Analysis of Modernist & Deconstructivist Architecture
1. Tassel House Analysis
Description
The Tassel House, designed by Victor Horta in 1892-1893 in Brussels, is a small residence constructed with classic materials like wood and stone, alongside modern iron beams and columns. Horta was a pioneer in using iron as both a structural and decorative element.
Formal Analysis
The building’s layout adapts to a long, narrow plot, featuring three floors with open plans. A harmony exists between functionality and modernist aesthetics, with rhythmic patterns in the walls and iron columns echoing plant forms. Ornaments and three-dimensional elements are reproduced two-dimensionally. The lobby features a prominent column and vegetal motifs, while wall drawings and lighting contribute to a sensual atmosphere. The exterior presents a more regular appearance, with rectangular windows and a clear horizontal cornice line.
Interpretation
Commissioned by engineer Tassel, the house served as a private family dwelling. Horta oversaw the entire construction process. This style, with its higher cost, appealed to an urban, bourgeois clientele. The building represents a departure from purely functional design, embracing craftsmanship. Modernism, emerging in late 19th and early 20th century Western Europe, is considered an artistic renewal movement.
2. Barcelona Pavilion Analysis
Description
The Barcelona Pavilion, designed by Mies van der Rohe, combines modern materials like steel, chrome, and glass with classic materials like travertine marble and onyx. The building features a trabeated construction system with vertical and horizontal supports. Eight cruciform steel columns with high chromium content eliminate the load-bearing function of the walls.
Formal Analysis
The interior features an open plan with walls defining different spaces. A continuity between interior and exterior is achieved through the use of transparent glass and reflecting pools. The space is dominated by horizontal lines and rectangular planes, reminiscent of Piet Mondrian’s neoplasticism. Access is via granite steps, and a travertine marble wall separates the auxiliary section from the main body. A sculpture by Georg Kolbe and the Barcelona chair, designed by Mies van der Rohe and Lilly Reich, are notable additions.
Interpretation
The pavilion showcases rationalist architecture, characterized by an open plan, rigid structure, minimal ornamentation, and non-load-bearing walls. These innovations stem from the use of modern materials and a focus on functionality. Conceived as a temporary structure, the pavilion became highly influential, particularly in introducing rationalist architecture and Bauhaus principles to Spain. The design emphasizes open space, human dimension, austerity, and simplicity, embodying Mies van der Rohe’s “less is more” philosophy. The pavilion’s horizontal autonomy, open plan, and careful attention to proportions reflect modernist principles.
3. Guggenheim Bilbao Analysis
Description
Constructed between 1991 and 1997 in Bilbao, the Guggenheim Museum sits on the Nervión estuary. Designed by Frank Gehry, the building spans 24,290 m2, with 11,000 m2 dedicated to exhibition space. Its construction involved materials like limestone, glass, and titanium, and utilized the CATIA computer simulation program for structural calculations and 3D modeling.
Formal Analysis
The building’s layout resembles a flower, with galleries radiating from a central atrium. Organized around a 50-meter high atrium, the museum features three floors with 19 galleries. Ten galleries house the permanent collection, while irregularly shaped halls accommodate temporary exhibitions. Natural lighting is provided by skylights, and curved walkways, glass elevators, and towers connect the galleries. The “Fish Gallery” allows for the display of large-scale works. The exterior features limestone-clad volumes and titanium-clad curved forms, creating a dynamic and unconventional appearance.
Interpretation
and function .- In early 1991 the Solomon R. Guggenheim stated his desire to build a new headquarters, a new museum in Europe. This project coincided with the desire of the Basque autonomous government to build a contemporary art museum in Bilbao as part of the recovery process of the city. It was a competition internationally and eventually accept the proposed FO Gehry for the correct adjustment to fixed space and especially his monumental because of its powerful visual force. In fact, once built, the Guggenheim goes beyond its role as museum has become an emblem, a landmark of the new Bilbao. To complement the overview of the introductory sections are a couple of topics surrounding the Guggenheim Museum in Bilbao that go beyond its role of museums and to consider meaning (related to the historical and cultural) .-. Its construction has created quite a controversy and polemics by its nature risky and, in fact, Gehry himself when he saw the first finished he said: My God, how mhan stopped doing this?. In some sense the building qualify as creation starchitect (+ star architect) derogatory term for these realizations called star architects who sow spectacular icons worldwide. But on the other hand, this museum is also an example of the so called wow factor (wow factor) as a concept to refer to buildings that have promoted a dramatic process of urban regeneration of the urban fabric itself, in this case the museum. In fact the classes we talk about urban design as a paradigm of Bilbao effect improvements, and economic planning can provide a unique building. As Gehry himself recognizes many points of contact between Sidney J. Lopera Utzon and the Guggenheim Museum, both from a technical standpoint and from a formal point of view and symbolic landmark for the city.