Exam 2: AHIS 3 (info)

Foster: Hong Kong and Shanghai Bank 1. Hi-Tech Modernism 2. $1 billion 3. Divded into what he called "villages" that elevators would stop at the communal floor of each village, had to take escalators to rest of the "village" 4. the ground floor is a piazza, opening it up to the surrounding streets and leaving it unlevel since the streets them- selves are at different elevations

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Foster: Interior of the Hong Kong and Shanghai Bank 1. Hi-Tech Modernism 2. $1 billion 3. Divded into what he called "villages" that elevators would stop at the communal floor of each village, had to take escalators to rest of the "village" 4. the ground floor is a piazza, opening it up to the surrounding streets and leaving it unlevel since the streets them- selves are at different elevations

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Gehry: Guggenheim Museum 1. Deconstructivism - disruption, dislocation, deviation, and distortion (no fixed meaning) 2. refuses to be apart of any group: claims to be independent 3. described the building's forms as a boat, a fish, and a blossoming flower according to Gehry 4. used computer technology, an integral tool in the fabrication of the building as well Other Works: Walt Disney Concert Hall

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Graves: Public Services Building 1. Postmodernism 2. The façade can even be described as anthropomorphic, for the pilasters and keystone can be read as a huge face, the capitals as eyes, and the pilasters as legs 3. recalling such great historical mod- els as Palladio, Mannerism, and one of Graves's favorite predecessors, John Soane 4. Later works are New Urbanism and New Classical Architecture Other Works: Denver Public Library

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Gropius: Shop Block 1. creation of utilitarian design for "the new man" through the marriage of art and technology 2. Design ethic was based on "the living environment of machines and vehicles 3. Founded Bauhaus School Called artisan/craftspeople 4. Bauhaus came to epitomize High Modernist architecture 5. It was a social movement predicated on a utopian socialist philosophy and a rationalist belief in progress 6. Worked with Moholy-Nagy, Rohe 7. Cantilever and glass walls bear no weight Other Works: Bauhaus, Two houses for the Werkbund housing development Weissenhof Settlement

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Gropius: Two houses for the Werkbund housing development Weissenhof Settlement Gropius: Bauhaus 1. creation of utilitarian design for "the new man" through the marriage of art and technology 2. Design ethic was based on "the living environment of machines and vehicles 3. Founded Bauhaus School Called artisan/craftspeople 4. Bauhaus came to epitomize High Modernist architecture 5. It was a social movement predicated on a utopian socialist philosophy and a rationalist belief in progress 6. Worked with Moholy-Nagy, Rohe Other Works: Bauhaus, Shop Block

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Hadid: Lois and Richard Rosenthal Center for Contemporary Art 1. Deconstructivism - disruption, dislocation, deviation, and distortion (no fixed meaning) 2. Influenced bySuprematism 3. describes the façade as an "Urban Carpet," and in fact, the side- walk curves slowly upward into the building, encouraging people to enter. 4. The ground floor is a landscaped lobby serving as an enclosed park, further attracting visitors 5. designed a wide range of spaces to accommodate all kinds of art objects because the museum does not have a permanent collection

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Himmelblau: Rooftop Office 1. Deconstructivism - disruption, dislocation, deviation, and distortion (no fixed meaning) 2. for a law firm (in conflict with conservatism of this particular profession 3. the architects aspired to disrupt preconceived notions of architecture

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Howe and Lescaze: Philadelphia Savings Fund Society Building 1. International Style 2. nothing else like it in America when it was planned 3. Building reflects its functionalism well, as each of the Constructivist-like blocks that we can see on the exterior was designed to accommodate a different purpose 4. the building seems more massive than its light, floating European counterparts because when the client insisted the piers get pushed to the outer perime- ter of the building, creating strong vertical accents and interfering with the horizontal windows and the thin tautness of the wall

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Kahn: National Assembly Building 1. Expressionist, a Brutalist, and a Proto-Postmodernist 2. Greatly influenced by Le Corbusier's Brutalist style ("He was my teacher, although he didn't know it.") 3. He rejected High Modernism's emphasis on light volume defined by a taut membrane 4. designed massive, weighty structures that evoked ancient civilizations that seemed capable of defying the ravages of time

