America Rediscovered Fall 2024 PDF

laura S1: Why History? S2-S3: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession S6: New Production, New Aesthetic: The Deutscher Werkbund S7: Modernism in Germany: From Paper Architecture to Exhibiti...

laura S1: Why History? S2-S3: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession S6: New Production, New Aesthetic: The Deutscher Werkbund S7: Modernism in Germany: From Paper Architecture to Exhibition Commissions. S8-9: Avant-garde in Art and Architecture: Expressionism, Futurism, De Stilj, and Russia VAP OUTLINE DUE S10-11: Modernism in France: From the Machine Aesthetic to the Engagement with Landscape S12: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE S1: Why History? Beatriz Colomina, “Outrage: Blindness to Women turns out to be blindness to architecture itself” (2018) | León Siminiani,“Arquitectura emocional 1959” (30 min., 2022) S2-S3: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers Laura Martínez de Guereñu, “Plastic Fantastic: El B Auditorium” (2011) | READING RESPONSE 1 + prep VISUAL ANALYSIS PAPER S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession Adolf Loos,“Architecture” (1910) | READING RESPONSE 2 S6: New Production, New Aesthetic: The Deutscher Werkbund Herman Muthesius/ Henry van de Velde, “Aims of the Werkbund” (1911)/ “Werkbund These and Antitheses” (1914) S7: Modernism in Germany: From Paper Architecture to Exhibition Commissions. Magdalena Droste, “The Creative Pair: Lilly Reich and the Collaboration with Ludwig Mies van der Rohe” (2017) S8-9: Avant-garde in Art and Architecture: Expressionism, Futurism, De Stilj, and Russia Alice T. Friedman with Maristela Casciato, “Family Matters: The Schröder House, by Gerrit Rietveld and Truus Schröder” (1997) | READING RESPONSE 3 VAP OUTLINE DUE S10-11: Modernism in France: From the Machine Aesthetic to the Engagement with Landscape Jean-Louis Cohen, “Pessac | Moscow | Poissy | Roquebrune-Cap Martin” (2013) | READING RESPONSE 4 + prep VISUAL ANALYSIS PAPER S12: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas W. Gropius, “Principles of Bauhaus Production” (1923) / H. Meyer, “Building” (1928) / Mies “Building” (1923), “Build Beautifully and Practically! Stop This Cold Functionality” (1930) S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions Philip Johnson and Henry Russell Hitchcock Jr.,“A Modern Architecture: International Exhibition” (1932) S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE  3rd year 4th year AHT1 AHT3 15 sessions 15 sessions 3 credits 3 credits José Vela Laura M. de Guereñu The Beginnings of Architecture America Rediscovered - - Islamic Worlds Modern Languages Across the World AHT2 AHT4 15 sessions 15 sessions 3 credits 3 credits José Vela Laura M. de Guereñu Medieval Europe Architecture of War - — The Long 19th-century High Tech, the Star Architects, and the Extolling Institutions S1: Why History? Beatriz Colomina, “Outrage: Blindness to Women turns out to be blindness to architecture itself” (2018) | León Siminiani,“Arquitectura emocional 1959” (30 min., 2022) S2: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers Laura Martínez de Guereñu, “Plastic Fantastic: El B Auditorium” (2011) | READING RESPONSE 1 + prep VISUAL ANALYSIS PAPER S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession Adolf Loos,“Architecture” (1910) | READING RESPONSE 2 S6: New Production, New Aesthetic: The Deutscher Werkbund Herman Muthesius/ Henry van de Velde, “Aims of the Werkbund” (1911)/ “Werkbund These and Antitheses” (1914) S7: Modernism in Germany: From Paper Architecture to Exhibition Commissions. Magdalena Droste, “The Creative Pair: Lilly Reich and the Collaboration with Ludwig Mies van der Rohe” (2017) S8-9: Avant-garde in Art and Architecture: Expressionism, Futurism, De