Modern Architecture II Final - Buildings

Kenzo Tange, Own House, Tokyo, Japan, 1953.

After graduating from the University Tokyo in 1938 and working for a while to Kunio Mayekawa (pupil of Le Corbusier ), Kenzo Tange in 1949 won the competition for the Hiroshima Peace Center. Despite the great influence Le Corbusier had had on the young architect when in 1951 he Plated be home, he preferred to use more conventional materials Japan, such as wood and paper, rather than concrete, yes it uses in many other projects. Still, modern themes like the flexibility of the spaces, which are treated those days, they were included in this project. This house is a fusion of traditional Japanese architecture and customs of modern life. Therefore, the module fits tatami in this project to adapt to changing user roles. The house is perfectly integrated into the landscape and aims to have adopted a formal symbolism key aspects of the composition of traditional Japanese houses. These are usually off the ground, rising on pillars that help create a space under the house that isolates the summer humidity and provides privacy, a feature of Japanese culture. It is accessed by stairs located under the house and in the center of the plant. The ground floor is composed of a series of pillars and partitions that compartmentalize some or delimit this open space. The house is defined by a construction that makes the change of use of housing space possible. The different rooms have movable walls, sliding doors (fusuma) that expand or reduce the size of each room according to the need of space at all times. Thus, the largest room can be divided up into three smaller rooms, according to user requirements. The living space arises as a result of the traditional tatami module, increasing its size to adapt to modern mores. The building envelope of glass walls leads to a balcony that runs around the house. This is protected by the overhang of the roof, creating a transitional space between inside and outside. Thanks to the transparency of the facades housing projects abroad, eliminating the boundary between interior and exterior space. The building's interior is characterized by sliding doors, painted with abstract shapes in ink panels; tatami module, poor decoration and small furniture. The structure, contrary to the usual Kenzo Tange, is made ​​of wood instead of concrete. The elevation of the house to the ground and help double deck ventilation of the house and prevent it from coming into contact with moisture in the soil. In this house, the architect Kenzo Tange would differ from the houses that were being held in Hiroshima, usually concrete, preferring to use typical Japanese architecture materials, wood and paper.

Lucio Costa and Oscar Niemeyer, Monumental Axis, Brasília, Brazil, 1956-1960

Costa's plan included two principal components, the Monumental Axis (east to west) and the Residential Axis (north to south). The Monumental Axis designated for political and administrative activities is considered the body of the city with the style and simplicity of its buildings, its oversized scales, broad vistas and heights, producing the idea of Monumentality. This axis includes ministries, the national congress, and the television and radio tower.

Félix Candela, Los Manantiales, Restaurant etc., Mexico City, Mexico (1958).

Felix Candela's experimental form finding gave rise to an efficient, elegant, and enduring work of structural art. Comprised of four intersecting hypars, a strikingly thin roof surface creates a dramatic dining space. Built as Candela was establishing an international reputation as the foremost shell building, he demonstrated to the world his masterful combination of artistry and technical virtuoso. os Manantiales was created as Candela's mastery thin-shell concrete construction was solidifying. Initially conceived for another client on a different site, the structure found realization as a replacement for a wooden restaurant alongside a floating gardens filled canal in the Xochimilco area of Mexico City. The roof is a circular array of four curved-edge hypar saddles that intersect at the center point, resulting in an eight-sided groined vault. The plan is radially symmetric with a maximum diameter of 139 feet. Groins spanning 106 feet between supports. Trimmed at the perimeter to form a canted parabolic overhang, the shell simultaneously rises up and out at each undulation. The force paths from these overhangs act in the opposite direction from forces along the arched groin, reducing outward thrust.

Maxwell Fry and Jane Drew in Ghana: The Mfantsipim School Cape Coast, 1947

In 1947, Maxwell Fry and Jane Drew were commissioned to build a series of schools and teacher training colleges, primarily in the former British colony of the Gold Coast. The architects used the project as an opportunity to apply European ideals of modernism to a new environment, and their pioneering architectural approach was promoted as the realisation of a new era of mutual interest for Britain and the Gold Coast. Representative of newly-released resources from the Colonial and Welfare Development Fund, Fry and Drew's educational buildings embodied the move toward colonial devolution. At Cape Coast, Fry and Drew worked on three projects (more on these soon), including a series of extensions for Mfantsipim School. The first secondary school in the Gold Coast, Mfantsipim School was established in 1876 as part of the Methodist mission. Phase one of building works comprised a series of staff houses and a water tower, followed by a second phase of dormitory blocks This block forms a gateway to the site. The driveway passes under the building and up to the main, hill-top campus. The ground floor bathroom block sits at right-angles to the dormitories above.

Sedad Hakki Eldem, Zeyrek Social Security Complex, İstanbul by (1970)

In the 1960s when this complex was designed and in construction, Turkish architects were engaged in a reassessment of the tenets of the Modern Movement, leading them to seek a new regionalism" in architectural expression, as an answer to the dominance of the International Style. This office complex reconciles both theoretical positions. It is as disciplined and rational as the modernist canon requires, yet without compromising its modernity, it responds to its regional context, respecting the historic landmarks nearby, and remains sensitive to its site, which is a steeply sloping plot at the corner of a major intersection.

Lina Bo Bardi, SESC Pompeia, São Paulo, Brazil (1977-86).

It can be said that the way to understand the architectural program in Pompéia has to do with a way to be in town and occupying public spaces or collective, almost an exercise in "micro-urbanism". The project is planned as aggregation; the context is understood as debris on which it intervenes. Is it an "operation of architecture" would be called to make another project. Stated another way, is a building that sits between the intervention and invention (Philippe Blanc) The works of Lina Bo Bardi certify a popular creation potential, giving space and voice to make it happen: the spaces sometimes considered "ugly" and unfinished invite to be constructed and reconstructed with the victory and tear. The projects are an appropriation, digestion and proposal of a new modern local movement, Brazilian, from the incorporation of the people. This idea permeates the concept of free will that distinguishes the work of the architect, as the MASP, with large demonstrations. This same form and thought also gives strength and meaning to the SESC Pompeia. Accompanying the existing volume of old cooperage, the architect added two vertical buildings attached to the factory by aerial walkways. Much of the design of the SESC Pompeia was defined on the ground, as the architect moved his office to the factory during rehabilitation. In this project Lina Bo Bardi decided to keep most of the complex as it was to preserve the characteristics of the place. In order to maintain existing spatial qualities on the site, the architect focused placing objects freely within the space, like a thin concrete structure which divides the main room into a library, an exhibition space and lounge group, with a fireplace and a river that runs through them all. This leisure center consists of spaces of the old factory and two volumes five floors with a block of tennis, pool, workshop area, library, living rooms and exhibition, auditorium are distributed, a restaurant and a large solarium.

Philip Johnson and John Burgee, AT & T Building, New York, NY (1984)

Johnson and Burgee's deployment of historicity—both on the pediment and throughout the building below it—constituted nothing less than the fulfillment of an intellectual revolution that had been agitating for more than a decade. In the late 1960s, a crisis of meaning had taken over the architectural community, spurred by the failures of modernist urbanism and theory to fulfill its own lofty, idealistic social goals. Concurrent advances in anthropology, semiology, and linguistics redirected academic interest toward the communicative power of architecture as a cultural and artistic production. [1] In contrast with the Deconstructivism of Eisenman, who responded to this crisis by exploring inherent meaning through the systematic deprivation of extrinsic semiological indices, the Postmodernists explored the capacity of the sign to imbue buildings with cultural significance. Historicity and decontextualized references thus became the commodified ingredients of a new architectural recipe designed to counter functionalism's lifeless affect. While the building's most iconic feature may be its "Chippendale Top," a moniker it acquired for the pediment's resemblance to the furniture maker's classic highboy chests, perhaps the formal elements most illustrative of Postmodern sensibilities occur 647 feet below at ground level. There, a soaring entrance portico suggestive of great Italian arcades immediately removes visitors from the modern Manhattan neighborhood. The entrance engages a circular motif with a set of semicircular arches—the outer of which rises seven stories above the sidewalk—and a massive, round window placed above the door. The simple geometry of these elements is indicative of both a return to the perfect forms pursued by Renaissance mathematician-architects and a desire to break free from modernism's characteristic orthogonality. The columns that drop down from the massing into the entrance portico reveal a curious act of deception by the architects: the structure of the building is actually inherently modern, built using a conventional steel framing system inset behind the facade. Perhaps because of this, Robert A.M. Stern initially derided the design as "merely a routine office building" that had received an "unusually high level of publicity." [3] But instead of finishing the profile with a glass curtain wall as modernism would expect, the steel body is clad with slabs of pink granite, an older and less industrial material that projects an aura of solidity and permanence. Although the relative thinness of the columns clearly alludes to these modern structural methods, the material finish visually hearkens to an older method of masonry construction on an enormous scale. As with all architecture in the postmodern tradition of the "decorated shed," the superficiality of this signage not only fails to detract from its effectiveness but reflects a deliberate prioritization of architecture's affective capacity.

