QP.

CODE 8 0 0 3 2
B.E / B.Tech EXAMINATIONS, NOV / DEC 2017
Semester – Fifth Semester

070540035 & HISTORY OF ARCHITECTURE - V - KEY

(Regulation 2007)

Time : 3 Hours Answer ALL Questions Max. Marks 100

PART-A (10 x 2 = 20 Marks)

1. Write a short note on Boulle.

 Étienne-Louis Boullée was a visionary French neoclassical architect whose work greatly
influenced contemporary architects and is still influential today.
 Boullée made his biggest impact, developing a distinctive abstract geometric style inspired by
Classical forms. His work was characterised by the removal of all unnecessary ornamentation,
inflating geometric forms to a huge scale and repeating elements such as columns in huge
ranges.
 For Boullée regularity, symmetry and variety were the golden rules of architecture.
 Design of the cenotaph of Sir Isaac Newton was one Boullée’s most appreciated design.
2. What was the impact of Industrial Revolution on architecture?
 European architecture in the 19thcentury was profoundly influenced by the industrial
revolution. Goods that had traditionally been made in the home or in small workshops
began to be manufactured in the factory.
 Large numbers of people moved from rural areas to urban communities in search of work
in the new factories, leading to expansion of cities.
 Different types of building were also needed to meet new demands. Among them were
houses, town halls, museums, concerts halls, libraries, hospitals, department stores,
shopping arcades, schools, colleges, banks offices warehouses and factories.
 Industrial revolution also influenced the use of new unconventional materials in
architecture such as cast iron, steel, glass and concrete whose abundant availability was
ensured by factories of this revolution.

 Throughout the 19th century integrated industrial settlements emerged, where the
industries provided all the amenities to their workers.
3. Name and sketch on example of a building/structure that used iron as a building material.
2 example are there for this question 2 marks can be given for anyone of the example
1st example
 One of the famous buildings designed using is Crystal Palace designed by Joseph Paxton
for the Great exhibition held in 1851 in London.
 The method of construction used was serial production
 The structure was a combination of wood iron and glass
 Crystal Palace
Or
2nd example
 The Eiffel Tower built for International Exhibition of Paris of 1889 designed by Alexandre
Gustave Eiffel.
 The metal lattice-work, formed with very pure structural iron, makes the tower both
extremely light and able to withstand tremendous wind forces.

 It was the tallest structure built in its time.

4. Write a short note on Auguste Perret.

 Auguste Perret was a French architect and entrepreneur who worked in collaboration with
his two younger brothers, Claude and Gustave Perret.
 He was one of the pioneers of the architectural use of reinforced concrete, and built the
first residential buildings with that material.
 His major works include the Théatre des Champs-Élysées, the first Art Deco building in
Paris the Church of Notre-Dame du Raincy; the Mobilier Nationale in Paris; and
the French Economic, Social and Environmental Council building in Paris.
 There were many young architects working under Perret. Le Corbusier was one among
them Perret was his first mentor.
5. Mention two important building by Antonio Gaudi.
 Antonio Gaudi is one the prominent architect of Art Nouveau movement.
 Some of the important buildings designed by Antonio Gaudi are Sagrada Familia, Casa
Batllo, Casa Vicens, Casa Mila. (any two of the above example can be written)
6. Write a short note on the ‘Red and Blue’ chair of the de Stijil movement.
 The famous ‘Red and Blue’ chair was designed by Gerrit Thomas Rietveld a Dutch
furniture designer and an architect.
 Furniture was simplified to horizontal and vertical lines and they used only the primary
colours with black and white.
 Chair is made of thinner wood and painted it entirely black with areas of primary colors
attributed to De Stijl movement.
 The effect of this color scheme made the chair seem to almost disappear against the
black walls and floor of the Schröder house where it was later placed

7. Define Raum plan

 Raum plan is concept devised by Architect Adolf Loos.
 According to Raum plan concept otherwise called as “Plan of volumes” Adolf loos
envisions designing continuous spaces, merging spaces for living rather than regularly
divided floors with limited flexibility. Each room on a different level, with floors and ceilings
set at different heights.
 Loos uses the different levels of the Raumplan to create a careful “architectural
promenade” from outside to inside.
8. Write notes on Werkbund.
 The Werkbund was less an artistic movement than a state-sponsored effort to integrate
traditional crafts and industrial mass-production techniques
 Reason behind birth of Werkund was to compete with the rapidly expanding United states,
elevate the taste of the German society and to bring good design and quality which will
represent Germany’s national purity
 Werkbund movement was largely influenced by the Arts and craft movement
 This movement adopted a more flexible attitude to machine manufacturing and
emphasized Pre-fabricated elements.
 It also Emphasized the creation of standard building elements creating Basic units and the
building is a multiple of the basic unit
9. Write notes on cubism.
• Cubism was an early 20th century avant-garde art movement that revolutionized
European painting and sculpture, and inspired related movements in Architecture, music
and literature.
• It was a revolt against the excessively decorative style
• Principle behind cubism is that the basic shape is THE CUBE.
• In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted
form instead of depicting objects from one viewpoint, the artist depicts the subject from a
multitude of viewpoints to represent the subject in a greater context.
• Often the surfaces intersect at seemingly random angles, removing a coherent sense of
depth.
• Concrete was ideal as a material for Cubist construction, since it could be poured into
more dramatic geometric forms.
• Cubism period was very short as many people were against this new style. Some
theoreticians said that it was a 'betrayal' of modern architecture.
• The buildings were expensive as well as 'bizarre' which is also why much of the public
was against it

10. What do you understand by National Romanticism movement found in the works of Aalto?
 The National Romantic style was a Nordic architectural style that was part of the National
Romantic movement during the late 19th and early 20th centuries. It is often considered to
be a form of Art Nouveau.
 National Romantic architecture expressed progressive social and political ideals, through
reformed domestic architecture.
 Designers turned to early medieval architecture and even prehistoric precedents to
construct a style appropriate to the perceived character of a people.
 The style can be seen as a reaction to industrialism and an expression of the same
"Dream of the North" nationalism that gave impetus to renewed interest in Nordic culture.

