BUILDING A NEW ARCHITECTURAL VOCABULARY
De Stijl, Le Corbusier, Mies van der Rohe
DE STIJL
Holland
Art and architecture are impersonal and objective,
not based on personal taste.
Theo van Doesburg, “Composition IX,” 1920
He suggested a link between non-representational
works of art and ideals of peace and spirituality
Piet Mondrian, “Tableau 2,” 1922
«I construct lines and color combinations
on a flat surface, in order to express
general beauty with the utmost
awareness. Nature (or, that which I see)
inspires me, puts me, as with any painter,
in an emotional state so that an urge
comes about to make something, but I
want to come as close as possible to the
truth and abstract everything from that,
until I reach the foundation (still just an
external foundation!) of things…
Piet Mondrian, Composition II in Red Blue and Yellow, 1930
I believe it is possible that, through
horizontal and vertical lines constructed
with awareness, but not with calculation,
led by high intuition, and brought to
harmony and rhythm, these basic forms of
beauty, supplemented if necessary by
other direct lines or curves, can become a
work of art, as strong as it is true.»
DE STIJL Magazine Cover, 1919
Theo van Doesberg (logotype)
Vilmos Huszar (woodcut)
Georges Vantongerloo,
“Interrelation of Volumes,” 1919
Theo van Doesburg, «Architectural Analysis» and “House for an Artist,” 1923
Theo van Doesburg, “Maison Particulière,” 1923
Theo van Doesburg,
“Counter Construction,” 1924
(note the transition from volumes to planes)
Theo van Doesburg, “Van Doesburg House,” Meudon-Val-Fleury, FRANCE, 1930
Gerrit Rietveld, “Schroeder House,” Utrecht, HOLLAND, 1923-24
Gerrit Rietveld, “Schroeder House,”
Utrecht, HOLLAND, 1923-24
Gerrit Rietveld, “Schroeder House,” Utrecht, HOLLAND, 1923-24
Gerrit Rietveld, “Schroeder House,” Utrecht, HOLLAND, 1923-24
Gerrit Rietveld, “Schroeder House,” Utrecht, HOLLAND, 1923-24
Gerrit Rietveld, “Schroeder House,” Utrecht, HOLLAND, 1923-24
Gerrit Rietveld, “Red-Blue Chair,” 1917
Gerrit Rietveld, “Schroeder House,” Utrecht, HOLLAND, 1923-24
LE CORBUSIER (1887 – 1965)
Charles-Édouard Jeanneret-Gris
known as “Le Corbusier”
born in La Chaux-de-Fonds, SWITZERLAND, in
1887
died in Roquebrune-Cap-Martin, FRANCE,
in 1965
studied watch-making and then architecture
worked with Auguste Perret in Paris (1907) and
Peter Behrens in Berlin (1910-11)
Le Corbusier, Apollo and Medusa
Dealing both with the rational and the emotional (engineering and architecture); science and art;
technological commitment and individual creativity)
Le Corbusier and Amadée Ozenfant, L’Esprit Nouveau (“The New Spirit”) magazine, 1918-1925
published a wide range of topics and ideas, ranging from arts and literature to architecture and science.
Le Corbusier, “Vers un Architecture,” (Towards an Architecture), 1923
usually translated into English as “Towards a New Architecture”
Le Corbusier, “Dom-ino House” (project), 1914
proposal for inexpensive housing; easily reproducable components
Le Corbusier, “Maison Citrohan,” (project) 1922
Project exhibited in Salon d’Automne. Name indicates that a house should be as standardized as a car.
Le Corbusier, “Maison Citrohan,” (project) 1922
Le Corbusier, “Ozenfant House Studio,” Paris, 1922
Creating an icon of a new way of life
Le Corbusier, “Ozenfant House Studio,” Paris, 1922
Le Corbusier, “Ozenfant House Studio,” Paris, 1922
THE ARCHITECTURAL PROMENADE
The observer’s pathway through the built space – is a central element of Le
Corbusier’s architectural designs. It is the sequence of images that unfolds
before the eyes of the observer as he or she gradually advances through
the structure.