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Le Corbusier: Interior of Notre-Dame-du-Haut 1. Sculptural architecture 2. Brutalist: abrasive is his use of concrete, which instead of being smooth and highly finished is now left raw, having a rough texture and reveal- ing the pattern of the wood forms 3. Visitors enter the front through an enormous fissure in the wall, giving them a sense of slipping through a cleft in a rock formation 4. The pointed façade reminds us of a ship's prow 5. the roof recalls the bot- tom of a boat 6. primordial: cavelike interior Other Works: Villa Savoye

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Le Corbusier: Notre-Dame-du-Haut (from the southeast) 1. Sculptural architecture 2. Brutalist: abrasive is his use of concrete, which instead of being smooth and highly finished is now left raw, having a rough texture and reveal- ing the pattern of the wood forms 3. Visitors enter the front through an enormous fissure in the wall, giving them a sense of slipping through a cleft in a rock formation 4. The pointed façade reminds us of a ship's prow 5. the roof recalls the bot- tom of a boat 6. primordial: cavelike interior Other Works: Villa Savoye

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Perret: Church Notre Dame du Raincy 1. Credit for introducing ferroconcrete to "high" architecture (reinforced concrete 2. designed apartment buildings and park- ing garages using steel-reinforced con- crete 3. Le Corbusier used to work for him 4. worked on a new interpretation of the neoclassical style (rationalism) Other Works: St. Joseph's Church (which Le Corbusier helped on)

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Rietveld: Interior of Schröder House, with "Red-Blue" chair 1. De Stijl (the style) 2. Neo-Plasticism (New Plasticism) 3. uncomfortable 4. Combining the color and floating planes of Mondrian and the fluid spaces of Wright 5. emphasis was on spiritual aesthetics, employing flat planes and primary colors to implement Mondrian's dynamic equilibrium Other Works: Schröder House

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Rietveld: Schröder House 1. De Stijl (the style) 2. Neo-Plasticism (New Plasticism) 3. Combining the color and floating planes of Mondrian and the fluid spaces of Wright 4. interior un confortable (red-blue chair) 5. emphasis was on spiritual aesthetics, employing flat planes and primary colors to implement Mondrian's dynamic equilibrium Other Works: Red-Blue chair

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Rogers and Piano: Centre National d'Art et Culture Georges Pompidou 1. New Modernism 2. Hi-Tech design 3. exposed the building's utilities 4. hird most visited Paris attraction

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Rohe and Johnson: Seagram Building 1. Late Modernist skyscraper 2. interiors by Philip Johnson 3. Mies achieved with his aesthetic of "Less is more" 4. minimal gestures: emoving the 38-story building from its urban environment and placing it on a pedestal, that is a plaza elevated above street level 5. made of pink granite 6. Bauhaus influence Other Works: German Pavilion

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Stirling: Neue Staatsgalerie 1. Postmodernism 2. museum and theater complex 3. the large pylonlike forms and clefts that allow for narrow passageways reminds us of Egypt 4. The pattern of alternating sandstone and travertine suggests medieval Italian structures 5. while the enormous wavelike window of the museum reverber- ates with memories of Paxton's Crystal Palace

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Venturi: Vanna Venturi House 1. Postmodernism 2. Buildings should be complicated, rich, and filled with references to the past and to the present as well 3. His wife and him outraged the architecture community by saying that LA and LV where the modern day equivalency of ancient Rome and Renaissance Florence 4 for his mother 5. The use of the "lintel" recalls an Egyptian pylon

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van Alen: Chrysler Building 1. often considered the finest Art Deco skyscraper 2. about decorative veneer, not idealistic substance unlike the Bauhaus 3. The flamelike triangular windows create a staccato rhythm 4. . Gargoyles duplicating the hood ornament for the 1929 Chrysler decorate the corners 5. the corner ornamentation are replicas of the 1929 Chrysler radiator caps

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