Stilj, and Russia Alice T. Friedman with Maristela Casciato, “Family Matters: The Schröder House, by Gerrit Rietveld and Truus Schröder” (1997) | READING RESPONSE 3 VAP OUTLINE DUE S10-11: Modernism in France: From the Machine Aesthetic to the Engagement with Landscape Jean-Louis Cohen, “Pessac | Moscow | Poissy | Roquebrune-Cap Martin” (2013) | READING RESPONSE 4 + prep VISUAL ANALYSIS PAPER S12: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas W. Gropius, “Principles of Bauhaus Production” (1923) / H. Meyer, “Building” (1928) / Mies “Building” (1923), “Build Beautifully and Practically! Stop This Cold Functionality” (1930) S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions Philip Johnson and Henry Russell Hitchcock Jr.,“A Modern Architecture: International Exhibition” (1932) S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE  NEW PROGRAMS Reed & Stem, Grand Central Station The evolution of the church typology over the centurys cut away drawing showing levels for construction, New York, 1903 End of the 19th c., train stations Housing stock in the 19th century department stores Before, and a wide variety of the house, the palace, the temple infrastructures Louis Sullivan, Carson, Pirie, Scott and Company Building, 1904. These new PROSAIC PROGRAMS, were now WORTHY OF AESTHETIC ATTENTION A bicycle shed [Photographer: Eric Lee-Johnson] This new reality is in CONTRADICTION with Nikolaus Pevsner, An Outline of European Architecture (1942) “A bicycle shed is a building; Lindoln Cathedral is a piece of architecture. Nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to buildings designed with a view to aesthetic appeal.” First point of discussion: Architecture … architecture Frederick H. Evans, Lincoln Cathedral: From the Castle, 1896.  NEW CLASSES OF USERS Paul Cezanne, Girl at the Piano, oil on canvas, c. 1868 Working Class Men in Sack Suits, Mechislav Dobrokovskii, Build Producers' Cooperatives, photograph, end of 19th century. print, 1925. Architecture was no longer in the service of Architecture began to address municipalities, cooperatives, the wealthy and a wide range of institutions and social groups  REJECTION OF HISTORIAL IMITATION (REPLICA) Towers of Plaza España, Barcelona International Exposition, 1929 Architecture also responded to the breaking down of classical codes. Carlo Naya (photographer), Cathedral of St. Marks and Bell Tower, Venice. 1071 (building), 1875 (photograph)  INTRODUCTION OF NEW MATERIALS AND TECHNOLOGIES Otis elevator patent, 1861 Elisha Otis, Elevator of Security, 1852. Byron Company (New York), Building, United States Express (construction) #2 Rector St, 1906.  The World’s Columbian Exposition in Chicago, 1893 (The new world in the international scene) TWO SIGNIFICANT EVENTS At the end of the 19th c, marked the “BEGINNING” OF A NEW CENTURY As large exhibitions, both called the very definition of architecture into question. Who was the audience? For whom where they building? The Universal Exposition of Paris, 1889  R. Buckminster Fuller, Dymaxion House, project Plan, 1927 The Ford Model N in 1907. The Wichita House was the only Dymaxion-type house built. 'How much does your house weigh?' This typical provocation MASS-PRODUCTION by Buckminster Fuller was aimed became the most at critics of his Dymaxion House, a radically new environment for significant system of dwelling introduced in 1927 and organization so named for its 'maximum gain of advantage from minimal energy input.' and encouraged architects to search for a MACHINE-AESTHETIC R. Buckminster Fuller, Wichita House, Kansas, 1947  SEARCH FOR THE RATIONAL RATIO RELATED TO Also, for the first CONSTRUCTION, time in history, FUNCTION, OR architectural programs were ECONOMY related to the needs of exploited social classes