Le Corbusier, “Villa La Roche/ Villa Jeanneret,” Paris, 1925
Le Corbusier, “Villa La Roche/ Villa Jeanneret,” Paris, 1925
“architectural promenade”
Le Corbusier, “Villa La Roche / Villa Jeanneret,” Paris, 1925
Le Corbusier, “Villa La Roche / Villa Jeanneret,” Paris, 1925
Le Corbusier’s “Five Points towards a New Architecture,” 1926:
1. The Supports (known as “pilotis”)
2. The Free Plan
3. The Free Façade
4. Horizontal Window
5. Roof Garden
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
RED = ENCLOSED SPACE
ground level
middle level
roof level
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
Le Corbusier, “Villa Savoye,” Poissy (near Paris), FRANCE, 1929-31
..\..\..\..\Videos\Arch 222\modern movement\Le Corbusier The Cloister - YouTube [360p].mp4
LUDWIG MIES van der ROHE
(1886-1969)
“Less is more”
Mies van der Rohe,
Friedrichstrasse Office Building (project),
Berlin, GERMANY, 1919
Mies van der Rohe, Friedrichstrasse Office Building (project), Berlin, GERMANY, 1919
Mies van der Rohe,
Glass Skyscraper (project),
Berlin, GERMANY, 1920-21
Mies van der Rohe,
Glass Skyscraper (project),
Berlin, GERMANY, 1920-21
“Weissenhof Siedlung,” Stuttgart, 1927
BLUE = preserved / restored; RED = destroyed
“Weissenhof Siedlung,” Stuttgart, 1927
“Weissenhof Siedlung,” Stuttgart, 1927
Le Corbusier, buildings for “Weissenhof Siedlung,” Stuttgart, 1927
Le Corbusier, buildings for “Weissenhof Siedlung,” Stuttgart, 1927
J.J.P. Oud, building for “Weissenhof Siedlung,” Stuttgart, 1927
Hans Scharoun, building for “Weissenhof Siedlung,” Stuttgart, 1927
Bruno Taut, building for “Weissenhof Siedlung,” Stuttgart, 1927
Walter Gropius, building for “Weissenhof Siedlung,” Stuttgart, 1927
Mies van der Rohe, “German Pavilion for the Barcelona World’s Fair,” SPAIN, 1929
known as “The Barcelona Pavilion” (demolished in 1930, re-built in1986)
International
Exposition, Site plan,
Barcelona, 1929
National Palace, built for the 1929 Exposition, Barcelona, Spain
Mies van der Rohe, “The Barcelona Pavilion,” SPAIN, 1929
(demolished in 1930, re-built in1986)
Mies van der Rohe, “The Barcelona Pavilion,” SPAIN, 1929
(demolished in 1930, re-built in1986)
Mies van der Rohe, “The Barcelona Pavilion,” SPAIN, 1929
(Marble, red onyx and travertine. Demolished in 1930, re-built in1986)
«We refuse to recognize problems of form, but only problems of building. Form is not the aim of our work, but only
the result. Form as an aim is formalism; and that we reject.» (Mies)
Mies van der Rohe, “The Barcelona Pavilion,” SPAIN, 1929
(demolished in 1930, re-built in1986)
Mies van der Rohe, “The Barcelona Pavilion,” SPAIN, 1929
(demolished in 1930, re-built in1986)
Mies van der Rohe and Lilly Reich, Barcelona Chair, 1929
Leather and stainless steel. Designed for the Spanish
Royalty to oversee the opening ceremonies of the exhibition.
Despite the industrial appearance the Barcelona chair
requires much hand craftsmanship
Mies van der Rohe, “The Barcelona Pavilion,” SPAIN, 1929
(demolished in 1930, re-built in1986)
Mies van der Rohe, Tugendhat House, Brno, Czech Republic, 1930
Mies van der Rohe, Tugendhat House, Brno, Czech Republic, 1930
Mies van der Rohe, Tugendhat House, Brno, Czech Republic, 1930
The ground floor: the main living and social areas with the conservatory and the
terrace, and the kitchen and servants' rooms.
The first floor: The main entrance from the street with a passage to the terrace,
the entrance hall, and rooms for the parents, children and the nanny with
appropriate facilities. The chauffeur's flat with the garages and the terrace are
accessed separately.
Mies van der Rohe and Lilly Reich, Tugendhat House Interior, Brno, Czech Republic, 1930
Mies van der Rohe and Lilly Reich, Tugendhat House interior, Brno, Czech Republic, 1930
Mies van der Rohe and Lilly Reich, Tugendhat House interior, Brno, Czech Republic, Onyx Wall separating living area and study, 1930
Mies van der Rohe and Lilly Reich, Tugendhat Chair, 1929, Steel and leather