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    Arch447 Presentation4

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    Fahad Rahman
    Late modernist architecture of the 1960s and 70s emphasized sculptural forms and extreme articulation of structure. Some key characteristics include using structure ornamentally to express technology, growth, and change. Examples include Le Corbusier's Stein House and Neutra's Lovell House. Later, a second machine aesthetic emerged focused on flexibility, change, and movement over standardized production. Buckminster Fuller's domes and Frei Otto's lightweight structures exemplified this trend. The 1972 Munich Olympics tents also showed non-hierarchical shapes in contrast to ornamental structures. The Pompidou Center climaxed late modernist trends by taking logic, technique, and exposed structure to an extreme.

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    Arch447 Presentation4

    Uploaded by

    Fahad Rahman
    18 views38 pages
    Late modernist architecture of the 1960s and 70s emphasized sculptural forms and extreme articulation of structure. Some key characteristics include using structure ornamentally to express technology, growth, and change. Examples include Le Corbusier's Stein House and Neutra's Lovell House. Later, a second machine aesthetic emerged focused on flexibility, change, and movement over standardized production. Buckminster Fuller's domes and Frei Otto's lightweight structures exemplified this trend. The 1972 Munich Olympics tents also showed non-hierarchical shapes in contrast to ornamental structures. The Pompidou Center climaxed late modernist trends by taking logic, technique, and exposed structure to an extreme.

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    Late modernist architecture of the 1960s and 70s emphasized sculptural forms and extreme articulation of structure. Some key characteristics include using structure ornamentally to express technology, growth, and change. Examples include Le Corbusier's Stein House and Neutra's Lovell House. Later, a second machine aesthetic emerged focused on flexibility, change, and movement over standardized production. Buckminster Fuller's domes and Frei Otto's lightweight structures exemplified this trend. The 1972 Munich Olympics tents also showed non-hierarchical shapes in contrast to ornamental structures. The Pompidou Center climaxed late modernist trends by taking logic, technique, and exposed structure to an extreme.

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    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    18 views38 pages

    Arch447 Presentation4

    Uploaded by

    Fahad Rahman
    Late modernist architecture of the 1960s and 70s emphasized sculptural forms and extreme articulation of structure. Some key characteristics include using structure ornamentally to express technology, growth, and change. Examples include Le Corbusier's Stein House and Neutra's Lovell House. Later, a second machine aesthetic emerged focused on flexibility, change, and movement over standardized production. Buckminster Fuller's domes and Frei Otto's lightweight structures exemplified this trend. The 1972 Munich Olympics tents also showed non-hierarchical shapes in contrast to ornamental structures. The Pompidou Center climaxed late modernist trends by taking logic, technique, and exposed structure to an extreme.

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    © All Rights Reserved
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    of 38

    SCULPTURAL FORM

    LATE MODERNISM EXTREME ARTICULATION

    SECOND MACHINE AESTHETICS


    Le Corbusier, Stein House, France 1928
    Le Corbusier, Stein House, France 1928
    Richard Neutra: Lovell House
    Los Angeles, 1927-29
    LATE MODERNISTS EMPHASIZE – STRUCTURE ORNAMENTALIZED

    • This idea expressed in the sixties megastructures – monumentalized


    • Other lightweight tradition – Buckminster Fuller’s dome
    Frei otto
    Archigram
    Frei otto

    Buckminster Fuller

    Archigram
    Public monuments are heavy
    for its program
    • Gunter & B
    • Gunter Behnisch

    •Example of lightweight tradition – Tents at the Munich Olympics of 1972


    • Non-centric, non-hierarchic, non-historicist shape --- contrasts with works that
    use structure as ornament to express technology, growth and change.
    Tents at the Munich Olympics of 1972
    Hardy Holzman Pfeiffer Associates, Occupational Health Centers
    Structure as ornaments to express technology
    Kisho Kurokawa. Takara Group Pavilion, 1970
    Structure as ornament to express growth and changes
    Sainsbury Center for visual arts, Norman Foster and Associates 1975-78
    In a larger scale and not responsive to individual
    FIRST MACHINE SECOND MACHINE
    AESTHETICS AESTHETICS
    • Turned movement into • The second machine
    static monuments. aesthetics – emphasis on
    flexibility, change and
    movement

    • Standardized production • Variety instead of standardized


    production because of
    computerized assembly line)

    • Responsiveness (Architecture
    become like clothing)
    Kit of parts.
    Helmut Schulitz’s house in Los Angeles, 1976-77
    Two houses show the “Kit of parts” approach.

    1. Helmut Schulitz’s house in Los Angeles


    • Light weight building cantilevered from the side of a hill
    • The trusses, corrugated metal, I-beams, balcony rails, vents, and chimney
    are all “off-the-peg” and have impersonal quality.
    • All painted in primary colors become a form of construction as ornament.
    • Economic potential – generalized for mass housing -- From producer to
    consumer
    Helmut Schulitz’s House in LA, 1976-77
    Michale Hopkin’s house in London, 1978
    Renzo Piano, Perugia housing
    But the idea of
    flexibility,
    economy,
    consumer choice,
    and abstract machine-age Aesthetics was limited to

    1. Academic architects
    2. Alternative architects working with dropout communities
    POMPIDOU CENTER, Renzo Piano and Richard Rogers, 1971-77

    This whole trend of Late Modernism came to a climax in the Pompidou center
    • All techniques of the modernism are taken to extreme: logic, technique, circulation
    Repetition, mechanical services, structure, construction

    • Thirteen bays made from trusses constructed in Germany


    • Clear span of the truss is 156 feet, and 42 feet apart and a perimeter space of
    19.5 feet in all four direction
    • Gerberettes
    • The structure is placed outside
    • The main circulation up to each floor is by a tube of cantilevered escalators.

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