World off art 8th edtion by henry m sayre chapter 14

The Impact of Climate2 of 2 • The Spruce Tree House at Mesa Verde in Colorado reflects the relationship of the Anasazi people to their environment.. Arches, Vaults, and Domes5 of 6 • Im

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Architecture

14

Learning Objectives

1 Describe the relationship between

architecture and its environment.

2 Outline the architectural technologies

that predate the modern era.

3 Describe the technological advances

that have contributed to modern and

contemporary architecture.

4 Describe how the idea of community

serves as a driving force in architecture.

• American architect I M Pei won the

commission for a plan to expand the

Louvre Museum.

 This resulted in the underground center topped with a now-iconic glass pyramid.

• The "look" of buildings depends on two

factors: environment and technology

(materials and methods available to a culture).

I M Pei, Glass Pyramid, Cour Napoléon, Louvre, Paris.

1983–89; in front of the 17th-century Denon wing of the museum Pyramid height 69',

width 108'

© Tibor Bognar/Corbis [Fig 14-1]

• A building's form may echo or contrast

the world around it, or respond to

climate.

• The significance of the pyramids of

Egypt may rely upon the image of the god Re, symbolized by rays of sun

descending to the earth.

Pyramids of Menkaure, Khafre, and Khufu Pyramids of Menkaure (ca 2470 BCE), Khafre

(ca 2500 BCE), and Khufu (ca 2530 BCE)

Original height of Pyramid of Khufu 480', length of each side at base 755'

© Free Agents Limited/CORBIS Photo: Dallas and John Heaton [Fig 14-2]

The Impact of Climate

1 of 2

• The View of Mulberry House and Street

shows slaves' houses, which featured steeply pitched roofs in a style similar

to the thatched-roof houses found in

West Africa at the time.

 Since the climate was similar, it made sense; the design allowed warm air to rise in the interior so cool air could be trapped beneath it.

Thomas Coram, View of Mulberry House and Street.

ca 1800 Oil on paper Gibbes Museum of Art, Charleston, South Carolina

Carolina Art Association, 1968.18.0001 © Image courtesy of the Gibbes Museum of

Art/Carolina Art Association [Fig 14-3]

The Impact of Climate

2 of 2

• The Spruce Tree House at Mesa Verde in

Colorado reflects the relationship of the Anasazi people to their environment.

 The cave provided security.

 A kiva was a round, covered hole in the

center of the communal plaza where all ceremonial life took place.

• It featured horizontally laid logs built up

to form a dome with an access hole.

Spruce Tree House, Mesa Verde.

ca 1200–1300 CE Courtyard formed by restoration of the roofs over two underground

kivas

Photo: John Deeks/Photo Researchers, Inc [Fig 14-4]

Cribbed roof construction of a kiva [Fig 14-5]

"Green" Architecture

1 of 2

• Architects conscious of climate change

have created a more environmentally

friendly and sustainable practice known as

green architecture.

• Green architecture is characterized by

smaller buildings; integration and

compatibility with the surrounding

environment; energy efficiency and solar orientation; and use of recycled, reusable, and sustainable materials.

Obie Bowman, Brunsell Residence, Sea Ranch, California.

1987

© Obie Bowman Architect [Fig 14-6]

Adam Kahn, Brockholes Visitor Center.

Lancashire Wildlife Trust reserve, Preston, UK, 2011

© Ashley Cooper/Corbis [Fig 14-7]

"Green" Architecture

2 of 2

• The New York MoMA sponsored Rising

Currents: Projects for New York's

Waterfront in an effort to combat

effects of rising sea levels.

 Eric Bunge and Mimi Hoang's New

Aqueous City explored buildings

accessed from above with bridges that rise on vertical support structures.

Eric Bunge and Mimi Hoang, nARCHITECTS, New Aqueous City.

