Spaarndammerplantsoen, “The Ship”, Amsterdam, Netherlands, 1917
12. Frank Lloyd Wright, Quadruple Housing Type, Suntop Homes, Pennsylvania 1938-42Suntop Homes, Pennsylvania 1938-42
Commissioned to concentrate traditional American garden cities in 1938, Wright designed this development. As an attempt to create a structure with the potential of growing, he integrated a sequence of well-conceived components by rotating them. However, only one of them was realised in Ardmore.
The design is based on a 90 degree rotation of the four dwelling units, similar to the logic of pinwheels.
Rotation of a basic component and the angle between the quartets imbued both their correlations and the the tracery of the common areas. The components also rotate in relation to each other, while rotation helps to block observation between the private gardens within the four-fold cycle of individual apartments, creating an intricate system of access routes. Although only one component of this building type was built because of the war, Wright went on developing his scheme on several occasions in blueprints, prioritizing economical concerns and blocking outside observation.
source: Frank Lloyd Wright - http://www.mediaarchitecture.at/architekturtheorie/
broadacre_city/2011_ardmore_cloverleaf_en.shtml
source: Frank Lloyd Wright - Frank Lloyd Wright: The living city, Bramhall House, 1957
source: Frank Lloyd Wright - Frank Lloyd Wright: The living city, Bramhall House, 1958
source: Frank Lloyd Wright - http://www.mediaarchitecture.at/architekturtheorie/
broadacre_city/2011_ardmore_cloverleaf_en.shtml
source: Frank Lloyd Wright - http://www.mediaarchitecture.at/architekturtheorie/
broadacre_city/2011_ardmore_cloverleaf_en.shtml
source: Frank Lloyd Wright - http://www.mediaarchitecture.at/architekturtheorie/
broadacre_city/2011_ardmore_cloverleaf_en.shtml
outbreak of the war. The snow-white volumes adapted to the inclination and shifted level by level are accessible via routes supported by rubble retaining walls which traverse the terrain like tentacles, which in turn reinforces the cohesion of the building and the cultivated environment. By shifting the masses, terraces topped with rough, hand-hewn timber frames could be created on the roofs to function as gardens, but the dwelling units also have access, via small staircases, to the forested preserved for shared use. This humanised modern building by Aalto created a liveable residential environment by blending organic and designed components, relying upon a use of both forest and terraces.
source: Alvar Aalto - Alvar Aalto, Synopsis, Painting, Architecture, Sculpture, Birkhauser Verlag, Basel und Stuttgart, 1970, 98.old
source: Welin - Rudolf Flotho, Neue urbane Wohnformen, VERLAG ULLSTEIN GMBH, Frankfurt, Berlin, Wien, 1952
source: Welin - Rudolf Flotho, Neue urbane Wohnformen, VERLAG ULLSTEIN GMBH, Frankfurt, Berlin, Wien, 1953
source: Welin - Rudolf Flotho, Neue urbane Wohnformen, VERLAG ULLSTEIN GMBH, Frankfurt, Berlin, Wien, 1954
source: Welin - Rudolf Flotho, Neue urbane Wohnformen, VERLAG ULLSTEIN GMBH, Frankfurt,
source: Welin - Rudolf Flotho, Neue urbane Wohnformen, VERLAG ULLSTEIN GMBH, Frankfurt, Berlin, Wien, 1955
14. Haefeli - Hubacher-Steiger - Moser-Roth - Artaria-Schmidt, Werkbundsiedlung, Zürich, Switzerland, 1939
Following the Viennese exhibition, a showcase was organised of modern Swiss architects’
experimental residential buildings. Unlike the international league of planners up till then, on the developing site in Neubühl, seven Swiss architects were commissioned to head a construction cooperative in the public interest. The area’s 128 flats were arranged in rows along routes spreading in determined directions, with the compass providing the ground plan for the burgeoning composition. On one side of the construction site, classic row houses were arranged on a northwest-southeast axis; on the other, multi-apartment houses lay along a pure north-south axis. The site included multiple variations on the single-unit row houses, designed with well-proportioned ground plans of Swiss precision, while featuring dimensions and rents to suit the sizes and financial means of incoming families. Given the location’s incline, residential units beside one another were shifted in a vertical direction, contributing to the intimacy of gardens and terraces off the living room areas. Row house units were two-storey, varying in size from 3- to 6-room.
source: Adrian Michael - http://de.wikipedia.org/wiki/Datei:Wollishofen_Neub%C3%BChl.jpg, 2012.07.19.
source: /-/ - Tér és forma, 1933
source: /-/ - Tér és forma, 1935
source: /-/ - Tér és forma, 1936
source: /-/ - Tér és forma, 1937
source: /-/ - Tér és forma, 1938
source: /-/ - Tér és forma, 1939
source: /-/ - http://www.schmidarch.ch/bauten/bauteninarbeit/2003_neubuehl.php, 2012.07.19.
source: /-/ - http://eng.archinform.net/projekte/4178.htm, 2012.07.19.
examples were row house developments usually built in mining neighbourhoods to economise the utilisation of sites and minimise buildings costs. As a rule, housing complexes meant for employees of state institutions were facilitated by laws and motivated by tax advantages.
The developments described here were typically realised as public projects under state supervision with substantial government subsidies. These forms of housing were mainly targeted for the employees of public companies, while some projects were meant to improve middle-class housing conditions.
The shortage of housing affecting workers flocking to cities from the countryside was a burning issue, thus spurring new housing projects.
The Wekerle, MÁV (Hungarian State Railways) and Albertfalva projects were large-scale developments of the housing estate style defined by traditional principles of urban planning, symmetrical design and centrally placed plazas within a perpendicular system. Early 20th-century buildings still retained the stylistic features and technologies of fin-de-siècle projects. Additionally, the MÁV estate reflects the corporate image of the “Royal Hungarian Railways”. With the passage of time, designers developed a preference for unadorned simplicity, a desire reflected in buildings by Oszkár Füredi and Viktor Bőhm.
As for apartments, designers intended to develop at least two-room dwelling units with rents that were affordable for members of the targeted social layers. Accordingly, the Wekerle project was facilitated by legal regulations. Ground-floor plans typically correspond to small and compact apartments, with substantially smaller floor size than their equivalents in Western Europe.