Part – B ( 5 x 16 = 80 marks)

Mark split
up
11. a) “Art nouveau offered the first international programme in architecture” –
Henry Russell Hitchcock. Substantiate the above statement with examples.
Introduction 5 marks
Art Nouveau is an international style of art, architecture and applied art, especially
the decorative arts, which was most popular between 1890 and 1910.
English uses the French name Art Nouveau (new art). The style is related to, but
not identical with, styles that emerged in many countries in Europe at about the
same time.
Art Nouveau is French term which translates to New art. The name "Art Nouveau"
derived from the name of a shop in Paris, Maison de l'Art Nouveau, at the time run
by Samuel Bing, that showcased objects that followed this approach to design.
Art Nouveau was a reaction to the academic art of the 19th century, it was
inspired by natural forms and structures, particularly the curved lines of plants and
flowers. and the desire to break away from imitating styles of the past, to develop
an art that reflected the sensitivities and way of life of a particular society, the
extreme individuality of the artist dreaming of inventing an original language that
would ensure the absolute harmony of the ornamentation of life.
Art nouveau artists and designers transformed modern industrial materials such
as iron and glass into graceful, curving forms often drawn from nature, though
with playful elements of fantasy. Art nouveau designers were interested in
architecture as a form of stylistic expression rather than as a structural system.

Characteristics of Art Nouveau 5 marks

1. Dynamic and Undulating forms

2. Flowing, curved "whiplash" lines of syncopated rhythm characterize much
of Art Nouveau.

3. Usage of hyperbolas and parabolas.

4. Conventional moldings seem to spring to life and "grow" into plant-derived

forms

5. Use of highly-stylized nature as the source of inspiration and expanded the

"natural" repertoire to embrace seaweed, grasses, and insects.

6. Correspondingly organic forms, curved lines, especially floral or vegetal,

and the like, were used.

Art Nouveau as International expression 6 marks

This sentiment to create an original expression in art was not localized to France,
It was called with various names in various parts of Europe

In France, Art Nouveau was also sometimes called by the British term "Modern
Style" due to its roots in the Arts and Crafts movement, Style modern.
In Belgium, where the architectural movement began, it was sometimes
termed Style nouille (noodle style) or Style coup de fouet (whiplash style) spear
headed by architects Henry Van de Velde and Victor Horta
In Britain, it was known as the Modern Style, or, because of the Arts and Crafts
movement led by Charles Rennie Mackintosh in Glasgow, as the "Glasgow" style.
In the United States, due to its association with Louis Comfort Tiffany, it was often
called the "Tiffany style". Louis Sullivan, whose architecture was dressed with art
nouveau detail
In Germany and Scandinavia, a related style emerged at about the same time; it
was called Jugendstil, after the popular German art magazine of that name.
In Catalonia the related style was known as Modernisme; in Spain
as Modernismo professed by Antonio Gaudi. Some names refer specifically to the
organic forms that were popular with the Art Nouveau
There were similarities in character and materials used between the works
designed by these architects in different region. For example Hotel tassel’s
extensive wrought iron balcony is similar to ones designed by Gaudi in spain.
The presence and practice of this stylistic expression and complete break away
from contextual and cultural foundation helped this style to be truly international.
 The homogeneity offered by the modern material ensured this replication style in
various regions all these statements and examples proves the statement put forth
by Henry Russell Hitchcock that “Art nouveau offered the first international
programme in architecture”

OR
11. b) Explain organic architecture with examples as advocated by F.L. Wright.
Introduction
Wright practiced what is known as Organic Architecture, an architecture that 4 Marks
evolves naturally out of the context, most importantly for him the relationship
between the site and the building and the needs of the client.
Wright responded to the transformation of domestic life that occurred at the turn of
the twentieth century, when servants became a less prominent or completely
absent feature of most American households, by developing homes with
progressively more open plans.

F.L. Wright was influenced by his mentor Louis Sullivan, Nature, particularly
shapes/forms and colors/patterns of plant life, Music (his favorite composer was
Ludwig van Beethoven), Japan (as in art, prints, buildings), Froebel
Gifts(Educational Kindergarden Play gifts).
He also devised design approach which is common to all his residences which are
follows
1.SIMPLICITY AND REPOSE
A building should have very few rooms. Comfort and utility should go hand in hand
with beauty. Openings must be a form of natural ornamentation. The whole
building must be taken as an integral unit
2.VARIED STYLE OF HOUSING
There must be as many styles of houses as people
3.HARMONISING
A building should appear to grow from its site and be shaped to harmonize with its
surroundings
4.PROMOTING NATURAL COLOURS
He preferred soft ,warm, optimistic tones
5.BRINGING OUT THE NATURE OF MATERIALS
He understood the material and used them to express their nature
6.HIS STATEMENT OF FAITH
A building that has character grows valuable as it grows older

These characteristics can be seen in his early residences and other building
designs (marks can be given for any 2 example).

Unity Church 3 marks

1. Unity Temple is a Unitarian Universalist church in Oak Park, Illinois, and

the home of the Unity Temple Unitarian Universalist CongregationUnity
Temple is considered to be one of Wright's most important structures
dating from the first decade of the twentieth century.
2. The building site stood on a busy street.
3. And finally, the architect was expected to design not only the structure, but
furniture and stained glass for the building.
4. To accommodate the needs of the congregation, Wright divided the
community space from the temple space through a low, middle loggia that
could be approached from either side.
5. This was an efficient use of space and kept down on noise between the
 two main gathering areas: those coming for religious services would be
separated via the loggia from those coming for community events.
6. This design was one of Wright's first uses of a BIPARTITE design: with
two portions of the building similar in composition and separated by a
lower passageway, and one section being larger than the other.

7. The MAIN FLOOR of the temple is accessed via a lower floor (which has
seating space), and the room also has two balconies for the seating of the
congregation.
8. These varying seating levels allowed the architect to design a building to fit
the size of the congregation, but efficiently: no one person in the
congregation is more than 40 feet from the pulpit.
9. Wright also designed the building with very good acoustics.
10. To reduce construction costs, Wright chose steel-reinforced concrete as
the main building material for Unity Temple.
11. To reduce noise from the street, Wright eliminated street level windows in
the temple. Instead, natural light comes from stained glass windows in the
roof, or clerestories along the upper walls
Unity church Sketch 3 marks

Robbie House 3 marks

 Built in 1910 The building has a low-proportioned, horizontal profile which
gives it the appearance of spreading out on the flat prairie land.
 Steel-framed cantilevered roof overhangs, continuous bands of art-glass
 windows and doors, and the use of natural materials are typical Prairie
Style features which emphasizes this "horizonal line" of the building
 A CHIMNEY MASS containing the house's four fireplaces rises through the
center of the house acting as the anchor to which the house is designed
around on all three levels.