2010 From Rising Currents: Projects for New York's Waterfront, a workshop-exhibition

sponsored by the Museum of Modern Art, New York, March 24–October 11, 2010

Courtesy of nARCHITECTS [Fig 14-8]

[Fig 14-]

Early Architectural Technologies

1 of 2

• Walls may employ one of two basic

structural systems.

 The shell system involves one basic

material providing both structural

support and outside covering.

 The skeleton-and-skin system

consists of a basic interior frame that

supports a fragile outer covering.

Early Architectural Technologies

2 of 2

• Walls of the lower floors must also

support the weight of upper floors.

• Tensile strength is the ability of a

building material to span horizontal

distances without support or buckling in the middle.

• The Anasazi kiva is built from adobe

bricks with a roof of wood

 Downward pressure exerted on wooden beams by stones on top of them above the outside wall counters buckling.

Post-and-Lintel Construction

1 of 5

• Post-and-lintel construction consists

of a horizontal beam supported at each end by a vertical post or wall.

• The Lion Gate at Mycenae in Greece

features stones so large that ancient

Greeks believed it could have only been built by mythological Cyclopes.

Lion Gate, Mycenae, Greece.

1250 BCE

© Konstantinos Kontos/Photostock [Fig 14-9]

Post-and-Lintel Construction

2 of 5

• This type of construction is fundamental

to Greek architecture.

 Each column in the First Temple of Hera

is made of several pieces of stone called

drums.

 Grooves in the columns are called

fluting and run the vertically.

 Each column tapers slightly at the top

and bottom, known as entasis.

Post-and-Lintel Construction

3 of 5

• Greek temples were situated on an

elevated acropolis, the center of civic

life.

 Colonnades, or rows of columns, were

constructed according to the rules of

geometry, equality, and proportion.

• Three types of Greek columns are

Doric, Ionic, and Corinthian.

First Temple of Hera, Paestum, Italy.

ca 550 BCE

Canali Photobank, Milan, Italy [Fig 14-10]

Post-and-Lintel Construction

4 of 5

• The vertical elevation of the Greek

temple is composed of the platform, the column, and the entablature.

 The relationship among these units is

called the order

• The elevation of each order begins with

its floor, the stylobate.

• The column in the Doric order consists

of the shaft and the capital.

The Greek orders, from James Stuart, The Antiquities of Athens, London.

1794

Courtesy of Library of Congress [Fig 14-11]

element; the frieze, the decorated

horizontal band; and the cornice, or

molded projection crowning the wall.

Arches, Vaults, and Domes

1 of 6

• Romans perfected the use of the round

arch, which allowed them to make

structures with a larger span.

 Wedge-shaped voussoirs are cut to fit the semicircular form and a keystone is

added at the top center to ensure equal pressure.

• The barrel or tunnel vault is an

extension in depth of the single arch.

Round arch [Fig 14-12]

Pont du Gard, near Nîmes, France.

Late 1st century BCE–early 1st century CE Height 164'

© Walter Bibikow/Getty Images [Fig 14-13]

Barrel vault (left) and groin vault (right) [Fig 14-14]

Arches, Vaults, and Domes

2 of 6

• The Colosseum is an amphitheater,

two semicircular theaters brought face

to face and supported with barrel vaults

and groin vaults.

 It is made of concrete, which the

Romans invented through adding

volcanic aggregate to a mixture.

Barrel-vaulted gallery, ground floor of the Colosseum, Rome.

72–80 CE

© 2015 Photo Scala, Florence - coutesy of the Ministero Beni e Att Culturali

[Fig 14-15]

Aerial view, Colosseum, Rome.

72–80 CE

© Guido Alberto Rossi/age Fotostock [Fig 14-16]

Arches, Vaults, and Domes

3 of 6

• Romans also perfected the dome, as

demonstrated in the Pantheon.

 The poured concrete is over 20 feet

thick where the dome meets the walls,

the springing.

 The oculus at the top of the dome is the

building's source of illumination.

• Roman interior architecture came to

inspire later Christian churches.

Interior, Pantheon, Rome.

