EMERGING TRENDS IN HOUSING

UNIT 1 – INTRODUCTION

Presentation 2ND Semester M. Arch (Real Estate Development)

JAN-APR 2019

Elective Course
Faculty – Ar.M.Madhan
MEASI Academy ofArchitecture

Contents :
Ideas and Concepts in Housing -Antonio Sant Elia - Le Corbusier – Mies – F.L.Wright
EUROPE’s UTOPIAN VISION

Utopian ideas in Europe: a) La città nuova by Antonio Sant'Elia (1914); b) Geodesic Dome by R. Buckminster Fuller,
about 1950; c) Walking City by Ron Heron (Archigram) (1964); d) Fragment of morphogenetic structure by Jon Bailey
(2011).
ANTONIO SANT ELIA’s CITTA NUOVO

https://www.altaplana.be/dictionary/sant_elia_antonio
ANTONIO SANT ELIA’s CITTA NUOVO

Sant'Elia, Antonio. Study for a power station.
1913. Ink on Paper: Musei Civici de Como,
Italy. Architects’ Drawings: A Selection of
Sketches by World Famous Architects Through
History. Amsterdam: Elsevier/Architectural,
2005. 144. Print.
Sant'Elia, Antonio, Milan: Aeroplane
Sant'Elia, Antonio, Manifesto Station Sketch rebuilding Milan
dell'Architecttura Futurista. 1914. Central Station. 1912. Drawing. Data
Drawing. Avery Architectural & Fine Arts From: University of California, San
Library, Columbia University, New York. Diego. ARTstore. Web. 04-12-2017.
ARTstore. Web. 04-12-2017.

Sant'Elia, Antonio, Design for

Monza Cemetery. 1912. Drawing.
Avery Architectural & Fine Arts
Library, Columbia University,
New York.
ARTstore. Web. 04-12-2017.

http://www.cccarchitecture.org/antonio-santelia/
ANTONIO SANT ELIA’s CITTA NUOVO
At the exhibition “Nuove Tendenze” of May 1914, there emerged a number of surreal drawings of then-
unusual buildings and novel town-planning ideas under the title Citta Nuova. The creator, the Italian
architect Antonio Sant’Elia, accompanied this exhibition with a denunciatory Messagio – later reworked
as “The Manifesto of Futurist Architecture” – a polemical treatise attacking what Sant’Elia perceived to
be the sorry state of architectural practice.
In it, he charged:
“The problem of Modern architecture is not a problem of rearranging its lines; not a question of finding
new mouldings; new architraves for doors and windows… But to raise the new-built structure on a sane
plan, gleaning every benefit of science and technology… rejecting all that is heavy, grotesque and
unsympathetic to us (tradition, style, aesthetics, proportion.).”

Thus, in the place of historical customs and conventions, Sant’Elia proposed a vision of a Modern city
that
took the form of a “gigantic machine.”

Central to his Citta Nuova concept is the electrifying dynamism championed by his futurist
contemporaries. Sant’Elia embraced the ideal of motion and activity. And as Marinetti had claimed few
years prior that the “roaring car… is more beautiful than the Victory of Samothrace,” Sant’Elia replaced
classical elegance (“We must resolve the problem of Modern architecture without cribbing photographs of
China, Persia or Japan”[4]) with the vision of an “immense, and tumultuous shipyard” as the model
human environment.

City design theories originally championed by Sant’Elia. In particular, the Italian architect’s de-emphasis
on the autonomy of buildings, his obsession with circulation are apparent consistently throughout the
campus.
LE CORBUSIER – Radiant City (VILLA RADIIEUSE)
Ville Radieuse (The Radiant City) is an unrealized urban master plan by Le Corbusier, first
presented in 1924 and published in a book of the same name in 1933. Designed to contain
effective means of transportation, as well as an abundance of green space and sunlight, Le
Corbusier‟s city of the future would not only provide residents with a better lifestyle, but
would contribute to creating a better society. Though radical, strict and nearly totalitarian in
its order, symmetry and standardization, Le Corbusier‟s proposed principles had an
extensive influence on modern urban planning and led to the development of new high-
density housing typologies.