 The exterior walls are constructed of a Chicago common brick core with a
red-orange iron-spotted Roman brick veneer.
 The planter urns, copings, lintels, sills and other exterior trim work are of
Bedford limestone.
 The FIREPLACES AND CHIMNEYS are constructed of the same brick
and limestone as the exterior and have a sense of an artistic sculptural
shape of their own as opposed to being a part of a wall. .
 The STRUCTURAL STEEL FRAMING that support the cantilevered roof
overhangs also creates interior spaces that are absent of posts, walls, and
other typical obstructions which results in the open flowing interiors that
symbolizes the openness of the American prairie
 ROOFS are cantilevered beyond the walls and therefore the house looks
lower and longer than it actually is-horizontality is emphasised

Robbie house sketch 3 marks

12. a) Trace the history of steel through building examples.

10
1. Prior to invention of steel the predominant material used was iron. marks
2. The major disadvantage of iron, low tensile strength, was overcome in the for
mid-1850s, when the Bessemer process of making steel - an alloy of iron explanat
and carbon was engineered ion of
3. Some of the structures and buildings which were possible because of the history
advent of this materials are as follows
4. The first major structure built entirely of steel was the cantilevered forth
bridge in scotland, completed in 1890. Its two record-setting spans of 521
m (1,710 ft) were the longest in existence until 1917.

5. The arched Eads bridge over the Mississippi River at St. Louis, Missouri,
designed by James Eads, completed in 1874, was the first steel bridge in
the United States. At the time the Eads Bridge was built, it was the longest
structure in the United States.
6. The Eads Bridge has three main spans. The center span is 160 m (520 ft)
long, and the spans on either side are each 153 m (502 ft) in length.

7. John and Washington Roebling also designed and built the Brooklyn
bridge, which was the world’s longest suspension bridge at the time of its
completion in 1883, having a main span of 486 m 31 cm (1,595 ft 6 in).

8. The completion of the Brooklyn Bridge marked the beginning of an 80-year

period of large-scale suspension-bridge design in the United States.

9. George Fuller's innovative steel-cage system for buildings, which involved

a unified steel framework to support the weight of tall buildings, created
the multi-story factories and the skyscrapers.

10. The masonry bearing wall was transformed to the steel frame, which
assumed all the load-bearing functions. The building’s skeleton could be
erected quickly and the remaining components hung on it to complete it,
an immense advantage for high-rise buildings on busy city streets.

11. The Chicago architect Louis Sullivan’s career converges with the so-called
Chicago School of architects, whose challenge was to invent the
skyscraper or high-rise building, facilitated by the introduction of the
electric elevator and the sudden abundance of steel.

12. In the same time another huge steel building was build in Paris. The
"Gallerie Des Machines" a huge 422m long, 114m wide and 47m high hall
by Charles Dutert and Victor Contamin. 2 marks
for the
Gallerie Des Machines Sketch sketch

13. Russian Constuctivist Vladimir Tatlin's proposal for a spiraling steel

monument to the Third International in 1920 provided a dynamic and
 optimistic visual image for the new technology. Although there were plans
to build Tatlin’s Tower, the monument was never constructed but this
influenced generation of architects to experiment with steel as a building
material.

2 marks
for the
sketch
Tatlin’s Tower Sketch

14. The Wainwright Building is a 10-story red-brick landmark office building

in downtown Missouri. Built in 1891 and designed by Adler and Louis
Sullivan, it is among the first skyscrapers in the world. Sullivan used a
steel frame and applied his intricate terra cotta ornament in vertical bands
to emphasize the height of the building. 2 marks
for the
sketch

OR
12. b) How did the Chicago school of architecture contribute to the development
of sky scrapers
 2 marks
Chicago school of architecture
The term "Chicago School" commonly refers to the groundbreaking skyscraper
architecture developed during the period 1879-1910 by the designer-engineer
William Le Baron Jenney, along with a number of other innovative American
architects including William Holabird, Martin Roche, Daniel Hudson Burnham,
John Wellborn Root, Dankmar Adler, Louis Sullivan.
These individuals went on to form some of the most famous firms in 19th century
architecture, such as Holabird & Roche, Burnham and Root, Adler and Sullivan.

Reason behind development of skyscraper in Chicago

3 marks
There were several reasons why Chicago produced such an outstanding group of
architects in the 1880s, whose work would have such a profound effect upon high-
rise building design. To begin with, the disastrous fire of 1871 coupled with a
resurgence of civic pride had led to a building boom. At the same, the city's
population was rapidly expanding. All this caused a surge in property prices,
where landlords were desperately looking for ways to add value to their
investment in real estate. Under these conditions, the only feasible way forward
was to build upwards. More floors meant more office space to rent and thus more
profits.
The introduction of the electric motor for Elisha Otis's safety elevator. This
increased the speed and height of ascent. Second, the price of steel tumbled
which greatly facilitated the adoption of steel-frame designs, which in turn enabled
the erection of taller buildings.
Characteristics of Chicago school Architecture for Skyscrapers 8 marks

Steel Frames
The first series of high-rises in both had traditional load-bearing walls of stone and
brick. Unfortunately, these could not support tall structures, a problem which
stimulated Chicago School designers to invent a metal skeleton frame which was
first used in Jenney's Home Insurance Building (1884). This steel frame design
enabled the construction of real skyscrapers. A metal frame was virtually fireproof
and, since the walls no longer carried the building's weight, enabled architects to
use thinner curtain walls, thus freeing up more usable space. The same applied to
the exterior walls, which could now be replaced by glass, reducing the amount of
electrical lights required.

Architectural expression
The source of stylistic inspiration for the modern art created by the First Chicago
School, stemmed from the nature of their prime building material: steel. The
physical attributes of this crucial material lent themselves to the creation of the
sinuous curve, an outcome which made it a perfect match for the fashionable style
known as Art Nouveau, which flourished in both Europe and America.

