Architecture 2 test
Reinhard and Hofmeister, Hood and Associates Rockefeller Center, NYC (1931-40)
supposed to be an opera house limestone building set back because of the great depression so the opera backed out limestone =cheap material started to make rooftop garden pedestrian area food places built ice rink interior is a whole art deco style
(Solomon, Chichen-Itza, Greece)
temples of antiquity -another influence -enclosed -rock of braham -olbrich secession building vienna -art building for the secession building "to the age its art, to art its freedom" -greek myth -also influenced wright -have the furries over the door -inspired by its universal space
"West" as west of 98th meridian (compare to Inland Architect- "west" as midwest)
"west as a midwest" bringing his ideas with him wide range of buildings response to environmental, social conditions no such thing as western architecture (putting a hierarchy on it), condescending Turne thesis: 1983 worlds fair: turning the west from a primitive pre industrial system to a civilized industrial system -myths that carter talks about, but really its just hard to modernize something financially core values that the west and east have to address to each other
Weingart/Taper/Boyer: Lakewood, CA. Photograph: Garnett
$5,000 a photograph
Hood McGraw-Hill, NYC (1928-30)
-464ft / 142m, 33 fls. -Raymond Hood, 1928-30 -radical
Andrews, Jacques, and Rantoul Boston Building (1889-90)
-Andrews: equitable building, 17th century and stout (1892) -
Larkin Administration Bldg., Buffalo, N.Y. (1903-06) Wright
-Jack Quinn wrote a book about it -built by Frank Lloyd Wright -Located in an industrial area - Built by a factory, soap factory -unity of various factors -bock built the globe, "new order of the machine age" -entry is on the side -demolished in 1950 -lowspace when you enter, to a round reception desk -winged figure on the circulation desk -then launched into this huge space -internal world, like a forest, conventionalizing the structure -reception: classroms, lounges, bathrooms, some people living on site, sometimes formal affair to show their education, educating the workers -collective family feeling -dining room -"the great protestant catholic building -the use of tericata -room for an organ, played organ during breaks -weaving together the shelves, shelves of space -shelf like columns
Klauder Sewall Hall (1928)
-Kartusnes, thought it was too factory like
Masonic Building, 1614 Welton (1889-90)
-almost burnt down -terrocata: denver didnt have it used/cut into stone in a romanesque way
Kindergarten Gifts and Occupational Material (1876) Froebel
-buildng blocks of the universe -geometry: basis of form of nature -dividing the cubes -underlying structure of things: how nature goes to a convention, cultural element, written and spoken language, natural objects and finding the structure beneath it: studies cacti structures
Union Station (1874), denver
-built by taylor -1870: denver pacific and sansas pancific RR Population: in 1870: 4759, 1900: 134,000 Van brunt and howe: (1890's) designed it -Gove and wash (1912): decorated it -railroad ran through it, architecture started near it
Tabor Opera House (1879-80) Frank and Willoughby Edbrooke
-comes from a family of architecture, one of the brothers goes into being in charge of 87 federal building: Frank -The brothers get asked by tabor to build an opera house -influence in new york -built the first courthouse in boulder
Robie House, Chicago, IL. (1909-10)
-expand these houses out into the prairie (style) -fitting it into the chicago landscape -used roman bricks, horizontal aspect -psychological
Brown Palace Hotel (1890-92)
-formed an angle -steal frame building -fireproof, no wood just terracata -great lighting -little medallions, made by whitehouse, each one represented an animal from colorado
Ho-o-den, 1893 Columbian Exposition, Chicago
-influenced wright: the interior spaces open -geometrically and mathematically built
Twelves Old South Meetinghouse Boston (1729-31)
-inside looks like the old meeting house
Union Colony Number 1, Greeley, CO. (1869-73)
-lands that are plotted out -water rights, and close to electricity -laid out on a radio plane -dwellings around the city center -never got around to making monuments -founder keeping the family together -christian community -eveything was expensive -women were not included in the community events -Nathaniel C. Meeker: founder, he was killed by the utes in 1879 for selling them rotten meat -the town didnt do so well
F street (1868), denver
-made of wood, burned down -now many cities require stone buildings -denvers streetscapes -sidewalks
Van Alen Chrysler Building (1928-30)
-walter chrysler wanted the tallest building -designs the outside of American patriotism -desgins representin auto parts for chrysler -images of technology on the ceiling -marble floors -rich lobby area
Willitts House, Highland Park, IL. (1900-02) Wright
-wood frame -gets more private with the entries -secluded, be swithyourself and your families -biologically more geometric as time goes on -eye beams in the house "houses are markets gender wise: mainly women" *Architectual record, every house should relate to a persons personality
Taiyu-in Mausoleum Nikko, Japan (1653)
-wright inspired by the design
Case Study Houses
1945 - 1966 January 1945: in the magazine (California arts and architecture), case study houses new materials built during the war era
Peets: Park Forest, IL.
