The well-known Spanish architect, Antoni Gaudi, once said, “Originality consists of returning to the origin. Thus, originality means returning, through one’s resources, to the simplicity of the early solutions.” (qtd. in Craven n.p.) This quote is a great reflection of Gaudi’s unique style and works. Barcelonian architecture in the time of Gaudi was characterised by the Catalan Modernisme movement. Gaudi, being one of the movement’s representatives, showed his creativity and his individuality though his works which were inspired by nature. Many of the other architects of the Modernisme movement used their own individuality and depiction of nature as well. (Inman, ed. 20) Contemporary Spanish architects also incorporate Antoni Gaudi’s style into their architecture. Antoni Gaudi i Cornet was born on June 25, 1852. He lived in a town called Reus in Catalonia. His father worked as a coppersmith in a nearby village. Having four older siblings, Gaudi was the youngest child in his family. In his childhood, he suffered from rheumatism. That illness, as well as other factors such as his discovery of nature, made Gaudi pay more attention to the world that surrounded him (Duran 2-3). Antoni Gaudi went to school in Escola Pies. There, he learned more about his religion, which played a big role in his life and later works, particularly the Sagrada Familia. It also had a bearing on his architecture as it was there that Gaudi was able to develop his strong yet resolute personality which was later reflected in his works. He put a lot of effort into the things that interested him. Those that did not appeal to him, on the other hand, he showed no interest towards (Duran 2). When Gaudi was seventeen years old, he le... ... middle of paper ... ...di. Trans. Frances M. Luttikhuien Bakker. English ed. Iiiiii iiiiiiiBarcelona: Editorial Mediterrania, 2000. Filler, Martin. Makers of Modern Architecture. The New York Review of Books: New York, 2007. Harbison, Robert. Travels in the History of Architecture. London: Reaktion Books Ltd., 2009. Inman, Nick, ed. DK Eyewitness Travel Guides: Spain. New York: DK Publishing, Inc., 1999. Lewis, Miles, ed. Architectura: Elements of Architectural Style. Australia: Global Book iiiiiiiPublishing, 2008. Nonell, Juan Bassegoda. Antoni Gaudi: Master Architect. New York: Abbeville, 2000. Google iiiiiiiBooks. Google, 13 Nov. 2007. Web. 6 Nov. 2011. Pevsner, Nikolaus. Pionners of Modern Design. New York: Museum of Modern Art, 1949. Van Zandt, Eleanor. The Life and Works of Antoni Gaudi. Great Britain: Parragon Book Service iiiiiiiLimited, 1995.
Marcel Breuer Associates, . The Legacy of Marcel Breuer. 32. Tokyo, Japan: Architecture Publishing Co., 1982. Print.
By giving the biographies of architects Richard Neutra and Robert Alexander, Hines does nothing to remedy his aimless writing. He writes that Neutra had a variety of experience as an archi...
William H. Pierson, Jr., American Buildings and Their Architects: Technology and the Picturesque, (Doubleday & Company, Inc.), 295.
Hunt, William Dudley Jr. “Beaux Arts, Ecole Des.” Hunt Encyclopedia of American Architecture, 1980 ed.
...ed in the discovery and eventual colonization of North and South America. Painters, sculptors, and architects exhibited a similar sense of adventure and the desire for greater knowledge and new solutions; Leonardo da Vinci, like Christopher Columbus, discovered whole new worlds. With a new emphasis on the science, people like Philippo Brunelleschi were accomplishing great feats of artistic and architectural design. The new Renaissance “style” that emerged during this period called upon the classical roots of ancient Greece and Rome but new scientific understanding and a stronger emphasis on the individual also influenced the works created during this period.Bibliography Rice Jr., Eugene F.; Anthony Grafton. The Foundations of Early Modern Europe, 1460-1559. W. W. Norton & Company. New York, NY, 1993. Helton, Tinsley. World Book Encyclopedia, v16. “Renaissance”, pp. 222-224. World Book–Childcraft International Inc. Chicago, IL, 1979. Vasari, Gorgio. Lives of the Artists. Penguin Books Ltd. London, England, 1987
Palladio had an exceptional grasp of the use of proportion in classical architecture and believed beautiful architecture improved p...
Heinz, Thomas A., Frank Lloyd Wright: Architectural Monographs No 18, St. Martin's Press, New York, 1992.
Frank Lloyd Wright and Le Corbusier are two very prominent names in the field of architecture. Both architects had different ideas concerning the relationship between humans and the environment. Their architectural styles were a reflection of how each could facilitate the person and the physical environment. Frank Lloyd Wright’s Robie House, is considered one of the most important buildings in the history of American architecture and Le Corbusier s Villa Savoye helped define the progression that modern architecture was to take in the 20th Century. Both men are very fascinating and have strongly influenced my personal taste for modern architecture. Although Wright and Corbusier each had different views on how to design a house, they also had similar beliefs. This paper is a comparison of Frank Lloyd Wright‘s and Le Corbusier ‘s viewpoints exhibited through their two prominent houses, Frank Lloyd Wright’s Robie House and Le Corbusier’s Villa Savoye.
Temko, Allan. (1993). No Way to Build a Ballpark: and Other Irreverent Essays on Architecture. San Francisco: Chronicle Books.
Goldstein, Barbara. “Addition to architect’ house, Los Angeles California, 1979” Domus, no.599 (October 1979): 9
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
The book as a description of modern architecture, its styles and influence succeeds but falls short as a prescriptive methodology. His work is still recalled for the need by modernists to categorize everything into neat little boxes, not necessarily for the sake of uniformity, but for sake of some ambiguity. The ambiguity may be the triumph of this book as post modern architecture era is supposed to create more questions than the answers.
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
In chapter one of Frampton’s writing, “Cultural Transformations,” he describes how changes in society create new architectural styles due to new cultural needs. Frampton starts by explaining the relationship between man and nature in different architectural styles. Man and nature were distinct entities; however, for the sake or ornamentation in architecture, the two were constantly combined. This idea soon changes with Baroque architecture where man and nature started to be distinctly separate, and this later leads to the Neoclassical style which shows an increased desire for man to have control over nature (Frampton 1). Neoclassicism essentially stems from a new cultural formation that grew from the life styles of declining aristocracy and the rising bourgeoisie, and this transition leads
Abstract: Contemporary architects have a wide variety of sources to gain inspiration from, but this has not always been the case. How did modernism effect sources of inspiration? What did post-modernism do to liberate the choice of influences? Now that Contemporary architects have the freedom of choice, how are they using “traditional” styles and materials to inspire them? Even after modernism why are traditional styles still around?