Some of the distinguishing features of the Chicago School are the use of steel-
frame buildings with masonry cladding usually terra cotta which allows use of
large plate-glass windows in the façade and limiting the amount of exterior
ornamentation. Sometimes elements of neoclassical architecture were also used
in Chicago School skyscrapers.

The "Chicago window" originated in this school. It is a three-part window

 consisting of a large fixed centre panel flanked by two smaller double-hung sash
windows. The arrangement of windows on the facade typically creates a grid
pattern, with some projecting out from the facade forming bay windows. The
Chicago window combined the functions of light-gathering and natural ventilation;
a single central pane was usually fixed, while the two surrounding panes were
operable. These windows were often deployed in bays, known as Oriel windows
that projected out over the street.

The top level of the skyscraper houses mechanical devices such as elevator
engines and water tanks. Its appearance proclaims its difference in function from
the rest of the building. A succession of workers offices fill the upper stories and
are modular and repetitive in appearance. Street level spaces was for shops,
banks, and public commerce. These are large, open spaces “liberal, expansive
and sumptuous” that will flow up into the second storey.

3 marks
for
sketch

This architectural discourse exercised by architects influenced by the Chicago

school of thought reshaped the Chicago skyline and how buildings were built in
the region

13. a) Explain the aspects of art nouveau architecture through the works of Gaudi
Art Nouveau was a reaction to the academic art of the 19th century, it was 4 marks
inspired by natural forms and structures, particularly the curved lines of plants and
flowers. and the desire to break away from imitating styles of the past, to develop
an art that reflected the sensitivities and way of life of a particular society, the
extreme individuality of the artist dreaming of inventing an original language that
would ensure the absolute harmony of the ornamentation of life.
Art nouveau artists and designers transformed modern industrial materials such
as iron and glass into graceful, curving forms often drawn from nature, though
 with playful elements of fantasy. Art nouveau designers were interested in
architecture as a form of stylistic expression rather than as a structural system.
Characteristics of Art Nouveau

1. Dynamic and Undulating forms

2. Flowing, curved "whiplash" lines of syncopated rhythm characterize much
of Art Nouveau.

3. Usage of hyperbolas and parabolas.

4. Conventional moldings seem to spring to life and "grow" into plant-derived

forms

5. Use of highly-stylized nature as the source of inspiration and expanded the

"natural" repertoire to embrace seaweed, grasses, and insects.

6. Correspondingly organic forms, curved lines, especially floral or vegetal,

and the like, were used.

The above characteristics were evident in the works of Antonio Gaudi.

Gaudi is considered as one of the pioneers of this style of architecture Gaudí's

first works were designed in the style of gothic architecture and traditional Spanish
architectural modes, but he soon developed his own distinct style. Following are
the aspects which influenced his design
 He was a pioneer in his field using color, texture and movement in ways
never before imagined.
 The hyperboloids and paraboloids he borrowed from nature were easily
reinforced by steel rods and allowed his designs to resemble elements
from the environment.
 He had unique proposals in geometry, conception of space, constructive
procedures with different use of materials, forms and colour.
 Gaudi’s culmination of traditional elements with fanciful ornamentation and
brilliant technical solutions paved the way for future architects to step
outside the box.
Some of the renowned works of Antonio Gaudi are
1. CASA VICENS
2. CASA BATLLÓ
3. CASA MILA
4. SAGRADA FAMÍLIA

ANY 2 EXAMPLES CAN BE WRITTEN 6 MARKS CAN BE AWARDED FOR EACH 12

EXAMPLE ( 3 MARKS FOR DESCRIPTION AND 3 MARKS FOR SKETCH) - marks

1. CASA VICENS

Gaudi built the exotic Casa Vicens in Barcelona, Spain. This residence for
Industrialist Manuel Vicens was his first major commission in Barcelona. This
building is Quasi-Moorish style formulated by Gaudi. The essence of his style for
this building was Gothic- in structural principle and Islamic in various architectural
features and expressions.

PLAN
  They were distributed in a long surface of about 12 x 18 meters, with a
semi-subterranean basement, ground floor, second floor and attic.
 The ground floor was laid out around the dining hall with a covered gallery,
smoking room and two additional rooms. It was slightly elevated from the
ground level to allow greater ventilation and improved lighting for the
basement, which was designed for storage
 The upper floor, where the family's bedrooms were located, was accessed
through a compensated horseshoe-shaped stairway. The stairs continued
to the attic, where the service quarters were located.
 Planned around a conservatory which in its banded brick, glazed tiles and
decorative iron work was more exuberant than any other house

CATALAN VAULT
 Gaudi used the traditional catalan vault in which arch-Like forms are
achieved through corbelling out laminated layers of tiles

ROOF
 The roof is sloped on two sides, with four gables;
 The ventilation conducts and chimneys are profusely decorated with the
same ceramic material as the facade.
FAÇADE
 The facade walls are built with visible rubblework,
 Adorned with horizontal rows of ceramics that represent the African
marigolds
 From the second floor up, these rows become vertical and their coating is
replaced with alternating green and white tiles.
 The windows are protected from the sun and curious onlookers with pretty
shutters with square geometrical designs
 Wrought iron windows with flowers tiles and sculptured stones

2. CASA BATLLÓ

The present Casa Batlló, is the result of a total refurbishment of an old previous
conventional house built in 1877. It was originally designed for a middle-class
family and situated in a prosperous district of Barcelona
Gaudí was commissioned by the owner Josep Batlló i Casanovas to totally renew
the old building. On that base, Gaudí projected this astonishing house, one of the
most fancy and "special" of Barcelona
The changes made by Gaudí on the old building were radical and affects the
whole the building making it appear almost like a new building.

ADDITIONS:

 Gaudí added the gallery, the balconies and the polychrome ceramics.
 Inside, the spaces were totally reorganized in order to obtain more natural
light and ventilation.

 Gaudí also added two floors to the building.

FACADE

 Gaudí carried out one of the most impressive and brilliant urban façades of
the world.
 He used typical constructive elements and materials of the Modernisme
(Catalan Art Nouveau).

 The facade is impressive so much if is contemplated during the day as

during the night, under a special lighting.

 The façade covered by mosaics of splendid colors is perhaps the most

suggestive, creative and original to the city of Barcelona.