1960: population 30,000 (99.4% white) Black population: 8 tried to make it more of a forest and nature suburb, but there was separation of the white and black community
Chicago 1923 zoning law
260' height limit; no set back for street front towers, provided they took up less than 50% of lot's linear footage; towers may rise to 400' *Ferris (1922) imagines the set back laws and tried to think of different designs
Hall of Science, Cret
A Century of Progress International Exposition was a World's Fair registered under the Bureau International des Expositions (BIE), which was held in Chicago, as The Chicago World's Fair, from 1933 to 1934 to celebrate the city's centennial. The theme of the fair was technological innovation. The fair's motto was "Science Finds, Industry Applies, Man Adapts". Its architectural symbol was the Sky Ride, a transporter bridge perpendicular to the shore on which one could ride from one side of the fair to the other. One description of the fair noted that the world, "then still mired in the malaise of the Great Depression, could glimpse a happier not-too-distant future, all driven by innovation in science and technology. Fair visitors saw the latest wonders in rail travel, automobiles, architecture and cigarette-smoking robots (yes, really)."[1]
chicago exposition 1933
A Century of Progress International Exposition was a World's Fair registered under the Bureau International des Expositions (BIE), which was held in Chicago, as The Chicago World's Fair, from 1933 to 1934 to celebrate the city's centennial. The theme of the fair was technological innovation. The fair's motto was "Science Finds, Industry Applies, Man Adapts". Its architectural symbol was the Sky Ride, a transporter bridge perpendicular to the shore on which one could ride from one side of the fair to the other. One description of the fair noted that the world, "then still mired in the malaise of the Great Depression, could glimpse a happier not-too-distant future, all driven by innovation in science and technology. Fair visitors saw the latest wonders in rail travel, automobiles, architecture and cigarette-smoking robots (yes, really)."[1]
Schinkel Altes Museum Berlin (1823-30)
Altes Museum, Berlin, 2012 The Altes Museum (German for Old Museum) is a museum building on Museum Island in Berlin, Germany. Since restoration work in 2010-11, it houses the Antikensammlung (antiquities collection) of the Berlin State Museums.[1] The museum building was built between 1823 and 1830 by the architect Karl Friedrich Schinkel in the neoclassical style to house the Prussian royal family's art collection. The historic, protected building counts among the most distinguished in neoclassicism and is a high point of Schinkel's career.[2] Until 1845, it was called the Königliches Museum (Royal Museum). Along with the other museums and historic buildings on Museum Island, the Altes Museum was designated a UNESCO World Heritage Site in 1999
Ford Building (designed with Teague)
Architect Albert Kahn's Ford Building, designed for the 1933-34 Chicago Century of Progress, was a simple rotunda, grooved and stacked on the outside to look like an automobile gear. In 1936, the Ford Motor Company moved the pavilion to Dearborn, Michigan. The Company used the building as a display room until 1962 when it burned down. Industrial Designer Walter Dorwin Teague used Kahn's designs for the Century of Progress Ford Building and for the General Motors Building as sources for the building put in Balboa Park, San Diego, for the 1935 California Pacific International Exposition. The gear symbolism and circular shape came from the first, the four-door entrance with framing windows above and tall tower came from the second. Preliminary drawings called for a 350-ft. diameter, 41-ft. high ring, surrounding a 186-ft. diameter patio. A 100-ft. entrance tower would stand on the north side. The tower was to rise in three-telescoping stages to 198 ft. Total floor area came to 113,000 sq. ft.