Juan O'Gorman (1905-1982), Casa Estudio Diego Rivera y Frida Kahlo, Mexico City, 1929-1931

O Gorman, heir to the Dutch school of architecture and Le Corbusier, specially designed this house for the couple, which is one of the first examples of functionalist architecture. Taking the fundamental ideas of Le Corbusier on the machinery of living and its 5 points, and reconsider the conditions experienced in Mexico, housing problems resolved with the least cost. He created a home made up of two concrete blocks smooth, independent of one another and linked by a narrow bridge that joins the rooftops. A block is red and represents Diego. The other is blue, representing Frida. The bridge that unites them is the bond of love between them. It also complies with the 5 points above Le Corbusier, with the house on stilts, free plants, free facades, garden terrace and elongated windows. The play shows its skeleton of steel pipes, escalators and materials economy. In turn, is a house with his Mexican colors, textures and floors of their encirclement of cactus. It's a factory, a machine for living, the machinery of art where Frida and Diego produced a world aesthetic large in Mexico, its history, its people, their problems and their dreams. The house consists of two blocks binoculars, simple, plain concrete with large windows. In block red Diego Rivera had his studio and its rooms, while in the block were the blue spaces of Frida Kahlo. The work is conceived as a machine that looks light. The vents are located to the north picked up the diffused light that allows a uniform illumination and does not alter the colors on the painting. Through the large mullioned windows of the slabs are trying to achieve a superior lighting control. An outside staircase from a window located on the second floor of the block, giving the blue roof. There used to take Frida sunbathing. A cactus fence surrounding the building and relates to the environment. The structure is independent of reinforced concrete.

Le Corbusier, Plan Voisin, 1925

Plan Voisin called for 18 cruciform glass office towers, placed on a rectangular grid in an enormous park-like green space, with triple-tiered pedestrian malls with stepped terraces placed intermittently between them. Extending perpendicularly to the west, there would be an adjacent rectangle of low-rise residential, governmental, and cultural buildings amid more green space. The new development would be integrated with highways, train and subway lines, as well as an airport, making this area the first thing that most visitors to the city would see.

Kenzo Tange, Hiroshima Peace Memorial, 1949-1956

Respecting what is left standing of the original building and a few meters from it, Tange rose in an area of 122,100 square meters a tribute to the victims of the tragedy. The park is a tribute to the victims of the tragedy and recalls all its corners with either evocative monuments or three modernist buildings that Kenzo Tange was raised in, and remember that the ravages of humanity caused by the atomic bomb and calling for the urgent need for nuclear weapons are not used anymore. The original building is preserved as it was after the atomic explosion and the whole park was created around it. This complex of buildings to show the simplicity that can be reached on a design. With its main dining room of flat and long resting on concrete pillars removed, in a concrete structure slender, thin, finely finished that allows the color of cement and allows you to see the transparency of the interior, it is impossible not to mention again Le Corbusier, even when shown a strong influence of traditional Japanese design in the grid of windows and layout of the structure. The glass facade is divided by nerves cement horizontal and vertical layers, highlighting the dominance of vertical and horizontal characteristics of the construction of Tange. The construction of buildings and monuments was completed primarily in reinforced concrete exposed and the main facade of the museum covered by glass. The Hiroshima Peace Center Memorial Hall, was constructed with 140 thousand bricks, the number of victims until the end of 1945.

Aldo Rossi, Cemetery of San Cataldo, Modena, Italy (1971-84)

Rossi believed in representation of typologies, translations of the past, which were basic theories argued in his book "The Architecture of the City" in 1966. He fused ideas from the Costa and Jewish cemeteries of the 19th century to design his cemetery for a competition with Gianni Braghieri in 1972, winning the competition. The scheme was reworked in 1976 before construction could begin in 1978, although as it stands, the vivid orange colored building is only partially completed as per the initial intentions of the architect. An important event occurred prior to the design and construction of the cemetery; Rossi was in a terrible automobile accident and he was then hospitalized for a long period of time. During his hospitalization, he began to theorize about the structure of his body as a series of fractures that had to be put together again. Rossi uses a bounding wall similar to the one found in the Costa Cemetery to define an axis and break down the rectangle into a series of zones. Rossi's ossuary cube is a commentary on the cemetery as a house of the dead, as well as being tied to the Jewish cemetery in positioning and proportion of enclosing structure to void. The concept of a series of buildings terminating on a funeral structure is morphed into Rossi's design as well, with the line of rib-like buildings concluding in a cone shape which contains the communal grave. The Rossian cemetery has no roof, floors, windows or doors; instead it is only a shell with openings. Some of the openings are for light, others for views, access, and even containment of cremated bodies. Many do not hold this building in high esteem, as they find it depressing or ugly. But Rossi has found a way to make architecture metaphysical; the visitor is inevitably confronted with the thought of death, where truths are constant and irrevocable.

Robert Venturi and Denise Scott Brown, Vanna Venturi House, Philadelphia, PA (1964)

one of the first prominent works of the postmodern architecture movement, is located in the neighborhood of Chestnut Hill in Philadelphia, Pennsylvania. It was designed by architect Robert Venturi for his mother Vanna Venturi, and constructed between 1962 -1964.[1] The house was sold in 1973 and remains a private residence. The house is not open to the public. The five-room house stands only about 30 feet (9 m) tall at the top of the chimney, but has a monumental front facade, an effect achieved by intentionally manipulating the architectural elements that indicate a building's scale.[2] A non-structural applique arch and "hole in the wall" windows, among other elements, together with Venturi's book Complexity and Contradiction in Architecture were an open challenge to Modernist orthodoxy. Architectural historian Vincent Scully called it "the biggest small building of the second half of the twentieth century. Venturi designed the Vanna Venturi House at the same time that he wrote his anti-Modernist polemic Complexity and Contradiction in Architecture in which he outlined his own architectural ideas. During the writing he redesigned the house at least five times in fully worked-out versions.[9] A description of the house is included in the book[10] and the house is viewed as an embodiment of the ideas in the book Many of the basic elements of the house are a reaction against standard Modernist architectural elements: the pitched roof rather than flat roof, the emphasis on the central hearth and chimney, a closed ground floor "set firmly on the ground" rather than the Modernist columns and glass walls which open up the ground floor.[13] On the front elevation the broken pediment or gable and a purely ornamental applique arch reflect a return to Mannerist architecture and a rejection of Modernism. Thus the house is a direct break from Modern architecture, designed in order to disrupt and contradict formal Modernist aesthetics.[14] More simply, Venturi demonstrated his intentions by literally giving the finger to the Modernist establishment.[15] View from the side (south-east) The site of the house is flat, with a long driveway connecting it to the street. Venturi placed the parallel walls of the house perpendicular to the main axis of the site, defined by the driveway, rather than the usual placement along the axis. Unusually, the gable is placed on the long side of the rectangle formed by the house, and there is no matching gable at the rear. The chimney is emphasized by the centrally placed room on the second floor, but the actual chimney is small and off-center.[16] The effect is to magnify the scale of the small house and make the facade appear to be monumental. The scale magnifying effects are not carried over to the sides and rear of the house, thus making the house appear to be both large and small from different angles.[17] The central chimney and staircase dominate the interior of the house The themes of scale, contradiction, and "whimsy" - "not inappropriate to an individual house," can be seen at the top of the stair, that seems to go from the second floor to a non-existent third floor. The house was constructed with intentional formal architectural, historical and aesthetic contradictions. Venturi has compared the iconic front facade to "a child's drawing of a house."[19] Yet he has also written, "This building recognizes complexities and contradictions: it is both complex and simple, open and closed, big and little; some of its elements are good on one level and bad on another its order accommodates the generic elements and of the house in general, and the circumstantial elements of a house in particular

Philip Johnson, Boston Public Library Addition, Boston, MA (1967-72)

Spacer graphic On December 11, 1972, an addition to Central Library in Copley Square opened. The building was designed by noted architect Philip Johnson, with collaboration from the Architects Design Group of Boston, who observed two requests: to observe the existing roof line of the McKim Building, and to use material (Milford granite) that would harmonize with the exterior of the existing Central Library building. The Central Library's McKim and Johnson buildings, as they are now known, are linked on three levels for easy access to all the resources of the library. Deferrari Hall, the main stairways, and lobby have granite flooring and walls, to match the exterior of the building. The Johnson Building occupies ten levels, four levels of public services, one of behind-the-scenes library processing and administration, four levels of book stacks for the research collection, and one level shared by utilities, maintenance and stacks. In order to contain nine floors and the mezzanine level within the height limitation respecting the existing building, unique structural and mechanical systems were developed. The upper five floors are suspended from huge roof trusses which form the mechanical penthouse. This allows for the maximum amount of usable space and eliminated the need for a forest of columns on the second floor. The Johnson Building contains approximately 1,900 tons of reinforcing steel rods and 2,100 tons of structural steel — enough to make a 5-inch diameter pipe reaching from the Earth to a 100-mile-high orbiting space craft. The 25,000 cubic yards of concrete used for the building could create a sidewalk back from the space craft to Earth.