 The balconies resemble pieces of skulls with its eyes and mouth.
The columns of first floor look like human bones.

 The ground floor, in particular, is rather astonishing with tracery, irregular

oval windows and flowing sculpted stone work.

ROOF

 The roof decorated with polychrome ceramics of brilliant colors is crowned

by a tower with the typical Gaudí four branches cross.
 The design of that roof is one of the most characteristics of Gaudí for
urban buildings.

 The roof is arched and was likened to the back of a dragon or dinosaur.

INTERIORS
The interior is also very impressive showing various decorative elements as
furniture, glasses, forged iron elements, fireplaces, etc.
3.CASA MILA

Casa Milà was built for Roser Segimón by her husband Pere Mila . This was one of
the last residential projects designed by Antonio Gaudi. This building was popularly
known as La Pedrera or "open quarry"

Antonio Gaudi designed the house as a constant curve, both outside and inside,
incorporating ruled geometry and naturalistic elements.

Casa Milà consists of two buildings, which are structured around two courtyards that
provide light to the nine storeys: basement, ground floor, mezzanine, main (or noble)
floor, four upper floors, and an attic. The basement was intended to be the garage, the
main floor the residence of the Milàs, and the rest distributed over 20 apartments. The
resulting layout is shaped like an asymmetrical "8" because of the different shapes
and sizes of the courtyards.
One of the most notable elements of the building is the roof, crowned with skylights,
staircase exits, fans, and chimneys. All of these elements, constructed out of brick
covered with lime, broken marble, or glass have a specific architectural function.
The apartments feature plastered ceilings with dynamic reliefs, handcrafted wooden
doors, windows, and furniture, as well as hydraulic tiles and various ornamental
elements.
Gaudí wanted the people who lived in the flats to all know each other. Therefore,
there were only elevators on every other floor, so people on different floors would
meet one another.
The facade is composed of large blocks of limestone. The blocks were cut to follow
the plot of the projection of the model, then raised to their location and adjusted to
align in a continuous curve to the pieces around them.
Viewed from the outside the building has three parts: the main body of the six-storey
blocks with winding stone floors, two floors set a block back with a different curve,
similar to waves, a smoother texture and whiter color, and with small holes that look
like embrasures, and finally the body of the roof.

4.SAGRADA FAMÍLIA

Sagrada Familia is one of the important architectural monument ever built in the
modern era. This construction of this church continued for many years after the
death of Antonio Gaudi. This church is located in Barcelona, The Sagrada Família
is a church of basilical type with a shape of Latin cross

The central axis is occupied for four lateral naves of 7'5 meters wide each one
and a central nave of 15 meters wide. The total length of the church, including the
nave and the apse is of 95 meters.

The transept is formed by three naves with a total width of 30 meters and a length
of 60.This transept has two exits, one to the Nativity façade and the other to the
Passion façade.
The apse at east end of the church is semicircular in shape and consists of seven
chapels distributed around an ambulatory and the central space with the altar and
the presbytery. There are two spiral staircases at each end, crowned by a tower.

The cloister, which runs around the perimeter of the church, is a space that
connects the façades, the sacristies and the chapels.
The main façade of the church facing south-east towards the sea and formed by
four towers joined by a large portico or narthex.

Gaudí planned inclined branching columns in the shape of a tree for the church.
He also manages to bring down the main loads along the interior pillars of the
nave and not along the perimeter of the floor or the exterior elements. The
Sagrada Família exterior walls only have to bear their own weight, because the
vaults weight and push are transmitted to the floor through the interior columns.
In addition, the walls are completely perforated by rose windows, ogives, large
windows and other openings lightening very much the weight.
 OR
13 b) What were the ideals of the arts and craft movement? Discuss with key
architects and works.

BIRTH OF ARTS AND CRAFT MOVEMENT 3 marks

The Victorian style of heavily ornamented interiors displaying many pieces of

furniture, collections of small ornamental objects, and surfaces covered with
fringed cloths prevailed in middle-class homes in England and America during the
latter half of the19th century. In both countries, techniques of mass production
promoted the use of reproductions in many different styles. William Morris, the
British poet, artist and architect rejected this opulence in favor of simplicity, good
craftsmanship, and good design. The Arts & Crafts movement was born.The Arts
& Crafts movement was a British and American aesthetic movement occurring in
the last years of the 19th century and the early years of the 20th century.
The Arts and Crafts Movement began primarily as a search for authentic and
meaningful styles for the 19th century and as a reaction to the "soulless" machine-
made production aided by the Industrial Revolution.

EFFECTS OF THE INDUSTRIAL REVOLUTION 3 marks

The movement’s earliest proponents reacted against cheap manufactured goods,
which had flooded shops and filled houses in the second half of the 19th century.

These proponents sought to establish the ties between beautiful work and the
worker, returning to honesty in design not to be found in mass-produced items. In
both Britain and America the movement relied on the talent and creativity of the
individual craftsman and attempted to create a total environment. While, the
American and British styles shared this philosophy, they differed greatly in
execution.

The Arts and Crafts ideal they offered was a spiritual, craft-based alternative,
intended to alleviate industrial production’s degrading effects on the souls of
labourers and on the goods they produced. It emphasized local traditions and
materials, and was inspired by vernacular design, Architecture which was
influenced by characteristics of local vernacular building style which was evolved
by the society.

BELIEFS OF ARTS AND CRAFTS MOVEMENT:

 That well-designed buildings, furniture, and household goods would

improve society
 That the material environment affected the moral fibre of society
 That the ideal was contented workers making beautiful objects
 And that both design and working lives had been better in the past
 It was neither anti-industrial nor anti-modern
 The Arts and Crafts movement was against the principle of a division of
labour.

Architectural Characteristics of Arts and Crafts Movement in Europe 4 marks

The British movement focused on the richly detailed gothic style. Their interior
walls were either white-washed or covered in wallpaper depicting medieval
themes. While the original intent was to provide handmade goods to the common
man, the cost of paying craftsmen an honest wage resulted in higher prices than
the common man could afford. This limited the movement to the upper class.

