ARCH 352 A1

Tower, Paris, 1889 (Trachtenberg, pl. 68; Curtis, p. 37) Gustave Eiffel

a bridge designer originally, so expert in metal sage. cast iron. don't have to produce in a straight line. economical. iconic building because people say its not real architecture due to the metal framing being shown.

Houses of Parliament, London, 1835-1860 (Ingersoll, p. 653) A. W. N. Pugin and Charles Barry

a rebuilding of a previous building as it was burned down. the largest empire in world. plan is somewhat symmetrical with large courtyards to bring light inside. dominant symmetry and picturesque. perpendicular gothic. house of lords, does tracery, chair, wallpaper, and carpet details.

Glyptothek, Munich, Germany, 1815-1830 (Ingersoll, p. 638) Leo Klenze

architecturally correct. central park a greek temple. series of diagrams in a square grid. method as starting point, being built upon, can build roman as well. greek revival style. plan first, matiral second, facade last, sculpture gallery 3 bays long. inspired by duran's rational grid system/

Karl Friedrich Schinkel Altes Museum, Berlin, 1823-1828

art museum. cultural center to rival france and england. ionic order. greek stoa reference. spatial blocks connected with view. rotonda on middle. lit from above. explodes vertically.

Law Courts, London, 1866-1882 (Ingersoll, p. 658) George Edmund Street

based on 12th century french gothic. it took 16 years to build, and it was a complicated plan, had to separate the groups of people inside (ex: judges, court members, guilt person, security). symmetrical bilateral plan for complex building. has order. for the law/judges. extremely gothic and picturesque. carving and detail on stone. secular building, law court. introduces symmetrical planning. accepts all ranges of gothic revival and sources. complexity of cross influences.

Isaac Bell House, Newport, RI, 1883-1885 McKim, Mead & White

best surviving examples of shingle style architecture in the country. shingle exterior, shutters operable, closes up in winter, view to street off to side. entrance not main front doors. porches overgrown, picturesque balance, elements asymmetry. opening up of plan, enter from south side and face east with eastern light. scale of opening door is double sliding doors, like not there. light comes into room. floor boards curve. opening opens up. fireplace room has crafted style. quality of interior and character. pre=req to opening space aka modernity.

St. Mary's Cathedral, Baltimore, 1805-1818 (Ingersoll, p. 646) Benjamin Henry Latrobe

born in london and came to america, made living on designing buildings, clear geometry, shows impact of europe. knowledge of neoclassical developments. dome over crossing. plan clear sequential space, porches, nave and crossing. latin cross. stonework, transept, heavily inspired by soane's bank of london. interior of round and segmented arches is knowledge of european work, but into application. bright space. extends chapel beyond dome.

Frank Lloyd Wright Robie House, Chicago IL, 1906-09

brick prairie style house. lower level a raised basement. red roman brick and horizontal where theres stone trim and joints. garage to the right. urn punctuating corner. hidden steel in roof so it cantilevers outwards and not sagging. projecting roofs. house faces south. go in the back to tight stairs into living room. living room project outwards. fireplace in center, flumes go through sides to show continuity of space. light illuminated from grills along with air ventilation. dining table with lanterns. built in fixtures of lights. raised ceiling. windows look out terrace that looks out street. prospect of refuge. use of trim that weaves it all together. has some arts and crafts style.

St. Giles [church], Cheadle. 1841-46 A.W.N. Pugin

brings morality into architecture. "is it true? honest?" the architect turned to catholocism. architecture is the moral state of society. book contrasts is the book he made. saying 19th century has degraded into factory polluted town. gothic=the truth because true construction/ religion see the characteristics in the arches and aren't symmetrical, a true english architecture. plan according to necessuty. english parish church. 200 ft. spire, dominant in town, parts of roof delineate. plan has elements of catholic church. interior has a lot of decorative elements, extremely colorful, wood ceiling, read structure of vaults, detail of wallpaper. extraordinary.