Fiesole, Italy Palazzo Vecchio, Florence Day and Klauder (1917) Day died 1918; Board of Regent's approved Klauder plan 1919
Day died 1918; Board of Regent's approved Klauder plan 1919 -based on cu style Klauder, Sewall Hall (1928)
Albert Kahn General Motors Building
Designed by architect Albert Kahn, the structure consists of a two-story base with four parallel 15-story wings connecting to a central perpendicular backbone. Kahn used this design to allow sunlight and natural ventilation to reach each of the building's hundreds of individual offices.[6] The entire building is faced in limestone and is crowned with a two-story Corinthian colonnade. In 1923, it opened as the second largest office building in the world (behind the Equitable Building in New York City).[6]
Falling Water Bear Run, PA. (1934-37) Wright
Fallingwater embodies Wright's deeply held values about the underlying unity of humans and nature, which is reflected in his selection of building materials. As a great work of art, Fallingwater transcends its function as a house to meet a client's needs and symbolizes an American democratic ideal: to be able to live a free life in nature. The fireplace hearth in the living room integrates boulders found on the site and upon which the house was built — ledge rock which protrudes up to a foot through the living room floor was left in place to demonstrably link the outside with the inside. Wright had initially intended that the ledge be cut flush with the floor, but this had been one of the Kaufmann family's favorite sunning spots, so Mr. Kaufmann suggested that it be left as it was.[citation needed] The stone floors are waxed, while the hearth is left plain, giving the impression of dry rocks protruding from a stream.
Tennyson
Flower in the crannied wall, I pluck you out of the crannies; -- I hold you here, root and all, in my hand, Little flower -- but if I could understand What you are, root and all, and all in all, I should know what God and man is. If he can understand those tings, then he can fix the problems with architecture
The Art and Craft of the Machine
Frampton: ". . . the transformation of industrial technique through art . . .
Unity Temple, Oak Park, IL. (1904-06)
Frank lloyd wright -Oak Park: Small, on the side of the railroad, like an island -1971: designated as a national historical site -restored, reopened last june -rev, johonnnot asked wright to build a new church: defense on the design, unity of all things -Emerson: unitarianism, transcendentalism and the organic -insight on the design process -designed as both a temple and a house -concrete bunke, doesn't look like a church -symbols of diverse religions, doesn't look like a typical gothic church -human unity, human uniformity of religion, fundamentally part of nature: organic -everyone can see each other like community "worship of god and the service of man"
Futurama Geddes/Kahn
Futurama was an exhibit and ride at the 1939 New York World's Fair designed by Norman Bel Geddes which presented a possible model of the world 20 years into the future (1959-60). The installation was sponsored by the General Motors Corporation and was characterized by automated highways and vast suburbs.[
Gamble House, Pasadena, CA.(1908)
Greene and greene -hand crafted, issues with fire (concrete, fireproof)
"Carpetects" vs. architects
Hayden, Chapter 6 From pattern books to mail-order catalogues; -self built mail order houses -sold a lot of these "build it yourself" houses -30,000 pieces -people had a hard time finishing them -advertised to woman in magazines -easy loans -Bungalow was very popular: "build your own bungalow", word comes from india -werent but by architects -push for urban/neighborhood planning zones, tried to come up with housing acts -racist policies
Neutra
He was famous for the attention he gave to defining the real needs of his clients, regardless of the size of the project, in contrast to other architects eager to impose their artistic vision on a client. Neutra sometimes used detailed questionnaires to discover his client's needs, much to their surprise. His domestic architecture was a blend of art, landscape, and practical comfort. In a 1947 article for the Los Angeles Times, "The Changing House," Neutra emphasizes the "ready-for-anything" plan - stressing an open, multifunctional plan for living spaces that are flexible, adaptable and easily modified for any type of life or event.[8][9] Neutra had a sharp sense of irony. In his autobiography, Life and Shape, he included a playful anecdote about an anonymous movie producer-client who electrified the moat around the house that Neutra designed for him and had his Persian butler fish out the bodies in the morning and dispose of them in a specially designed incinerator. This was a much-embellished account of an actual client, Josef von Sternberg, who indeed had a moated house but not an electrified one. The novelist/philosopher Ayn Rand was the second owner of the Von Sternberg House in the San Fernando Valley (now destroyed). A photo of Neutra and Rand at the home was famously captured by Julius Shulman. Neutra's early watercolors and drawings, most of them of places he traveled (particularly his trips to the Balkans in WWI) and portrait sketches, showed influence from artists such as Gustav Klimt, Egon Schiele etc. Neutra's sister Josefine, who could draw, is cited as developing Neutra's inclination towards drawing.
