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HA IV Final > International Style > Flashcards

International Style Flashcards

1
Q
A
  • Le Corbusier
  • Corbu - crow
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2
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  • Le Corbusier (Charles-Édouard Jeanneret) (1887-1965, Swiss), L’Esprit Nouveau Pavilion.
    1. France (built for the Exposition Internationale des Arts Décoratifs et Industriels
  • Modernes.) Sculpture by Jacques Lipchitz.
  • his entry for art deco exhibition
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3
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Le Corbusier and Pierre Jeanneret (1896-1967, Swiss), L’Esprit Nouveau Pavilion,

interior

  • International style coined by Phillip Johnson in 1933
  • exterior and interior easily access to
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4
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Le Corbusier and Pierre Jeanneret (1896-1967, Swiss), L’Esprit Nouveau Pavilion,

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5
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  • Le Corbusier and Pierre Jeanneret (1896-1967, Swiss), L’Esprit Nouveau Pavilion,
  • interior.
  • the Five Points of a New Architecture” which were most evident in his Villa Savoye. These were:
  • Pilotis – The replacement of supporting walls by a grid of reinforced concrete columns that bears the load of the structure is the basis of the new aesthetic. (house should be upon pilotis) - lots of lights, shelter
  • The free designing of the ground plan – The absence of supporting walls means that the house is unrestrained in its internal usage.
  • (connecting elements such as ribbons of windows, colors, staircases, connect the building together)
  • The free design of façade – By separating the exterior of the building from its structural function the façade becomes free.
  • The horizontal window – The façade can be cut along its entire length to allow rooms to be lit equally. (should be able to reconfigure)
  • Roof gardens – The flat roof can be utilized for a domestic purpose while also providing essential protection to the concrete roof. (Flat roof)
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6
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Le Corbusier and Pierre Jeanneret (1896-1967, Swiss), L’Esprit Nouveau Pavilion,

interior;exterior

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7
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Le Corbusier, perspective drawing for Domino House project, Marseilles.

  1. Fondation Le Corbusier, Paris.
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8
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Le Corbusier and Jeanneret, Villa Savoye.

1928-31. Poissy-sur-Seine, France.

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9
Q
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  • Le Corbusier and Jeanneret, Villa Savoye.
  • First floor windows
  • 1928-31. Poissy-sur-Seine, France.
  • The house is a machine for living.
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10
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Le Corbusier and Jeanneret, Villa Savoye.

Interior staircase

1928-31. Poissy-sur-Seine, France.

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11
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Le Corbusier and Jeanneret, Villa Savoye.

Living room

1928-31. Poissy-sur-Seine, France.

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12
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Le Corbusier and Jeanneret, Villa Savoye.

Rooftop Terrace

1928-31. Poissy-sur-Seine, France.

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13
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Le Corbusier and Jeanneret, Villa Savoye.

Bathroom

1928-31. Poissy-sur-Seine, France.

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14
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Le Corbusier, Plan Voisin. 1925.

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15
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Le Corbusier, House 14/15 in the Weiβenhoff Estate.

  1. Stuttgart.
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16
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Le Corbusier, Unité d’Habitation.

1947-1953. Marseilles.

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17
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Le Corbusier, Unité d’Habitation. Roof

1947-1953. Marseilles.

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18
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Le Corbusier, Unité d’Habitation. Roof

1947-1953. Marseilles.

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19
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Le Corbusier, Unité d’Habitation. Interior

1947-1953. Marseilles.

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20
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  • Le Corbusier, Chapel of Notre-Dame-du-Haut.
  • 1950-55. Ronchamp, France.
  • chapel of our lady of the height
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21
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Le Corbusier, Chapel of Notre-Dame-du-Haut.
1950-55. Ronchamp, France.

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22
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Le Corbusier, Chapel of Notre-Dame-du-Haut.

1950-55. Ronchamp, France.

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23
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Le Corbusier, Chapel of Notre-Dame-du-Haut.

1950-55. Ronchamp, France.

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24
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Le Corbusier, Chapel of Notre-Dame-du-Haut.

1950-55. Ronchamp, France.