117–125 CE

Photo: Hemera Technologies [Fig 14-17]

Exterior, Pantheon, Rome.

117–125 CE

© Vincenzo Pirozzi, Rome [Fig 14-18]

Arches, Vaults, and Domes

4 of 6

• The barrel vault at St Sernin typifies

Romanesque architecture.

 Every measurement is based on the

central square at the crossing, where two transepts cross the length of the central nave aisle.

 The apse at the end of the church is

topped by a Roman half-dome.

Nave, St Sernin, Toulouse, France.

ca 1080–1120

© Bildarchiv Mondheim GmbH/Alamy [Fig 14-19]

Plan, St Sernin, Toulouse, France.

ca 1080–1120

[Fig 14-20]

Arches, Vaults, and Domes

5 of 6

• Immense interior space was a feature

of Gothic cathedral architecture.

 The Amiens Cathedral interior achieved

a height of 142 feet.

• The pointed arch was used to

distribute weight more directly down

the wall.

Amiens Cathedral.

Begun 1220

© Bednorz-images, Cologne [Fig 14-21]

Pointed arch [Fig 14-22]

Arches, Vaults, and Domes

6 of 6

• Since all arches spread weight outward

and create a risk of collapse, flying

buttresses were created to support

high arches from the outside.

 These arches allowed the stone

architecture to achieve lightness and are

an aesthetic response to a practical

problem.

Flying buttresses, Cathedral of Notre-Dame, Paris.

1211–1290

© Bednorz-images, Cologne [Fig 14-23]

Flying buttress Diagram (after Acland).

[Fig 14-24]

Modern and Contemporary

Architectural Technologies

• Prior to the nineteenth century,

architecture was limited to innovation in stone

• In the nineteenth century, iron

transformed the built environment.

Cast-Iron Construction

• By adding carbon to wrought iron,

engineers created strong and rigid cast iron.

• The Eiffel Tower was the tallest

structure in the world when it was built.

 The open skeleton allowed for wind to

pass through, though Parisians hated it

at first.

Gustave Eiffel, Eiffel Tower.

1887–89 Seen from the Champ de Mars Height of tower 1,051'.Alain Evrard/Globe Press Photo Researchers, Inc [Fig 14-25]

Frame Construction

1 of 3

• Lumber was better suited for domestic

architecture and in 1833, wood-frame

construction was introduced.

 Sometimes called balloon-frame

construction, the method is inexpensive and relatively easy.

 The walls of Old St Peter's Basilica

utilized basic principles and an

elementary triangular truss.

Wood-frame construction [Fig 14-26]

Reconstruction drawing of Old St Peter's Basilica, Rome.

ca 320–27

[Fig 14-27]

Truss [Fig 14-28]

Frame Construction

2 of 3

• Wood-frame construction could

accommodate a range of styles from

the Harrison Gray Otis House in

Massachusetts to the Mansion at

Parlange Plantation in Louisiana.

 Both use brick to cover the wood frame.

 The Plantation house has been insulated and painted white to combat humid

Louisiana summers.

Charles Bulfinch, Harrison Gray Otis House, Boston, Massachusetts.

1795–96

Photo courtesy of Historic New England [Fig 14-29]

Architect unknown, Mansion at Parlange Plantation, New Roads, Louisiana.

ca 1785–95

© Philip Gould/Corbis [Fig 14-30]

Frame Construction

3 of 3

• The "bungalow" style was popularized

in the early twentieth century.

 Gustav Stickley published designs in his

magazine The Craftsman and related

them to the style of his plain yet

beautiful furniture designs.

 By the late 1920s, as many as 100,000 stock plans had been sold across

America.

Christian Gladu, The Bungalow Company, The Birch, North Town Woods, Bainbridge

Island, Washington

1998

Photo courtesy of Bungalow Company [Fig 14-31]

Construction

1 of 11

• Louis Sullivan developed a "system of

ornament" combined with the

development of steel in order to

transcend urban conditions in Chicago.

 With vertical emphasis, a fireproof steel skeleton was conceived.

