T

H

E

O

R

Y

O

F

A

R

C

H

I

T

E

C

T

U

R

E

AASHNA ARORA ARUNIMA GANGULI NIKITA BANSAL TANVI GUPTA III-A

LESS IS MORE

GENERAL MEANINGLESS COMPLICATED IS BETTER UNDERSTOOD AND MORE APPRECIATED THAN WHAT IS MORE COMPLICATED.SIMPLICITY IS PREFERABLE TO COMPLEXITY.

ARCHITECTURAL MEANINGBUILDING SHOULD BE STRIPPED OF ANY EXTRAS AND CONSTRUCTED ON ESSENTIALS OF CLARITY, UTILITY AND EFFECT.

FAMOUS ARCHITECT MIES VAN DER ROHE USED THIS PHRASE TO DESCRIBE HOW HE THOUGHT BUILDINGS SHOULD BE CONSTRUCTED.

INSPIRATIONS- THE PRUSSIAN ARCHITECT KARL FRIEDRICH SCHINKEL, USE OF POST AND LINTEL CONSTRUCTION,DUTCH DE STIJL PHILOSPHY OF SIMPLICITY IN ARCHITECTURE AND RUSSIAN CONSTRUCTIVISM TO BENEFIT SOCITY.AIMS-ESTABILISHMENT OF A NEW ARCHITECTURAL STYLE FOR MODERN TIMES AND ARCHITECTURE WITH A MINIMAL FRAMEWORK OF STRUCTURAL ORDER BALANCED AGAINST THE IMPLIED FREEDOM OF FREE FLOWING OPEN SPACES

SOURCES

•SIMPLE VOLUMES • BALANCE BETWEEN EMPTY AND FILLED SPACE.

SHIMADA HOUSE DESIGNEDBY A.L.X TOKYO

GARDEN AND SEA WEEK-END HOUSEDESIGNED BY TAKAO SHIOTSUKA

DANCING LIVING HOUSE DESIGNED BY A.L.X ARCHITECT

DINING AREA WITH MINIMUM DESIGN ELEMENTS

A LOFT IN NEW YORK DESIGNED BY ARCHITECT CLAUDIO SILVESTRIN. ABSTRACT OR MINIMALIST. LIGHT, GEOMETRICAL FORMS AND NATURAL MATERIAL ARE KEY POINTS IN HIS STYLE .

http://en.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe

http://new-design-times.com/article/articleC47.php?ID=47

•TO BASE THE ARCHITECTURAL EXPRESSION ON ESSENTIAL ELEMENTS OF A STRUCTURE.

•LIKE FOR VAN DER ROHE THE ESSENTIAL ELEMENTS WERE THE CLADDING AND STEEL FRAME WHICH HE CALLED THE SKIN AND BONES OF A STRUCTURE.

•ELIMINATE VISUAL CLUTTER.

•THIS WAS DONE BY SUPPRESSING THE SECONDARY ELEMENTS LIKE …..OF A BUILDINGS AND THERBY HEIGHTEN THE VISUAL IMPACT OF A SPACE OR VIEW.

BARCELONA PAVILION:1928-29

http://architecture.about.com/od/architectsaz/p/vanderrohe.htm

ELEMENTS OF DESIGNBY MIES VANDER ROHE

CLARITY AND

SIMPLICITY

PURE AND OPEN

FUNCTION

INDUSTRIAL STEEL

AND PLATE GLASS

FREE-FLOWING

OPEN SPACE

SKIN AND BONES"

ARCHITECTURE

http://www.jasonmkelly.com/2013/09/30/mies-van-der-rohe-barcelona-pavilion/

•DESIGNED FOR INTERNATIONAL EXPOSITION IN 1929.•WAS DESTROYED IN 1930 AND REBUILT IN 1986.•“VOICE TO THE SPIRIT OF A NEW ERA.”•MEANT TO REPRESENT A NEW, MODERN, AND INTERNATIONAL GERMANY.•CLARITY, SIMPLICITY AND HONESTY.”•CONCEPT-FREE PALN AND FLOATING ROOF

A SEQUENCE OF MARBLE AND GLASS WALLS,SUPPLEMENTED BY CHROMED COLUMNS, SUPPORT A FLAT ROOF, WHICH SEEMS TOFLOAT ABOVE THE SPACE.