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25
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Le Corbusier, Chapel of Notre-Dame-du-Haut. light wall

1950-55. Ronchamp, France.

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26
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Le Corbusier, Chapel of Notre-Dame-du-Haut. Interior

1950-55. Ronchamp, France.

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27
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Le Corbusier, LC-2 Petit Confort sofa and chair.

1928.

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28
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Le Corbusier, LC-4 Chaise Lounge.

1928-29.

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29
Q
A

Charlotte Perriand.

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30
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Charlotte Perriand (1903-1999, French), Le Corbusier, and Jenneret, B306 chaise lounge.

  1. Leather and tubular steel.
31
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Perriand, dining room, Salon des Artistes Décorateurs.

  1. Paris
32
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Perriand, Le Corbusier, and Jenneret, B302 swivel chair.

1928-29. Leather and tubular steel.

33
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Perriand, dining room, Salon des Artistes Décorateurs.

  1. Paris.
34
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Photos of Ludwig Mies van der Rohe and Lilly Reich

35
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Ludwig Mies van der Rohe (1886-1969, German), German Pavilion for the International Exhibition at Barcelona.

GERMAN ENTRY

  1. Barcelona.
36
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Mies van der Rohe and Lilly Reich (1885 – 1947, German), German Pavilion, interior.

MVDR used more color than LC (all white)

37
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Mies van der Rohe and Lilly Reich (1885 – 1947, German), German Pavilion, interior.

38
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German pavilion, inner courtyard.

(“Der Morgan” sculpture by Georg Kolbe.)

39
Q
A

Mies van der Rohe and Reich, Barcelona Chair and Stool.

  • 1929.
  • reference the past - x frame curule
  • throne chair
40
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Mies van der Rohe, Tugendhat House.

1928-30. Brno, Czech Republic.

41
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Mies van der Rohe and Reich, Tugendhat House, interior. 1928-30. Brno, Czech Republic.

42
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Mies van der Rohe and Reich, Tugendhat House, interior. 1928-30. Brno, Czech Republic.

43
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Mies van der Rohe and Reich, Tugendhat House, interior. 1928-30. Brno, Czech Republic.

44
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Mies van der Rohe and Reich, Tugendhat House, interior. 1928-30. Brno, Czech Republic.

Brno chairs

45
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Mies van der Rohe, Farnsworth House.

1946-50. Fox River, Illinois.

46
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Mies van der Rohe, Farnsworth House.

1946-50. Fox River, Illinois.

47
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Mies van der Rohe, Farnsworth House. interior

1946-50. Fox River, Illinois.

48
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Mies van der Rohe, Farnsworth House.

1946-50. Fox River, Illinois.

49
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A

Mies van der Rohe, Illinois Institute of Technology, Crown Hall

(Architecture School).

1952-56. Chicago.

50
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Mies van der Rohe, Seagram Building.

Window treatments in the Four Seasons Restaurant.

1954-58. New York

51
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A

Eileen (Kathleen Moray) Gray (1878-1976, Irish), E1027 (house).

1926-29. Roquebrune, France.

52
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Eileen (Kathleen Moray) Gray (1878-1976, Irish), E1027 (house).

1926-29. Roquebrune, France.

E-1027, is a code of Eileen Gray and Jean Badovici, ‘E’ standing for Eileen, ‘10’ Jean, ‘2’ Badovici, ‘7’ Gray. The encoded name was Eileen Gray’s way of showing their relationship as lovers at the time when built

53
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Eileen (Kathleen Moray) Gray (1878-1976, Irish), E1027 (house).

1926-29. Roquebrune, France.

54
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Eileen (Kathleen Moray) Gray (1878-1976, Irish), E1027, lightwell.

Bakelite (exterior).

1926-29. Roquebrune, France

55
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A

Eileen (Kathleen Moray) Gray (1878-1976, Irish), E1027, Interior

1926-29. Roquebrune, France

56
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A

Gray, Bibendum chair.

c. 1924

57
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A

. Gray, Transat chair.

  1. Leather, lacquered wood, chrome-plated metal.
58
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A

Eileen Gray, E1027 Interior

59
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A

Gray, E1027 table.

c. 1929. Tubular steel and glass.