Kunio Maekawa, Harumi Apartments, Harumi Island, Tokyo, Japan, 1958.

The Harumi apartments located in Harumi, an artificial island in Tokyo Bay were large - scale building along a north-east-west axis and south containing apartments that popular among the wealthy upper middle class. The floor plans was inspired by Le Corbusier housing unit in Marseille. Mayekawa gave to the building a distinctive character, as expressing the construction of reinforced concrete in terms of heavy wooden structure. He also did not go for braces building with walls that expand in their approach to the ground, giving the building a greater sense of monumentality. The building was demolished in 1997.

Giorgio de Chirico, Mystery And Melancholy Of A Street (1914)

The Mystery and Melancholy of a Street is one of de Chirico's most baffling metaphysical pictures, which, as usual, presents us with an unsettling and impossible universe. In the painting, two buildings designed in the style of Renaissance architecture enclose a deserted public space, creating an edgy atmosphere of entrapment. Two figures intrude into the late afternoon light: a girl (lower-left) with a hoop, and the shadow of a large human (almost certainly a statue) (upper-right). The girl is seemingly being drawn towards the unseen adult figure. Meantime, in the darkened foreground we see what appears to be a horse-box on wheels, whose open doors and dark interior add to the overall feeling of latent menace. In a further subversion of reality, De Chirico employs two contradictory vanishing points: thus all the lines of the illuminated arcade on the left meet just above the horizon, in complete contrast to those of the darkened building on the right, that meet just above the roof of the horse-box (which, incidentally is illuminated by an incomprehensible light source). In some ways the composition resembles a largely empty stage, upon which some drama is about to unfold. The street is full of possibility and melancholy.

Le Corbusier, Palace of Justice, Chandigarh, India, 1952

The Palace of Justice has been in use since March 1956. The approaches have net as yet been prepared : two of the three basins of water have not yet been excavated in front of the Palace; the exterior polychromy is enlivened, for the moment, on the principal façade, only by the brise-soleil of the Courts of Justice; the three pylons of the grand entrance portico, coated with a cement rendering, are to be painted-one green, the other white, and the third in red-orange, both left and right walls to be painted black. The 650 meters of tapestry, completed in five months by Indian craftsmen in Kashmir busy since the inauguration of the building, for the lower parts of the small Courts of Justice (eight tapestries of 64 m2 each) and for the lower portion of the large Court of Justice (a tapestry of 144 m2) provoked the delighted acquiescence of Mr. Nehru and the Governor of Punjab as well as the Chief Judge. But they also aroused doubts in the minds of some judges who declared that they were an outrage to the dignity of justice and caused two or three of them to be removed. The day of reinstatement shall come-have patience ! The Palace of Justice in Chandigarh represents a positive premier manifestation of an esthetic possible in reinforced concrete. The fact that stupefaction reigns so often is natural in Chandigarh; but the fact that the amenities of the park-the trees, the flowers, the greens, the pavements of stone and cement, the monuments anticipated in the plan shall be achieved, resulting altogether in a rigorously concerted symphony, shall, at that time, cause the people to cease their complaining and, instead, give thanks!

Le Corbusier, Obus Plan for Algiers (1931-32)

The Plan Obus consisted of three main elements: a new business district on the Cape of Algiers (at the tip of the Casbah) at a site slated for demolition, a residential area in the heights accessible by a bridge spanning over the Casbah, and, finally, the ultimate expression of his "roadtown," an elevated highway arcing between suburban cities and containing fourteen residential levels beneath it. These levels were raw space that Le Corbusier believed would fill in "little by little" with homes for the working class that would accommodate as many as 180,000 people. His vision of this new Casbah took the layered domestic spaces of the medina and stacked them as if sweeping up a scattered deck of cards. Obus, which means shell, is often taken to refer to the spiraling form of the plan, but could also reference its infrastructural "shell," within which homes would be constructed. The plan was a modernist megastructure to be laid directly over the Casbah, with its elevated highway and bridges allowing high-speed travel over the prohibitively narrow and complex streets below. If built, Plan Obus would have been one of the largest and most ambitious modernist projects ever — an inspiring sight of monument and beauty — and likely one of its greatest failures. Clearly disaster loomed in the project's disregard for Algerian social and religious traditions, the segregation of the workers and the European communities, and of course the abrupt change in the spatial arrangement brought on by its brutal scale. What is most interesting about Plan Obus now is not imagining these problems, but contemplating the extreme disconnect between Le Corbusier's solution for Algiers and the romantic harmony, sensuality and poetry of the exoticized other upon which he drew.

"Banque d'Etat du Maroc" (Bank al-Maghrib), Casablanca, Morocco

The State Bank of Morocco was created in 1907 , following the Treaty of Algeciras in 1906 , with a capital fixed at 15400000 francs distributed among the signatory countries, with the exception of the United States . Léopold Renouard , Vice-President of the Bank of Paris and the Netherlands, takes over the presidency of the new organization. The Bank of Paris and the Netherlands, which was the leader of French capital and sponsored the creation of the bank, will maintain its control over the bank. The head office is located in Tangier but the meetings took place at No. 3 of Volney Street in Paris .

Josep Luis Sert, The U.S. Embassy, Baghdad (1955-1959)

The city of Baghdad, now semi by the bombing, welcomed the best teachers in the architecture of the twentieth century before the era of Saddam. Frank Lloyd Wright, Le Corbusier and Walter Gropius made advanced projects. They were joined by Josep Lluis Sert, the Catalan architect in exile in Harvard, who designed the U.S. embassy. The Embassy building is, according to many people who have studied, one of the most beautiful modernist buildings that were built and which was never given the deserved recognition. That lack of recognition may be divided as to the use of the embassy building, which the U.S. always has been associated with the governments in Baghdad despots in the region and this still image of the United States during the Cold War. These factors led to the population not to see the building as an architectural work but as a symbol of the activities that took place in and consequently underestimated. The complex is grouped to form a "U". in the center is a park with vegetation, ponds and bridges that connect the different departments within the embassy. This central oasis water bodies with their help create a microclimate within the site. The building has three levels with a roof crowned "folded." Each level gets a different treatment on the front: The ground floor will be setbacks in terms of leaving a thin facade pillars that mark the rhythm of the structure. On the first floor also plays with the setbacks of the facade but this is left on the perimeter a lot more than the pillars. On the first floor in the shape of a square lattice rotated 45 degrees covers the entire facade rhythmically cut to make room for a larger openings. This forms a kind of lattice gallery between the front and the front wall of the space. This area of "gallery" is extremely useful for controlling the indoor climate as it can create shadows and currents that help keep cool. Not surprisingly, the architect architectural use this tool to get more control over the environment as they knew it works to perfection because it is an element used in all buildings in the widening of his hometown, Barcelona, with excellent results. Arriving at the third and top floor we find a new game that made the architect of the facade. In this case does not opt for the setbacks, but by the front left unfinished in his journey between the two forged. So we can say that the facade of the third floor is only halfway between the size of forged, leaving the top free space. In this space are taken to begin the pillars on the ground floor and finish on the deck that collapsed is the distinctive symbol of the building. This open space under the thin concrete form to the deck is another excellent mechanism to ensure the architectural climate comfort inside the building. Again the architect refers to the traditional architecture of Catalonia hometown to solve the problem because this system of "double deck" VENTILATED was commonly used in farms in Catalonia. The building falls clearly within the modernist movement and so much material as the type of structure is perfectly adapted to it. The reinforced concrete slabs set as pillars and was the material which was built architecture. He was also due to the characteristics of the plastic material that could be ways to achieve the "folds" in the geometric deck. With regard to the coating materials were used to mimic clear sandy tones of the building with the environment as well as local and therefore easier to find and work.