Helena, Mont., 1865 (Gelernter, fig. 160)
Hieth article: development of architecture in small towns -shed style roof -frame with more windows -wooden manifestation of forms of these houses -comes form ancient classical design -how the connect to a sense of place or form, streets
Keck and Keck
House of Tomorrow
1922 Chicago Tribune Competition
Howells and Hood Eliel Saarinen looks like roman cathedral Eliel: inspired a lot of new you architects on his designs
Shulman photographs
Julius Shulman (October 10, 1910 - July 15, 2009) was an American architectural photographer best known for his photograph "Case Study House #22, Los Angeles, 1960. Pierre Koenig, Architect." The house is also known as the Stahl House. Shulman's photography spread California Mid-century modern around the world. Through his many books, exhibits and personal appearances his work ushered in a new appreciation for the movement beginning in the 1990s.
New York 1916 zoning law
No bldg. height shall be twice the street width; for every 1' that bldg. steps back, 4' may be added to height.
1939 - 40 New York World's Fair
The 1939-40 New York World's Fair, which covered the 1,216 acres (492 ha) of Flushing Meadows-Corona Park (also the location of the 1964-1965 New York World's Fair), was the second most expansive American world's fair of all time, exceeded only by St. Louis's Louisiana Purchase Exposition of 1904. Many countries around the world participated in it, and over 44 million people attended its exhibits in two seasons.[2] It was the first exposition to be based on the future, with an opening slogan of "Dawn of a New Day", and it allowed all visitors to take a look at "the world of tomorrow".
Kaufmann House Palm Springs, CA. (1946) Neutra
The Kaufmann House (or Kaufmann Desert House) is a house located in Palm Springs, California, that was designed by architect Richard Neutra in 1946. It was one of the last large-commission domestic projects designed by Richard Neutra, but it is also arguably one of his most architecturally noteworthy and famous homes. It is "one of the most important examples of International style architecture in the United States and the only one still in private hands", and in 2008 was offered for sale.
Lovell House L. A. (1927-29) Neutra
The Lovell House or Lovell Health House is an International style modernist residence designed and built by Richard Neutra between 1927 and 1929. The home, located at 4616 Dundee Drive in Los Angeles, California, was built for the physician and naturopath Philip Lovell. It is considered a major monument in architectural history, and was a turning point in Neutra's career.[2] It is often described as the first steel frame house in the United States, and also an early example of the use of gunite (sprayed-on concrete). Neutra was familiar with steel construction due to his earlier work with the Chicago firm Holabird & Roche. Neutra served as the contractor for the project in order to manage the cost and quality. -shown in lots of films
Howe and Lescaze Phil. Savings Fund Society (1929-32)
The PSFS Building, now known as the Loews Philadelphia Hotel, is a skyscraper in Center City, Philadelphia, Pennsylvania. A National Historic Landmark, the building was the first International style skyscraper constructed in the United States. It was built for the Philadelphia Saving (later Savings) Fund Society in 1932 and was designed by architects William Lescaze and George Howe. The skyscraper's design was a departure from traditional bank and Philadelphia architecture, lacking features such as domes and ornamentation. Combining Lescaze's experience with European modernism, Howe's Beaux-Arts background and the desire of Society President James M. Wilcox for a forward-thinking, tall building the skyscraper incorporated the main characteristics of International style architecture.