In accordance with modernist ideals of progress (which encouraged the annihilation of

tradition), The Radiant City was to emerge from a tabula rasa: it was to be built on nothing
less than the grounds of demolished vernacular European cities. The new city would contain
prefabricated and identical high- density skyscrapers, spread across a vast green area and
arranged in a Cartesian grid, allowing the city to function as a “living machine.” Le Corbusier
explains: “The city of today is a dying thing because its planning is not in the proportion of
geometrical one fourth. The result of a true geometrical lay-out is repetition, The result of
repetition is a standard. The perfect form.”

At the core of Le Corbusier‟s plan stood the notion of zoning: a strict division of the city into
segregated commercial, business, entertainment and residential areas. The business district
was located in the center, and contained monolithic mega-skyscrapers, each reaching a
height of 200 meters and accommodating five to eight hundred thousand people. Located in
the center of this civic district was the main transportation deck, from which a vast
underground system of trains would transport citizens to and from the surrounding housing
districts.
LE CORBUSIER – Radiant City
The housing districts would contain pre-fabricated apartment buildings, known as
“Unités.” Reaching a height of fifty meters, a single Unité could accommodate 2,700
inhabitants and function as a vertical village: catering and laundry facilities would be on
the ground floor, a kindergarden and a pool on the roof. Parks would exist between the
Unités, allowing residents with a maximum of natural daylight, a minimum of noise and
recreational facilities at their doorsteps. These radical ideas were further developed by
Le Corbusier in his drafts for various schemes for cities such as Paris, Antwerp,
Moscow, Algiers and Morocco.

The Radiant City‟s influence was not exclusive to the world of urban planning. In 1947,
Le Corbusier designed the Unité d'Habitation in Marseille, which - inspired by The
Radiant City‟s Unités - contained 337 apartments in a single building, along with public
facilities on the roof and ground floor. Due to the costs of steel production in the post-
War economy, the Unité d'Habitation was constructed of exposed concrete and heralded
the arrival of brutalist architecture. In the years that followed, four similar buildings were
erected in France and Germany. This typology, which provided an answer to the Post-
War housing shortage, was further adapted around the world in countless housing
projects.

Nevertheless, the idea of proposing order through careful planning is as relevant now as
when Le Corbusier first published The Radiant City. Issues of healthy living, traffic, noise,
public space and transportation, which Le Corbusier - unlike any architect before him -
addressed holistically, continue to be a major concern of city planners today.
 LE CORBUSIER – Radiant City

https://www.archdaily.com/411878/ad-classics-ville-radieuse-le-corbusier
 LE CORBUSIER – Contemporary City, A contemporary city of three millioninhabitants

Site
A level site is the ideal site [for the contemporary city]. In all those places where traffic becomes over-intensified the
level site gives a chance of a normal solution to the problem. Where there is less traffic, differences in level matter
less.
Population
This consists of the citizens proper; of suburban dwellers; and of those of a mixed kind.
(a)Citizens are of the city: those who work and live in it.
(b)Suburban dwellers are those who work in the outer industrial zone and who do not come into the city: they
live in garden cities.
(c) The mixed sort are those who work in the business parts of the city but bring up their families in garden cities.
The City, as a business and residential centre.
The Industrial City in relation to the Garden Cities (i.e. the question of transport). The
Garden Cities and the daily transport of the workers.
Our first requirement will be an organ that is compact, rapid, lively and concentrated: this is the City with its well
organized centre. Our second requirement will be another organ, supple, extensive and elastic; this is the Garden
City on the periphery. Lying between these two organs, we must require the legal establishment of that absolute
necessity, a protective zone which allows of extension, a reserved zone of woods and fields, a fresh-air reserve.
 LE CORBUSIER – Contemporary City, A contemporary city of three millioninhabitants
Density of population.
The more dense the population of a city is the less are the distances that have to be covered. The moral,
therefore, is that we must increase the density of the centres of our cities, where business affairs are carried on.
Lungs
Work in our modern world becomes more intensified day by day, and its demands affect our nervous system in a
way that grows more and more dangerous. Modern toil demands quiet and fresh air, not stale air.
The towns of today can only increase in density at the expense of the open spaces which are the lungs of a city.
We must increase the open spaces and diminish the distances to be covered. Therefore the centre of the city must
be constructed vertically.
The city‟s residential quarters must no longer be built along “corridor-streets,” full of noise and dust and deprived of
light.
It is a simple matter to build urban dwellings away from the streets, without small internal courtyards and with the
windows looking on to large parks; and this whether our housing schemes are of the type with “setbacks” or built on
the “cellular” principle.
Traffic
(a) Heavy goods traffic.
(b) Lighter goods traffic, i.e. vans, etc., which make short journeys in all directions.
(c) Fast traffic, which covers a large section of the town.
Three kinds of roads are needed, and in superimposed storeys:
(a)Below-ground there would be the street for heavy traffic. This storey of the houses would consist merely of
concrete piles, and between them large open spaces which would form a sort of clearing-house where heavy
goods traffic could load and unload.

