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Post War Decades:

The International Style

Ar. Hena Tiwari

GCAD, Jan-July 2017

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International Style is the name of a major architectural

style that emerged in 1920s and 1930s.

The formative decades of modern architecture, were

defined by Americans Henry-Russell Hitchcock and Philip

Johnson in 1932.

After World War II the International Style provided an

easily achievable style option for vast-scale urban

development projects.

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It emphasised on :

architectural style,

form and

aesthetics.

It believed in universality. Thus architecture became

universal and was applicable to all spheres.

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The most common characteristics of International

Style buildings are

i. rectilinear forms;

ii. light, taut plane surfaces that have been completely

stripped of applied ornamentation and decoration;

iii. open interior spaces;

iv. visually weightless quality engendered by the use of

cantilever construction.

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CIAM : regulatory body that was formed for modern

architecture. Corbusier was an active personality.

It was made to satisfy the physical as well as emotional

need in architecture. Thus in that way, good

architecture can enhance the human behavior.

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International Style Origin

Demands were very high, which were to be done

very quickly

They had no time to think about classical or

gothics architecture.

Technology of steel construction evolved.

People became comfortable with the usage and

look of steel and glass.

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It had 2 streams on the Choice of building

materials:

RCC

Steel and glass

The name ‘international style went to

Brazil. SA, Japan through German

architects.

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EMERGENCE OF CORPORATE ARCHITECTURE

After WW corporate houses were anxious about their public

image.

Glass box became the symbol of corporate image.

All corporate houses made in cube style and steel and glass.

Lever House

Seagram’s Building

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The international style was striving toward

-Simplification

-Honesty

-Clarification

The idea of style can be summed up in four slogans:

“Ornament is crime”

“Truth to material”

“Form follows function”

“Machines for living”

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The typical characteristics of International Style

buildings:

• Rectilinear forms;

• plane surfaces that are completely devoid of

applied ornamentation;

• and open, even fluid, interior spaces.

Universality: a building is valid in every region, in

every situation, as a building is reduced to machine.

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Architecture to be looked in volumes, not in mass.

Complete rejection to ornamentation

Architecture based on free plan ( decoding the grid)

Skin in bone construction

Light weight construction methods

Synthetic modern materials

Standard modular parts (prefabricated nut bolted at sites)

Cubism inspired forms and facades

Not bothered of past association

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INTERNATIONAL STYLE

• WALTER GROPIUS

• MIES VAN DER ROHE

• LE CORBUSIER

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• Walter Gropius belongs to the generation of Mies

Van Der Rohe and Le Corbusier.

• He was the founder and first principle at Bauhaus

• Through the knowledge of arts and industrial

material he created architecture to the need of the

time.

• He pioneered in introducing steel frames, sheet

glass, curtain walls and flat roofs.

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Philosophy

“We want to create the purely organic building, boldly

emanating its inner laws, free of untruths or

ornamentation.”

• Architecture has to adapt to the world of machines,

electronics and fast cars.

• Architecture is designed by and individual but

developed with teamwork.

• Architecture isn’t about aesthetic fascination but

reflects a sober pragmatic concern.

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FAGUS FACTORY ,ALFELD, GERMANY

It was built at alfeld – an– der – leine in 1911.

Most striking thing: simplicity and confidence of the

architecture.

In fagus works, Gropius brought the

accomplishment of the past fifteen years.

It was designed by Gropius keeping in mind the

surroundings.

It was called by Gropius an artistic and practical

design.

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Fagus building was the first to extract the full

aesthetically revolutionary impact from the

structural development.

Fagus structure was actually a hybrid construction

of brick columns, steel beams and concrete floor

slabs and stairways.

It was a steel frame supporting the floors, glass

screen external walls.

Pillars are set behind the façade so that its curtain

character is fully realized.

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Ground floor plan- Fagus shoe factory.

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Glass screen was used all over the walls to have

proper view from inside.

Walls are no longer supporters of the building but

simple curtain projecting against increment

weather.

It was domination of voids over solids.

Plane surfaces predominate in this factory.

The glass and walls are joined cleanly at the

corners without the intervention of piers.

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FAGUS FACTORY- IINTERNAL VIEW

FAGUS FACTORY ENTRANCE

EXTERNAL VIEW

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Modest in scale, the house was revolutionary in impact.

Combined the traditional elements of New England architecture—wood, brick, and fieldstone—with innovative, including glass block, acoustical plaster, chrome banisters, and the latest technology in fixtures.

Every aspect of the house and its surrounding landscape was planned for maximum efficiency and simplicity of design

Gropius House, Lincoln, Massachusetts, 1938

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MIES VAN DER ROHE

Cullinan Hall

Barcelona Pavilion

Farnsworth House

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Regarded as One of the Avant –garde architects of

modern architecture

In Chicago introduced and implemented his new

thoughts- Regarded as II Chicago school

The buildings of Mies van der Rohe (1886-1969) have

a quality of extreme emptiness, stronger than that

found in other modernist buildings.

Mies used to say that the source of his architecture

was life and not form. It is possible, therefore, to

interpret this emptiness as renouncing all formal

excess and centering on the service of life itself.

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Philosophies:

Beauty is splendor of truth

Building is skin and bone concept

Material and technology effects the building

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Mies explored the relationship between people,

shelter, and nature.

The glass pavilion is raised six feet above a

floodplain next to the Fox River, surrounded by forest

and rural prairies.

Designed and built 1951, Farnsworth House

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Farnsworth House is considered a paradigm of international style architecture in America. The house's structure consists of precast concrete

floor and roof slabs supported by a carefully crafted steel skeleton frame of beams, girders and columns.

The facade is made of single panes of glass spanning from floor to ceiling, fastened to the structural system by steel mullions.

The building is heated by radiant coils set in the concrete floor; natural cross ventilation and the shade of nearby trees provide minimal cooling.

Though it proved difficult to live in, the Farnsworth House's elegant simplicity is still regarded as an important accomplishment of the international style.

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Barcelona Pavilion Barcelona, 1929

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Mies understood his pavilion simply as a building

and nothing more, it would not house art or

sculpture rather the pavilion would be a place of

tranquility and escape from the exposition, in effect

transforming the pavilion into an inhabitable

sculpture.

The pavilion is designed as a proportional

composition where the interior of the pavilion is

juxtaposed to two reflecting pools.

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One of the most important aspects of the pavilion is

the roof. The low profile of the roof appears in

elevation as a floating plane above the interior

volume.

In addition to the design, the materials are what

give the Barcelona Pavilion its true architectural

essence as well as the ethereal and experiential

qualities that the pavilion embodies.

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LE CORBUSIER

Space and light and order. Those are the things

that men need just as much as they need bread or

a place to sleep.”

–Le Corbusier

Le Corbusier was a visionary.

He believed that architecture had

lost its way.

Art Nouveau, all curves and

sinuous decorations, had burned

itself out in a brilliant burst of

exuberance.

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DESIGN PHILOSIPHIES

A house is a machine to live in

Modular theory

Urban Concepts

Furniture

Brutalism.