ONLY A GLASS SKIN AND GLASS WALLS CAN REVEAL THE SIMPLE STRUCTURAL FORM OF THE SKELETAL FAME AND ENSURE ITS ARCHITECTONIC POSSIBILITIES

SIMPLICITY OF CONSTRUCTION, CLARITY OF TECTONIC MEANS, AND PURITY OF MATERIALS HAVE ABOUT THEM THE GLOW OF PRISTINE BEAUTY

REFLECTIVE COLUMNS APPEAR TO BE STRUGGLING TO HOLD THE "FLOATING" ROOF PLANE DOWN, NOT TO BE BEARING ITS WEIGHT

WALL SURFACES DISPLACED AGAINST EACH OTHER, RUNNING PAST EACH OTHERS CONTINOUS TURNABOUTS FOR VISITORS

U SHAPED ENCLOSURE SERVE AS WATER BASIN AND CONNECTS INSIDE AND OUTSIDE. ONE OF THE ENCLOSURE HAS WORLD FAMOUS STATUE

SIMPLE RECTANGULARFLOOR PLAN WITH TRAVERTINEPLINTH

SOURCES

http://en.wikipedia.org/wiki/Barcelona_Pavilion#Concept

1950:FARNSWORTH HOUSE, PLANO, ILLINOIS

A CENTRAL WOOD CORE CONTAINS SANITARY FACILITIES AND CREATES A SEPARATION BETWEEN THE KITCHEN,TWO BEDROOMS AND THE LIVING ROOM.

THE PLATFORM IS NOT THE FOCAL POINT;IT IS THE EMPTINESS AND BEAMS WORK

LIKE SCREEN TO SURROUND SPACE OFHOUSE.

STEEL, LAMINATED GLASS PLATES

AND ROMAN TRAVERTIINE ON FLOORAND DECK

THE DOMESTIC PLUMBING ELEMENTSAND ALSO THE RAINWATER RUN-OFF

SPILL INTO A CENTRAL CIRCLUAR CHEST

THE SEPARATION OF THE HOUSE FROM THE LAND ON WHICH IT SITS BY PILLARS HAS BEEN ASSOCIATED WITH AN IDEA OF PURITY, VERY TRADITIONAL JAPANESE ARCHITECTURE

GLAZING OF THE WALLS OF THE HOUSEALLOWS ONE TO PERCEIVE THE LANDSCAPEIN WHICH IT IS INSERTED, BUIILDING AS PART

OF NATURE.

IT HAS ALREADY BEEN INDICATED THAT IT LACKS AIR CONDITIONING AND THUS IN THE WARM SEASONS, PRODUCES GREENHOUSE EFFECT.

NO NATURAL VENTILATIONFOR CORE AREA

A WEEKEND RETREAT OUTSIDE CHICAGO FOR AN INDEPENDENT PROFESSIONAL WOMAN - DR. EDITH FARNSWORTH. BUILT BETWEEN 1946 AND 1951.AREA- 1,500-square-foot (140 m2)

SEAGRAM BUILDING,•THE BUILDING STANDS 515 FEET (157 M) TALL WITH 38 STORIES, •COMPLETED IN 1958. •IT STANDS AS ONE OF THE FINEST EXAMPLES OF THE FUNCTIONALIST AESTHETIC AND A MASTERPIECE OF CORPORATE MODERNISM. •IT WAS DESIGNED AS THE HEADQUARTERS FOR THE CANADIAN DISTILLERS JOSEPH E. SEAGRAM'S & SONS.

MATERIALS •CURTAIN WALL OF GLASS AND BRONZE IN THE FRONT DUE TO THE FIRE LAW IN FORCE IN 1954, AT THE TIME OF CONCRETE CONSTRUCTION WAS USED AS A STRUCTURAL MATERIAL, BOTH OUTSIDE AND INSIDE.

BLINDS IT WAS EVIDENT THAT A BUILDING OF SUCH HEIGHT WOULD HAVE A HUGE AREA OF BLINDS, WHOSE USERS TEND TO UPLOAD OR DOWNLOAD THEM AS THEY LIKED.