Some of the architect’s involved in this movement were John Ruskin, William
Morris, Philip Webb, Richard Norman Shaw, Eden Nesfield, George Edmund.
They designed everything from wallpaper to stained glass, books, and teapots
according to the highest standards of craftsmanship. The idea of the house as a
total work of art, with all of the interior objects designed by the architect, emerged
from this studio and remained standard practice throughout the Arts and Crafts
movement.
 Red House by Philip Webb 3 marks

English designer William Morris, who led the Arts and Crafts movement, sought to
restore integrity to both architecture and the decorative arts. The Red House
(1859) in Kent, designed for Morris and his family by English architect Philip
Webb, demonstrates the architectural principles at the heart of the English
movement. The unpretentious brick façades were free of ornament, the ground
plan was informal and asymmetrical, and the materials were drawn from the area
and assembled with local building techniques. The Red house was the most
significant 19th century attempt to return to vernacular architecture.

Faintly medieval in appearance, its forms were directly derived from the character
of the materials used and were designed carefully and artfully to resemble the
work of skilled but simple craftsman. It was the first domestic dwelling to have
stained glass windows. The garden is also significant, being an early example of
the idea of a garden as a series of exterior "rooms". Morris wanted the garden to
be an integral part of the house, providing a seamless experience. The "rooms"
were comprised of a herb garden, a vegetable garden, and two rooms full of old-
fashioned flowers. Its plain brick walls and steeply pitched clay tile roof gave its
name Red House.
Red house Plan and sketch 3 marks

14. a) What were the important ideologies of the ‘expressionist’ movement? How
were these translated architecturally?

Expressionism was a modernist movement, initially in poetry and painting, 2 marks

originating in Germany at the beginning of the 20th century.
Its typical trait is to present the world solely from a subjective perspective,
distorting it radically for emotional effect in order to evoke moods or ideas.
Expressionist artists sought to express the meaning of emotional experience
rather than physical reality.

Expressionism in Architecture 2 marks

Expressionist architecture refers to an architectural style that developed in Europe

in the first part of the 20th Century. The term "Expressionist architecture" initially
described the activities of the German, Dutch, Austrian, Czech and Danish avant
garde architects from 1910 to 1924 which occurred concurrently and
interdependently with the expressionist movement in the visual and performing
arts. Expressionist architecture describes a type of architecture which uses the
form of a building as a means to evoke or express the inner sensitivities and
feelings of the viewer or architect. This tendency can be coupled with the notion
that the form can represent the physical manifestation of a transpersonal or mystic
spirit.

CHARACTERISTICS FEATURES 10
 Elastic Forms-Form played a defining role in setting apart expressionist marks
architecture from its immediate predecessor, art nouveau.
 While art nouveau had an organic freedom with ornament,
expressionist architecture strove to free the form of the whole building instead
of just its parts.
 The style was characterized by an early-modernist adoption of novel
materials, formal innovation, and very unusual massing, sometimes inspired
by natural biomorphic forms, sometimes by the new technical possibilities
offered by the mass production of brick, steel and especially glass.
 Distortion, exaggeration, primitivism, and fantasy and through the vivid,
jarring, violent, or dynamic application of formal elements.
 Distorted shapes, fragmented lines and organic or biomorphic forms.
 Conception of architecture as a work of art.
 Often hybrid solutions, irreducible to a single concept.
 Distortion of form for an emotional effect.
 Sense of Movement achieved by swooping, curving roofs with the use of
concrete.
 Expressionist architecture utilized curved geometries; a recurring form in
the movement is the dome.
 Another expressionist motif was the emphasis on either horizontality or
verticality for dramatic effect, influenced by new technologies such as cruise
liners and skyscrapers.
 Utilizes creative potential of artisan craftsmanship.
 The freedom of Expression is more suggestive of sculpture than of
architecture, massive sculpted shapes.
 A recurring concern of expressionist architects is materials. There was
often an intention to unify the materials in a building so as to make it
monolithic. Extensive use of concrete and brick.
 Lack of symmetry, many fanciful works rendered on paper but never built.
 Tendency more towards the gothic than the classical. Expressionist
architecture also tends more towards the Romanesque and the rococo than
the classical.
 Though a movement in Europe, expressionism is as eastern as western. It
draws as much from Moorish, Islamic, Egyptian, and Indian art and
architecture as from Roman or Greek.
 The major permanent extant landmark of Expressionism is Erich
Mendelsohn's Einstein Tower in Potsdam.

ARCHITECTS ASSOCIATED WITH EXPRESSIONISM 2 marks

Three major German architects of the period associated with the expressionist
movement were Bruno Taut, Hans Scharoun and Erich Mendelsohn. Bruno Taut
and Paul Scheerbart's were known for the glass architecture. Mendelson was
familiar for concrete architecture. Other notable architects associated with
expressionism include Adolf Behne, Hermann Finsterlin, Walter Gropius (early
period), Hugo Häring, Fritz Höger, Hans Poelzig, Rudolf Steiner
 OR
14 b) How did ‘constructivism’ change the Russian skyline? Explain with building
examples.

Constructivist architecture 3 marks

Constructivist architecture was a form of modern architecture that flourished in the
Soviet Union in the 1920s and early 1930s.Constructivism is a term used to define
a type of totally abstract (non-representational) relief construction. The principles
of constructivism theory are derived from three main movements that evolved in
the early part of the 20th century: Suprematism in Russia, De Stijl (Neo
Plasticism) in Holland and the Bauhaus in Germany. In architecture,
constructivism is a broader movement of functionalism. Thus any object (building)
efficiently made for its purpose is ideal to be followed. This calls for
encouragement of modern materials and methods of construction.

After the Russian Revolution of 1917 ,two distinct threads emerged, the first was
encapsulated in Antoine Pevsner's and Naum Gabo's Realist manifesto which
was concerned with space and rhythm, the second represented a struggle
between pure art and the Productivists, Alexander Rodchenko, Varvara
Stepanova and Vladimir Tatlin, a more socially-oriented group who wanted this art
to be absorbed in industrial production. Although it was divided into several
competing factions, the movement produced many pioneering projects and
finished buildings, before falling out of favour around 1932.