Félix Candela, Cosmic Ray Pavilion, Mexico City (1952)

The double curved structure is made of a very thin layer of concrete, exemplifying its structural and design capabilities. These mathematically complex structures define the popular architecture of the pavilion's designer Felix Candela. Measuring 40 feet by 35 feet the pavilion, the structure contains two laboratory spaces specializing in the measurement of cosmic rays and nuclear disintegration for the Universidad Nacional Autonoma de Ciudad Universitaria. It's remarkably thin shell is quite appropriate At its thickest point the covering reaches only 5/8 inch, one of the thinnest casts ever created. Its construction in 1951 marked one of the major advancements in concrete shell architecture. The exterior vertical walls are made from reinforced concrete formed in a corrugated configuration. The foundation of the shell rests upon three main arching supports which are carried down into concrete footings. The entrance into the building comes from the undercarriage up into the first bay of the interior. Two bays are created by three main "arches", one main parabola with two hyperbolic paraboloids, with concrete draping between. Save this picture!

Fry, Korn, Ling, and Samuely, MARS Plan of London, 1938-42,

The plan was devised by what has been described as a 'small and devoted' group, under the town planning sub committee of MARS, chaired by Arthur Korn, and including Arthur Ling, Maxwell Fry, the latter who worked as secretary, and fellow Jewish emigre, engineer Felix Samuely.[3] Arthur Korn is described as having been 'the main spring of the enterprise' and as providing an 'infectious enthusiasm' that drove the project forward.[3][4] Influenced by the Soviet urbanist Miliutin, the plan essentially conceived the centre of the city remaining much the same but with a series of linear forms or tongues extending from the Thames, described as like a herring bone, composed of social units and based around the rail network.[2][5] Habitation in each social unit was to consist mainly of flats and owed much to Le Corbusier's notion of the unite d'habitation.[5] Described as 'unworkable' by Dennis Sharp, in his 1971 essay on the plan, he concedes it 'was not a concrete scheme but a concept that would by its very nature produce interpretations'.[2] Marmaras and Sutcliffe argue the plan 'saw London almost entirely in terms of movement ...[being] presented primarily as a centre of exchange and communications'.[6] Moughtin and Shirley (1995) note that one of the aims of the plan was to promote public transport, where with railways integral to planning, the 'need for cars will be few'. .[5][7] Korn's initial chairmanship of the plan was interrupted by his 18-month internment in the Isle of Man from 1939, being a German citizen, during which period work on the plan fizzled out.[3] On his release, in 1941, work recommenced, an exhibition of the plan was organised and a 'description and analysis' was published under the joint authorship of Arthur Korn and Felix Samuely in the Architectural Association journal in 1942

Kenzo Tange, Kagawa Prefectural Offices, Kagawa, Japan, 1958.

The two buildings are positioned in an L-shape, partially framing a central courtyard that takes its inspiration from temple gardens. The square administrative volume is supported by a central core, which alleviates exterior structure. The building emulates traditional Japanese wooden architecture, fusing this inherent simplicity with modernist rationality. Makoto Takei and Chie Nabeshima of TNA explain that the work inspired them because it is a good example of a building raised on pilotis in Japanese civic architecture. They've incorporated a similar concept, albeit on a smaller scale, into the recent Spread House which hovers within a forest in Nagano. The administrative building is also lifted above the ground. Inside is a two-story high glazed entrance lobby. Activity on the street is visible across the courtyard, beneath the other building. As Takei and Nabeshima point out, the building's charm is preserved to this day because the original facades, furniture, and the important visual connection to the city remain intact.

Le Corbusier, Villa Stein (Villa Garches), Vaucresson, France, 1927-1928.

The villa Stein is an emblematic realization of the purist period of Le Corbusier, marked by villas with white facades and geometric lines. In 1919, the architect defined purism in the avant-garde magazine L'Esprit nouveau, which he created with artists Amédée Ozenfant and Paul Dermée : "The works are rendered legible by simple and stripped forms, organized in orderly constructions, generating harmony. " This villa is a reinterpretation of the Pavillon de l'Esprit Nouveau, a typical dwelling set up for a villa-building during the exhibition of the Decorative Arts of 1925. Its white facades inscribe it in the series of white villas, Villa Savoye (1931) in Poissy is the best known example. At Villa Stein, Le Corbusier uses the five points of modern architecture : 1: Piles supporting concrete slabs for foundations 2: A roof terrace 3: The free plan 4: Striped windows (in length) to allow maximum light to enter each room. 5: The free facade, free of its bearing function. To create this villa, Le Corbusier also draws on the classical model of the Villa Foscari built in the xvi th century by the Italian architect Andrea Palladio , near Mira in Veneto , considered the work most harmonious of Palladio.

Ludwig Mies van der Rohe, Brick Country House ("Brick House") (Project), 1923/1924

This wonderfully free-flowing 1923 'pinwheel' plan for a country house project by Ludwig Mies van der Rohe combines elements of Frank Lloyd Wright, De Stijl Art (see below left for example from 1918), Berlage and Malevich. The plan itself is almost pure abstraction. Rather than cutting up space into little boxes, walls thrust out into the landscape--almost as Frank Lloyd Wright first had them do a generation earlier--only here in this house they are simpler and the whole composition less 'centred'; they 'hold' space rather than 'grasp' it, and being less ordered their reach is less centrifugal, and the thrust correspondingly less.

Aldo Rossi's, La Nuova Piazza / Centro Direzionale, Perugia (1982-89)

Where the eastern side of the square is occupied by an impressive residential building in line, dubbed "fiberglass tip" and marked by arcades and shops on the ground floor, but mostly punctuated by pilasters corresponding to the stairwells and sealed by a giant corner column framing the view from the train station; while the western side of the square is occupied by an equally impressive office building, renamed "broletto" and marked by a front Templar evoking the figures archetypal lavished by Giotto on the walls of the upper basilica of San Francesco in Assisi as well as a floating square sovrappassa Cortonese the road with the same grandeur with which the roof overlooking the square of Gubbio via Baldassini. But that's not all. To the north, in fact, the Acropolis profile is hidden by a conical tower, opposing the bus station designed by Vittorio Bega, establishes the entry to the Theater / neighborhood center (the smaller building in terms of size, yet prospective fulcrum of the whole composition) and alongside an old industrial chimney that, in a completely unusual for the repertoire and Aldo Rossi, it is not reconstructed to art, but is preserved and is placed in defense of a pedestrian walkway that, while citing the avenue Buitoni leafy villa, little used, as it is little frequented the square in general. Nor could it be otherwise, since the New Square Aldo Rossi, like the squares of Italy Giorgio De Chirico, one can not imagine deserted or inhabited only by those sliding brightness and those soft shadow that dramatize dawn and dusk.

Ludwig Mies van der Rohe, Tugendhat House, Brno Czech (Rep.), 1928-30

a historical building in the wealthy neighbourhood of Černá Pole in Brno, Czech Republic. It is one of the pioneering prototypes of modern architecture in Europe, and was designed by the German architect Ludwig Mies van der Rohe. Built of reinforced concrete between 1928 and 1930[1] for Fritz Tugendhat and his wife Greta, the villa soon became an icon of modernism. The free-standing three-story villa is on a slope and faces the south-west. The second story (the ground floor) consists of the main living and social areas with the conservatory and the terrace, and the kitchen and servants' rooms. The third story (the first floor) has the main entrance from the street with a passage to the terrace, the entrance hall, and rooms for the parents, children and the nanny with appropriate facilities. The chauffeur's flat with the garages and the terrace are accessed separately