•IT IS A RECTANGULAR BUILDING SUPPORTED ON PILES

•ELEVATION OF THE BUILDING ACHIEVES ITS EXPRESSIVE PERFECTION,AND IS VERTICALLY EMPHASIZED..

SOURCES- www.wikipedia/seagram.org

www.archdaily.com

MAIN BUILDING

PLAZA

THE OFFICE SPACES ABOVE THE LOBBY, FURNISHED BY PHILIP JOHNSON, HAVE FLEXIBLE FLOOR PLANS LIT WITH LUMINOUS CEILING PANELS. THESE FLOORS ALSO GET MAXIMUM NATURAL LIGHTING WITH THE EXTERIOR BEING GLASS PANES OF GRAY TOPAZ THAT PROVIDE FLOOR-TO-CEILING WINDOWS FOR THE OFFICE SPACES.

1951: LAKE SHORE DRIVE APARTMENTS, CHICAGO• 860–880 LAKE SHORE DRIVE IS A TWIN PAIR OF GLASS-AND-STEEL APARTMENT TOWERS ON N. LAKE SHORE

DRIVE ALONG LAKE MICHIGAN IN THE STREETERVILLE NEIGHBOURHOOD OF CHICAGO, ILLINOIS.• CONSTRUCTION BEGAN IN 1949 AND THE PROJECT WAS COMPLETED IN 1951.• THE 26 FLOOR, 254 FT (82 M) TALL TOWERS WERE DUBBED AS THE "GLASS HOUSE" APARTMENTS.• THE TOWERS WERE NOT ENTIRELY ADMIRED AT THE TIME THEY WERE BUILT, YET THEY WENT ON TO BE THE

PROTOTYPE FOR STEEL AND GLASS SKYSCRAPERS WORLDWIDE.

APARTMENTS EMBODY A MODERNISTIC TONE WITH THEIR VERTICALITY, GRIDS OF STEEL AND GLASS CURTAIN WALLS (A HALLMARK OF MIES’ SKYSCRAPERS), AND COMPLETE LACK OF ORNAMENTATION INDICATING MIES’ MOTTO OF “LESS IS MORE”.

NO NATURAL LIGHTAND VENTILATION HAS BEENPROVIDED TO CORE AREAS

THE MULLIONS ON BUILDING REFLECT THE INNER STRUCTURE AND GIVE TRUTH TO THE AESTHETIC OF THE BUILDING.

SOURCES –www.wikipedia.lakeshore/comwww.mies.buildings/lakeshore.org

LARGE LIVING AREAS

ASSOCIATED STYLESARCHITECTURAL STYLES FOLLOWED ALONG THE LINES OF LESS IS MORE

INTERNATIONAL STYLETHE MOST COMMON CHARACTERISTICS OF INTERNATIONAL STYLE BUILDINGS ARE SAID TO BE –

o RECTILINEAR FORMS o LIGHT, TAUT PLANE SURFACES THAT HAVE BEEN

COMPLETELY STRIPPED OF APPLIED ORNAMENTATION AND DECORATION.

o OPEN INTERIOR SPACES.o A VISUALLY WEIGHTLESS QUALITY ENGENDERED BY THE USE

OF CANTILEVER CONSTRUCTION.o GLASS AND STEEL, IN COMBINATION WITH USUALLY LESS

VISIBLE REINFORCED CONCRETE, ARE THE CHARACTERISTIC MATERIALS OF THE CONSTRUCTION.

THE TRANSPARENCY OF BUILDINGS, CONSTRUCTION (CALLED THE HONEST EXPRESSION OF STRUCTURE), AND ACCEPTANCE OF INDUSTRIALIZED MASS-PRODUCTION TECHNIQUES CONTRIBUTED TO THE INTERNATIONAL STYLE'S DESIGN PHILOSOPHY.

TOWER C OF PLACE DE VILLE

OTTAWA , CANADA

Seagram BuildingNew York City

Major Contributors to the International Style

o WALTER GROPIUSo LOUIS KAHNo LE CORBUSIERo LUDWIG MIES VAN DER

ROHEo I.M. PEIo LLOYD WRIGHT

VILLA SAVOYE-- LE CORBUSIER

Bauhaus -Walter

Gropius

PERISTEIN HALLILLINOIS INSTITUTE OF

TECHNOLOGYLUDWIG MIES VAN DER ROHE