauhaus

Art Architecture Stage Workshop

Painting Graphic Art Sculpture Typography Pottery Furniture Product

Design

102
Transformation of Bauhaus
•Under increasing political pressure
the Bauhaus was closed on the
orders of the Nazi regime on Apirl
11, 1933.

103
The Bauhaus building provides an important landmark
The Bauhaus building
of architectural history.

It consists of three connected wings:

Construction of the building... Is demonstrated by the

latest technological development of the time: a skeleton
of reinforced concrete with brickwork, mushroom-
shaped ceilings on the lower level, and roofs covered
with asphalt tile that can be walked upon.

Abolition of the separating function of the wall. Role of

the walls become restricted to that of mere screens
stretched between the upright columns of the
framework to keep out rain, cold, and noise..

A hole that had to be hollowed out of the full thickness

of a supporting wall-should be giving place more and
more to the continuous horizontal casement,
subdivided by thin steel mullions, characteristic of the
New Architecture.
104
Bauhaus Principles
Functionally
predominates ornamentation.

Uses asymmetry and regularity versus symmetry.

105
Bauhaus architects rejected "bourgeois" details such
as cornices, eaves, and decorative details. They
wanted to use principles of Classical architecture in
their most pure form: without ornamentation of any
kind

The school pioneered a functional, severely simple

architectural style, featuring the elimination of
surface decoration and extensive use of glass.

Bauhaus buildings have flat roofs, smooth facades,

and cubic shapes.

Floor plans are open and furniture is functional.

White grey, beige black are the dominant colors of

this style.

106
 Bauhaus buildings are usually
cubic, favor right angles,
(although some feature rounded
corners and balconies.)

With the development of air

transport the architect will have
to pay as much attention to the
bird's-eye perspective of his
houses as to their elevations.
Bauhaus
The utilization of flat roofs as
'grounds' offers us a means of re-
acclimatizing nature amidst the
stony deserts of our great
towns;...Seen from the skies, the
leafy house-tops of the cities of
the future will look like endless
chains of hanging gardens."

107
 Bauhaus

All the Bauhaus directors were architects. Their very individual conception of building, however, cannot be jointly
coined: quite on the contrary, they must be seen as exponents of strongly divergent architectural concepts. The
names Walter Gropius, Hannes Meyer, and Ludwig Mies van der Rohe stand for individually structured educational
concepts.

108
WALTER GROPIUS
German architect and an educator who founded the Bauhaus, one
of the most influential architecture and design schools of the 20th
century.

Born in Berlin on 18 May 1883 into a family with strong

architectural and educational connections.

Gropius studied architecture in Munich and Berlin-Carlottenburg.

From 1907 to 1910, worked in the offices of the German

pioneering functional architect peter Behrens in Berlin. In 1911,
joined the deutscher Werkbund (German work union), formed to
ally designers with machine production. In 1910 – 1911, working
with Adolph Meyer , designed the fagus works in Alfred and the
office and factory buildings for the Werkbund exhibition in
cologne (1914)

After World War I (1914 – 1918), became director of two Weimar

art schools

1919: founded the Bauhaus (house of building) in Weimar as a

merger of an art academy and an arts and crafts school, one of
the most influential architecture and design schools of the 20th
century 109
 When the school was moved to Dessau in 1925,
Bauhaus Gropius designed its buildings. They are marked
by simplicity of shape, elimination of surface
decoration, and the extensive use of glass.

Resigned as director of the Bauhaus in 1928 to

return to private practice

Opposed to the Nazi regime, left Germany

secretly in 1934, and after several years in
England, he went to the United States to join the
architecture faculty of Harvard University as
head of the department (1938-52), he
introduced the Bauhaus concepts and helped to
shape a generation of American architects

From 1938 to 1941, worked on a series of houses

with Marcel Breuer and in 1945 founded "the
architect's collaborative", a design team that
embodied his belief in the value of teamwork.

Gropius died in Boston, massachutes in 1969

110
Ludwig Mies van der Rohe

The appointment of Ludwig Mies van der Rohe as

director of the Bauhaus was programmatic: It was
expected of him to reconcile Bauhaus patrons
with the institution, to continue with the reforms
introduced by Meyer, and, with the help of his
outstanding artistic personality, to present a new
Bauhaus image, particularly in architecture.

111
 Ash tray Design:
Marianne Brandt 1924
Material:
Polished stainless steel

Bauhaus

Ceiling lamp Design: Floor lamp Design:

Marianne Brandt, 1926. Gyula Pap 1923.
Material:
Lacquered black iron,
nickel plated brass,
frosted glass plate.
Eduard -Wilfried Buquet 1927
table lamp EB 27 112
 Furniture Design

Marcel Breuer, Lattice chair,

1924, Maple wood, woven
horsehair

Josef Pohl, wardrobe for

113
bachelors, on wheels, 1930
Bauhaus Charles Eames

114
Ludwig Mies Van Der Rohe

115
 EXPRESSIONISM
The Movement of Revolt in Art, Literature, and Music of Early 20th Century

It is one of the two major tendencies that emerged in Germany after World War I (1914-1918);
the other being rationalism

A style depicted in Painting, Music, Drama as well in Architecture that the creators expresses
their inner emotional feelings/experiences rather than in a realistic form
 EXPRESSIONISM
After the war’s horrible slaughter, some German architects, painter and musicians grew less enchanted
with the machine and sought a design ideal that would express emotion and the essence of life.