Frank Lloyd Wright Unity Church, Oak Park IL, 1904-06

casted place concrete material. concrete details is smooth and trimmed. vertical circulation, interwoven geometries. up the strais between 2 building from the side street to find entrance. 3 balconies on 3 sides, almost cubical. walk around side and straight. circulation made sure to not turn back on the preacher. organized axially. function, experience, articulation. another building of education next door so that education and sanctuary are side by side to each other.

Galleria Vittorio Emanuelle II, Milan Italy, 1865-1867 (Ingersoll, p. 667) Giuseppi Mengoni

classical design and an arcade style. connects in 4 directions. section shows scale and heaviness but gets lighter the higher the elevation is in terms of the wall thickness. high verticality. wide angle view and light glass with metal roof. has to be hidden however. not acceptable to show to the public. contrast of heavy masonry and openness of sky.magnificent shopping arcade in Milan, covered with a glass and iron roof. The interior of the impressive five story structure is decorated with patriotic mosaics and statues.

Frank Lloyd Wright Winslow House, River Forest IL, 1893-95

client is house beautiful. it is a prairie styled house. broad overhanging rood. horizontal line. strongly rests on the ground. back asymmetrical, which is the messy parts of the design. the front of the house towards the street is a formal composition. to the back however, it is messy and picturesque composition, like its growing. windows that open sideways. put distortions at back. terracotta ornament at entrance. fire place and hearth as center of the building, like an anchor. strongly rests on the ground. site of warmth, inglenook around fireplace. hipped rood to read as sheltering. roman brick used, as its very horizontal. 2 urns in front of the door. style like its growing, stable front and spreads at back. kind of character where each piece is delineated/ articulated but get balance between whole and its part.

Palm House, Kew Gardens, London, 1845-1847 (Ingersoll, p. 669) Decimus Burton and Richard Turner

conservatory affected by availability of glass and metal. display excessive imperialism. economic growth for middle class go on leisurely days. display exotic plants from the colonies. place to plant floral in winter. standarized plan and used repetitively. based on limited amount of parts. greenhouse design.

Galerie des Machines, Paris, 1889 (Trachtenberg, p. 463; Curtis, p. 37) Dutert and Contamin

display of large machinery in an enclosed space. iron and glass cast. interior monumental and huge. standard idea of point support of arch center and support the other side. massive. plain is rectangular but huge. industry machines of the great powers. not "architecture", it's "engineering". doesn't exist anymore. simple.

Etienne-Louis Boullée National Library (also known as Royal Library) project, 1788

drew projects on superhuman scale. a contemporary. participated in competition for new royal library. read texts on physics, a teacher. he created grand projects and taught them. architecture should be simple in form, no decorations. "art of combining simple masses". simplified language, reduction of classicism, impossible scale, beyond what could be built. in france. giant barrel vault, room of huge size. column screens, tiers of books. door relative to rooms scale, not human. no keystone to support arch. skylight roof. not made. highly detailed. architecture that speaks, connotations through cannonballs and cannon barrels and shield. it was a celebration of knowledge. visionary architecture. scale huge. limits of neoclassical architecture. beyond the possible technologies the time had.

Trinity Church, New York, NY, 1839-46 (Ingersoll, p. 655) Richard Upjohn

educated approach to gothic revival. born in england and educated in cabinet making. successful american architect. great procession coming into church. dominant building. context changes over time and now its dominated by skyscrapers. impact of gothic. stained glass, decorated vaulting, clerestory windows, carved stonework, pointed arches, mystery of religion. textiles.considered one of the first and finest examples of Neo-Gothic architecture in the United States.

Claude-Nicholas Ledoux Barrières de Paris (esp. Barrière de la Villette), 1784-1787

embodied enlightenment ideals of reform and justice advocated by diderot and voltaire. classical architecture. toll houses. provide rational building system for detested function. 60 tax stations apperaed like collection of garden follies. rusticated columns, serliana windows, temple fronts, rhythmic trabeation, rotundas, and tempiettos. like entrances of a necropolis. most monumental allue. cylinder articulated by ring of lined salianas and capped by doric entablature. new city walls in paris. 50-60 tollhouses used to tax people and goods coming into paris. a wall around paris. extract money from poor. one of the tollhouses called thr villette is the largest,survived the french revolution. government spends so much money on grand architecture instead of helping poor and taxes them more.