60
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Gray, chest of drawers.

61
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Le Corbusier, E1027 mural.

1938-39.

62
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A

Photo of Rudolph Schindler.

63
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A

Rudolph Michael Schindler (1887-1970, Austrian), King’s Road House.

  1. West Hollywood.
64
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A

Rudolph Michael Schindler (1887-1970, Austrian), King’s Road House. living room

  1. West Hollywood.
65
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A

Rudolph Michael Schindler (1887-1970, Austrian), King’s Road House. Schindler’s office

  1. West Hollywood.
66
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A

Rudolph Michael Schindler (1887-1970, Austrian), King’s Road House. bedroom

  1. West Hollywood.
67
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A

Photo of Richard Neutra.

68
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A

Richard Neutra (1892-1970, Austrian), Lovell House.

  1. Los Angeles.
69
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Richard Neutra (1892-1970, Austrian), Lovell House. ROOF GARDEN

  1. Los Angeles.
70
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A

Richard Neutra (1892-1970, Austrian), Lovell House. staricase

  1. Los Angeles.
71
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Richard Neutra (1892-1970, Austrian), Lovell House. Living room

  1. Los Angeles.
72
Q

Five Points Towards a New Architecture

A
  1. The supports. To solve a problem scientifically means in the first place to distinguish between its elements. Hence, in the case of a building a distinction can immediately be made between the supporting and the non-supporting elements. The earlier foundations, on which the building rested without a mathematical check, are replaced by individual foundations and the walls by individual supports. Both supports and support foundations are precisely calculated according to the burdens they are called upon to carry. These supports are spaced out at specific, equal intervals, with no thought for the interior arrangement of the building. They rise directly from the floor to

3, 4, 6, etc. metres and elevate the ground floor. The rooms are thereby re- moved from the dampness of the soil; they have light and air; the building plot is left to the garden, which consequently passes under the house. The same area is also gained on the flat roof.

  1. The roof gardens. The flat roof demands in the first place systematic utilization for domestic purposes: roof terrace, roof garden. On the other hand, the reinforced concrete demands protection against changing temperatures. Over- activity on the part of the reinforced concrete is prevented by the maintenance of a constant humidity on the roof concrete. The roof terrace satisfies both demands (a rain-dampened layer of sand covered with concrete slabs with lawns in the interstices; the earth of the flowerbeds in direct contact with the layer of sand). In this way the rain water will flow off extremely slowly. Waste pipes in the interior of the building. Thus a latent humidity will remain continually on the roof skin. The roof gardens will display highly luxuriant vegetation. Shrubs and even small trees up to 3 or 4 metres tall can be planted. In this way the roof garden will become the most favoured place in the building. In general, roof gardens mean to a city the recovery of all the built-up area.
  2. The free designing of the ground-plan. The support system carries the intermediate ceilings and rises up to the roof. The interior walls may be placed wherever required, each floor being entirely independent of the rest. There are no longer any supporting walls but only membranes of any thickness required. The result of this is absolute freedom in designing the ground-plan; that is to say, free utilization of the available means, which makes it easy to offset the rather high cost of reinforced concrete construction.
  3. The horizontal window. Together with the intermediate ceilings the supports, form rectangular openings in the façade through which light and air enter copiously. The window extends from support to support and thus becomes a horizontal window. Stilted, vertical windows consequently disappear, as do unpleasant mullions. In this way, rooms are equably lit from wall to wall. Experiments have shown that a room thus lit has an eight times stronger illumination than the same room lit by vertical windows with the same window area. The whole history of architecture revolves exclusively around the wall apertures. Through use of the horizontal window, reinforced concrete suddenly provides the possibility of maximum illumination.
  4. Free design of the façade. By projecting the floor beyond the supporting pillars, like a balcony all round the building, the whole façade is extended beyond the supporting construction. It thereby loses its supportive quality and the windows may be extended to any length at will, without any direct relationship to the interior division. A window may just as well be 10metres long for a dwelling house as 200 metres for a palatial building (our design for the League of Nations building in Geneva). The façade may thus be designed freely.
73
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HA IV Final (5 decks)

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