3 marks
CHARACTERISTIC FEATURES OF CONSTRUCTIVISM
 In 1922, Naum Gabo wrote that constructivists no longer paint pictures or
carve sculptures but make construction in space. The distinction between
painting and sculpture ceases and becomes architecture.
 Constructivists reduced all natural forms to simple geometric forms.
Geometric form was thus the structural form and this cubism was symbolic of
constructivism.
 Constructivism combined advanced technology and engineering.
 Space organized by means of an open structure, rather than enclosed
volumes, combination of frame and glazing rather than solid walls, all these
devices being aimed at preserving the visual impression of undivided space.
 The constructivists emphasized and took advantage of the possibilities of
new materials. Steel frames were seen supporting the large areas of plate
glass.
 The joints between various parts of a building were exposed rather than
concealed. Buildings had balconies and sun-decks, exteriors were painted
white.
 The first Constructivist architectural project was the 1919 proposal for the
headquarters of the Communist International in St Petersburg by the Futurist
Vladimir Tatlin, often called Tatlin's Tower.

2 marks
ARCHITECTS ASSOCIATED WITH CONSTRUCTIVISM
 El Lissitzky
 Moisei Ginzburg
 Ivan Leonidov
 Konstantin Melnikov
 Vladimir Tatlin
ANY 2 EXAMPLES CAN BE WRITTEN 4 MARKS CAN BE AWARDED FOR EACH 8 marks
EXAMPLE ( 2 MARKS FOR DESCRIPTION AND 2 MARKS FOR SKETCH)
1. The Rusakov Workers' Club
The Rusakov Workers' Club in Moscow is a notable example of constructivist
architecture. Designed by Konstantin Melnikov, it was constructed from 1927 to
1928. The club, according to Melnikov, is not a single fixed theater hall, but a
flexible system of different halls that may be united into a single, large volume
when necessary. His larger main halls can be divided into three independent halls.
In plan, the club resembles a fan; in elevation, it is divided into a base and three
cantilevered concrete seating areas.
Three prominent balcony-blocks are cut like wedges into the symmetrical volume
of the building, the main façade of which is in concrete and glass. The blocks
contain three small auditoriums for 200 people which were used either individually
or combined to form a single large space for 1200 people. At the rear of the
building are more conventional offices with bold use of exterior stairs. The only
visible materials used in its construction are concrete, brick and glass. The
function of the building is to some extent expressed in the exterior, which Melnikov
described as a "tensed muscle".

2.TATLIN'S TOWER
Tatlin designed the huge Monument to the Third International, also known as
Tatlin's Tower in1920. The monument was to be a tall tower in iron, glass and
steel which would have dwarfed the Eiffel Tower in Paris. This Monument to the
Third International was a third taller at 1,300 feet high. Inside the iron-and-steel
structure of twin spirals, the design envisaged three building blocks, covered with
glass windows, which would rotate at different speeds (the first one, a cube, once
 a year; the second one, a pyramid, once a month; the third one, a cylinder, once a
day). High prices prevented Tatlin from executing the plan, and no building such
as this was erected in his day.

3.WOLKENBÜGEL (CLOUD-IRON) - LISSITZKY

In 1926, Lissitzky and architect Mart Stam designed the Wolkenbügel (Cloud-
iron), a unique skyscraper on 3 posts planned for Moscow. Although never built,
the building was a vivid contradiction to America's vertical building style, as the
building only rose up a relatively modest height then expanded horizontally over
an intersection so make better use of space. Its three posts were on three
different street corners, canvassing the intersection. Lissitzky wrote about the
building as being a proposal for a new, "rational architecture," as opposed to the
trend towards massive skyscrapers going on at the time, mostly in the United
States.

15. a) Elaborate ‘the five points of new architecture’ states by Corbusier in

Versune architecture with two examples.
4 marks
Le Corbusier's Five Points of Architecture is an architecture manifesto by
architect Le Corbusier. It was authored in his book Vers une architecture. Early in
his career, Le Corbusier developed this set of architectural principles that dictated his
technique. The five points as follows
• Pilotis – Replacement of supporting walls by a grid of reinforced concrete
columns that bears the structural load is the basis of the new aesthetic.
• The free designing of the ground plan—the absence of supporting walls—
means the house is unrestrained in its internal use.
• The free design of the façade—separating the exterior of the building from
its structural function—sets the façade free from structural constraints.
• The horizontal window, which cuts the façade along its entire length, lights
rooms equally.
 • Roof gardens on a flat roof can serve a domestic purpose while providing
essential protection to the concrete roof.
These five points are most evident in his design of Villa Savoye and Maison
Citrohan
Maison Citrohan 3 marks for
description
One of first designs that Le Corbusier attempted to include the points in was the 3 marks for
Maisons Citrohan. The house was developed through different versions. sketch
Numerous elements of the houses design turned out to be essential factors, which Total
make up Le Corbusiers style. Certain characteristics of the Maison Citrohan can 6 marks
be detected in most of the villas in the 1920’s. Maison Citrohan introduced
the ‘five points of new architecture’. The house was elevated by pilotis allowing
free circulation on the ground, and also consisted of a reinforced-concrete frame
structure, which was achieved from the Domino’s constructional system. The open
space created by the pilotis and the flat roof increases the small area that already
exists. The Citrohan house was designed with many windows to provide natural
light. The house is two stories tall with the kitchen and dining room on the first
floor and the bedrooms on the second floor. The bedrooms are separate from the
parts of the household associated with work to provide an area for relaxation and
escape. The living room is a double-story, meaning there is an open balcony on
the upper level looking down into the living room on the lower level. The balcony
adds another dimension within the home, creating additional space. Like many of
his designs, the Maison Citrohan has a spiral staircase and a roof garden. Le
Corbusier designed the roof garden to include an area to house guests, so that
both the guests and the homeowners retained their privacy. This aspect of the
design was revolutionary because it gave the homeowners the freedom to decide
whether they wanted to socialize with their guests or maintain their privacy.

.
Villa Savoye 3 marks for
description
Situated at Poissy, outside of Paris, it is one of the most recognizable architectural 3 marks for
presentations of the International Style. The Villa Savoye was designed as a sketch
weekend country house and is situated just outside of the small village of Poissy Total
in a meadow which was originally surrounded by trees. The polychromatic interior 6 marks
contrasts with the primarily white exterior. Vertical circulation is facilitated by
ramps as well as stairs. The house fell into ruin during World War II but has since
been restored and is open for viewing.