H. H. Richardson J. J. Glessner House, Chicago, IL, 1885-1887

exterior, house on wealthy street, opposite of marshall field house. small front yard, townhouse, large wealthy house, form that follows law perimeter. south facing courtyard to be aligned with larger windows because winters were severe. private outdoor space, creates security and better daylighting. exterior granite, horizontal courses, no decorative detail, plan e-shaped. stables, many windows facing inside courtyard. conservatory to plant trees and flowers during winter. design of interiors of english arts and crafts movement. first interiors to show impact of woodwork, panel, textiles, furniture, crafted projects. best urban residence by richardson. house in museum now. Located in a Chicago urban neighborhood near the Michigan Central Railroad (now the Illinois Central), the Glessner House has a "U" shaped plan, making a private and protected courtyard to the south. The three street elevations of the house are protected, faced in massive blocks of rough-cut grey granite. Arched stone constructions and large lintels frame a limited number of openings for entrances and windows. In contrast, the courtyard facades have more and larger openings, curving bays, which break up the rectangular massing, and are constructed more fancifully of brick with limestone lintels.

Broadleys, Lake Windemere, 1898-1899 C. F. A. Voysey

finest work of the architects. big 3 bay windows looking at lake. enter from the landside. central hall expands. service wing. squeezing down and opening up is strategy in domestic living. small entrance, house oriented to lake. looking the other way. horizontal eave lines. living hall is the central hall. crafted wood staircase. places to sit near heat on cold nights aka fireplace. lots of green around it.

Providence Arcade, Providence RI, 1828 Russell Warren and James Bucklin

first arcade style of building appears. roof with glass that allows for dry interior. buckland is the contractor. exterior elevation made out stone. not show metal all the wa outside because unaesthetc. neoclassical. 3 floors gets wider to let light in. walking spacey environment for shopping.

Newgate Prison, London, 1768-1780 (Trachtenberg, p. 409) George Dance II

french and italian classicism. clerk of the city works of london. prisons a new building type in enlightenment, crime problem of urbanization. utilitarian design. 3 courtyards and 2 administrative blocks. building power of retributive justice. solid fortress in shape of large blocks. minimal detail, bland. chains and shackles art. straightforward language. inscribed arch on wall.

Karl Friedrich Schinkel Schauspielhaus, Berlin, 1818-1821

german architecture is on the focus of construction, tectonics, language of structure. influenced by england and france. rectangular block carved out so porch goes into block. spatial effects. reflecting cultural aspects, walls are windows. large area lobby space. central space theater. crisp sense of horizontal, rests on columns.

Fonthill Abbey, Wiltshire, 1796-1812 (Ingersoll, p. 593) James Wyatt

gothic building in the countryside. a covent turned to a house. massive, length of football field. picturesque composition and irregularity. a great tower and crossing. gothic vaulting with bookshelf built in. entrance huge. building not structurally stable. gothic revival develops. england had gothic style instead of roman/ greek buildings.

Leyswood, near Withyham, Sussex, 1868 (Trachtenberg, p. 469) Richard Norman Shaw

grand houses/ estates. timbering on upper floor, terracotta tiles, medieval chimneys, gables all architecture from the countryside. towers and courtyards, connects with everything. picturesque designs. overhanging roofs, suburban development. has a picturesque garden laid out by James Temple from 1868. The garden is on rocky sandstone outcrops surrounding a country house designed by architect in his domestic 'Old English' style

