Arch History 3 III Final Review

Frederick Law Olmsted & Calvert Vaux, Riverside Illinois 1868

**Comprehensive planning in the SUBURBS** - Curvalinear lines a. Keeping/working with the organic nature of the site b. Radiate city planning **Compare to Haussaman City Planning**

George Haussmann, Urban Modernization scheme for paris 1853-70

- A plan for Urbanizing the city of Paris - Broad Streets = Power and Zoning regulations - Emphasizing Monumentality a. Radiate city planning

Daniel Burnham and Frederick Law Olmsted et al, World's Columbian Exposition, Chicago 1893

- Also known as "The White City" - A plan to urbanize chicago

Mckim, Mead & White, Penn Station New York 1904-10

- Considered a masterpiece of the Beaux-Arts methology Architectual style: Classical (Romanseque) a. Influenced by the Baths of Caracolla b. The exterior of Penn Station was marked by an imposing, sober colonnade of Roman unfluted columns based on the classical Greek Doric order. --McKim, Mead & White's design combined glass-and-steel train sheds --The station itself had entrances from all four sides.

Le Corbusier, Pavillon L'Esprit Nouveau, Art Deco Expo, Paris 1925

- Le Corbusier design completed with a rooftop terrace, anticipated challenges of the future, such as overpopulation, by maximizing a typical urban dweller's home. **Design mean to solve social problems** - Corbu utilized built-in furniture such as cabinets, shelves, and wardrobes to make the most of a small space. (designer of ever space) - Corbu made architecturally political statements. He rejected ornateness. He wanted to show the world that the pure forms created by industry (the standardization of mass production) had value. Corbu revolutionized modern interiors by emphasizing function

Charles Garnier paris opera house 1861-75

- Neo-Baroque style - Methology: Beaux-Arts a. Exterior spaces define interior spaces

Louis Sullivan, Wainwright Building 1890

- Tripartite Design a. Commercial Space b. Office Building c. Attic/Mechanical space

Raymond Hood. RCA Building, Rockefeller Center, New York, 1932-1940

- Urban experiment - RCA building is the main building of the plaza; all the elements of ART DECO, stepped back, clad and stone -Shifts the center of the city from uptown to midtown; established the midtown we've come to know today where the complex is located -Commanding, imposing, used mass media to promote Consciences. -Radio was the most popular media of that time; television later moves into building. -Capitalists often make buildings that make no financial sense; very little renting space -very slim; the whole middle is taken up by elevators - large core -towers rise above the street but also penetrate below ground many floors; shopping malls, theater and connects to the subway as well. -topped with roof gardens; "gardens in the sky"

Le Corbusier. Villa Savoye, Poissy, France, 1931

-5 points of New Architecture; based on grid of pilotis -Reached by automobile -Believes modern architecture can change society -Utilizes ramps - smooth progression, choreographed forced to come upon different aspects of the room more accessible for some people; PROMENADE ARCHITECTURE -Very abstract features such as fire place and custom sun bathing bath tub; subtle difference between indoors and outdoors -Built in furniture - like ocean liner -Windows stretched all the way around building -Roof garden, protected by curved linear projections -Enthusiasm about the body at this time - exposing the body to the rays of the sun; this house promotes this activity and this idea of exposing the body exposes the body to the exterior even in the interior change in society of clothing and what is acceptable General progression of society - focus on change

Victor Horta, Hotel Tassel, Brussels 1893

-Both 2D and 3D a. All about ornamentation and curvalinear lines b. Every design detail is intended to have exaggerated curved lines -Art Nouveau **often flowery, organic, and asymmetrical with it's flowing forms corresponding visually to musical movement.**

Peter Behrens, AEG Turbine Factory, Berlin, 1909

-DUETSCHE WERKBUND FUTURISM; machine aesthetic -Behrens managed to combine functionality and elegance, matching the use of modern materials and building techniques to classical proportions. -Its construction was triggered by increased demand for the large-scale production of turbines. -His windows design ensured that the interior was fully illuminated by natural light. -Behrens's design also included a number of classical features reminiscent of features used in Greek architecture in the construction of temples. For example, the facade of the iron-and-glass structure is given extra solidity by the addition of masonry pylons, steel columns and a polygonal tympanum, all of which give the building a classical feel. -In this way, Behrens shows that a purely functional modern industrial building can still have a link with the architecture of the past

H.H. Richardson, Marshall field warehouse store, Chicago 1885-87

-Design in the Romanesque revival style: (more specific: Richardsonian Romanesque). -The building was supported by an interior framing of wood and iron, and was clad in a rusticated exterior of stonework giving the appearance of an Italian Romanesque palazzo. a. The exterior design, in which the windows were contained by massive Romanesque arches, gave the impression of having four levels, but in fact there were seven floors and a sunken basement. **Think of the Roman Aqueduct**

Bruno Taut, Glass Pavilion, Cologne, 1914

-EXPRESSIONISM -made out of glass and metal;modern materials -no classical detail but still alludes to past; resembles a temple (Tempietto, Rome, Italy 1502) -Taut gave it a spiritual dimension symmetrical and balanced; UTOPIAN - highly contrasted other buildings in exhibition Interior -at the base there is a waterfall with steps surrounding multi-colored glass and ceramics; spiritual quality with communal focus (Gothic inspired) -Bruno Taut was trying to make architecture communal versus individual -channels light off surfaces through the oculus on upper floor, little glass objects in little glass cases at the top floor sentences engraved in the exterior walls and glass these embody the ideals of expressionism

