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The theory of bauhaus
The theory of bauhaus
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Paul Rudolph was born on October 23, 1918. “The year of Rudolph’s birth, 1918, was a key date in world history” At the end of World War I, the old established conventions of balance of power, Renaissance culture, and surplus-value economy broke down. He was not only a famous American architect, but also the Chair of Yale University's Department of Architecture for six years. Paul Rudolph was known for his complex floor plans and the new approach of concrete. “The work of Paul Rudolph has had a profound effect on the architecture of the second half of the twentieth century, but its potential for further influence has only begun to be explored.” Paul Rudolph brought many influences in his work in Florida. The time is remarkable for his approach to creative and experimental methods of construction, to expanding the structural possibilities of materials to their limits while reviving both static and aesthetic possibilities of materials; for his effort to explore and thrive the spatial copiousness, complexity, and interrelationship of the interiors and exteriors of his architectures, their location, their …show more content…
The roof was concave down. The roof was built using a built-up spray-on process that Paul Rudolph had seen used to cocoon during his military time in the US Navy. What’s more, Rudolph used wooden jalousie windows, which enabled the characteristic breezes to and from the Sarasota Bay to flow through the house. A student project studied at Harvard under Walter Gropius, later restudied and developed for a client. “The principles at that time were: 1 clarity of construction, 2 simple overall volumes penetrating vertically and horizontally, 3 clear geometry floating above the landscape, 4 everything reduced to simple rectangulars and, of course, 5 a flat roof.” The Bauhaus principles via Harvard were adapted to Florida’s particular
James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
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...
Louis Henry Sullivan's architectural adornment has yet to be known by individuals simply because of the adept evolution from forms from nature, and the penetrating geometric structures and connections found through every one of his works, yet more importantly the humanistic condition of consciousness that has been proposed. Sullivan recommends that in construction design, works of art should not stand on their own as an accessory, but instead be produced by the standards of building proposals, design, objective, and form. Sullivan's various structures were principally borrowed from natural forms, and their application gained from geometric understanding; they were then transformed and modified to the steel sections and curves, and enlivened
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
Dell Upton is a historian and renowned professor of architecture and Urbanism at the University of California. He has published several books on architecture; one of them is “Architecture in the United States”, published in 1998. In this book, Upton analyzes the architecture of the United States in different aspects, such as nature, money and art, thus depicting the great variety in architectural forms, and how throughout the decades, different interests have lead communities to different ways of building, different purposes and materials, thus reflecting their way of thinking and their relationship with the environment. By exploring so many different architectural styles, Upton reveals the great diversity and richness that has always, and continues to characterize American architecture.
It is the new decade after the end of world war two and modernism is a well-established practice. Its pioneers and spearheads are prevalent figures looming over the new architects and designers who are trying to make their mark in the shadows of such historically influential people. With new technologies and materials emerging from the world wars the next era of modernism had started to evolved, bringing with it philosophies and ideas which seemed far removed from those of the pioneers of modernism “What emerged in the late 1940s and 1950s was an expanding synthesis of questions utterly removed from the confident statements of the pioneers.”(Spade 1971,10) Two significant buildings were designed in the 50's, both of them for educational institutes and to house students of architecture, there were both designed in completely different styles and methods. The first is Ludwig Mies van der Rohes' Crown Hall, finished in 1956 and designed as a part of a campus master plan for the Illinois Institute of technology in Chicago. Mies' design for Crown Hall is one of his most realised expressio...
At first, Wright had to decide where the house will be located. After his decision, he understood that that were will be many issues and obstacles. There were two major issues that troubled Wright. One of them was that the area was not large enough to build a strong foundation. This was unusual because most of his structures had a well-built f...
Smith, C. Ray. Interior Design in 20th-century America: A History. New York: Harper & Row, 1987. Web. 26 Mar. 2014. .
“In the Cause of Architecture” is an essay written by Frank Lloyd Wright in 1908. In this work, Wright outlines many of his architectural values. This text goes into great detail about the philosophy behind Frank Lloyd Wright’s architecture, as well as many important milestones in his life, such as working for Adler and Sullivan. This text is useful because it comes straight from Frank Lloyd Wright himself. It talks about many things important to his role as a notable American, such as his influences for his architecture and his architectural
It will discuss the different types of dwellings throughout recorded human history from the perspective of how art and culture influences building design. This will fulfill my own curiosity to understand the different influences on homebuilding and design over the years and how people have dealt with these changes.
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.
Daniel H. Burnham was a very influential American architect in the late 1890’s and early 1900’s. He helped rebuild Chicago after the Great Fire, helped develop the modern skyscraper, and helped revolutionize urban planning. His plan to redesign Chicago still influences designs today of modern cities, and his “Flat Iron” building is still one of the most well-known buildings of the twentieth century.
Gehry’s additional design of the exterior has created an unconventional model form of house. The asymmetrical form characterizes the entire external side of the house. According to Goldstein, Gehry tried to slant the house roofline, create a false perspective and cause an absurd viewer’ perception or expectation (1979, 9). The complexity of the form might also produce a relationship with the house’s elements such as door, wall, and roof. For example, those elements, which linearly constructed, were hardly noticed since the distraction of geometric form around the exterior part of the house. It’s even barely hard to find the entrance of the house as a result of the salient angles of exterior.
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...
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).