Monadnock Building, Chicago IL 1889-91 (Trachtenberg, p. 474; Curtis, p. 46) Burnham & Root

heavy. thick base. office/retail. load bearing walls. no steel frames. completely made of brick. smaller windows. brick cladding. long narrow building bounded by streets on two sides and end. load bearing masonry exterior wall. some metal cross beams, but no columns. rectilinear block with detail based on fine brickwork. simplified to emphasize materials. 18 stories, tallest load bearing building. walls thicker at lower floors. repetitive floors for office use. exterior walls, structure and expression.tallest load bearing building, walls get thicker at the bottom base. base floor is about 5.5 feet thick. top floors is 1 feet thick. architect gives them beautifully shaped bricks. the bay windows and brick wall curves on the upper floors to reach for the light and air. tall building without a frame. "building is the machine that makes the land pay". price of land needs to be worth it, so taller buildings is worth your investments.

Bank of England, London, 1788-1823 (especially Stock Office, 1792) (Ingersoll, p. 642; Trachtenberg, p. 410, 411) John Soane

hired as an architect of the bank. enhancement of reputation. a symbol of englands imperialism. banks pays for colonialism and government. important financial institution as emerging power. light introduced from above as skylight and clerestory. construction of stone, surfaced in plaster. secure within exterior walls. a courtyard, use of columns. see through an arch a passageway to an area that sees light. linear sequence of space and rooms. difference office space. stock office is a rectangular room, central clerestory supported by pendentives. surfaces delineated by horizontal lines on walls. all plaster. articulate different surfaces through lines.

University of Virginia, Charlottesville, 1804, 1817-1826 (Ingersoll, p. 648, 649) Thomas Jefferson

impact of neoclassical design in america. liberalist party mainly situated in dc. statesman, a gentleman architect. idealistic, great lawn open on one end, another end library modeled on pantheon. rooms called barracks. faculty and students lived on campus. unity of education and knowledge. gardens to provide food. human knowledge and nature. lawns. center of the campus now. continuous colonnade and in a different architectural style for each pavilion. ionic, greek revival, neoclassical, library based on the pantheon, serpentine walls 1 brick thick has stiffness like an arch, separates paths, dorms, and trees. original.

Red House (for William Morris), Bexley Heath, Kent, 1859 (Ingersoll, p. 734; Curtis, p. 88) Philip Webb

integrate building with site, concern of local culture of building. structural arches, low baring, draws on local design pattern. cluster of rooms, service wing, l-shaped house. part service part living quarters. stair expressed in corner, picturesque conical roof. roof tiles, drawing older local culture and materials. backyard with well. interior wood crafted and furnished. inspiration figure for arts and crafts period. This would provide the appropriate atmosphere to foster domestic harmony and instill creative energy in its inhabitants and visitors. It was the first home built according to the principles of fine artistry and utility that became the hallmark of the design firm Morris founded with Webb in 1861, as well as the emerging Arts and Crafts movement.

Crystal Palace, London, 1850-1851 (Ingersoll, pp. 670, 671, 672; Curtis, p. 20, 36. 39) Joseph Paxton

international exposition to shoe country's latest developments and exhibitions. a competition to see who could build this design in a short period of time. uses modular (employing or involving a module or modules as the basis of design or construction) metal and standarized glass. barrel vaults in cross direction. 4 months to complete this. standard columns. 1840 ft long. big greenhouse, could be assembled of standarized parts easily. a temporary building. provided dry but illuminated building. optimized material usage. large interior space and tree inside. so symmetrical. launched beginning of world fairs. exhibition pavilion. repretitive cast iron pieces, but still not acceptable to show metal in public.

Frank Lloyd Wright Larkin Building, Buffalo NY 1903-04

it was destroyed. an office building, not normal building though. company had customers order products from catalog by form of telephone. produced products for the home. adjacent to rail road yards. no view, quality of air awful. produced building thats closed in as a result. windows above eye level, but view limited and light comes in. building mass, 5-story atrium. workers can look into the atrium. lowered ceilings. air conditioning/ circulation has hole ventilation system. radiant floors of concrete and pipe and floor is heated through hot water. symmetrical front and interio, but entrance from the side. built in filing cabinets. architect in control of everything. inscribed words of encouragement and phrases and slogans. all brick.