Schindler-Chace House, L. A. (1921-22) Schindler
The Schindler House was such a departure from existing residential architecture because of what it did not have; there is no conventional living room, dining room or bedrooms in the house. The residence was meant to be a cooperative live/work space for two young families. The concrete walls and sliding glass panels made novel use of industrial materials, while the open floor plan integrated the external environment into the residence, setting a precedent for California architecture in particular. Schindler's friend, partner and rival, Richard Neutra along with his wife Dione and son Frank lived in the Chace apartment from March 1925 until the summer of 1930. Pauline Gibling Schindler left the house and her husband in August 1927, Rudolph remained at the house until his death in 1953. The Chace apartment had a variety of famous and creative people live in it, including; art dealer & collector Galka Scheyer,[6] dancer John Bovingdon, novelist Theodore Dreiser, photographer Edward Weston and composer John Cage. Pauline Schindler returned to live in the Chace Studios part of the house, separate from her former husband, in the late 1930s and stayed until her death in May 1977. Pauline Schindler died in May 1977, leaving the house in the Schindler family until the Friends of the Schindler House (FOSH), mostly friends of the Schindler family,[4] purchased the property in June 1980[7] from the California State Office of Historic Preservation[8] with the aid of a $160,000 state grant.[9] The house was restored by FOSH in the mid-1980s. By this time, the West Hollywood neighborhood had been rezoned to allow four-story apartment buildings. Some FOSH members, including Gregory Ain (who greatly admired Schindler), advocated that the property should be sold and the house rebuilt in the desert, because its context had changed so profoundly.[10] Some aspects of the restoration were criticized, as they erased changes Schindler had made to the structure over time.[11] Over the years, the Schindler House received $200,000 for restoration from West Hollywood and the State of California, and $50,000 for operations from the College of Environmental Design at California State Polytechnic University, Pomona.[4]
Dreyfuss Democracity
The Trylon and Perisphere were two monumental modernistic structures designed by architects Wallace Harrison and J. Andre Fouilhoux that were together known as the Theme Center of the 1939 New York World's Fair. The Perisphere was a tremendous sphere, 180 feet in diameter, connected to the 610-foot (190 m) spire-shaped Trylon by what was at the time the world's longest escalator. The Perisphere housed a diorama by Henry Dreyfuss called Democracity which, in keeping with the fair's theme "The World of Tomorrow", depicted a utopian city-of-the-future.
Project for House on the Mesa
Wright, denver
Eames, Case Study House #8 Pacific Palisades, CA. (1949)
a story and a half, steel, ply wood names attached to the houses, almost like an art project
Mies van Der Rohe Illinois Institute of Technology (IIT) (1940+)
abstract unity crown hall, doesn't look like one (define projection on the earth
Morgan Hearst Castle San Simeon (1919 - c. 1942)
according to Kastner, Hearst and Morgan took inspiration from two sources: the Spanish Colonial Revival style made popular by the 1915 Panama-California Exposition in San Diego, and their collective travels overseas. The Refectory resembles a medieval dining hall complete with a massive stone fireplace, tapestries and choir stalls, while the indoor Roman Pool, with its glimmering blue-and-gold tile and marble statues, looks like an ancient Roman bath. In addition to the iconic Neptune Pool, which boasts graceful marble colonnades and statues by French sculptor Charles Cassou, Hearst Castle has three guest cottages, two libraries, a zoo, a movie theater and a private airfield - making it the perfect spot for Hearst and his mistress, comedienne Marion Davies, to entertain Hollywood celebrities including Clark Gable and Charlie Chaplin.
