Naumova V.I.

D.Serikbaev East Kazakhstan State Technical University

Creative Concepts of Outstanding Masters

of Newest Architecture

The recollection concerns fundamental ideas and phenomenon of history and theory of architecture for future such as: historical style in architecture, epoch style in architecture, principles of shaping and style-forming in modern architecture, process of historically formed succession of styles development, style orientations and sub-orientations of the architecture of 20^th century. Author presents a tendencies and major vectors of newest architecture developments. The discipline covers theoretical bases and timely practice of style-forming in the architecture of 20-21st centuries, their evolution nature, students’ knowledge systematization about major phenomena in architecture and science for this period, tendencies of style-forming in architecture.

Hans Kollhoff's architecture worked according to traditional methods is characterised by a classical building-style and the use of solid, traditional materials, such as stone and brick. During his career, Kollhoff developed directions of traditional forms, often using classical motifs. For this reason he is sometimes criticized for creating an outdated "retro-architecture", that loses itself in a nostalgic imitation of traditional formalism.

In Berlin, he designed on Potsdamer Platz a high-rise tower in an old-New York brick style, for Daimler Chrysler. He was also responsible for the master planning of high-rise buildings on the Alexanderplatz. Among his works there are the reconstruction of the former Reichsbank into the new Foreign Office, and the so-called Leibnizkolonnaden in the district of Charlottenburg-Wilmersdorf near the Kurfürstendamm. In 2005 he constructed the inner rooms of the exclusive night club Goya on Nollendorfplatz, that opened on December, 1 in the building where the Metropol formerly was. In Frankfurt am Main he erected the 88 meter tall residential building Main Plaza in the Deutschherrnviertel.

Currently, Kollhoff is the president of the society for "Bauakademie", that has as its goal reconstruction of this building by the architect Karl Friedrich Schinkel, and let it be reborn as the "Berlin International Academy of Architecture".

KPF’s philosophy is firmly rooted in the belief that success is the result of collaboration and dialogue. KPF explains, “A similar sentiment is central to the manner in which we weave our buildings into the environmental fabric." For a firm of its size, KPF takes on an unusually large number of restoration and renovation projects. Examples of this work include The World Bank Headquarters, Unilever House, and the Landmark in Hong Kong. KPF was recognized for workplace collaboration. KPF’s intranet “Architectural Forum” was described in Architectural Record as an example of “a resource that contributes to a learning environment through mentoring supporting teams and individuals with new ideas, and sharing best practices”.

KPF’s winning entry in the international competition for the World Bank Headquarters, which drew 76 entrants from 26 countries, was the only entry that included the retention of existing structures. KPF’s sensitive design solution for the World Bank, its first D.C. project, set the tone for KPF’s future high-profile international work.

In the 1980s and 1990s, KPF transformed from an American firm known for its corporate designs into an international firm with institutional, government, and transportation commissions in addition to corporate work.

Arata Isozaki is a Japanese architect. He developed a style which reflected both Japanese traditions and Western post-modern and mannerist influences. Isozaki also wrote about architecture and taught in several universities. Nearly all of the leading 20th-century Japanese designers have attempted to synthesize indigenous traditions with Western forms, materials, and technologies. Isozaki's "style" has in fact been a series of modes that have come as a response to these influences.

As a young architect he was identified with Metabolism, a movement founded in Japan in 1960. However, Isozaki minimized his connections to this group, seeing the Metabolist style as overly utilitarian in tone. By contrast, in the 1960s, Isozaki's work featured dramatic forms made possible through the employment of steel and concrete but not limited aesthetically by those materials.

In the 1970s Isozaki's architecture became more historical in its orientation, suggesting a connection with the burgeoning post-modern movement of Europe and the United States. His sources included classical Western architects, especially Andrea Palladio, Étienne-Louis Boullée, and Claude-Nicolas Ledoux. These connections Isozaki did acknowledge, and his work of the 1970s represents a mature synthesis of formal, functional, and technical considerations. A representative work of this period is his Fujimi Country Club, Oita City, constructed in 1973, which displays the love of pure form that also characterizes 18th-century French neoclassicism.

Later, his Western influences were decidedly mannerist, with Giulio Romano and Michelangelo replacing the classicists as sources. Isozaki's Tsukuba City Center of 1979-1983, located in Ibaraki, is a complex of buildings clearly indebted to Michelangelo's Campidoglio in Rome, but not at all limited by it. Chosen as project director for this urban development, Isozaki created a design that included large, colorful buildings, a large plaza, and a sunken garden that provides as clear a statement of post-modern aims as any project built in Europe or the United States.

This new-found fascination with what post-modern guru Robert Venturi called "complexity and contradiction" coincided with Isozaki's interest in building outside of his native country. His Los Angeles County Museum of Contemporary Art (1984-1985) may be the best known structure by a Japanese designer in America.