Regent Street and Regent's Park, London, 1812-1835 (Ingersoll, p. 596, 597) John Nash

john soane's great rival. braod urban schemes. introduced picturesque ideas of composition in classical design. domestic architect. built in many styles. best seen at a distance. brings compositional ideas of the picturesque. property needed to be bought. original, first great shopping street. phase by phase built over. elevations and facades to give continuity but can see the individuals. large shop windows at ground level. a new idea that people would window shop. multiple town houses. streets led to park. scale of park huge. upper class only. cumberland terrace has bases with columns, gates, picturesque, not following rules. imagination. new scale of design. how city transformed. exteriorist.

H. H. Richardson Crane Library, Quincy, MA, 1880-1882

library movement. entrance is asymmetrical, granite and brown stone. simplicity of columns. closed stack library. facade. stone trim and carving. asymmetrical balance. dynamic silhouette. strong horizontal. ties building to ground. interior rigid and woodwork. he general form of the building is simplified to one comprehensive shape with a minimum of elements, each of which articulates a particular interior function: window-wall for reading room to the right, entrance arch, tower for a staircase leading to offices behind the second story gable, and raised windows in the stack room to the left. Horizontal lines and bands of brownstone organize the composition. The ornament, though inspired by French Romanesque and Byzantine sources, is broadly scaled and bold rather than archaeological. The walls are a continuous textured surface of quarry-faced granite and brownstone, creating a visual continuity as do the textured shingles in the houses."

Reliance Building, Chicago IL, 1894-95 (Ingersoll p. 697; Curtis, p. 47) D.H. Burnham & Co

lighter, thick base, office/ retail. steel frame structure. ribbon of windows. larger windows. terracotta cladding and fire proofing. corner building with two-party walls. steel frame with terracotta cladding and ribbons of glass. frame structure provides support allowing exterior walls to be continuously glazed at every floor. cage or skeleton structure allows walls to be thin membrane. repetitive floors for office use. exterior walls with terra cotta cladding expression of lightness. airiness. one of the achirects died so architect formed a new firm. each floor is a ribbon of glass. moving toward glass enclosed skyscrapers. white terracotta. parting walls on 2 sides. bay windows only interrupted by terra cotta columns,. series of glass bands. walls treated as a skin. glass puched outside to show thinness. office building. slowly, what modern architecture is going to become. a precursor but didn't continue. high point but no continuous developments.

Adler & Sullivan Auditorium Building, Chicago IL, 1886-89

made the architects nationall famous. theater and hotel and office building combination. retail activity wrapping around ground floor. uses divided by firewalls. gabled roofs, trying to be picturesque, the second design much more simple because previous design looked too strange. however, after richardson's marshall wholesale store, third design becomes much more blocky. theater separated from office and hotel. fire proof brick. character of the mass at the base, lighter walls above. architect was acoustic specialist and designed space to enhance the sound to reach the backspace with its shape of the building. upper levels is extraordinary interior. air flow and sound traveled better.

Chiswick House, nr. London, 1725 (Ingersoll, p. 551) Richard Boyle (Lord Burlington)

neopalladian movement. a villa and was rebuilt by campbell and kent. rusticated base, pedimented porch, FANCY non palladian simplicity facade. theatrical space in country house, double height room wrapped on second level by narrow colonnade. rebellion against baroque, it is corrupting classical architecture. palladio was a faithful interpretation of greek antiquity, more rational. go back to first principles. designed countryhouse for himself, based on palladio. simple, rectangular form. plan reads the form. clear edges, symmetrical geometry. what you see if what you get. straight forward. consistent and basic volumes. domes, cupola, octagon ceiling.