The artist's subjective expression of inner experiences was emphasized; expressed through a distorted
rendition of reality

Strives to expresses objective feelings and emotions rather to depict reality or nature objective in
literature, art and music
 CHARACTERISTIC
Based on feelings (the child) rather than rational thought

The artists displayed tendency to distort reality for emotional

Exhibited in many art forms; painting, literature, film, architecture and music

Demand for completely new type of building and increasing knowledge of technology Led by desire for

exploration of new shapes and solutions to the old problems

Investigation of new materials and techniques’ of construction

 CHARACTERISTIC
Bold colors, distorted forms, careless in manner, 2-D

Tendency to discard rules and conventions and obtain freedom of self expression

Architects were influenced by the works of Antonio Gaudi

Introduced plastic interpretation of mass to give a building its expression

Striking use of light, natural and artificial, and interplay with shadows

Treated building more or less like a sculpture

 ART
The Scream by Edvard Munch
(1893)

On White II by Wassily
Kandinsky (1923)

Painters such as Matthias

Grunewald and El Greco
 OTHER LEADING EXPRESSIONISTS

Vincent Van Gogh Egon Schiele

Paul Gauguin Marc Chagal

Salvador Dali
Edvard Munch
Henri Matisse
James Ensor
Amadeo Modigliani
Oskar Kokoschka
Pablo Picasso
VINCENT VAN GOGH
(1853 – 1890) considered the greatest
Dutch painter
All His work produced during a period of
only 10 years
Pain mental illness eventually ended in
suicide
Conveys through its striking color, coarse brushwork, and
contoured forms the pain of a mental illness
 THE STARRY NIGHT
Done while he was in the mental asylum at in
1889.
Probably the most popular of Vincent's works.
Painted from memory rather than outdoors.
Vibrates with rockets of burning yellow while the
planets whirl like cartwheels.

Yet the yellow rockets against the blue sky are

somehow restful.
The hills quake and heave,
 EXPRESIONISM IN ARCHITECTURE

Architectural style that developed in Europe in the early 20th Century.

Form: curved geometries, roofs often domes
Material: intension to unify the material in the building to make it monolithic.
(E.g.: Glass Pavilion)
Distortion of form for emotional effect.
ERICH MENDELSOHN
Mendelsohn, Erich (German architect)
Born in Allerstein, East Prussia (1887-
1953)
Served as a German soldier in Russia
during the First World War.
Did a lot of sketches in expressionistic
style.
1921- Built the "Einstein Tower” and got
his breakthrough to the architectural
avant-garde.
 PHILOSOPHIES AND STYLES
Expressionistic, curvilinear designs represent an alternative to the dominant
functionalist style of 20th-century architecture.
Absence of historical precedents in designs.
Used mainly poured concrete whose sculptural qualities suited his Expressionist style.
Architectural imagery influenced second generation modern architects
Derived architectural ideas from expressionistic sketches and romantic symbolism which
recognized that the qualities of modern building materials should dictate a new
architecture
Used functional dynamics
Stood for freedom, imagination and leadership.
Buildings show the influence of the organic designs of the American architect Frank
Lloyd Wright
Some of his sketches
Some of his sketches
 ERICH MENDELSOHN
1919-1924, Einstein Tower, Postdam, Germany
1921-1923, Berliner Tageblatt Building, Berlin
1921-1923, Herman and Company Hat Factory, Germany
1926, Schocken Department Store, Germany
BRUNO TAUT(1880-1938)
Born in Konigsberg, Germany in 1880
Opened his own office in Berlin in 1910
After the First World war, Taut's theories and designs
marked him as a leader in architectural innovation
Professional life: six phases
First two training period
Third the most productive phase was the period of large
scale housing work approx.from1924 to1931.
Forth period brief stay in Russia.
Fifth and sixth period director of planning dept of
Magedburg
His work essential part-use of colors
GLASS HOUSE
•The Werkbund Exhibition of 1914 was held in Cologne,
Germany.

•A pineapple shaped building

•Bruno Taut's best-known building, the prismatic dome of the

Glass Pavilion familiar from black and white reproduction,
was a brightly colored landmark.

•Set on a concrete plinth decorated with mosaic and a

cascading waterfall.
GLASS HOUSE
•It is relevant in terms of the
development of his use of colors
•The interior had prisms producing
colored rays from the outside sunlight
•The floor-to-ceiling colored glass
walls were mosaic
•Effect of a large crystal producing a
large variety of colors
 CONCLUSION
Expressionism movement developed during the late 19th and early 20th centuries.
Manifested in many art forms; painting, literature, film, architecture and music that expresses creator’s inner
feeling rather than a realistic form.
Expressionist art was outlawed in 1928.
Expressionism reborn without the political context after world war II.
Relatively little was built but established a base for a movement in architecture in 1950/60’s as well in 1980
STUDY TIPS:
1. Focus on architectural characteristics of each period / movement and 1
building example.

2. Explain the significance and characteristics with the help of building

examples and sketches.

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