(a)At the ground floor level of the buildings there would be the complicated and delicate network of the ordinary
streets taking traffic in every desired direction.

(b)Running north and south, and east and west, and forming the two great axes of the city, there would be great
arterial roads for fast one-way traffic built on immense reinforced concrete bridges 120 to 180 yards in width and
approached every half-mile or so by subsidiary roads from ground level. These arterial roads could therefore be
joined at any given point, so that even at the highest speeds the town can be traversed and the suburbs reached
without having to negotiate any crossroads.
LE CORBUSIER – Contemporary City, A contemporary city of three millioninhabitants
LE CORBUSIER – Contemporary City, A contemporary city of three millioninhabitants
The city
Twenty-four skyscrapers capable each of housing 10,000 to 50,000 employees; this
is the business and hotel section, etc., and accounts for 400,000 to 600,000
inhabitants, linking up with the metropolitan network…At a still lower level, and again
following these two main axes, would run the one-way loop systems for suburban
traffic, and below these again the four great main lines serving the provinces and
running north, south, east and west. These main lines would end at the Central
Station, or better still might be connected up by a loop system.

The station
There is only one station. The only place for the station is in the centre of the city. It is
the natural place for it, and there is no reason for putting it anywhere else. The
railway station is the hub of the wheel. The station would be an essentially
subterranean building. Its roof, which would be two storeys above the natural ground
level of the city, would form the aerodrome for aero-taxis. This aerodrome (linked up
with the main aerodrome in the protected zone) must be in close contact with the
tubes, the suburban lines, the main lines, the main arteries and the administrative
services connected with all these…

https://thecharnelhouse.org/2014/06/03/le-corbusiers-contemporary-city-1925/
LE CORBUSIER – Contemporary City, A contemporary city of three millioninhabitants
The plan of the city
The basic principles we must follow are
these: We must decongest the centers of
our cities.
We must augment their density.
We must increase the means for getting
about. We must increase parks and open
spaces.
The residential blocks, of the two main types already mentioned, account for a further 600,000
inhabitants.
The garden cities give us a further 2,000,000 inhabitants, or more.
The the great central open space are the cafes, restaurants, luxury shops, halls of
various kinds, a magnificent forum descending by stages down to the immense parks
surrounding it, the whole arrangement providing a spectacle of order and vitality.

Density of population
(a) The skyscraper: 1,200 inhabitants to the acre.
(b) The residential blocks with setbacks: 120 inhabitants to the acre. These are the luxury
dwellings.
(c) The residential blocks on the “cellular” system, with a similar number of inhabitants.
This great density gives us our necessary shortening of distances and ensures rapid
intercommunication. Note: The average density to the acre of Paris in the heart of the town is
146, and of London 63; and of the overcrowded quarters of Paris 213, and of London 169.
https://thecharnelhouse.org/2014/06/03/le-corbusiers-contemporary-city-1925/
LE CORBUSIER – Unite d’ Habitation
After World War II, the need for housing was at an unprecedented high. The Unite d’Habitation in Marseille, France was
the first large scale project for the famed architect, Le Corbusier. In 1947, Europe was still feeling the effects of the
Second World War, when Le Corbusier was commissioned to design a multi-family residential housing project for the
people of Marseille that were dislocated after the bombings on France.
The apartment complex in the French city – also known as
Cité Radieuse – is the first of the architect's experimental
developments created across Europe.
Widespread destruction during the second world war
triggered an urgent need for accommodation in France, and
Le Corbusier was commissioned by the government to
"demonstrate a new art of building to transform housing".

The architect, whose vanguard designs interpreted the house

as a "machine for living", took on the challenge with
enthusiasm. The building he envisioned would act as a
vertical city encompassing every human need.
He had already devised other large-scale housing schemes.
For this project, he combined many of the principles used in
his previous buildings.