Erich Mendelsohn, Einstein Tower, Potsdam, Germany, 1924

-EXPRESSIONISM - Program was a telescope with an astrological lab - Inspired by Einstein's ideas of energy and matter -The building design is dynamic, using curved lines and window openings to play around with the verticality of the solar instrument, while the horizontal annexes are softly linked with the surrounding ground surface. -It is like a monumental coating—a sort of sculptural/architectural dressing—on the machine. - Windows used to accent the overall dynamism

Walter Gropius & Hannes Meyer. Bauhaus, Dessau,Germany 1926

-Had new ideas for health and living; generated new and alternative ideas -City of Dessau was more receptive to the needs of the school and was seeking to link industry and new ideas -Building retains ideas of EXPRESSIONISM but sheds the sharp jagged geometry; very machine like similar to a factory -Favors the right angle and is rather boxy and machine like; recalls Werkbund Pavilion in Cologne that also had transparency and embraces the machine aesthetic -Pinwheel layout giving the illusion of movement reminiscing of the De Stjill movement -Functions are separated, housing, cafeteria, vocational school for locals, studio area, and faculty areas -transparent and has no secrets nothing to hide -Individual but apart of a collective attached to a horizontal that contains a cafeteria that can be turned into a theater or auditorium studio wing with open spaces where students and teachers can work collaboratively -bridge over street bisects the site, connects studio to vocational wings up in the air and off the ground achieves what modern architecture is trying to accomplish

Gerrit Reitveld & Truus Schroeder, Schroeder House, Utrecht, Netherlands, 1924

-It was his first design for an entire home, but also an extravagant experiment. -Building on his own designs and DE STIJL principles, he created a house on the edge of the city as a three-dimensional, asymmetrical composition. It is characterized by seamless transitions from inside to out, its primary colors (besides white, grey and black) and the playful, clever division of surfaces. Exterior, interior and furniture all bear that same Rietveld signature -De Stijl movement focused on shedding materialism and replacing it with spiritualized, and mechanized abstraction -formed by intersecting planner walls; some seem to hover and some extend out horizontally -details such as lighting fixtures, furniture and architectural features such as the stairs are integrated with the buildings overall style and proportions

Frank Lloyd Wright, Frederick C. Robie House, Chicago 1906-09

-Japanese Architectually Style (Prairie houses) Horizontal in its elevation -The exterior is composed of brick and limestone a. Overhanging/cantilevered roofs shelter the residence. -The horizontality of the house is reinforced at every level of the design—from the iconic roofline, to the very bricks and mortar (specially colored) a. Through his use of materials, Wright achieves a remarkable balance of tone and color - It is simplic in form a. Composing of living and dining space (on the second level), divided only by a central chimney. a. Harth--bring back the essence of family (tradition) -----opposing Urbanism** b. Wanted to establish a sense of protection --- not direct entrance located (hidden) c. balance between transparency and enclosure, blurring the boundaries between interior space and the world of nature beyond. **think the inside looking out**

Adolf Loos, Lilly & Hugo Steiner House, Vienna, 1910

-Loos normally starts with one main volume in which the space, configuration, and elements follows the rules and composition of classical architecture. - In the Steiner house, Loos uses his volumes to create a classical tripartite façade. a. In general, Loos lets his fenestration be subdivided into squares and rectangles that all obey a modular system, which correspond perfectly with the geometry of the façade. -The stucco façades create a smooth, unornamented, and white surface. This surface represents the nature of the material and also does not hint to what is inside the building.

Ludwig Mies van der Rohe with Lily Reich, German Pavilion, Barcelona, Spain 1929

-Massive buildings and elaborate gardens; stood out for being so different, modern and small; dwarfed by much larger surrounding buildings. -Temporary; 7 months and then demolished; reconstructed in 1986; building that defines modern architecture; traditional architecture surrounds it -Metal and glass; embodies machine aesthetic, hovering roof and reflection pool engages environment and sky - elements appear to slide past one another, and create parallel more powerful then the actual features -Dancing statue is visible from the entrance, remaking on the fact that although he embraces the machine aesthetic, he still makes room for classicism and the human body

LMVDR et al, Weissenhof Siedlung, Stuttgart 1927

-Was an international showcase of what later became known as the International style of modern architecture. -Both structures utilized reinforced concrete to embody the qualities of Le Corbusier's Five-Point manifesto: pilotis (the use of columns to lift the building above the ground plane), the roof garden, the free plan, the long window, and the free façade. -A key innovation of the building was the transformable open living space that could be subdivided into multiple sleeping compartments with sliding partitions; similarly, beds would slide out of large built-in closets

Vladimir Tatlin, project for a Monument to the Third International, Moscow, Soviet Union, 1920

-Was designed for the use of government. Different offices would be located on different levels according to the frequency of meetings. -towering symbol of modernity. -Inside two interlacing spirals of open structural were THREE suspended volumes: a cube, pyramid and cylinder all holding different program elements -These volumes were meant to each revolve at a different speed, -Meant to be painted red to symbolize the Revolution -Spiral shape was believed to be an effective symbol of the new order "The spiral is a line of liberation...fleeing earth and liberating humanity -EMBLEM OF THE MARXIST IDEOLOGY

Ebenezer Howard, Garden City Concept 1898 and 1902

The garden city movement is a method of urban planning in which self-contained communities are surrounded by "greenbelts", containing proportionate areas of residences, industry, and agriculture.