Mies van der Rohe Seagrams Building (1954-58)
bronze wall system connects beams on the outside just for decoration, not even for support bronze because sea gram (whiskey company) golden liquid $43 million because of luxury shit, originally only $17 million, luxury tax had to rub lemon oil on the building to keep it bronzed
Barnsdall House, L. A., CA. (1916-20) Wright
focused more on the shaping of the house and the landscape residential garden
Saarinen TWA Terminal NYC (1956-62)
friedman liked this building airports were originally designed to be glamorous designed after the tail of 1959 chevy designers are trying to bring back cool airports to be luxurious notion of light and design
Breckenridge
front face houses
Millard House, Pasadena, CA. (1923)
he Millard House was the first of Frank Lloyd Wright's four "textile block" houses — all built in Los Angeles County in 1923 and 1924. Wright took on the Millard House following his completion of the Hollyhock House in Hollywood and the Imperial Hotel in Japan. By this time, Wright felt typecast as the Prairie house architect and sought to broaden his architectural vision.[2] Wright turned to the concrete block as his new building material. Wright wrote in his autobiography that he chose to build with concrete blocks as they were "the cheapest (and ugliest) thing in the building world," and he wanted to see "what could be done with that gutter-rat."[3] The textile-block houses were named for their richly textured brocade-like concrete walls.[4] The style was an experiment by Wright in modular housing;[5] he sought to develop an inexpensive and simple method of construction that would enable ordinary people to build their own homes with stacked blocks.[5] By adding ornamental designs to mass-produced blocks, Wright hoped the blocks could become a "masonry fabric capable of great variety in architectural beauty."[2] One writer has described Wright's concept this way: "By unifying decoration and function, exterior and interior, earth and sky — perforated blocks served as skylights — Wright saw his Textile Block Method approach as an utterly modern, and democratic, expression of his organic architecture ideal."[5]
Broadacre City (1934-35)
individual mobility by using the landscape people could eat from their own garden if they wanted too private and public realms usonian houses own their each acre of land opposite of suburb life because he focuses on the agrarian life
General Motors Technical Center (1948-56)
international style on this project, like the airfare academy low rise buildings, brick walls painted venetian tile spiral staircase drive into the show room glamour associated with this campus like facility sense of capitalism, american royalty, amazing automobiles rhetoric from the worlds fair: Where today meets tomorrow futuristic
Crawford Building (1875), Denver
larimer square union station area large facade romanesque style
Mall of America, Bloomington, MINN. (1992)
long stretch: city center to regional mall: architecture and the automobile retailing in los angeleas 30 million visitors a year
Levitt and Sons: Levittown, PA.
mass produced houses where cheap, lacked utilities cheaply made no thought of panning this in an urban center, no grocery, no school, no shopping mall, really relied on the automobile 1956 highway act: multiple highways that are large being put through certain neighborhoods based on ethnicity, sometimes were tearing down houses, property values went down no one wanted to live near the highway
Gropius Modern Architecture MoMA (1932) Le Corbusier
modern architecture, international exhibition principles: 1: volume rather than mass/ 2: regularity rather than axial symmetry/ 3: absence of arbitrary
Hohauser Miami Art Deco (1930's)
old hotels streamline designs coca cola bottling plant and office la texaco designs over 500 of these station across the united states streamline look porcylyn: makes it look clean was important for companies because of bathroom purposes
A. Kahn Ford River Rouge Plant, Dearborn (1917-28)
one consistent system with raw material with where things needed to go to make streamlines started this huge transportation factory lifestyle works like clockwork there was a riot near this river and 5 people were killed another riot was about working and the money wages flat roofs, good for the economy and for the environment
Jacobs House Madison, WI. (1936) (Usonian House)
single story, wood ad brick walled flat roofed l shaped house framing a garden, agriculture and architecture
Skidmore, Owings and Merrill (SOM)
site selection: 354 potential sites architect selection: 300 plus applicants AIRFORCE ACADMEY eisenhower loved colorado issues of dispersing if there was a nuclear strike, locating it inland lots of corporate people in eisenhower's cabinet different architectural planning projects this was the most expensive project in the US: $125 million The first exposition of this project: 1955 in between the death of stalin and the race of spot nick utopian vision of the us air power goes onto design multiple buildings that started SOM in the 1950 may 1955 exhibition as "great theater", looked into this building co springs They had to get step by step funding, to show congress that this architectural way, was the best way to reprint the US exhibition
Graham, Anderson, Probst, and White Strauss Building (1924)
street designers because of the winds when completed in 1924. Though it was the first building in Chicago with 30 or more floors, it was never officially designated Chicago's tallest building since the Chicago Temple Building, also completed in 1924, is taller by 92 feet (28 m) but has seven fewer floors.[5] The Straus Building and the Chicago Temple Building were the first to take advantage of the 1923 zoning ordinance; before then, no building in Chicago could be taller than 260 feet (79 m).[6]
