School of Architecture: B.Arch

School of Architecture
B.Arch.
HISTORY OF ARCHITECTURE
Ar. Preeti nair
1
PROGRESS IN IRON FABRICATION
18th century industrial production of cast and wrought iron increased its
availability that iron replaced wood on the frame of any building where heavy
loads or the danger of the fire were of concern.
Cast iron was favored for columns while the superior tensile qualities of the
wrought iron made it the recommended material for the beams.
19th century iron began to be used instead of wood in the fabrication of truss
bridges built for railroads and roads that crossed rovers or valleys.
The first iron truss bridge in the united states ,the Frankfort bridge on the
Erie canal was built in 1840.
The first steel truss was constructed in 1878-79 over the Missouri river for
the Chicago and alto railroad.
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Theodore burr –arch truss (1817)
Ithiel town–Lattice truss (1820)
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DEVELOPMENT IN STEEL
To improve the desirable qualities of iron and to expand its market ,19 th century
ironmongers experimented with new methods of manufacturing steel,which is and
alloy of low-carbon iron and trace amount of other metals .
Small quanties of steel had been manufactured in india as early as 1500 bce.
Steel was first used for railroad ties and in engineering works.
The first steel bridge built in united states was Eads bridge (1869-74) over the
Mississippi at St.Louis. Captain James B.Eads (1820-1887) was the designer who
was the river boat captain
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Steel was also employed for the major suspension bridge of the 19 th century
,the Brooklyn bridge connecting Manhattan and Brooklyn over the east river with
a 1600 ft clear span.the bridge was designed by John Augustus Roebling (1806-
1869).
They sank two gigantic caisson foundation for th bridge towers and spun
galvanized stell wire for the two main cabled that supported the roadway.
Each cable contained over 5000 srtands of wire ,compacted and wrapped with
continuous spiral of softer steel.
Diagonal stays radiating from the tower provide wind barcing and strong to
carry the bridge’s load by them selves should the main cables break.
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GUSTAVE EIFFEL
The most famous French designer using iron in the second half of the 19 th
century was Gustavo Eiffel (1832-1923)
The engineer gained fame for his graceful bridge designs such as the Garabit
Viaduct over the river Truyere (1880-84) in southern France.
He used his experience to built the worlds tallest tower the 1010ft high Eiffel
tower constructed for the Paris exposition of 1889.
The opening of the tower in 1889 also provided the first large scale
demonstration of the passenger safety elevators a model designed by the
American Elisha Graves Otis
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Bridge -The Garabit Viaduct
over the river Truyere (1880-
84)
1010ft high Eiffel tower
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THE ARTS AND CRAFTS MOVEMENT
The two issues –social values and the artistic quality of the manufactured
products were in the heart of the arts and crafts movement which flourished
from 1850 to 1900 in Britain and later 1876-1916 in the united states.
The Arts and Crafts style started as a search for aesthetic design and
decoration and a reaction against the styles that were developed by machine-
production.
Arts and Crafts objects were simple in form, without superfluous or

excessive decoration. They tended to emphasize the qualities of the materials
used ("truth to material"). They often had patterns inspired by British flora and
fauna and used the vernacular, or domestic, traditions of the British
countryside.
They were influenced by the Gothic Revival and were interested in medieval

styles, using bold forms and strong colors based on medieval designs. They
claimed to believe in the moral purpose of art. Truth to material, structure and 10
function
JOHN RUSKIN
John Ruskin 1819-1900 a prolific critic of art and society may be regarded as the
originator of the arts and crafts ideals. In his view the industrial revolution was a
grievous error exerting a corrupting influence on the society.
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WILLIAM MORRIS
Ruskin’s speeches and the writings had a tremendous influence on a
younger generation .
The leader of this activist group in England was William Morris (1834-1896)
an oxford divinity student studied both architecture and painting .
Red house ,Bexleyheath,Kent 1859-60 12

LOUIS HENRI SULLIVAN
•A Chicago architect (1856-1924)
•Born in Boston.
•Determined to become an architect he spent a
years in the newly created architectural
programme at MIT(Massachusetts Institute of
Technology) and then worked briefly in the
offices of FRANK FURNESS in Philadelphia
and WILLIAM LE BARON JENNEY in
Chicago.
•He went to Paris in 1874 to study at the Ecole
des beaux-Arts.
•He traveled in Italy before returning to
Chicago and joining the office of Dankmar
Adler and Company in 1879. 13
CHICAGO AUDITORIUM BUILDING
•One of the most multi used buildings constructed in the country

up until that time.
•Its name derives from the huge 4237 seat concert hall located at
its centre but the building also contained a 10 storey hotel and a
17 storey office tower with additional offices in the rear.
•Adlers understanding of acoustics ,engineering and managerial
expertise complimented Sullivans artistic inclination.
•Adler made sure that the sightlines and acoustics were excellent
for every seat in the auditorium.
•Sullivans task was to give architectural harmony to the diverse
elements of the building.
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In 1890 a commission from a St.Louis brewer ,Ellis Wainwright gave Adler
and Sullivan their first opportunity to design a skyscraper
THE WAINWRIGHT BUILDING

