Late Modern Architecture - Critical comparision
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Review of the Bagsvaerd Church and The Church of Light, in context of their late modern architectural styles.
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Late Modern Architecture - Critical comparision
- 1. Late Modern Architecture Bagsvaerd Church, Jorn Utzon Church of Light, Tadao Ando
- 2. An understanding Late Modern Architecture Toward the end of the Modern period, the international style experienced two notable trends. •One was more extensive use of curved walls •The other was brutalism: harsh, bulky concrete structures, often with unfinished surfaces. These trends have been interpreted as the transitional phase to Postmodern architecture, as architects grew impatient with the severe simplicity of the international style.
- 3. Critical Appreciation Church of the Light 1989 Ibaraki, Osaka, Japan Tadao Ando Less is more Abstract nature Timeless Quality Rejects the surrounding metropolis
- 4. Section Plan
- 5. Critical Appreciation Bagsvaerd church 1976 Copenhagen, Denmark Jorn Utzon Outside-Inside Outside-Inside
- 6. Concept The Bagsværd Church was conceived by Utzon when he was lying on the beach in Hawaii, staring into the sky. He was awed by the regular passage of clouds above him, imagining it to be the ceiling of the new church. The Vitruvian Man
- 7. The New Brutalism Ethic or Aesthetic? 1950s to mid 1970s •Very linear, repetitive angular geometries •Mostly predominance of Concrete Construction •Rough blocky appearance •Expression of materials and services in exterior Socialist Utopian Ideology •Cold appearance, unfriendly, uncommunicative •Totalitarian •Urban decay appearance •Disregarding the social, historic, and architectural environment of its surroundings
- 8. http://yamadaarchiblog.blogspot.in “…everything was eliminated except the unadorned structure,” Tadao Ando •Idolization of the concrete walls •Structure as the ornamentation •Limited Budget •Scaffolding planks employed for floor and benches •Finished with black oil stain •Simple forms
- 9. Late modern in Bagsvaerd • Brutalist exterior and the curved ceiling in the interiors has been used together in the building by Jorn Utzon. • Radical and new design. • No ornamentation • Repetitive blocks The breath-taking qualities of the ceiling immediately emulate a feeling of transcendence to heaven.
- 10. Distinct depart from Modern Architecture Critical Regionalism 1980s Tries to counter ‘placeless’ness and lack of identity in Modern Architecture by using the geographical context of the building. Not regionalist or vernacular architecture Rather the same in the backdrop of hegemony of modernism and pastiche scenography of post modernism, both of which have failed to address the human condition due to their extreme stances towards historicism. Defamiliarization Emphasis should be on the tactile sense rather than the visual. Architecture suited to light and touch
- 11. Striking similarity Architecture suited to light
- 12. In context Critical Regionalism Zen garden The traditional tea house Japanese music Zen Buddhist Temples Haiku poetry Connect to nature Architecturalmoleskine.blogspot.in Traditional Japanese Shoji Glass sliding screen and gateway to the room
- 13. In context Critical Regionalism The exterior is constructed following the universal technique of rational, modular, economic, prefabricated concrete, versus the interior that expresses the culture of the region with a specifically designed, organic, reinforced concrete shell that manipulates the Scandinavian sky and has multiple cross-cultural references.