Drawing to determine the amount of useful sound reflected at the level of the acoustic center Hannes Meyer & Hans Wittwer, Project for the League of Nations Building, 1926-27 AMERICA “REDISCOVERED” Johan and Washington Roebling, Byron Company, Brooklyn Bridge, 1867-82 (photo, ca. 1903) Europeans saw the bridges, the factories, the skyscrapers of America as the expression of a technological sublime linked to the New World’s economical power. At the end of the 19th c. architecture was still massive; walls were still load bearing. Ground plan Henry H. Richardson, Trinity Church, Boston, 1872-1877 Image: between 1945 and 1953 Henry H. Richardson, Sever Hall, Harvard University, 1878 Map of Harvard Campus, 1880. An architect trained at Harvard College, Tulane University and Beaux-Arts in Paris, known for his Romanesque architecture, Henry H. Richardson, is one of the best known American architects of the 19th c., together with Louis Sullivan and Frank Lloyd Wright. Henry H. Richardson, Old Colony Railroad Station, 1882-1884 Henry H. Richardson, New Haven Railroad Station, 1885 CHICAGO, BLACK CITY/ WHITE CITY Daniel Burnham (exhibition planning) Frederick Law Olmsted (gardens) World’s Columbian Exposition, 1893 Louis Sullivan (1856-1924), Transportation Building Complex large buildings with classical exteriors  First woman architect to graduate from MIT Sophia Hayden (1868-1953) Woman’s Building, 1893 McKim, Mead, and White, Agriculture Building, 1893. Behind its plaster classical facade, the ; Agriculture Building was a simple wooden structure, filled with small pavilions in which companies showed their products. But people who came to see the Exhibition were much more impressed by the city itself. Chicago after the fire of 1871 It was the MOMENT ZERO OF THE SKYCRAPER The city that D. Burham was envisioning Buildings appeared in response to a fourfold effect:. Urban concentration. The elevator (patent from 1861). The telephone. The development of the steel frame Commercial buildings with steel frames: “Cloud-pressers” “Sky-scrapers” Otis elevator patent, 1861  STEEL STRUCTURE And partly NON-BEARING FACADES William Le Baron Jenney, Home Insurance Building, before 1890 addition Fair Building, Steel skeleton, 1891.  But, DUE TO THE EFFICIENT ORGANIZATION AND MANAGAMENT It was considered “THE MOST MODERN” OFFICE typical floor plan of original design Daniel H. Burham and John Wellborn Root, Rookery Building, 1886-7 interior, lobby, general view from second floor 16 STORIES BUT (still with) LOAD-BEARING WALLS Daniel H. Burham and John Wellborn Root, Monadnock Building: general view, Chicago, 1889-92  22-STORIES FOR A TIME THE TALLEST BUILDING IN THE WORLD Daniel H. Burham and John Wellborn Root, Masonic Temple (Capitol Building) [office building] general view from southwest, 1890-92  TERRA-COTTA FACADES were SUSPENDED FROM THE STEEL SKELETON RATHER THAN CARRYING THEIR OWN LOAD Diagram showing detail of terracotta front and bay window Daniel H. Burham and John Wellborn Root, Reliance Building (1890-4) CHICAGO’S CODE 1892 BUILDING’S HEIGHT LIMITED 150 FEET (45.7 METERS) Buildings with 4 equal facades became the rule LOUIS SULLIVAN’S INVENTIONS Dankmar Adler and Louis Sullivan, Auditorium Building (1886-9), general view from southeast XL LARGE-SCALE BUILDING PROGRAM COMBINATION: Opera house, hotel, and offices Louis Sullivan was a reader of: Louis Sullivan, ”The Tall Office Artistically Considered” (1896) “It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form follows function. This is the law.” John Ruskin, The Stones of Venice, vol 1. 