- 上一篇：产品设计与环境英文文献和中文翻译
- 下一篇：城市景观生态英文文献和中文翻译
R. M. Schindler and Richard Neutra were both Viennese, and while they were young men they both came under the influence of the progressive architects Otto Wagner(1841-1918) and Adolf Loos (1870-1933). Each heard Loos lecture in praise of machinemade, prefabricated components, attack the use of ornament, and extoll life in America. Both were also greatly affected by the German publication in 1911 0f Frank Lloyd Wright's work.
Schindler left for Chicago in 1914, and four years later he was working in Wright's office. In 1919, Wright sent him to Los Angeles to supervise construction of the Aline Barnsdall House, a poured-concrete structure. Schindler was already familiar with the material from buildings erected in Austria by Adolf Loos. After the Barnsdall House was completed, he remained in California, where he established his own office.
During the 1920s, concrete became Schindler's primary building material. His exploitation of its possibilities is seen: for example, in the Philip Lovell Beach House (Fig. 2720). Five rows of concrete piers raise the house well above the beach. and. with the vertical piers, the horizontal balconies create a form suggestive of the machine age in their precision. In many areas. broad membranes of glass replace external weightbearing walls, for the structural system is now largely internal. If the Lovell House lends itself to comparison with anything, it would be with some of the contemporary experiments in design being conducted at the Bauhaus (see pp. 419 and 504).
Richard Neutra came to America from Vienna in 1923 and. like Schindler, worked for Wright briefly. By 1925, he had settled in Los Angeles, where he and his fellow Viennese friend had an informal partnership for a while. In Neutra's work, too, one sees the influences of both Loos and Wright. His Jardinette Apartment Building (1927) in Los Angeles is one of the earliest examples of the International style of architecture (see chapter 33) in the United States. Constructed of reinforced concrete, it has long rows of prefabricated, metal-frame ribbon windows, cantilevered balconies, and a flat roof.
Soon after, Neutra embarked on a trip around the world that included a visit to Japan and a period in Germany, where he was a guest lecturer at the Bauhaus. Back in Los Angeles, in the 1930s he designed a number of private residences and a school that became the model for many others in the area. Neutra remained active after 1940, especially in the designing of houses in southern California.
THE SKYSCRAPER:ART DECO AND THEINTERNATIONAL STYLE
Having left off in early 1920s with the Tribune Tower-that skyscraper in the Gothic mode-we return now to the challenge posed by the tall office building.
The march of modernism was relentless, and its advocates were determined to purge architecture of all traces of historicism. Around 1930, two attempts were made to find some solution other than historicism for the skyscraper, which now rose to unprecedented heights.
THE CHRYSLER BUILDING AND THE EMPIRE STATE BUILDING
Both the Chrysler Building (Fig. 27.22), designed by William van Alen (1883-1954), and the Empire State Building (Fig.27.24), by the firm of Shreve, Lamb, and Harmon. Were Designed in three sections: A base, a shaft that is set in from the-base, and an elegant, spirelike top. In each building, slender ribs extend heavenward from the street level to the spire, creating the pronounced vertical axis that is appropriate to the form, while at the same time suggesting the structure of the reinforced steel frame.
The crowning glory of the Chrysler tower is its Art Deco spire, the result of a conscious effort Co create some form other than Beaux-Arts historicism (Fig. 27.23). The lovely, innovative composition of decreasing, wheel-like motifs with radiating triangles is encased in aluminum, a metal that suggested sleekness and the streamlined forms of the machine age.