For example, his 1932 Immeuble Clarté, in Geneva, features

a double-loaded corridor system used to access the
apartments. A similar system was employed in the Cité
Radieuse, in which a single corridor serves four floors.
MIES
- STUTTGART 1927 DIE WOHNUNG EXHIBITION, WEISSENHOF HOUSING ESTATE
The invitation to participate in the design and the construction of the Weissenhof model housing estate
was extended to 17 avant-garde architects from 5 countries: Ludwig Mies van der Rohe, Adolf
G.Schneck, Walter Gropius, Ludwig Hilbeseimer, Bruno Taut, Max Taut, Hans Poelzig, Richard
Döcker, Adolf Rading, Peter Behrens, Hans Scharoun of Germany; Jacobus Johannes Pieter Oud,
Mart Stam of Holland; Victor Bourgeois of Belgium; Le Corbusier, Pierre Jeanneret of France; Josef
Frank of Austria. The planning conception, developed by Mies van der Rohe, envisioned blocks of flats
and detached houses in semi and fully-detached arrangements. The Wohnung exhibition was
organised by the German Werkbund.

AREAS OF FOCUS - It was centered on subjects like the rationalisation of housing, the reduction of
building costs, more functional solutions in housekeeping and the application of new building techniques.
The focus first of all was on assembling buildings from prefabricated elements on site, thus transferring
most of the work from the site to the factory and shortening the actual construction process. The very
centre of the exhibition was constituted by the model housing estate consisting of 61 housing units: 13
single family detached houses, 8 single family row-houses, 2 semi-detached houses and 36 flats in
tenement buildings. Due to its experimental character, the actual costs of the Weissenhof estate far
exceeded the estimates and the originally planned financial framework of the municipal project.

The significance of the Weissenhof housing estate consisted not only in its pioneering role as the first
project of this type but also in the diversity of architectural conceptions presented, from the ideas of
Gropius and Mies van der Rohe who focused on prefabrication and various types of construction to Le
Corbusier‟s perfectionism and Scharoun‟s organic approach. The often adamant critics of the
Weissenhof project focused specifically on the flat roofs and more generally on the architects‟ approach
to living space and its prospective users. Thus, the size of the kitchen as a workplace was deliberately
reduced and utility rooms were rarely included. Nevertheless, it reflected the two major changes that
were coming: the switch from craft to industrial methods and the coming of a new lifestyle. However
controversial, its influence would prove strong and stimulate the development of modern architecture in
Europe.
Source - www.weissenhofsiedlung.de
Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture
LUDWIG MIES VAN DER ROHE
- STUTTGART 1927
DIE WOHNUNG EXHIBITION, WEISSENHOF HOUSINGESTATE

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MIES
- STUTTGART 1927
DIE WOHNUNG EXHIBITION, WEISSENHOF HOUSINGESTATE

Weissenhof-Siedlung
Houses 14 and 15 /
Le Corbusier and Pierre
Jeanneret

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
- STUTTGART 1927
DIE WOHNUNG EXHIBITION, WEISSENHOF HOUSINGESTATE

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
- STUTTGART 1927
DIE WOHNUNG EXHIBITION, WEISSENHOF HOUSINGESTATE

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
- STUTTGART 1927
DIE WOHNUNG EXHIBITION, WEISSENHOF HOUSING ESTATE

In 1925 Mies van der Rohe was appointed by the Deutsche Werkbund as the
director of a housing exhibition in Stuttgart, the Weissenhof Siedlung. Even if the
site--a hilly plot of land on the northern outskirts of the city--was not particularly
urban and the program of the exhibition focused on the individual dwelling, the
project gave Mies the opportunity to develop a sort of a proto-urban site plan.

The scheme had to accommodate housing prototypes to be designed by almost

twenty different architects, an international cast of characters that included
emerging figures such as Le Corbusier, Hans Scharoun and Mart Stam, as well as
members of the older generation like Peter Behrens and Hans Poelzig. In the site
plan Mies articulates a series of terraced bands that absorb the particularities of the
individual projects, most of them one or two stories. At the top, he places a much
longer four-story block that serves as a backdrop for the overall project.