Michael Graves, Portland Building, Portland, OR (1982)

a 15-story municipal office building located at 1120 SW 5th Avenue in downtown Portland, Oregon. Built at a cost of US$29 million, it opened in 1982 and was considered architecturally groundbreaking at the time.[6][7] The building houses offices of the City of Portland and is located adjacent to Portland City Hall The roof of the Portland Building is covered with a green roof, installed in 2006.[16][17] The roof was proposed in 2005,[18] part of an experiment through Oregon State University to test Sedum spathulifolium as a water-absorbing plant for the northwest.[19][20] The new roof will help the building's heating, cooling, and storm-water runoff systems The distinctive look of Michael Graves' Portland Building, with its use of a variety of surface materials and colors, small windows, and inclusion of prominent decorative flourishes, was in stark contrast to the architectural style most commonly used for large office buildings at the time,[7] and made the building an icon of postmodern architecture. It is the first major postmodern building, opening before Philip Johnson's AT&T Building, and its design has been described as a rejection of the Modernist principles established in the early 20th century. Graves' design was selected in a large design competition, with Johnson as one of the three members of the selection committee. Graves was added into the competition after Johnson threw out the entry from architect Gunnar Birkerts for having not been Postmodern enough. Birkerts went on to design the Detroit Institute of Arts South Wing, which was re-clad by Graves in 2007. Portland mayor Frank Ivancie was among those who expressed the opinion that the modernist style then being applied to most large office buildings had begun to make some American cities' downtowns look "boring",[7] with most of the newer, large buildings being covered in glass and steel, and largely lacking in design features that would make them stand out.[7] Among architects, reaction was mixed, with many criticizing the design while others embraced it as a welcome departure.[7] In 1985, the hammered-copper statue Portlandia was added above the front entrance

Ahmet Kemalettin, Bebek Mosque, Istanbul, Turkey (1913)

a 1913-built mosque located in Bebek neighborhood of Beşiktaş district in Istanbul, Turkey. Bebek Mosque was designed by Mimar Kemaleddin (1870-1927) in the architectural style of First national architectural movement, and built in Bebek on the place of a mosque, which was commissioned by Grand Vizier Nevşehirli Damat Ibrahim Pasha (1666-1730).[1] It is situated inside a courtyard surrounded by low concrete walls on Cevdet Paşa Cad. behind the Bebek Pier in Bebek Bay on Bosphorus. The mosque has a square plan, and is built in limestone ashlar. The main dome is supported by four half domes sitting on eight frames. It has six arched windows, two each in the front and back, and one each at sides, and 28 small arched windows in total above them. The mosque has a polygonal minaret on a high base adjecent to the western wall. The underside of the minaret balcony is decorated with three lines of muqarnas. Minaret's entrance is next to the narthex outside the mosque.[1]

Renzo Piano & Richard Rogers, Centre Georges Pompidou, Paris, France (1977)

a complex building in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles, rue Montorgueil, and the Marais. It was designed in the style of high-tech architecture by the architectural team of Richard Rogers and Renzo Piano, along with Gianfranco Franchini. The different systems on the exterior of the building are painted different colors to distinguish their different roles. The structure and largest ventilation components were painted white, stairs and elevator structures were painted a silver gray, ventilation was painted blue, plumbing and fire control piping painted green, the electrical elements are yellow and orange, and the elevator motor rooms and shafts, or the elements that allow for movement throughout the building, are painted red. One of the "movement" elements that the center is most known for is the escalator (painted red on the bottom) on the west facade, a tube that zigzags up to the top of the building providing visitors with an astonishing view of the city of Paris. The Centre was designed by Italian architect Renzo Piano; British architect Richard Rogers; and Italian architect Gianfranco Franchini, assisted by Ove Arup & Partners.[10] The project was awarded to this team in an architectural design competition, the results of which were announced in 1971. It was the first time in France that international architects were allowed to participate. World-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries.[11] Building technology National Geographic described the reaction to the design as "love at second sight."[12] An article in Le Figaro declared "Paris has its own monster, just like the one in Loch Ness." But two decades later, while reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly coloured tubes for mechanical systems. The Pritzker jury said the Pompidou "revolutionised museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.

Lucio Costa et al., Gustavo Capanema Palace, Rio de Janeiro (1937-43).

a government office building in the Centro district of Rio de Janeiro, Brazil. The building is named after author and educator Gustavo Capanema, who was the first Minister of Education of Brazil. It is located at Rua da Imprensa, 16, in the downtown Rio area of Castelo. Delighted with the shape of Guanabara Bay, Corbusier suggested that the building should be located next to the sea, instead of on an inner downtown street, but the government declined The project was extremely bold for the time. It was the first modernist public building in the Americas, and on a much larger scale than anything Le Corbusier had built until then. Modernism as an aesthetic movement had a great impact in Brazil, and the building—which housed the office charged with cultivating Brazilian formal culture—included various elements of the movement. It also employed local materials and techniques, such as azulejos, blue and white glazed tiles linked to the Portuguese Colonial tradition, in modern wall murals. Despite being a large office building of 15 stories, the structure has a distinct lightness to it, as it is raised 3 metres (9.8 ft) above the sidewalk on pilotis (pillars) with access unobstructed from surrounding sidewalks and pedestrian areas. The building embraces bold colours and contrasts of right angles and flowing curves, such as the vitreous blue curving structures on the roof hiding the water tanks and elevator machinery. An internal concrete frame allowed the two broad sides of the building to be entirely of glass. Tropical sunshine on northern glass walls is controlled by Corbusian brises-soleil (sun-shades) made adjustable in a system that was the first of its kind in the world.[1] Modernist tropical gardens were laid out by the great landscape architect Roberto Burle Marx, and included native plants of Brazil the plant palette, unique at the time. A midlevel roof garden was designed to be seen 'in plan view' from the many floors of office windows above. Trees at ground level included majestic Imperial Palms (Roystonea oleracea). The building also included specially commissioned works of other Brazilian artists. Most notable are the mural tiles outside and large wall paintings inside by Cândido Portinari, one of Brazil's most famous painters. The building is especially important in the architectural history of Brazil.[1] Modernism gained great momentum as a significant "turning of the page" aesthetic, from the "old" Brazil of Eurocentric post-colonial urban sensibilities, and a countrywide rural, undeveloped and impoverished, and conservative image. Members of the design group developed a uniquely Brazilian Modern architectural vocabulary, creating a style that became virtually official and predominant in the country into the 1980s. Beside Costa, Oscar Niemeyer, and Roberto Burle Marx, were responsible in the late 1950s and early 1960s for the master plan, architecture, and landscape design of the new national capital of Brasilia. Burle Marx designed the master plan of Flamengo Park (Aterro do Flamengo), the 1950s modernist park and grand urban open space along Guanabara Bay in Rio. Affonso Eduardo Reidy designed the Museum of Modern Art—MAM (Museu de Arte Moderna, 1955) located there, and Burle Marx its gardens.

Ahmet Kemalettin, Istanbul 4th Vakıf Han, Istanbul, Turkey (1911)

a historical large office building located at Eminönü quarter of Fatih district in Istanbul, Turkey and owned by the Foundations Administration (Turkish: Vakıflar Genel Müdürlüğü). Currently, it is used as a five star hotel of World Park Hotel chain named "Legacy Ottoman". The building, constructed with a steel skeleton frame, has seven floors including the basement.[1] It is on the entrance side in Hamidiye Cad. 78.70 m (258.2 ft) long, and rises 27.21 m (89.3 ft) high while its max. width is 32.43 m (106.4 ft). It has an atrium with the dimensions 35.32 m × 5.20 m (115.9 ft × 17.1 ft). The facades in the west, south and east direction are covered by cut stone and marble while the backside in the north is in stucco applied bricks.[3][4][6] The building, flanked by two turrets, originally has two symmetrically placed entrances in between 24 shops with mezzanine. The entrances open up to both corners of a U-shaped passage. In the above four floors, there were a total of 148 office rooms of equal size for rent, 37 at each floor. At the end of the passage, two stairways and elevators enable to reach the upper floors.[3][4][5] The distance between the two stairways is 30 m (98 ft) with respect to the fire precaution regulation of that time. There exists also a service stairway in the middle of the backside running from the ground floor to the mansard, which unusual in other Ottoman business buildings

Weissenhof Siedlung, Stuttgart, Germany (1927)

a housing estate built for exhibition in Stuttgart in 1927. It was an international showcase of what later became known as the International style of modern architecture. Two of its buildings, designed by Le Corbusier, as well as several of his other works, were inscribed as UNESCO World Heritage Sites. The estate was built for the Deutscher Werkbund exhibition of 1927, and included twenty-one buildings comprising sixty dwellings, designed by seventeen European architects, most of them German-speaking. The German architect Mies van der Rohe was in charge of the project on behalf of the city, and it was he who selected the architects, budgeted and coordinated their entries, prepared the site, and oversaw construction. Le Corbusier was awarded the two prime sites, facing the city, and by far the largest budget. The twenty-one buildings vary slightly in form, consisting of terraced and detached houses and apartment buildings, and display a strong consistency of design. What they have in common are their simplified facades, flat roofs used as terraces, window bands, open plan interiors, and the high level of prefabrication which permitted their erection in just five months. All but two of the entries were white. Bruno Taut had his entry, the smallest, painted in various colors. Advertised as a prototype of future workers' housing, in fact each of these houses was customized and furnished on a budget far out of a normal worker's reach and with little direct relevance to the technical challenges of standardized mass construction. The exhibition opened to the public on 23 July 1927, a year late, and drew large crowds.

