C 2329 HISTORY OF MODERN ARCHITECTURE 2009 ( SEJARAH SENIBINA MODEN)

EXPRESSIONISM
Expressionism was the international movement in art and architecture. It Flourished between 1905-1920, especially in Germany. Beside painting, the movement extended to literature, music, dance and theatre In architecture, expressionism was largely expressed through the materials such as brick and glass. The different color of brick, form red- brown to bluish-violet, together with their differing surface textures, ensured that the faade gave variety in both colors and forms.

Imbued with socialist ideals, it was applied to all manner of buildings, including homes and apartment blocks, and was partly a reaction to what was considered "bourgeois" neogothic and other revival styles, as well as to the work of Hendrik Petrus Berlage. The style, highly influenced by Expressionism, was characterized by the use of rounded, organic facades with many purely decorative, non-functional elements such as spires, sculptures and "ladder" windows (with horizontal bars reminiscent of ladder steps). The building was built in reinforce concrete structure. The faade was decorated with variety of materials including tiles, concrete and terracotta. The image of the building symbolized shipping, sea and trade with distant world. The movement had its origins in the office of architect Eduard Cuypers in Amsterdam. Although Cuypers wasn't a progressive architect himself, he did give his employees plenty of opportunity to develop. The three leaders of the Amsterdam School Michel de Klerk, Johan van der Mey and Piet Kramer all worked for Cuypers until about 1910. Impetus for the movement also came from the city. In 1905 Amsterdam was the first city to establish a building code, and the city hired Johan van der Mey afterwards, in the special position as "Aesthetic Advisor", to bring artistic unity and vision to its built environment. Van der Mey's major commission, the 1912 cooperativecommercial Scheepvaarthuis (Shipping House), is considered the starting point of the movement, and the three of them
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Amsterdam School
The Amsterdam School (Dutch: Amsterdam School) is a style of architecture that arose in the early part of the 20th Century in The Netherlands.

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collaborated on that building. The Scheepvaarthuis is the prototype for Amsterdam School work: brick construction with complicated masonry, traditional massing, and the integration of an elaborate scheme of building elements (decorative masonry, art glass, wrought ironwork, spatial grammar, and especially integrated figurative sculpture) that embodies and expresses the identity of the building. The aim was to create a total architectural experience, interior and exterior, that carried social meaning. The most important and productive member of the Amsterdam school was Michel de Klerk. Other members of the Amsterdam School included Jan Gratama (who gave it its name), P. H. Endt, H. Th. Wijdeveld, J. F. Staal, C. J. Blaauw, and P. L. Marnette. The journal Wendingen ("Windings" or "Changes"), published between 1918 and 1931, was considered the magazine of the Amsterdam School. The most important examples of the style are obviously found in Amsterdam, the single most important of which probably is Het Schip, designed by de Klerk. The movement and its followers played an important role in Berlage's plans for the expansion of Amsterdam. After De Klerk died in 1923 the style lost most of its importance. The De Bijenkorf department-store in the Hague of 1924 is considered to be the last example of "classic" Amsterdam School expressionism. Moderate variants of the style survived until the Second World War, for example in Protestant church architecture, the work of Berend Tobia Boeyinga.
Einstein Tower in Potsdam, Germany

Einstein Tower

The Einstein Tower is an astrophysical

observatory in the Albert Einstein Science Park in Potsdam, Germany designed by architect Erich Mendelsohn. It was built for astronomer Erwin Finlay-Freundlich to support experiments and observations to validate Albert Einstein's relativity theory. The building was first conceived around 1917, built from 1920 to 1921 after a fund-raising drive, and became operational in 1924. It is still a working solar observatory today as part of the Astrophysical Institute Potsdam. Light from the telescope is
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C 2329 HISTORY OF MODERN ARCHITECTURE 2009 ( SEJARAH SENIBINA MODEN)

brought down through the shaft to the basement where the instruments and laboratory are located. This was one of Mendelsohn's first major projects, completed when a young Richard Neutra was on his staff, and his bestknown building. The exterior was originally conceived in concrete, but due to construction difficulties, much of the building was actually realized in brick, covered with stucco. It underwent a full renovation in 1999, for its 75th anniversary, to correct problems with dampness and decay that had meant decades of repair. It is often cited as one of the few landmarks of expressionist architecture. According to lore, Mendelsohn took Einstein on a long tour of the completed structure, waiting for some sign of approval. The design, while logical and perfectly sufficient to its purpose, stood out like an "ungainly spaceship" in the suburbs of Potsdam. Einstein said nothing until hours later, during a meeting with the building committee, when he whispered his one-word judgment: "Organic". (Otto Friedrich, Before the Deluge.) Mendelsohn himself said that he had designed it out of some unknown urge, letting it emerge out of "the mystique around Einstein's universe" (Wolf von Eckardt, Erich Mendelsohn.) In this building, Erich Mendelsohn tried to express his fantasy of a form for the future. He started to sketch few strokes on papers out of his imagination and to his surprise the fantasy become real.

TWA Flight Center

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departing passengers would walk to planes through round, red-carpeted tubes. It was a far different structure and form than Saarinen's design for the current main terminal of Washington Dulles International Airport, which utilized mobile lounges to take passengers to airplanes.

The TWA Flight Center Building thin-shell structure by Eero Saarinen

The TWA Flight Center was the original name for Terminal 5 at New York City's Airport (now John F. Kennedy International Airport), designed by Eero Saarinen for Trans World Airlines. Under rehabilitation since December 2005, it will be known as the JetBlue Flight Center after its new occupant, JetBlue Airways. It was designated a historic landmark by the City of New York in 1994 and placed on the National Register of Historic Places on September 7, 2005.
The terminal had a futuristic air. The interior had wide glass windows that opened onto parked TWA jets; 29

Design of the terminal was awarded to Detroit-based Eero Saarinen and Associates. It was completed in 1962 and became the airport's most famous landmark. Gates in the terminal were close to the street and this made it difficult to create centralized ticketing and security checkpoints. This building was the first airline terminal to have closed circuit television, a central public address system, baggage carousels, an electronic schedule board and precursors to the now ubiquitous baggage weigh-in scales. In December 2005, JetBlue Airways, which occupies the adjacent Terminal 6 and is the airport's fastest-growing carrier, began construction of an expanded terminal facility, which will utilize the front portion of Saarinen's Terminal 5 as an entry point. The buildings form express a symbol of movement and excitement of flying. The buildings roof that spreads over heads like the wings of a bird about to take flight.