Midland Grand Hotel/St. Pancras Railroad Station, London, 1868-1874 (Ingersoll, pp. 673, 674) George Gilbert Scott

new railroad station and networking. building as train station and hotel. emergence of a common building type. red brick, gothic details, massive and elaborate. carved stone and heaviness of building. train shed behind. long building but not deep. train shed had metal and glass arches over space above it. utilitarian capabilities. not acceptable to see or show in the public yet though. new way of building. merged together. use of metal makes use of modularity. cast iron arches.

"Lyndhurst," Tarrytown, NY, 1838, 1865-1867 Alexander Jackson Davis

one of America's finest Gothic Revival mansions. As such, the mansion reflects the development of American identity and taste during the 19th and early 20th centuries. at hudson river valley, built in two phases pre-civil war and post. picturesque composition. has irregularity, looks like it grew. stair tower, windows placed where they are necessary. moments of symmetry. influenced by pugin, interior. just as flashy, gothic details. court houses and cottages become picturesque in america.

Etienne-Louis Boullée Cenotaph for Isaac Newton (project), 1784

pure act of imagination, a colossal sphere. exterior as sphere of planet and interior sphere of universe pierced with stars. exploring pure form. shadow casting and emotions of colossal scale emphasis. hero of the enlightenment. 500 ft diameter. monument for a dead person but dead person not in it. a honorary monument for them. trees cypruses (associated with death). sphere pure geometric form, long dark corridor into center. scale of space because no corners to compare. a fixed planetarium. or a giant light fixture that hangs down. impossible to make. infinity of the universe. drawings are highly influential, now architecture means something.

Schlesinger & Meyer (Carson Pirie Scott) Store, Chicago IL, 1899-1900 (Ingersoll, p. 698, 699; Curtis, p. 50) Louis Sullivan

read form of the frame. built in phases. construction of steel frame. department store, big floor area with lots of goods. expression in exterior. chicago window style which is a big fixed frame in middle of 2 other things. corner has elaborate decoration, welcomes people in all direction because curved and door entrance. top cornice. cast iron on the doors. broke up with the other architect after the great panic and career declined after this. the building hugs 2 major streets.

Karl Friedrich Schinkel Academy of Architecture (Bauakademie), Berlin, 1831

rectangular brick building. industrial warehouse style, correspond to interior, all rectangular, square grid, walls and smaller columns. more natural light comes to the inside. develops elevation to reflect interior. brick walls and can read horizontal lines. doors decorated of reliefs that tell narratives. not existing anymore. adapting and enhancing.The scale and prominence of the new academy not only testify to the status architect enjoyed as Prussia's premier architect but also suggest the growing importance of city planning in public life. In a collection of architectural drawings published in 1840, architect explained that a new building was needed to house both institutions because their previously small quarters had prevented them from sharing their large collection of drawings, maps, and models with the public.

Soane House (now museum), Lincoln's Inn Fields, London, 1792-1824 (Ingersoll, p. 643, 644) John Soane

red brick and delineation of his house. have rooms 12,13,14. shallow dome with lights and openings. continuous vista. experiments of lighting and materials. playing with illusion and hidden sources of light. idea of a vista, from one end to another. a collection of pieces found from other architecture sits. a cupola. looking through space. hung renderings of buildings. a monk's court.

H. H. Richardson Allegheny County Court House and Jail, Pittsburgh, PA, 1883-1888

romanesque elements (round arches), simple, no elements of stone exterior carving. composition with central tower. entrance has massive stone, detail is from constructional elements like the arches. wide and narrow stone. centered around courtyard. circulation is the levels o floors getting air through windows. jail has less historical context and purely all about the stone.