Mies reserved the design of the larger block for himself. But against the formal
inflections of the other prototypes, his is the most restrained, a series of horizontal
ribbons running the length of the uninflected volume. When you see it in the context
of the nearby buildings of steep pitched roofs and punched windows, it appears as
if Mies were drawing a line of reference, a datum, a "degree zero" for the project.
Source – Reading the City, Mies and the City (in 1926), Becket, August 9, 2013
Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture
MIES
PROMONTORY APARTMENTS, 1947-1949, CHICAGO, UNITEDSTATES

Situation
The Promontory Apartments is located in the Hyde Park district of Chicago , next to Lake Shore
Drive, on the south side of the city. The site is characterized by being in front of Lake Michigan and
Promontory Point, a peninsula with a park that goes into the lake.

Space
Exterior
The building is located at the eastern end of the plot. It consists of three parts: a loggia on the street
level, the apartment floors and a two-storey attic divided into two parts joined by a solarium and
containing the machinery of the elevators. The glass enclosures of the ground floor are removed
from the façade plane creating an entrance porch. This is located on a raised platform two steps
above the level of the street.

The exterior of the building is defined by the supporting structure of reinforced concrete and by bays
of glass and brick placed in a more withdrawn plane, emphasizing the role of the pillars in the
composition of the block of flats. The façade openings are mainly found on the east and west
facades, leaving the northern and southern facades practically blind. The glass enclosures are
subdivided in two parts, below the practicable windows, above fixed glass enclosures.

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
PROMONTORYAPARTMENTS

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MIES
PROMONTORYAPARTMENTS
Inside
The shape of the building comes from trying to give
the largest number of apartments overlooking Lake
Michigan. The floor of the building has the shape of
two joined T's. Each of these parts operates
independently, each having street address, a
system of stairs and a core of own elevators. Both
parts are joined by a common hall on the ground
floor with glass walls from ceiling to floor that allow a
view of both the lake and the park and the terrace
located between the two rear wings of the building.
Each of these parts has three apartments per floor
from the third floor. The vertical communication
cores are located in the center of the T that forms
each wing of the building. The first floor has two
apartments as a mezzanine,

Each apartment has a main entrance and a service

entrance. The apartments on the east side of the
building have two rooms with opposite orientation,
one facing east and the lake and another facing
west and overlooking the city. The apartments on
the back wings of the building also have two rooms,
one facing west and another looking at the inner
courtyard between the two wings of the building.
Mies took special care to provide enough natural
light and cross ventilation to each apartment.

The basement has maintenance rooms, warehouses

and laundry.

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
PROMONTORYAPARTMENTS
Structure
The building is composed of a reinforced concrete structure
based on a grid of 5.05 × 5.70 meters. The main beams are
in the east / west direction, the joists in the north / south
direction. The building has eight structural sections in the
north / south direction. From east to east there are two
structural sections in the main body of the building and two
more in the rear wings of the building. Each wing makes
two more sections from north to south.
The foundations are composed of blocks of wood, located
under each of the pillars, joined together at the top by
concrete beams.

materials
The materiality of the building is especially defined by the
structure of exposed concrete. This is treated for the first
time as an architectural element. The enclosures are
composed of double-leaf walls 25 cm thick. From exterior
to interior, the facade is composed of a polished brick sheet
seen, a layer of 5 cm of insulation and a wall of 10 cm thick
concrete blocks. The interior finish is a plaster cast.

The windows, of a single glass, have anodized aluminum

carpentry and a system that ensures natural ventilation.
The ceilings are composed of suspended plaster plates
about 7 cm thick. The interior partitions are concrete
blocks with a plaster finish of 5 cm thickness.

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
50 x 50 House for Mass Production, - Unbuilt, conceived in 1961

Mies van der Rohe addressed the question of mass-housing

in his unbuilt project, the 50×50 feet House (50 feet is almost
16m) in 1951. Conceived as a prototype intended for
industrial production, the House is basically a square
enclosed within glass walls, an evolution and radicalization of
the themes he had already explored in his famous 1945-
1951 Farnsworth house.
Only four exterior columns would carry the weight of a flat
roof. Liberated from a more conventional structural role,
(since the pillars are located in the middle of each side of the
square), the glass corners underlines the continuity of the
interior space through the exterior.
The only room that makes up the house
includes a fixed service core with an open kitchen resulting and two open
bathroom, while the space can be partitioned afterwards with furnitures, curtains
or light weight walls.

