ARCH 352 MIDTERM 1

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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

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.

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. low 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.

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.

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.