Church of Ste. Geneviève, Paris, 1757-1790 (renamed Panthéon, 1791) (Ingersoll, pp. 607, 608, 609) Jacques Germain Soufflot

secularized as pantheon in 1791. comissioned by patron saint of paris ste. genevieve. returned to sensible structural principles that could be abstracted from great buildings of the past. quincunx arrangement with high central dome and side domes over 4 arms of greek cross. corinthian columns support corner. gothic inspired with lightness of structure. turned somber, rusticated crypt into burial ground for heroes of newfrench republic. combines hellenistic decoration, gothic structure, byzantine vaulted spaces. burial ground for french heroes of the state, built as a church. he was the restorer of architecture of france. attached porch. a decisive break from the past (baroque). a greek cross plan. greek rational, but not meant for interior space but he makes it work by having columns be "main" support but actually attached to walls, also there's freestanding ones. also have walls with high openness of windows. all straight lines and clear. spatial qualities of lightness and dematerialization based on gothic style. made columns seem thin by testing weight instead of going by tradition. reinforced concrete with metal iron bars. most advanced building.

David B. Gamble House, Pasadena, CA, 1909 (Ingersoll, p. 750; Curtis, p. 86, 95) Greene & Greene

shingle style mode for country houses, influence by crafts and arts and call it craftsmen mode. high peak. home for architects. cyprus shingles. plan is terrace out back, second floor has a sleeping porch. sleeping outsoors and have fresh air. asymmetry. climate influences hanging roofs. some japanese influence. terrace in back with pond, crafted framing with rafter ends to see how its crafted. front door with strained glass. shingles in background. integration of crafted elements. woodwork all custom designed. show chracter of CA with redwood.

Henri Labrouste Bibliothèque Ste. Geneviève, Paris, 1839, 1843-1860

simple rectangular block spatical sequence. crossed to back to go into center of building into library room. names on 2nd level floor were authors and they were inscribed. simplified classical form. great upper room, cast iron columns. lightness of the space. tiers of books based on boulees national library. innovations in metal technology. heaven. reading room.

Reading room, Bibliothèque Nationale, Paris, 1857-1867 (Ingersoll, p. 721) Henri Labrouste

skylights to bring in natural light. 4 columns, 9 squares in the main room, fits into larger building. accessible to the public. thin cast iron columns, books wrap around closed stacks. continuous frieze, there are murals, scenes from nature, within the city. illusion of being apart from the city and studying in a garden. stone shell, that come up to domes (hankerchiefs). little attachments very thin domes, no sense of weight.

H. H. Richardson Marshall Field Wholesale Store, Chicago, IL, 1885-1887

sold not to customers. but to whole salesmen. simple, 7 story block, ornamental detail eliminated. u-shaped fire brick. load bearing masonry. rectangular block. arches. wide windows, doubling of windows for each subsequent floor.

Project for an Ideal city of Chaux, 1804 (Ingersoll, pp. 613, 6.5; Curtis, p. 16) Claude-Nicholas Ledoux

speak to authority of government, meant to intimidate with giant doric order. director's house, every other columns with a square. playing with tradition and classical order, level of detail. important building. patroned by french government. eastern france. cause of french revolution. if he had the chance, the arhcitect would have made the place a whole circle town industrial area. have market halls, forge, house for cooper.

Opera, Paris, 1861-1875 (Ingersoll, p. 685; Curtis, p. 30) Charles Garnier

spectacle of opera demonstrated that france was a cultural capital of the world. attracts newly wealthy. exterior a rich mass with heavy detail. proclaims greatness. under napoleon the third. neobaroque effect. renderings of exterior and interior are detailed with color. floor plan is lobby and extraordinary. meant to see and be seen by people. interior reflect luxurious lifestyle. bombastic.

Frank Lloyd Wright Willits House, Highland Park IL, 1901

stucco material. formal cneter and lined symmetry. roof is shallow and hipped. roofs reach out and gives more voice space. entrance on south side. verticals weaving windows, all unified. enter living on the diagonal. dynamic-ism of circulation. have to go around back to enter house. prospect in refuge. protected by solid center but can still see outside. urn punctuating corner. drive way near stairs into tight space where rooms seem bigger than it is. shingle roof. each part articulated but organically woven. prairie style.