• The building has a base, a middle section and a top.
• He expressed his desire for this design as the ground floor –where easy
excess to be made from the street into banks shops etc.
• Mezzanine or second floor –still easily reached on foot as a unit.
• Placed stacked offices on the third through top floors, where repetitive
windows illuminated floor areas that could be subdivided to suit the
requirements of various tenants
• Located the mechanical system ,from tanks and pumps to elevator
machinery behind a deep cornice.
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•The two-storey base of the
classical tripartite composition is
faced in fine red sandstone set on a
two-foot-high string course of red
Missouri granite.
•While the middle section consists

of red brick pilasters with decorated
terra cotta spandrels, the top is
rendered as a deep overhanging
cornice faced in an ornamented terra
cotta skin to match the enrichment
of the spandrels and the pilasters
below
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• Sullivan's theories about the tall
building, which included a
TRIPARTITE (three-part)
composition (base-shaft-attic) based
on the structure of the classical
column, and his desire to emphasize
the height of the building.
• The building's windows and

horizontals were inset slightly behind
columns and piers, as part of a
“vertical aesthetic”
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The vertical thrust
The pilasters soar upward from above the base to the cornice. Still, the ornament
of the recessed spandrels gives a sense of horizontality, suggesting the floors of
the building
The "classical" elevation
Sullivan's architecture typically uses a base or podium, then the shaft, and
terminates in a heavy cornice
The organic decoration of the entrance
The floral decoration in terra cotta varies from floor to floor as it does at the
entrance
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EXAMPLES
1. THE GUARANTY BUILDING (1894) IN BUFFALO
NEW YORK
2. CARSON PIRIE SCOTT DEPARTMENTAL STORE
CHICAGO,ILLINOIS
3. NATIONAL FARMERS BANK
OWATONNA,MINNESOTA
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EXPRESSIONISM
• Expressionism is a term that arises in the early 20th century around a
group of painters, mainly German and centered in Munich, who
sought to convey deep emotional content using significant amounts
of abstraction but without losing figural subject matter.
• Color played a major role in their work. They also sought to convey
a new and different kind of emotional content, often verging on
complex psychology and psychic struggle.
• While expressionism in architecture may not have quite so much

Freudian content, there is abundant evidence that many architects at
least went through a period in which they hoped to make architecture
more emotionally expressive than a machine or industrial aesthetic
would permit.
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• Expressionism is not a clearly defined term and may have more than one
definition. It can often overlap other kinds of content and formal
choices.
• Expressionist forms are often sculptural, sometimes irrational, usually

personal and idiosyncratic. But they are also often distorted.
• The notion of identifying “expressive” qualities in a building is not

necessarily the same as identifying “expressionistic” qualities. A
building may convey some intentional meaning through its form
(“expressive”); or the stamp of the personality, individuality, identity, or
even the pathology of the architect (“expressionistic”). This may not
always be easy to distinguish.
• Expressionistic form can also convey spirituality as well as psychology

and it is important to evaluate a potentially expressionist form carefully
before pronouncing a verdict. 24
In 1914, Bruno Taut built his Glass Pavilion at the Werkbund Exhibition in Cologne.
The phrase above the elevation drawing says in German “The Gothic Cathedral is
the prelude to glass architecture.” Taut’s building was meant to be an experience of
light afforded by a combination of glass and skeletal metal structure. 25
Erich Mendelsohn also found music to be
a major source of inspiration for his work
and made drawings that in essence
expressed the content of specific musical
works. He may well have taken the words
of the poet Johann Wolfgang von Goethe
quite literally: “Architecture is frozen
music.”
These sketches were executed at various
times from 1917 to 1936.
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Characteristics
MODERN ARCHITECTURE
Common themes of modern architecture include:
• "Form follows function", meaning that the result of design should
derive directly from its purpose.
• Simplicity and clarity of forms and elimination of "unnecessary
detail"
• Visual expression of structure (as opposed to the hiding of structural
elements)
• The related concept of "Truth to materials", meaning that the true
nature or natural appearance of a material ought to be seen rather
than concealed or altered to represent something else.
• Use of industrially-produced materials; adoption of the machine
aesthetic.
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ADVANCES IN BUILDING TECHNOLOGY
• With the Industrial Revolution, the availability of newly-available
building materials such as iron, steel, and sheet glass drove the
invention of new building techniques.
• It was not until the early 1830s that Eaton Hodgkinson introduced
the section beam, leading to widespread use of iron construction.
• A further development was that of the steel-framed skyscraper in
Chicago around 1890 by William Le Baron Jenney and Louis
Sullivan.
• The architects believed in the power of rational thought and
ultimately in its economy and functionality and they believed that
their rational designs could be best produced through
mechanization yielding efficient machine made buildings.
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School of Architecture

Ar. Preeti nair

Ithiel town–Lattice truss (1820)

1010ft high Eiffel tower

Arts and Crafts objects were simple in form, without superfluous or

They were influenced by the Gothic Revival and were interested in medieval

Red house ,Bexleyheath,Kent 1859-60 12

•One of the most multi used buildings constructed in the country

THE WAINWRIGHT BUILDING

•While the middle section consists

• The building's windows and

The "classical" elevation

The organic decoration of the entrance

• While expressionism in architecture may not have quite so much

• Expressionist forms are often sculptural, sometimes irrational, usually

• The notion of identifying “expressive” qualities in a building is not

• Expressionistic form can also convey spirituality as well as psychology

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