Frankfurter Tor (Frankfurt Tower)

a large square in the inner-city Friedrichshain locality of Berlin, the capital city of Germany. It is situated in the centre of the district, at the intersection of Karl-Marx-Allee and Frankfurter Allee (the eastbound federal highways No. 1 and No. 5) with the Warschauer Straße and Petersburger Straße ring road (federal highway No. 96a). The Frankfurter Tor station, on the city's U-Bahn line U5, is located under the square.[1]

Pruitt-Igoe, St. Louis, MO (1954-1972)

a large urban housing project first occupied in 1954[2] in the U.S. city of St. Louis, Missouri. Living conditions in Pruitt-Igoe began to decline soon after its completion in 1956.[3] By the late 1960s, the complex had become internationally infamous for its poverty, crime, and racial segregation. Its 33 buildings were demolished with explosives in the mid-1970s,[4] and the project has become an icon of failure of urban renewal and of public-policy planning. The complex was designed by architect Minoru Yamasaki, who also designed the World Trade Center towers and the Lambert-St. Louis International Airport main terminal.

Le Corbusier, Palace of Assembly Chandigarh, India, 1955

a legislative assembly designed by noted architect Le Corbusier and located in Chandigarh, build around 1950s India.[1][2] It is part of the The Capitol Complex, which comprises three buildings — Legislative Assembly, Secretariat and High Court.[3] After the partition of Punjab, in 1947 following the independence of India, the divided Punjab required a new capital as Lahore was now in Pakistan. Thus Le Corbusier was commissioned by first prime minister of India, Jawaharlal Nehru to build a new city of Chandigarh as the capital of Punjab and newly carved state of Haryana. The brief for the design was a city "unfettered by the traditions of the past, a symbol of the nation's faith in the future". Subsequently, Corbusier and his team built not just a large assembly and high court building, but all major buildings in the city, and down to the door handles in public offices. Today many of the buildings are considered modernist masterpieces, though most are in a state of neglect. In 2010, chairs from the assembly building were auctioned in London; a diplomatic attempt to stop the sale failed, as the items were "condemned" and deemed unfit for use

Le Corbusier, Unite d'Habitation, Marseille, France, 1946-52

a modernist residential housing design principle developed by Le Corbusier, with the collaboration of painter-architect Nadir Afonso. The concept formed the basis of several housing developments designed by him throughout Europe with this name. The most famous of these developments is located in south Marseille The building is constructed in béton brut (rough-cast concrete), as the hoped-for steel frame proved too expensive in light of post-War shortages.[1] In July 2016, the Unité in Marseille and several other works by Le Corbusier were inscribed as UNESCO World Heritage Sites.[2] It is also designated a historic monument by the French Ministry of Culture. It was damaged by fire on February 9, 2012.[3][4] The Marseille building, developed with Corbusier's designers Shadrach Woods, George Candilis, comprises 337 apartments arranged over twelve stories, all suspended on large piloti. The building also incorporates shops with architectural bookshop,[5] sporting, medical and educational facilities, a hotel which is open to the public,[6] and a gastronomic restaurant, Le Ventre de l'architecte ("The Architect's Belly"). Inside, corridors run through the centre of the long axis of every third floor of the building, with each apartment lying on two levels, and stretching from one side of the building to the other, with a balcony. Corbusier's design was criticised by US architect Peter Blake for having small children's rooms and some of those rooms lacked windows.[7] Unlike many of the inferior system-built blocks it inspired, which lack the original's generous proportions, communal facilities and parkland setting, the Unité is popular with its residents and is now mainly occupied by upper middle-class professionals. The flat roof is designed as a communal terrace with sculptural ventilation stacks, a running track, and a shallow paddling pool for children. There is also a children's art school in the atelier. The roof, where a number of theatrical performances have taken place, underwent renovation in 2010 and since 2013 it hosts an exhibition center called the MaMo.[8] The roof has unobstructed views of the Mediterranean and Marseille.

Le Corbusier, Villa Savoye, Poissy, France, 1928-1931

a modernist villa in Poissy, on the outskirts of Paris, France. It was designed by Swiss architects Le Corbusier and his cousin, Pierre Jeanneret, and built between 1928 and 1931 using reinforced concrete.[3][4] A manifesto of Le Corbusier's "five points" of new architecture, the villa is representative of the bases of modern architecture, and is one of the most easily recognizable and renowned examples of the International style. The house was originally built as a country retreat on behest of the Savoye family. After being purchased by the neighbouring school it passed on to be property of the French state in 1958, and after surviving several plans of demolition, it was designated as an official French historical monument in 1965 (a rare occurrence, as Le Corbusier was still living at the time). It was thoroughly renovated from 1985 to 1997, and under the care of the Centre des monuments nationaux, the refurbished house is now open to visitors year-round The Villa Savoye is probably Corbusier's best known building from the 1930s, and it had enormous influence on international modernism.[16] It was designed addressing his emblematic "Five Points", the basic tenets in his new architectural aesthetic:[5] -Support of ground-level pilotis, elevating the building from the earth and allowed an extended continuity of the garden beneath. -Functional roof, serving as a garden and terrace, reclaiming for nature the land occupied by the building. -Free floor plan, relieved of load-bearing walls, allowing walls to be placed freely and only where aesthetically needed. -Long horizontal windows, providing illumination and ventilation. -Freely-designed facades, serving only as a skin of the wall and windows and unconstrained by load-bearing considerations.

Karl Marx Allee (originally Stalinallee) in East Berlin (1950s)

a monumental socialist boulevard built by the GDR between 1952 and 1960 in Berlin Friedrichshain and Mitte. Today the boulevard is named after Karl Marx. The boulevard was named Stalinallee between 1949 and 1961 (previously Große Frankfurter Straße), and was a flagship building project of East Germany's reconstruction programme after World War II. It was designed by the architects Hermann Henselmann, Hartmann, Hopp, Leucht, Paulick and Souradny to contain spacious and luxurious apartments for plain workers, as well as shops, restaurants, cafés, a tourist hotel and an enormous cinema (the International). The avenue, which is 89 m wide and nearly 2 km long, is lined with monumental eight-storey buildings designed in the wedding-cake style, the socialist classicism of the Soviet Union. At each end are dual towers at Frankfurter Tor and Strausberger Platz designed by Hermann Henselmann. The buildings differ in the revetments of the facades which contain often equally, traditional Berlin motifs by Karl Friedrich Schinkel. Most of the buildings are covered by architectural ceramics. A monumental Stalin statue presented to the East German government by a Komsomol delegation on the occasion of the Third World Festival of Youth and Students was formally dedicated on 3 August 1951 after being temporarily placed at a location on the newly designed and impressive boulevard. It remained there until 1961 when it was removed in a clandestine operation in the course of de-Stalinization.

Giorgio de Chirico, Gare Montparnasse (The Melancholy of Departure) (1914)

a painting by the Italian metaphysical painter Giorgio de Chirico. Many of de Chirico's works were inspired by the introspective feelings evoked by travel. He was born in Greece to Italian parents. This work was painted during a period when he lived in Paris. The painting depicts the Gare Montparnasse railway station in Paris, France. It is a classic example of de Chirico's style, depicting an angular perspective on an outdoor architectural setting in the long shadows and deep colours of early evening. On the horizon is a steam train with a plume of white smoke billowing away from it. The train image appears several times in de Chirico's work. In the foreground is a bunch of bananas, another recurring image in de Chirico's work

Frank Lloyd Wright, Plan for a Greater Baghdad (1957-58 )

a project done by American architect Frank Lloyd Wright for a cultural center, opera house, and university on the outskirts of Baghdad, Iraq, in 1957-58. The most thoroughly developed aspects of the plan were the opera house, which would have been built on an island in the middle of the Tigris together with museums and a towering gilded statue of Harun al-Rashid, and the university. Due to the 1958 collapse of the Hashemite monarchy, development of the project stopped, and it was never built. Wright was among the many elite Western architects invited to Iraq as part of a campaign to modernize the capital city. Wright distinguished himself from this group by developing a plan making specific reference to Iraqi history and culture. For Wright, the plan was one of a handful of grandiose, outsize designs produced in the later part of his career. Wright's opera house was designed for his island site, which he intended to rename from Pig Island to Edena.[4] The island was to be connected to the mainland by two bridges. One, the Low Bridge, crossed the narrower west channel of the Tigris and met up with the planned King Faisal Esplanade; the line of the bridge and esplanade passed through the opera house and pointed toward Mecca. The larger Great Bridge was to cross the east channel of the river and connect the island to the university campus there. At the north end of the island, Wright envisioned a 300-foot statue of Harun al-Rashid built of gilded sheet metal and placed on a spiraling base resembling the Malwiya Tower at the Great Mosque of Samarra. The vertical faces would depict camels climbing the spiraling ramp. An avenue was to run the length of the island from the statue to the opera house, and the middle of the island occupied by art museums and shopping areas, forming a cultural center.