H. H. Richardson Trinity Church, Boston, MA, 1872-1877

the architect enters in this design competition because he got invited to it. the designer and initial sketches. use of romanesque, granite, and brown stone, attached parish house. irregular forms, but shaped like a pyramidal shape base is solid, resting on ground. simplicity of form. sense of materiality. appreciates character of material in architecture. sound boards to amplify voices. wanted colored church. successfully for congregation. published everywhere in america and had 18-20 people working for him.

Burnham & Root Rookery, Chicago IL 1885-1886

the architects are from the chicago school. functional office block, load bearing masonry, strong on stone, interior is an iron frame. exterior has a large amount of windows for fresh air and lighting. a big block building, massive masonry. the plan looks like a big bowl, building is thin, outside is thick brick, inside is a thin frame, an inner court in the center to light light and air in freely. courtyard made of glazed brick, glossy, helps reflects light into the offices. solving functional problems with architecture.Moorish, Romanesque Commercial, Indian, Venetian, Arabian, Islamic, Byzantine: all these words have been used to describe exterior motifs. Some critics said that the mix of styles lacked unity, but others felt that the repeating patterns were an interpretation of American culture, reflecting a spirit of conquest.

Adler & Sullivan Wainwright Building, St. Louis MO, 1890-91

the form is appropriate to tall build. "form ever follows function". plan a u-shaped building, walls facing street give impression of large, steel frame construction. exterior looks as if the one building a block. treatment of cornice and corners emphasize block. expression of 2 entrances. repeated floors of office space. pushes horizontals back and verticals to be shown. storage in attic. not every vertical has a steel column.

All Saints Church, Margaret Street, London, 1849-1859 (Ingersoll, p. 656) William Butterfield

the hand of the maker, emphasized highly on hand made stone-work. church on tight urban site. dense area, ajoined by adjacent buildings, courtyard and tower. red and black brick. pattern of bricks and picturesque composition, irregular and not symmetrical. white stone elements. carved gothic details. plan is a tight square. central space, enter from the side. sequence of events of movement. spatial dynamics within tight site. columns are gothic arches. celebration of the workers. colors extraordinary. tile work and stones highly detailed. so vertical. gothic elements.

Claude-Nicholas Ledoux Saltworks at Chaux, betw. Arc and Senans, 1773, 1775-1779

theater-like composition. had factory sheds and director's house as proseenium (theater stage), addressing hemicycle arrangement. worker's dwellings and support buildings. theater of industry. provided radial surveillance from central point to dwellings of workers. and ideal view. compound surrounded by wall and moat so workers wouldn't run away. architecture that talks. "parlante". unprecedented kind of urban layout, scattered buildings and surrounds them with ample gardens. down plays axial alingment and picturesque. embodied physiocrats ideal of reconnecting citizens to the land. served the royal court. almost guillotined after french revolution. stretches classical language and pushes it. how far can you go with parlant. simplified form, uses black voids instead of windows. government in debt, so established monopoly on salt to fund french monarchy. a walled compound city so they could extract salt from water so commoners wouldn't steal it. made people pay for salt. half-circle plan, garden plots to working people feed themselves.

H. H. Richardson Stoughton House, Cambridge, MA, 1882-1883

this house is the foremost example of the shingle style with a minimum of ornament and shingles stretching over the building's irregular volumes like a skin. produces the shingle style. mature single shingle style house, shingles on outside, small trim on windows. slight offsets make composition. hall central to organization. tiny entrance. light receiving south light. yard restored and green. sense of volumes, not massive. suburban finest residence.

Guaranty Building, Buffalo NY, 1894-95 (Curtis, p. 49) Adler & Sullivan

u-shaped building, offices one layer deep, entirely, clad in terra cotta (based clay), offices repetitive every floor, vertical expression, 2-story based (a retail ground level), attic story at the top. got sold by another company so inscription doesn't say the real building name. last work of the architect because company split up with the great panic of 1893 before the actual great depression. makes ornament the focus through the use of terra cotta to cover two full exterior surfaces. The piers between the windows form strong vertical lines that draw the eye upward to the dominant cornice.