1851. Eugène Emmanuel Viollet-le-Duc, Entretiens sur l’Architecture (Lectures on Architecture), 1863  Sullivan rejected the CLASSICAL COLUMN, as he tought that the existing codes (doric, jonic, corinthian) contradicted the lessons of nature… Form had to follow function. Adolf Loos, Chicago Tower Competition, 1922. Sullivan tested his theories in several buildings: Ornamental detail, photograph by John Sarkowsky All structured were crowned with a thin cornice (base, shaft, cornice can be recognized compositionally) Dankmar Adler and Louis Sullivan, Wainwright Building, St. Louis, Missouri, 1890-1 Louis H. Sullivan, Guaranty Building, Buffalo, 1894-5 Louis H. Sullivan, Bayard Building, 1897-99 65-69 Bleecker Str, New York Design with a modular grid and larger bay windows after the depression of the 1880s Ornament was employed to attact passerbys into the shopwindows. Louis H. Sullivan, Carson, Pirie & Scott building, Department Store, Chicago, 1899-1904 FRANK LLOYD WRIGHT AND PRAIRIE ARCHITECTURE Chicago: World's Columbian Exposition, 1893 Japanese Ho-o-den Women's & Illinois Buildings in background Wright was trained at the office of Sullivan (He drafted the auditorium building). Tokonoma niche, with hanging scroll and tea flower Living room, Frank Lloyd Wright Home and Studio, Photograph by Frank Lloyd Wright in Japan, 1905 Frank Lloyd Wright. The Japanese ca. 1895-1897 Print: An Interpretation (Chicago, Ralph Fletcher Seymour, 1912) 1905: Japan Through the Lens of Frank Lloyd Wright An online exhibition of Frank Lloyd Wright’s 1905 photographs of Japan, from the collection of the Frank Lloyd Wright Trust. https://www.wrightsjapan1905.org/photographs/ Oak Park The reform of the domestic space, as a way to reform moral behaviour Frank Lloyd Wright, Home and Studio, Oak Park, Chicago, 1889 WINDOWS OVERHANG EXPLORATIONS Conservatory Entrace threshold FIREPLACE AS PIVOT OF THE STRUCTURE Frank Lloyd Wright, Winslow’s House, River Forest, 1893-4  THEORISTS OF DOMESTIC ARCHITECTURE The housewife presided over her own realm Frank Lloyd Wright, Ladies Home Journal, ”A Small House with lots of room in it”, 1901  The architecture Wright developed was made to measure for the wide plains surrounding Chicago Frank Lloyd Wright, Ladies Home Journal, "Home in a Prairie Town”, published 1905 Frank Lloyd Wright, "A Fireproof House for $5000." Unbuilt Project, 1906 Frank Lloyd Wright, Ward Willits House, Highland Park, Illinois, United States, 1902 Frank Lloyd Wright, “In the Cause of Architecture” (1908) WIDE PLAINS SURROUNDING “The Prairie has a beauty of its own, STRONG ENGAGEMENT WITH LANDSCAPE and we should recognize and accentuate this natural beauty, its Continuity between the house and the landscape was made quiet level. Hence, gently sloping more intimate by the generous overhanging roofs roofs, low proportions, quiet skylines, suppressed heavyset chimneys and sheltering overhangs, low terraces and outreaching walls are sequestering private gardens.”  ABSENSE OF DIVIDING WALLS USE OF FREE-STANDING SUPPORTS WALLS OF AIR SUPPORT THE CONTINUITY BETWEEN SPACES Frank Lloyd Wright, Darwin D. Martin House, Buffalo, NY, 1903  Radiators, heating tubes, and lighting devices are built into the walls Unlike Sullivan, Wright had no interest in purely Frank Lloyd Wright, Frederick C. Robie Residence, 1906 rational construction  Extension of the housing principles into an office building Frank Lloyd Wright, Larkin Building, Buffalo, NY, 1904 Frank Lloyd Wright, Unity Temple and Unity House [church and parish house], exterior, front (east) facade, 1904-06 Another monumental extension of his housing principles FRANK LLOYD WRIGHT AND EUROPE Plate title: Plate/Tafel VI. Volume title: Ausgeführte Bauten und Entwürfe Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright (Executed buildings and designs by Frank Lloyd Wright), Berlin: Wasmuth (German publisher, established 1872), 1910 Wasmuth Portfolio  Marion Mahony Griffin (1871-1961) Half of the drawings of this influential porttfolio (America-Europe-America) had been produced by Marion Mahony Beatriz Colomina, “Outrage: Blindness to Women turns out to be blindness to architecture itself,” in Architectural Review, March 2018.  