Le Corbusier, Pavillon de L'Esprit Nouveau, Paris, France, 1925.

a temporary building constructed in 1925 within the framework of the International Exhibition of Decorative Arts in Paris. For Le Corbusier was a chance to show so provocative, his ideas on architecture and urbanism that had begun to develop with Pierre Jeanneret since 1922. All these ideas were quite unusual at a time when Art Nouveau was regarded primarily as a decorative art, the reaction to this project was downright hostile. You can guess what was the attitude of the organizers of the exhibition, compared to a participant who expressed a total rejection of the decorative arts. A fence four feet high was placed around the flag to hide the eyes of the public. The same was withdrawn by the intervention of the Minister of Beaux-Arts at the opening of the exhibition. The pavilion is composed of four floors for a total of 16 meters in height. The upper part of the exhibition shows the country. The following people. The third below the job. The area below summarizes these three conditions and presents the products. Thanks to a very free and available architectural inclined panels, the hearing could include images and objects away with the same ease that cimacios of inclined planes. This had a vertical and horizontal relationship between the graphical information and the objects themselves.

Minoru Yamasaki and Hellmuth, St. Louis Terminal, St Louis, MO, USA (1954)

notable for its impressive use of concrete vaults and which strongly influenced subsequent American air-terminal design plays on Candela's Bacardi Factory roof model

Affonso Eduardo Reidy, Pedregulho housing complex in Rio de Janeiro (1949-51)

an apartment complex and planned community in the Benfica neighborhood of Rio de Janeiro, Brazil. It was designed by the architect Affonso Eduardo Reidy (1909-1964). The project was planned in 1946 to house lower-paid civil servants of the city, which was then the Federal District of Brazil. Work commenced on the complex in 1949 and inaugurated in 1951/1952 The main apartment building consists of a long, serpentine block suspended above pilotis. 272 units are placed on seven stories. Reidy attempted to provide a view of Guanabara Bay from each apartment unit. The single entrance to the building is via two gangplanks that lead to the third floor; its location at the middle of the building mitigated the need for elevators. The first and second floor consist of single-level studio apartments with a view to the city. The third floor is reserved for administrative offices, a children's theater, nursery, and kindergarten. The upper levels contain two-story family units accessed from the fourth and sixth floors; the main living quarters are on the lower level and bedrooms on the upper level.[1][3] Two smaller apartment blocks sit below the main apartment building to the south. These consist of duplex apartments and open to Rua Lopes Trovão.[3] The housing complex of Pedregulho suffers from great dilapidation and its current condition has been described as "favela-like."[6] In contrast, the school, gymnasium, and swimming pool of the complex retain their original purpose and remain in good condition. The azuleijo mosaic by Portinari remains in its original condition. The complex was registered as a cultural property in 2011 by the State of Rio de Janeiro.

Mehmet Vedat, Central Post Office, Istanbul, Turkey (1909)

an office building for postal services located at Sirkeci quarter of Fatih district in Istanbul, Turkey. It was designed by architect Vedat Tek in First Turkish National architectural style and was constructed between 1905 and 1909. The Main Post Office is situated in close distance to Spice Bazaar, New Mosque, Sirkeci Railway Terminal and Istanbul 4th Vakıf Han, which is a five-star hotel today. Architect Vedat Tek (1873-1942) designed the building as one of the earliest examples of First Turkish National architecture style.[1][5] The four-story building[3] has a floor area of (3,200 m2 (34,000 sq ft)). The main entrance is elevated reachable by stairs in front of the building. The building is flanked by two turrets.[1] The facade is of cut stone and marble. It is believed that the bricks were specially designed by Vedat Tek. 16th century style classical Ottoman decorative elements are predominant in the building's ornaments including its facade with two-color stone workmanship, tiled panels with Islamic geometric patterns and Kufic calligraphic scripts, sills with tiled panels as well as muqarnas in pillar heads and corbels.[2] The main entrance opens to a very large atrium in the center of the building. The three-story high, rectangle shaped hall is surrounded by office rooms at each floor.[1] The atrium is topped by glass in mainly orange and blue colors

Le Corbusier, Maison Dom-ino, 1914-1915

an open floor plan structure designed by noted architect Le Corbusier in 1914-1915.[1][2] It is a design idea to manufacture in series, that combines the order he discovered in classical architecture. This model proposed an open floor plan consisting of concrete slabs supported by a minimal number of thin, reinforced concrete columns around the edges, with a stairway providing access to each level on one side of the floor plan. The frame was to be completely independent of the floor plans of the houses thus giving freedom to design the interior configuration. The model eliminated load-bearing walls and the supporting beams for the ceiling.

Le Corbusier, Ville Radieuse, 1924.

an unrealised project designed by the French-Swiss architect Le Corbusier in 193 Although Le Corbusier had exhibited his ideas for the ideal city, the Ville contemporaine in the 1920s, during contact with international planners he began work on the Ville radieuse. In 1930 he had become an active member of the syndicalist movement and proposed the Ville radieuse as a blueprint of social reform. The principles of the Ville radieuse were incorporated into his later publication, the Athens Charter published in 1933. His utopian ideal formed the basis of a number of urban plans during the 1930s and 1940s culminating in the design and construction of the first Unité d'habitation in Marseilles in 1952.

Le Corbusier, Ville Contemporaine, 1922.

an unrealized project intended to house three million inhabitants designed by the French-Swiss architect Le Corbusier in 1922 The centerpiece of this plan was a group of sixty-story cruciform skyscrapers built on steel frames and encased in curtain walls of glass. The skyscrapers housed both offices and the flats of the most wealthy inhabitants[citation needed]. These skyscrapers were set within large, rectangular park-like green spaces. At the center of the planned city was a transportation hub which housed depots for buses and trains as well as highway intersections and at the top, an airport. Le Corbusier segregated the pedestrian circulation paths from the roadways, and glorified the use of the automobile as a means of transportation. As one moved out from the central skyscrapers, smaller multi-story zigzag blocks set in green space and set far back from the street housed the proletarian workers.

Karl Henrik Nøstvik, Kenyatta International Conference Center (KICC), Nairobi, Kenya (1966-1973).

consists of a high-rise building , a so-called amphitheater and a park , in Nairobi , Kenya . Mostly only the tower is meant, if one speaks colloquially of the KICC. The tower has been the tallest building in Kenya for over twenty years, and is still the second-tallest building in Nairobi. [4] [5] The Kenyatta International Conference Center (KICC) is located in the city center of Nairobis on Harambee Avenue , a symbol of the Kenyan capital . It accommodates several conference rooms of different sizes and equipment, partly with the technical possibilities for TV transmission, synchronous translation and electronic voting in the case of votes. On the 27th floor is a restaurant . On the roof is a viewing platform. The tower is the only high-rise building in the city with a helipad on the roof. In addition to offices, the KICC has a total of eight rooms of different sizes, which can be used for symposia, conferences, congresses or other events. Some halls offer separate visitor places on balconies, or can be enlarged by mobile partition as required.