Austerely functional on the outside, its volume is supported by pilotis above a

large expanse of lawn. The plan was set out using the principal ratios of
the Golden section, in this case a square divided into sixteen equal parts,
extended on two sides to incorporate the projecting façades and then further
divided to give the position of the ramp and the entrance. Direct access for cars,
parked between th pilotis, beneath the house. Once through the glass wall,
 visitors have two access options – stairway and ramp.
In Le Corbusier’s eyes, the stairway “separates” whereas the ramp “links”. Ramp
stretches from the lawn to the sky, like a majestic “architectural promenade”,
extending from the entrance through the apartment on the second floor to the roof
terrace. The dwelling is arranged in the form of an “L” that cleanly separates the
public areas from the bedrooms.Two-thirds of the living room – patio. Access to
the three bedrooms via corridors isolating the main bathroom.

OR
15 b) Write short notes on :
i) Role of Bauhaus in the formation of modern movement
ii) CIAM

i) Role of Bauhaus in the formation of modern movement 8 marks

The Bauhaus movement began in 1919 when Walter Gropius founded a school
with a vision of bridging the gap between art and industry by combining crafts and
fine arts. Prior to the Bauhaus movement, fine arts such as architecture and
design were held in higher esteem than craftsmanship (i.e., painting,
woodworking, etc.), but Gropius asserted that all crafts, including art, architecture
and geometric design, could be brought together and mass-produced.
Gropius argued that architecture and design should reflect the new period in
history (post World War I), and adapt to the era of the machine. The Bauhaus
movement is characterized by economic sensibility, simplicity and a focus on
mass production. “Bauhaus” is an inversion of the German term “hausbau,” which
means “building house” or house construction.

The Bauhaus movement teaches “truth to materials” as a core tenet, which means
that material should be used in its most appropriate and “honest” form, and its
nature should not be changed. For example, supportive materials such as steel
should be exposed and not hidden within the interior framework of a piece of
furniture.
The Bauhaus movement captured the attention of many respected artists,
designers and architects such as Le Corbusier, Eileen Gray, Mies Van der Rohe,
Marcel Breuer and Florence Bassett Knoll.
The Bauhaus movement transformed the design and production of modern
furniture by incorporating the use of steel as frames and supports for tables,
chairs, sofas and even lamps. The use of machine-made, mass-produced steel
tubing created simple forms that required little handcrafting or upholstery and
contributed to the streamlined, modern look of Bauhaus furniture.
The Bauhaus school founded by Gropius was one of the first to teach students
modern design. The school closed in the 1930s under pressure from the Nazis,
but the movement still influences modernist architecture and modern design
today. While Bauhaus has influences in art, industry and technology, it has been
most influential in modern furniture design. Bauhaus bridges the gap between art
and industry, design and functionality.

Bauhaus played a major role in influencing a generation of architects towards a

modern approach to design and to embrace originality in design and expression.

ii) CIAM 2 marks

The Congrès internationaux d'architecture moderne (CIAM), or International
Congresses of Modern Architecture, was an organization founded in 1928 and
disbanded in 1959, responsible for a series of events and congresses arranged
across Europe by the most prominent architects of the time, with the objective of
spreading the principles of the Modern Movementfocusing in all the main domains
of architecture (such as landscape, urbanism, industrial design, and many others).

The International Congresses of Modern Architecture (CIAM) was founded in June

1928, at the Chateau de la Sarraz in Switzerland, by a group of 28 European
architects organized by Le Corbusier. CIAM was one of many 20th
century manifestos meant to advance the cause of "architecture as a social art".
10 CIAM meetings were held between 1928 to 1956. The elected executive body
of CIAM was CIRPAC, the Comité international pour la résolution des problèmes
de l’architecture contemporaine (International Committee for the Resolution of
Problems in Contemporary Architecture). CIRPAC controlled the content which
was presented in congress.
La – Saraz declaration was signed by 24 Architects representing various
countries in 1928 declaration emphasized building rather than architecture as the
“Elementary Activity” of Man intimately linked with evolution and the development
of Human Life”. This declaration proclaimed the following
 The idea of Modern Architecture includes the link between the Phenomenon
of Architecture and that of General Architecture.
 The idea of “Economic Efficiency” does not imply production furnishing
maximum commercial profit, but production demanding a minimum effort.
  The need for maximum Economic efficiency is the inevitable result of the
impoverished state of the general economy.
 The most efficient method of production is that which arises from
“Rationalisation and Standardisation”. These two act directly on working
methods of both Modern Architecture (conception) and in the building
industry (realisation).
 Realisation and standardisation react in a three fold manner :
 They demand of architecture conceptions leading to simplification of working
methods on site and the factory.
 They mean for building forms a reduction in skilled labour force.
 They expect from the consumer a revision of his demands in the direction of
readjustment to the new condition of social life.

CIAM can be divided into three stages 2 marks

 Stage I – 1928 -1933
 Stage II – 1933 -1947
 Stage III – 1947-1956
Stage 1 saw the Indoctrination of the various ideas which was to propagated by and
congress and also the establishment of CIRPAC
Stage 2 was dominated by the ideas and philosophies of Le Corbusier. This is
stage where idea of functionalism and functional city or the ideal city was presented
Stage 3 saw the return back to humanist approach towards design and the demise
of CIAM

Athens chapter of the 4th CIAM was one the important congress held among the 10 2 marks
CIAM’s

There were hundred and eleven propositions of the charter. It tried to address the
problems associated with towns throughout the world. The proposals were given
under five headings:

1. Dwellings
2. Recreational
3. Work
4. Transportation
5. Historic buildings.

The Athens Charter had the following declarations:

a. A rigid functional zoning of city plans with green belts between the
areas reserved for the different functions.
b. A single type of urban housing expressed in the charter as “high,
widely spaced apartment blocks”, wherever the necessity of housing and high
density population exists.

THE END OF CIAM 2 marks

It didn’t take long for the architects to question the conclusions reached in Athens.
Chief among the “doubters” were young British architects-Alison and Peter
Smithson, broke away from CIAM in 1956 and outlined ther concerns. The
Smithsons worried that CIAM ideal city would lead to isolation and community
breakdown.

The last CIAM X meeting held in 1956 at Dubrounik where the Smithsons group
now known as Team X had taken over. The official demise of CIAM and the
succession of Team X was confirmed.