- 14. Continued… • What is present in Bagsvaerd Church is the juxtaposition of the interior and the exterior and it’s Nordic concrete Architecture is: relationship to the female and - Architecture where concrete is used as a male. dominating and visible material and/or • “Sharp angled male architecture in -Architecture where concrete is expressed contrast to the sensuous” through the geometry. • Due to its spiritual nature, the interior space in the church, sacristy In Bagsvaerd Church, the roof structure in and chapel, these spaces emit a concrete shows some of the possibilities to sense of calm and peacefulness show the plasticity of the concrete. while the exterior exudes a feeling of security and protection. www.nordicinnovation.org
- 15. In question Is Tadao Ando a Critical Regionalist? •How does he address regionalism? •Mere constructions? •Evocative domestic elements? •Revitalizing the Japanese feelings •Interplay of light, materials and details •Ando is clearly regional. But is he critical? •Isn’t ‘Critical Regionalism’ in itself an oxymoron? •Can a place be regional yet not associate itself with nostalgia? • ‘Concrete Regionalist’ ? Concrete Resistance: Ando in the context of critical regionalism ; Xianghua Wu
- 16. •Nature is architecture’s best teacher The Architect: Jorn Utzon •“The Innermost Being of Architecture” •Additive Architecture •Modest to monumental •Nordic Sensibility •Influenced by the architecture of the ancient Mayan civilisation, as well as the Islamic world, China and Japan. The Architecture of Jorn Utzon. Kenneth Frampton, Pritzker Prize 2003 Speech
- 17. • Additive Architecture Additive Architecture Additive Architecture is an approach by Jorn Utzon to describe his development of architectural projects on the basis of growth patterns in nature. Additive Architecture in Bagsvaerd Church
- 18. Thank you
Notes de l'éditeur
- Eg: Auditorio de Tenerife, sydney opera house Eg: millenium hilton hotel,new york times bldg
- Simple building that makes the most of what it can. consisting of only six walls and a ceiling, it is a testament to the phrase "less is more". Let there be light
- Typically the cross is a “powerful” and “heavy” element in a church, but by creating the cross with windows and essentially, light, Tadao Ando has lifted this “weight” and turned the cross into something “light” (“Making the Modern”).
- Though not his most famous work, the church is an example of the architect’s inventive work at a different scale. Utzon designed the church with an unassuming exterior that merely hints at the stirring forms he created inside.
- Some of the formal aspects that relate to human proportion of Bagsvaerd Church are Utzon’s use of the square in plan and, in elevation, circles in the undulating ceiling, both these basic geometries referring to Da Vinci’s Vitruvian man.
- Brutalism- a term derived from “Beton brut”- raw concrete.. ( due to weathering of materials) rather than being integrating and protective forceful presence, interrupted only by a thin cross shape cut into the concrete wall that emits two slivers of light into the otherwise unfenestrated room. Here the solidity of the concrete is contrasted with light in order to set up a comparison between the material and the immaterial, and thus to provide a spare, spiritual ambience within the church
- Benches etc.- intention was to appeal the senses. Wood- Warm cozy –darkest feature- eerie Concrete-cold, uncomfortable
- During the time this evolved, post modernism itself as a reaction to modernism was it its peak. Resistant to homogeneous modernism, yet confrontational with the world as well as itself.
- Diffused daylight
- Basically modernist and in that sense confronts tradition and reformulates memory in a way that points to the future. extremely spare, concrete modernist structure, but it is also informed by Zen philosophy in its contrast between the solidity of the concrete and the immaterial nature of the light Haiku effect -nothingness and empty space to represent the beauty of simplicity
- At first glance the church suggests solid, dominant, industrial appearance with the exterior of prefabricated concrete and sharp angles. It exudes masculinity. However, the interior sharply contrasts what one might expect. The poetic, cloud-like undulating ceiling and sacred space appeals to emotions and gives the sensation of the feminine on the interior.
- Critical against the modern urban context. The consumerism of modern city. Also critical of the vernacular one. Realizes the disjoint between Japanese traditional way of life and the post war one. it is his romantic sentimentality and homogenized forms that ultimately undermine this label ‘critical regionalist’ Concrete used in ways supposedly responding to local conditions yet aspiring to meaning, monumentality, and symbolic architectural language
- *He believed that buildings were like seeds of the same plant which have the same potential for growth and development, but depending on various factors such as the environment, the seedlings would develop differently. *from the understated monumentality of the Bagsværd Church with its poetic cloud-like undulating ceiling. *that is site specific and poetic, informed by a profound appreciation of nature and diversity of human cultures. *Utzon displays a Nordic sensibility to nature and integrity of design that strives for the attainment of quality in architecture and design, through the simple, honest yet noble synthesis of form, material and function, motivated by social values. To this essentially regional response, Utzon combines a fascination for the architectural legacies of foreign cultures. These influences include the architecture of the ancient Mayan civilisation, as well as the Islamic world, China and Japan.