Wright spent 1909 and 1910 in Europe He visited several buidlings he knew from photographs Josef Maria Olbrich, Haus der Secession (Secession Building) (Sezession Ausstellungsbebaude), general view from northwest, 1897-98 Josef Hoffman, Palais Stoclet, Brussels, 1905-1911  The buildings he designed upon his return to the US were visibly shaped by these discoveries Frank Lloyd Wright, Midway Gardens, Working Drawing #4 Balcony Plan, 1913  Conversely, Europeans were becoming increasingly interested in Wright due to the growing reputation of the Wasmuth portfolio. California remained largely unknown to Europeans, despite the significant works built there. Charles S. and Henry M. Greene, Gamble House, 1908 Available in Apple TV Emmy Award winning documentary by Don Hanh SKYSCRAPERS IN NEW YORK After 1900, architects of the East Coast focused on factories, silos and skyscrapers. Unlike Chicago (1892), New York did not have any regulations limiting the height of new construction. Vertical competition between architects and developers was unstoppable. Max Weber, New York (The Liberty Tower from the Singer Building), Oil on canvas, 1912  The first group of skyscrapers was built during the 1870s for newspaper headquarters. Richard Morris Hunt, New York Tribune Building, general view from contemporary print, 1873-5, demolisthed in 1955  Great location standing at the intersection between Broadway and Fifth Avenue. 22-floor extrussion of a tringular site, topped with a cornice evoking the capital of a column Daniel H. Burnham, Flatiron Building, N.Y., during construction, 1902.  According to Alfred Stieglitz, ”The Flat Iron [was] to the United States what the Parthenon was to Greece” Daniel H. Burnham, Flatiron Building, Photograph by Jessie Tarbox Beals, ca. 1905  Other later buildings exploited the potential of triangular plots. Eidlitz and Mckenzie, New York Times Building, 1903-5  47 stories A. Adams, Skyline of the Historical Vertical Architectures crowned with Singer Buiding, c. 1910 The architect responded to the Singer Company’s explicit commission to create a definitive vertical structure. Ernest Flagg, Singer Building (1906-08, demolished 1968)  Conscious reference to the campanille of Saint Mark’s in Venice Pierre L. Lebrun, Metropolitan Life Insurance Company tower, 1907-09  Embodied the modernization of the city’s administration McKim, Med & White, Municipal Building, 1906-14  Photographs by Wurts Bros. (New York, N.Y.), 1913 Neo-Gothic themes also found It was remarkable for the their place in the ongoing race refinement of its elevators and for height. It was referred as its interior circulation the “catedral of commerce” Cass Gilbert, Woolworth Building, general exterior, 1912 Woolworth Building, storefronts [on] Park Place and Broadway. Graham, Anderson, and Probst, The New Equitable Building, 165 Broadway, New York, 1913-15.  By 1913, Manhattan contained about 1000 buildings between 11 and 20 stories high, and the problema of sunlight reaching the streets was much discussed. Anonymous postcard. The skyline of downtown Manhattan in 1913 The “menace” posed by the skyscraper was remedied by a zoning regulation that controlled the bulk of the tall building but did not restrict its height on up to 25 percent of the site. Terraces and set backs were required in the upper floors. Principle of setbacks mandated by the zoning regulations, 1916  New York was able to remain the “standing city” that would make a strong impressions on visitors between the world wars. Francis Hopkinson Smith, (artist), New York, 1912