Lecture 3 From Here to Modernity. Mies van der Rohe Crown Hall, Chicago, 1952-6 Michael Shewan...
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Transcript of Lecture 3 From Here to Modernity. Mies van der Rohe Crown Hall, Chicago, 1952-6 Michael Shewan...
Lecture 3
From Here to Modernity
Mies van der Rohe
Crown Hall, Chicago,
1952-6
Michael Shewan
Gray’s School of Art,
1966
Mies van der Rohe
Farnsworth House,Illinois, 1946-50
Josef and Anni Alber’s living room at the Dessau Bauhaus, 1920s
Josef and Anni Alber’s living room in Connecticut USA, 1970s
The minimum could be
defined as the perfection
that an artefact achieves
when it is no longer possible
to improve it by subtraction.
This is the quality that an
object has when every
component, every detail, and
every junction has been
reduced or condensed to the
essentials. It is the result of
the omission of the
inessentials.
John Pawson - Minimum,
1996
John Pawson 1990s
Flowers, even salt and pepper get in the way…
John Pawson
Evolution is synonymous with the removal of ornament from objects of everyday use
Adolf Loos (Ornament and Crime, 1928)
Utopia / DystopiaThings to Come 1936Things to Come William CameronMenzies
1936
Utopia / Dystopia
Thamesmead, London
1960s
Le Corbusier, Villa Savoye, 1928-31
Nathan Coley, Villa Savoye, 1997
‘This is a shot of the main
façade … it’s somewhat
blank and forbidding …
giving the impression
(later to be disproved) of a
completely symmetrical
building.’
‘The site is expansive,
bordered by trees on three
sides, and has long views
towards the softly rolling
fields and valleys.’
‘At first sight, there is a
shock of recognition - a
sense of formal
inevitability. What can be
more natural than this
horizontal white box,
poised on pillars, set off
against the rural
surroundings, the far
panorama and the sky?’
‘This shows you how the long
window becomes part of the
façade solution.’
‘The moment one steps
inside the villa one finds a
new structural rhythm
taking over.’
Dan Flavin
Untitled (monument for V. Tatlin) 1975
Vladimir Tatlin
Monument to the Third International, Petrograd, 1920
Carl Andre (1935-)
Equivalent VIII, 1966
My arrangements I’ve
found are essentially the
simplest I can arrive at,
given a material and a
place …
Carl Andre
Drum and Bass, 2003
Combat(after Rodchenko), 2003
Mathieu Mercier
David Mabb
Self Portrait posing as Rodchenko, dressed in a Rodchenko Production Suit made from the ‘Fruit’ William Morris fabric
2002
Peter van der Jagt (Droog Design)Bottom’s Up doorbell, 1994
Less is More
Mies van der Rohe
Less is a Bore
Robert Venturi
Alessandro Mendini, Redesign of Modern Movement Chairs - Wassily by Breuer, 1978
Marcel Breuer 1925
I like elements which are hybrid rather than
‘pure’, compromising rather than ‘clean’,
distorted rather than ‘straightforward’,
ambiguous rather than ‘articulated’, perverse as
well as impersonal, boring as well as
‘interesting’, conventional rather than
‘designed’, accommodating rather than
excluding, vestigial as well as well as
innovating, inconsistent and equivocal rather
than direct and clear.
Robert Venturi 1966 (Architect)
I am for richness of meaning rather than clarity
of meaning; for the implicit function as well as
the explicit function.
Robert Venturi 1966 (Architect)
The Titanic - Photomontage, Stanley Tigerman, 1978, USA
Functionalism, Yes, But.Robert Venturi and Denise Scott Brown
2003
1929
We can no longer fulfill our obligations as architects if we carry on as cake decorators. Our role is far greater than that. We, the authors of architecture, have to take on the task of reinvestigating Modernity
Zaha Hadid 1983
Zaha Hadid
Terminus, Strasbourg France, 2001
Andreas Gursky,
Hong Kong and
Shanghai Bank,
1994
Surely it is time for a new Baroque, based on the clean, cold legacy of Modernism
Contemporary Magazine 2004
Won Ju Lim
Ruby, 2001
Modernism is the expression by
individual human beings of how they
will live their own present, and
consequently there are a thousand
modernisms for every thousand
persons.
Octavio Paz (Nobel Prize reception speech)
(happy christmas)To Modernity and Beyond?