John Soane (1753 – 1837), is one of the most original English architects. Soane’s personal style is superficially Neo-Classical, but with his interest in death and ruins Soane was also very much at the forefront of the picturesque design. Whilst Gottfried Semper (1803 -79), a German architect, took up Neo-Renaissance design as well as a belief that in the expression of the function of a building in its exterior, including any decorative. This paper will concentrate upon examine the difference and similarities of those two prominent architects in the 19th century. More specifically arguing that both architects are vastly different in employing revivalism in their work and thus indicates the values and idea is of each nation is also different. This will be done through examine the education path they went through, their idea of primitivism and classical architecture as well as how some of their major architectural work such as Dulwich picture gallery, Bank of England for Soane and Dresden Art Gallery, Art History Museum and Dresden Opera House for Semper to reflect their design style.
Soane and Semper underwent dissimilar educational path in becoming architects. Soane become an apprentice of architect George Dance at the age of fifteen. Three years later he was accepted into the Royal Academy in London to be trained as a classical architect. Like many others, Soane partake in the Grand Tour and was able study, draw and measure monumental buildings first hand. Soane began his architectural career after his return to England. Many of his early design such as the Dairy, Hammels Park in figure 1 demonstrate exploration of classical themes he witnessed during the Grand Tour. As we will see later in Soane’s design. He learns from anti...
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...oane express architecture in the interdependence of form structure, and light in buildings such as Lincoln Fields Inns. His ability to abstract the classical architectural element and modify with his own style made him a versatile and imaginative designer in the history of English architecture. Semper on the other hand is dominated architectural theories to much greater extend than Soane did within their cultural and national context. Mallgrave claims that “it is impossible to understand the impulse of German modernism at the turn of the century without recourse to his idea.” 3 In a sense Samper renewal architecture in the 19th century from the bottom up, that is through reexamining the history and theory based on new ideology and observation of historical architectural. As a result, the use of decoration and polychromy is apparent in much modern 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...
To compare I have chosen a painting entitled A Bar at the Folies-Bergeres by Edouard Manet and Sir John Soane’s Museum, in Lincoln’s Inn Fields. A Bar at the Folies-Bergère shows a scene from Parisian life at the time: a young barmaid is positioned behind the bar of a crowded night-club. The club, its guests, the barmaid, the male customer, the chandeliers, alcohol bottles, flowers and oranges in the space are reflected in the mirror behind the counter. While relatively inconspicuous at a glance, the divergences between the position and appearance of the actual objects in the ‘real’ space of the bar and their reflections are to a great extent seen as ambiguous. Manet uses the mirror as a tool for playing with the perspective in the painting and the viewpoints and positioning of the people within it. Whilst Sir John Soane’s Museum may also be seen as an artwork, which has been reconstructed throughout his thirty years of living there, in order to create a space suitable for the architect to play with perception, viewpoints, light and ambiance of his home and astound his guests, with the unique positioning and construction of the rooms and their interior. Soane demolished and rebuilt three houses in succession on the north side of Lincoln’s Inn Fields. He began with number 12 (between 1792 and 1794). In 1806, Soane purchased number 13, the house next door, today the museum, and rebuilt it in two phases in 1808–09 and 1812. In 1823 he purchased a third house, number 14, which he rebuilt in 1823–24. This project allowed him to construct a picture gallery, linked to number 13. He established his house as a public museum according to an Act of Parliament in 1833, which announced that the three buildings that were a part of it to be kept...
“Form follows function.” Every great Modern architect thought, designed by and breathed these very words. Or at least, their design principles evolved from them. Modern architects Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Pierre Chareau, and Rudolf Schindler to name a few believed that the function determined the space whether the space was solely for a particular purpose or they overlapped to allow for multiple uses. Form didn’t just follow function, function defined the space. By focusing on the relationship between the architecture and the interior elements, Chareau’s Maison de Verre expanded the idea of functionalism to include not only the architecture but also the space it creates and how people function within that space.
In the early twentieth century the Modern movement of architecture and industrial design came about. This movement was a reaction to the change within society and the introduction of new technologies. The ever changing world and technology meant artists to evolve alongside the changing world and this kind of ‘industrial revolution’ that was happening. Modernists ideas have seeped into every form of design especially architecture and design. Although most modernists insisted they were not following any style in particular, their work is instantly
The success of the Van Nelle Factory as an icon of modern architecture was due to its functional design concepts fused with the principles of progressivism and idealistic concepts. The flexible interior, the large amounts of penetrating light, the elegance of clean and healthy functionalism, and the weightless mass were the strongest attributes for the complex. With Brinkman’s, Van der Vlugt’s, and Van der Leeuw’s combined education of modern architecture they were able to employ their design ideologies to create one of the most renowned factories in Europe. Paul Bromberg wrote that the Dutch architects soon “… realize[d] that even the most utilitarian buildings can and should be beautiful. Building should always be architecture, even when it is ‘only’ a factory.”
middle of paper ... ... Bolton, Arthur T. The architecture of Robert & James Adam. London, Country Life. 1922.
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
Throughout this essay I will analyse Thomas Herzog’s House at Regensburg and explain the themes and principles behind different aspects of the houses in comparison to two other houses in extruded form.
He created a style of architecture to reflect America’s character. The central themes of his style were the landscape, people, and democracy in America. His style was heavily influenced by the midwest, the region where he grew up. His houses aimed to encourage the inhabitants to connect and communicate with one another. The hearth, dining room, and terrace all exemplify this, creating, and open, warm and welcoming space.
Q: Use St. Peter’s Basilica and Donato Bramante’s Tempietto in Rome, in opposition to John Balthasar Neumann’s Pilgrimage Church of Vier(7) in Bamburg, Germany, to argue that a rational engagement with architecture is a more effective means to comprehend and understand architectural form. During the period of Renaissance, human’s thought and intelligence has reached its highest and its effect on the architectural form, it became clear and its engagement of rational aspect on the building. Mainly geometrical forms are the characteristics which can be identified. Not so long after the Renaissance period of Baroque architecture was introduced, rather than logic and reasoning they wanted to capture the emotional atmosphere by using the architectural elements such as light, height, crafted art, costly materials and so on as mentioned by(Scotti 2007, 5-10).
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 reason for this piece is to attempt a comparison between two architectural examples that employ classical design from different stylistic eras of architectural history. The two styles I've chosen to discuss are the Renaissance and Baroque periods. An understanding of classical architecture needs to be made, as it is the fundamental style of any period that developed architecturally
The German Pavilion, more commonly known as the Barcelona Pavilion, is one of the most recognizable buildings of the modern period during the early 20th century. It encapsulates every element of modern architecture in one structure. Ludwig Mies van der Rohe, one of the fathers of modern architecture, was the architect of this beautiful building. In this essay I will explore how Mies impacted the modern movement in architecture through his groundbreaking ideas using the Barcelona Pavilion as a case study.
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.
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.