 This allowed for ornamentation to be

freely distributed across the building's facade

Construction

2 of 11

• Sullivan's Bayard Building in New York

displays floral decoration between its many windows.

• The original meaning of the phrase

"form follows function" has been

somewhat obscured.

 It didn't call for a lack of ornamentation, but the "function of all functions," what Sullivan called "Infinite Creative Spirit."

Louis H Sullivan, Bayard-Condict Building, New York.

1897–98

© Angelo Hornak/Corbis [Fig 14-32]

Louis H Sullivan, Bayard-Condict Building (detail), New York.

1897–98

© Nathan Benn/Ottochrome/CORBIS [Fig 14-33]

Construction

3 of 11

• Frank Lloyd Wright worked as a

draftsman in Sullivan's Chicago firm

until 1893.

• His Robie House, built in 1909, was

intended to be "organic" despite its

contemporary feel.

 The Prairie House featured a cantilever

that provided protection when one was outside.

Frank Lloyd Wright, Robie House, South Woodlawn, Chicago, Illinois.

1909

Photo: Hedrich Blessing Photographers/Chicago Historical Society/UIG via Getty Images

[Fig 14-34]

Frank Lloyd Wright, Plan of the Robie House, South Woodlawn, Chicago, Illinois.

1909

[Fig 14-35]

 A steel cage connected by floors made

of reinforced concrete (concrete in which steel-reinforced rebars are

placed) overcomes the necessity for

thick walls at a structure's base.

The Creative Process

1 of 2

• Thinking through Architecture: Frank

Lloyd Wright's Fallingwater

 The first drawings for this famous house weren't completed until two hours

before Edgar Kaufmann made a surprise call requesting a draft.

 The house was wedded to its site, a

hillside atop the Bear Run stream.

Frank Lloyd Wright, Drawing for Fallingwater, Kaufmann House, Bear Run, Pennsylvania.

1936 Color pencil on tracing paper, 15-3/8 × 27-1/4" The Frank Lloyd Wright

Foundation, Scottsdale, Arizona

Inv 36.004 © 2015 Frank Lloyd Wright Foundation, Scottsdale, AZ/Artists Rights Society

(ARS), New York [Fig 14-36]

Frank Lloyd Wright, Fallingwater, Kaufmann House, Bear Run, Pennsylvania.

1936

© 2015 Photo Art Resource/Scala, Florence [Fig 14-37]

The Creative Process

2 of 2

• Thinking through Architecture: Frank

Lloyd Wright's Fallingwater

 Kaufmann as well as the contractor and engineer didn't trust Wright's plans for reinforcing the concrete for the

cantilevers.

• They put in twice as much steel as Wright had called for and caused the main

cantilever to droop.

Construction

5 of 11

• Le Corbusier's drawing for the Domino

Housing Project seems infinitely

expandable both on the exterior and

interior.

• Le Corbusier lifted houses on stilts to

give the structure lightness.

 Villa Savoye was constructed in primary forms "because they can be clearly

appreciated."

Le Corbusier, Perspective drawing for the Domino Housing Project.

1914 French Embassy

© 2015 F.L.C./ADAGP, Paris/Artists Rights Society (ARS), New York [Fig 14-38]

Le Corbusier and Pierre Jeanneret, Villa Savoye, Poissy-sur-Seine, France.

Ludwig Mies van der Rohe, Farnsworth House, Fox River, Plano, Illinois.

1950

akg-image/VIEW Pictures/Grant Smith [Fig 14-40]

Ludwig Mies van der Rohe and Philip Johnson, Seagram Building, New York City.

1958

© Andrew Gam [Fig 14-41]

Construction

7 of 11

• Eero Saarinen rejected the International

Style in his design for the TWA Terminal

at Kennedy International Airport.

 The exterior, two concrete wings,

Eero Saarinen, TWA Terminal, John F Kennedy International Airport, New York.

1962

© 2011 Karen Johnson All rights reserved [Fig 14-42]