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
50 X 50 HOUSE
In this plan, neutrality and spatial
genericity are taken to an extreme
level in which the project is set to
accomodate the changing needs of the
family.

The principles of free plan and flexibility

will later be employed by Mies in his
projects for skyscrapers in the United
States (see for example The Lake
Shore Drive) and expressed the
architect‟s intent that the buildings
should adapt to the consequences of
the economic shifts.

Opposing Sullivan„s postulate of “Form

Follows Function” he imagined forms
which should later be filled with
functions. (As quoted in Jean Louis
Cohen‟s “Ludwig Mies Van der Rohe“)

http://socks-studio.com/2013/11/23/a-50-x-50-house-for-mass-production-1951-
an-unbuilt-project-by-l-mies-van-der-rohe/

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
LAKESHORE DRIVE APARTMENTS
Mies approached the triangular site by arranging the two apartment buildings at cross axis towards one another,
delivering views of the lake, Lake Shore Drive, and the busy inner city Chicago Loop which is southwest of the
towers. The ninety degree angle that the buildings are situated in also enclose a plaza at ground level.
Mies' concept of independent architecture is also seen in the rise of the ground floor of 860-880 Lake Shore Drive
which make the towers appear as if they are floating above the ground. On the entrance level, a horizontal roof is
the sole connector between the two high-rise apartments towers and does not have any function other than to
"mark the spirituality of this specific place.“ The plan for the towers was organized in a 21 foot grid that was
represented with steel columns placed at the intersections of the grid. By using it for structure, Mies simplified the
steel frame to its purpose while using it to express the grid. Because of its purpose Mies wanted the inner
character of the steel skeletons to show. This became a problem due to fire regulations, but Mies made it his goal
to make these skeletons visible despite this fact. He achieved this by covering concrete shells with steel plates,
thus keeping the uniformity of the steel columns.

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
LAKESHORE DRIVE APARTMENTS
Another important feature of these towers is that they were built with prefabricated parts. For example, during the
construction of the facade four-window units were assembled on the roof and fastened from above from column
to column. The same vertical standard T-profile that the window units were made of was fastened to the columns
and corner pillars.
The structure therefore consists of a system of filling and framework that created a beautiful pattern of contrasting
black steel against the glass surface. The mullions of 860-880 Lake Shore Drive were also well thought out in a
5'3" grid system and were made of standard 8" wide-flange steel. These standard steel sections were
manufactured for general use and also made the building easy to put together, since they simply attached to the
exterior frame.
By making the construction of the buildings the design priority, Mies created a system that led his perfect grid
from structure, to windows, and finally interior partitions. "From outside to inside, from permanent to temporary,
the architecture evolved in the sequence of construction." The perfect order found in the modern 860-880 Lake
Shore Drive led the buildings to become landmarks in Chicago
https://www.archdaily.com/59487/ad-classics-860-880-lake-shore-drive-mies-van-der-rohe

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

MIES
LAKE SHORE DRIVE APARTMENTS

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MIES
LAKE SHORE DRIVE APARTMENTS

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

FRANKLLYOD WRIGHT

BROAD ACRE CITY AND MILE HIGHSKYSCRAPER

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture

FRANKLLYOD WRIGHT

BROAD ACRE CITY AND MILE HIGHSKYSCRAPER

“Broadacre City,” which was Wright‟s plan for the perfect community. Each family
would get an acre of land. Residential areas would be spaced out between areas
for commerce, industry, parkland, and agriculture. Everything would be
connected by a complex design of streets and highways. “Imagine spacious
landscaped highways,” Wright wrote. “Giant roads, themselves great
architecture, pass public service stations, no longer eyesores, expanded to
include all kinds of service and comfort.” Broadacre City is so broad, so
horizontal, that it barely makes sense to call it a city anymore

The Illinois, as Wright originally named it, was unveiled in October 1956 at a
press conference in downtown Chicago. During the ceremony, the 87-year-old
architect introduced his latest design to the crowd, explaining, “The Illinois will be
one mile high, contain 528 stories and have an occupancy of 100,000 people
and space for parking 15,000 cars and 100 helicopters. In it will be consolidated
all government offices now scattered around Chicago.”

Emerging Trends in Housing – Unit 1 Ar.M.Madhan MEASI Academy ofArchitecture