CHARLES WILLARD MOORE DESIGN PRINCIPLES

AR 2003HISTORY OF ARCHITECTURE II

CHARLES WILLARD MOORE

SUMBITTED BY: THURRAM VIJAY KUMARB130094AR

CHARLES WILLARD MOORE IS AN AMERICAN ARCHITECT, EDUCATOR AND WRITER

CREDITED AS THE INSTIGATOR OF POST-MODERNISMBORN: OCTOBER 31, 1925

NATIONALITY: AMERICAN

EDUCATION: UNIVERSTY OF MICHIGAN(B.ARCH)

PRINCETON UNIVERSITY (M.ARCH)

AWARDS: AIA GOLD MEDAL (1991)

SOME OF HIS FAMOUS BOOKS

WATER AND ARCHITECTURE

THE PLACE OF HOUSES

DIMENSIONS

BODY MEMORY AND ARCHITECTURE

THE POETICS OF GARDENS

THE CITY OBSERVED: LOS ANGELES

CHAMBERS FOR A MEMORY PALACE

PRINCIPLE 1

If we are to devote our lives to making buildings, we have to believe that they are worth it, that they live and speak (of themselves, and the people who made them and thus inhabit them), and can receive investments of energy and care from their inhabitants, and can store those investments, and return them augmented, bread cast on water come back as club sandwiches.

Principle 1 speaks of living and speaking places, in which habitation supports interplay between occupant and structure that leads to a particular kind of relationship. Good buildings evoke thoughts, feelings and stories. They convey stories about their location, their construction, and about the people who made them, have lived in them and use them.

DESIGN PRINCIPLES OF CHARLES WILLARD MOORE

PRINCIPLE 2

If buildings are to speak, they must have freedom of speech. It seems to me that one of the most serious dangers to architecture is that people may just lose interest in it… If architecture is to survive in the human consciousness, then the things buildings can say, be they wistful or wise or powerful or gently or heretical or silly, have to respond to the wide range of human feelings.

Postmodernists like Moore wrote passionately about architecture as communication, as a medium to reflect human experience. It follows that if buildings can ‘speak’ about how they were built and about the people who use them and who built them, then what they say must be unconstrained. This principle declares the right of freedom of speech for architecture and the architect. In reaction to the possible perception that modernism’s strict functionalist code stifled freedom of expression, architects must not have their voices dictated, Moore declares. When an architectural paradigm or period ends, it must be possible for the architect to express a new collective or personal voice, without the ‘censorship’ imposed by a dominant design theory, paradigm, movement or fashion.

FAMOUS WORKS

PIAZZA D’ITALIA

The Piazza D'Italia is an urban public plaza located at Lafayette and Commerce Streets in downtown New Orleans, Louisiana.

The location ultimately chosen for the Piazza D’Italia was a city block sited in the semi-derelict upriver edge of downtown, four blocks from Canal Street and the edge of the French Quarter and three blocks from the Mississippi River.

By the mid-1970s, this area had already endured several decades of disfavor and was littered with abandoned or barely utilized mid-19th-century commercial row houses, early-20th-century industrial architecture and obsolete port infrastructure. The Piazza D'Italia, it was hoped, would trigger a wave of investment in the Warehouse District and along New Orleans' downtown riverfront, and more generally ignite interest in downtown.

PIZZA D’ITALIA

ARCHITECTURAL DESIGN STYLE: SPANISH REVIVAL, ART DECO AND POST-MODERN The central fountain, located in the middle of a city block, was accessed in two directions: via a tapering, keyhole-shaped passage extending from Poydras Street, or through an arched opening in the clock tower sited where Commerce Street terminates at Lafayette Street.

PLAN OF PIZZA D’ITLIA

The fountain and its surrounding colonnades playfully appropriated classical forms and orders, executing them in modern materials (e.g., stainless steel, neon) or kinetically (e.g., suggesting the acanthus leaves of traditional Corinthian capitals through the use of water jets).

There are six concentric colonnades out of which fiveof them, represent the five classical orders of architecture( Doric, Corinthian, Tuscan and Composite)in proper order with the proper capitals, and there’s a sixth stylized colonnade in front, the red one and called The Delicatessen Order(tee hee) which closelylooks like Ironic Order or Dorky Order

DELICATESSEN ORDERS

WATER FLOW IN PIZZA D’ITALIA

BEVERLY HILLS CIVIC CENTERThe civic centre was designed by Charles Moore. Drawing upon the Spanish Revival architecture of the city hall, Moore designed this building in a mixture of Spanish Revival, Art Deco and Post-Modern styles. It includes courtyards, colonnades, promenades, and buildings, with both open and semi-enclosed spaces, stairways and balconies.

BEVERLY HILLS CIVIC CENTER

The most striking aspect of the plan was a string of three colonnaded oval plazas that established a diagonal axis across the two blocks, tying the civic center to the business triangle. The plazas transformed the free-standing City Hall into a background building, putting the emphasis on the open space

PLAN OF BEVERLY HILLS CIVIC CENTER

Three oval courtyards bounded by tiled arcades are arranged diagonally on a north-south axis, linking the two city blocks that comprise the civic center. The use of colorful tile alludes to City Hall’s tiled dome, and the terraced courtyard on the building’s western elevation reflects its original design, with scroll-topped patio walls decorated with urns and two fountains in a symmetrical garden. The court gardens, planted with palms and subtropical plants, are abstractions of Southern California landscapes They are connected by a series of fountains and pools fed by a "desert oasis" represented by a mass of boulders at the site’s upper edge.

PALMS AROUND BEVERLY CIVIC CENTER

OTHER WORKS

WILLAMS COLLEGE MUSEUM OF ART, MASSACHUSETTS

THE HAAS SCHOOL OF BUSINESS, BERKELEY

LURIE TOWER AT THE UNIVERSITY OF MICHIGAN

NATIONAL DONG HWA UNIVERSITY, HUALIEN,TAIWAN

SUMMARY

In designing the buildings, Charles Willard Moore

• EMPHASIZED BODY SENSE

• BODY EXPERIENCE EXTENDED

• VIEW (FEEL) FROM WITHIN

• DRAMATIC

• MORE PHILOSOPHICAL

• USED UNCONVENTIONAL ELEMENTS TO ACHIEVE HISTORIC MEMORY

REFERENCEwww.wikipedia.in

www.archdaily.com

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