Isozaki's popularity and prestige as an architect is reflected in the commissions he took throughout the U.S. and Europe. He was a part of a cadre of exclusive architects enlisted by Disney to design buildings throughout the U.S. His creation stands just outside Orlando.

Isozaki was one of a team of world-famous architects to design two huge business complexes on Berlin's Potzdamer Platz. He branched out by designing the sets for the Lyon Opera's production of Madame Butterfly. Beside the Barcelona Olympic stadium is the Games' most striking structure--the $100-million Sant Jordi sports palace designed by Isozaki for the 1992 Olympics.

Arata Isozaki was instantly recognizable by his distinctive style of dress. He often wore traditional Japanese clothing, and he favored the color black. He appeared on the cover of the New York Times Magazine in 1986, dressed in a "dazzingly" fashionable Issey Miyake creation. By presenting himself as being sartorially distinct from the crowd, Isozaki provided a contemporary parallel to the flamboyant Frank Lloyd Wright, the famous American architect (and admirer of Japanese culture) who continued to affect Victorian dress long after it passed out of style.

In addition, the four seasons are very clearly marked in Japan, and the changes through the year are dramatic. Time, then, in Japanese culture is a precious entity that forces every candle, every being, every entity to fade at one point in time. The idea that buildings and cities should seem as natural as possible and that they should be in harmony with the rest of nature, since it is only temporarily there, helped create the tradition of making buildings and cities of “temporary” structure.

This idea of impermanence was reflected in Kurokawa’s work during the Metabolism Movement. Buildings were built to be removable, interchangeable and adaptable. The concept of impermanence influence his work toward being in open systems, both in time and space.

Kurokawa explains that the Japanese tried to exploit the natural textures and colors of materials used in a building. The traditional tea room was intentionally built of only natural materials such as earth and sand, paper, the stems and leaves of plants, and small trees. Trees from a person's own backyard were preferred for the necessary timbers. All artificial colors were avoided, and the natural colors and texture of materials were shown to their best advantage. This honesty in materials stemmed from the idea that nature is already beautiful in itself. The Japanese feel that food tastes better, wood looks better, materials are better when natural. There is a belief that maximum enjoyment comes from the natural state.

This tradition on materiality was alive in Kurokawa’s work which treated iron as iron, aluminum as aluminum, and made the most of the inherent finish of concrete. The tradition of honesty of materiality is present in Kurokawa’s capsule building. In it, he showed technology with “no artificial colors." The capsule, escalator unit, elevator unit and pipe and ductwork were all exterior and exposed. Kurokawa opened structures and made no attempt to hide the connective elements, believing that beauty was inherent in each of the individual parts. This bold approach created a texture of elements that became the real materiality of the whole.

The notion of receptivity is a crucial Japanese idea—possibly a “tradition." Kurokawa stated that Japan is a small country. For more than a thousand years, the Japanese had an awareness of neighboring China and Korea and, in the modern age, Portugal, Great Britain and America, to name a few. The only way for a small country like Japan to avoid being attacked by these empires was to make continuous attempts to absorb foreign cultures for study and, while establishing friendly relations with the larger nations, preserve its own identity. This receptivity is the aspect that allowed Japan to grow from a farming island into an imperial nation, first using Chinese political systems and Chinese advancement, then Western techniques and knowledge. Japan eventually surpassed China and stumbled upon itself during World War II. After the war, Japan, using this same perspective absorbed American culture and technology.

In the 1960s, Kurokawa and a small group of architects began a new wave of contemporary Japanese architecture, believing that previous solutions and imitations were not satisfactory for the new era: life was not present in Modernism. They labeled their approach “metabolism." Kurokawa’s work became receptive “to his own philosophy, the Principle of Life." He saw architecture and cities as a dynamic process where parts needed to be ready for change. He mostly used steel in open frames and units that were prefabricated and interchangeable.

It is impotence that in 1958, Kisho Kurokawa predicted a “Transition from the Age of the Machine to the Age of Life,” and has continually utilized such key words of life principles as metabolism (metabolize and recycle), ecology, sustainability, symbiosis, intermediate areas (ambiguity) and Hanasuki (Splendor of Wabi) in order to call for new styles to be implemented by society. For four decades, Kisho Kurokawa created eco-friendly and sustainable architectural projects.

Beginning in the 1970s, architects of many countrys put forward a new architecture that constituted an updating of earlier Modern styles. Lake the earlier Modern buildings, Late Modern architecture was reductive and functionalist. In addition to refinning or reformulating eartier Modern concepts, Late Modernism also rehabilitated certain out-favor Modernist features including radial corners, glass blocks, and belt courses.

As a result of article we will receive necessary knowledge in the field of professional culture, global architecture, international style, organic architecture, orientation in architecture, new design principles, new thinking and outlook. Studying the most significant principles and historic factors of style-forming in the architecture of 20-21^st centuries, their evolution nature, researchers’ knowledge are systematized about phenomena in architecture and science of that period, major tendencies of style-forming in architecture.

The Application Literature:

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