Le Corbusier, Secretariat Building, Chandigarh, India, 1953

government building built in 1953, located inside the Chandigarh Capitol Complex which comprises three buildings and three monuments — Secretariat building, Legislative Assembly building and High Court building, Open Hand Monument, Geometric Hill and Tower of Shadows.[2][3][4] In July 2016, the building and several other works by Le Corbusier were inscribed as UNESCO World Heritage Sites

Félix Candela, Bacardi Bottling Plant, Mexico City, 1960

his led to a Félix Candela design in this way was the Bacardi factory Terminal Airport Lambert-St. Louis, conducted in 1956 by Minoru Yamasaki and Anton Tedesko. The Terminal was composed of three groin vaults with arches cylindrical reinforcement along the edges and reinforcing ribs on the edges. Candela found the general form of the Airport Terminal San Luis attractive, but I thought the ribs along the edges were too heavy. Determined to use the next opportunity I had "to show that the terminal could be done in a simple, more elegant." He found the opportunity with the Bacardi Rum factory in Cuautitlan, Mexico, Candela completed in 1960. The big six "hypars" saving light 30 meters forming two large bays, covering over 5,000 square meters. Each dome is anchored to the floor diagonally The bottling plant consists of six spherical domes of tissue placed in pairs and three rows forming a square. Each is bounded by four arcs parables that are anchored to the ground diagonally. The perimeter of a shell arches have no stiffness in the direction normal to its plane and its line of pressure does not coincide with the boundary curve, so you need arches edge to absorb and transmit the loads by shear forces. Candela argued that "if we want to have free edges, we must have some internal edges or ridges that reach the ground by sloping lines (in a symmetrical structure), or all the other edges rigidly fixed to structural elements able to resist forces in any direction " The thick interconnections which are the meetings of these domes are covered with marquetry and glass, allowing the passage of light, like the large arches that line the square The bottler is the building axis of the whole plant and its Candela project proved to be a worthy continuation of the functionality of Mies van der Rohe provided through the creative reinterpretation and mathematical genius. All rooms are equipped with ventilation and natural light without affecting production processes, since the sun does not penetrate directly to any time of day through the careful guidance of the structure. Ceilings rise and fall, rushing into miraculous suspension, causing an almost religious atmosphere: 12 m in height, large windows and curved lines. It is not known whether it is coincidence, but the roof of the bottling evokes the beating of wings, as big and concrete that could be precisely those of a bat, the emblem of the firm. The original cover of the bottler was composed of three vaults hypars, adjacent edges of 4 cm thick and 2.50 m roof blown from the sides. Four skylights fill the gaps between adjacent tanks and end of squaring the structure but do not provide sufficient support for the shell of roofs. Bacardi shells are not in direct contact with the foundation, each of the four corners is supported by a leg that transfers the loads from the vaults to the foundation, which in turn download the weight vertically on the ground. Steel loops to connect the foundation can withstand the horizontal forces, these braces are completely hidden from view, both at home and abroad. This beam-V, Candela used in all its vaults. Additionally placed reinforcements on the edges which allows the thickness of the shell is expressed fully. The arches are located directly on the glass walls to ensure that in case of unexpected wind loads of the shell is sufficiently rigid as to not allow the movement of the crystals. Similarly, the frames of the reinforcing ribs of the skylights are fixed to the arches that surround them.

B. Rerrich, Dóm tér, Szeged, Hungary (1927-30)

in Szeged 's most famous square. Due surrounded by arches in front of the Votive Church superb acoustics of the Cathedral Square in Szeged Open-Air Festival proved to be the most appropriate venue.

Arata Isozaki, Sky City, 1960.

japanese metabolist

Kisho Kurokawa, Nagakin Capsule Tower, Tokyo, Japan, 1972.

mixed-use residential and office tower designed by architect Kisho Kurokawa and located in Shimbashi, Tokyo, Japan. Completed in 1972, the building is a rare remaining example of Japanese Metabolism, an architectural movement emblematic of Japan's postwar cultural resurgence.[1] It was the world's first example of capsule architecture built for permanent and practical use. The building still exists but has fallen into disrepair.[1] As of October 2012, around thirty of the 140 capsules remained in use as apartments, while others were used for storage or office space, or simply abandoned and allowed to deteriorate. The building is composed of two interconnected concrete towers, respectively eleven and thirteen floors, which house 140 self-contained prefabricated capsules. Each capsule measures 2.3 m (7.5 ft) by 3.8 m (12 ft) by 2.1 m (6.9 ft) and functions as a small living or office space. Capsules can be connected and combined to create larger spaces. Each capsule is connected to one of the two main shafts only by four high-tension bolts and is designed to be replaceable. No units have been replaced since the original construction. The capsules were fitted with utilities and interior fittings before being shipped to the building site, where they were attached to the concrete towers. Each capsule is attached independently and cantilevered from the shaft, so that any capsule may be removed easily without affecting the others. The capsules are all-welded lightweight steel-truss boxes clad in galvanized, rib-reinforced steel panels. After processing, the panels were coated with rust-preventative paint and finished with a coat of Kenitex glossy spray. The cores are rigid-frame, made of a steel frame and reinforced concrete. From the basement to the second floor, ordinary concrete was used; above those levels, lightweight concrete was used. Shuttering consists of large panels the height of a single storey of the tower. In order to make early use of the staircase, precast concrete was used in the floor plates and the elevator shafts. Because of the pattern in which two days of steel-frame work were followed by two days of precast-concrete work, the staircase was completely operational by the time the framework was finished. On-site construction of the elevators was shortened by incorporating the 3-D frames, the rails, and anchor indicator boxes in the precast concrete elements and by employing prefabricated cages. The original target demographic were bachelor salarymen.[1] The compact apartments included a wall of appliances and cabinets built into one side, including a kitchen stove, a refrigerator, a television set, and a reel-to-reel tape deck. A bathroom unit, about the size of an aircraft lavatory, is set into an opposite corner. A large circular window over a bed dominates the far end of the room.[1] Construction occurred on site and off site. On-site work included the two towers and their energy-supply systems and equipment, while the capsule parts were fabricated and the capsules were assembled at a factory. Nobuo Abe, was a senior manager, managing one of the design divisions on the construction of the Nakagin Capsule Tower.

Lucio Costa, Plano Piloto (Pilot Plan), Brasília, Brazil, 1956-1960

modern; ideal city / society; symbol of brazilian greatness; lead to development of new central region of brazil; "bird shaped"

Ludwig Mies van der Rohe, German Pavilion, Barcelona, Spain, 1929. (Barcelona Pavilion)

the German Pavilion for the 1929 International Exposition in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition.[1] It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. The same features of minimalism and spectacular can be applied to the prestigious furniture specifically designed for the building, among which the iconic Barcelona chair. It has inspired many important modernist buildings, including Michael Manser's Capel Manor House in Kent.

Oscar Niemeyer, National Congress, Brasília, Brazil, 1956-1960

the National Congress reflects the strong influence of Le Corbusier, while hinting at the more romantic and whimsical forms that characterize Niemeyer's trademark Brazilian Modernism. Rising above the flat roof, two "cupolas" indicate the assembly chambers of Brazil's bicameral legislature. Previously housed in two separate buildings in Rio de Janeiro, Niemeyer brought the two legislative chambers together in Brasília. Reflective of other seats of power, such the U.S. Capitol in Washington, DC, or St. Peter's Basilica in Rome, the cupola over the Senate chamber takes the shape of a shallow parabolic dome. In contrast, for the larger Chamber of Deputies, Niemeyer inverted the symbolic dome to create a bowl shape. A long ramp leads from a driveway to the building. Split into two segments, one section of ramp leads to the entrance of the building, while the other section leads to the marble clad roof of the plinth. Originally intended as a public plaza, the roof has since been closed off due to security concerns

Le Corbusier, The "Maison Blanche", (for Le Corbusier's parents) in La Chaux-de-Fonds, Switzerland (1912)

the first independent project by Swiss architect Le Corbusier.[1] Built in 1912 in La Chaux-de-Fonds, Charles-Edouard Jeanneret's hometown, it was designed for his parents. Open to the public since 2005, the house is under the patronage of the Swiss National Commission for UNESCO and has been proposed by the Swiss Government for inscription on the World Heritage List.[1] The Villa Jeanneret-Perret is a witness to the pioneering architecture of the 20th century and the development of Le Corbusier; his characteristic neo-classic style breaks with the regional Art Nouveau and is based on his experience in Paris as a student of Auguste Perret and in Berlin with Peter Behrens.

Oscar Niemeyer, Planalto Palace, Brasília, Brazil, 1958-1960

the official workplace of the President of Brazil.[1] It is located in the national capital of Brasília. The building was designed by architect Oscar Niemeyer and inaugurated on April 21, 1960. It has been the workplace of every Brazilian president since Juscelino Kubitschek. It is located at the Praça dos Três Poderes (Three Powers Plaza), to the east of the National Congress and across from the Supreme Federal Court. It is one of the official palaces of the Presidency, along with the Palácio da Alvorada, the official residence. Besides the President, a few high advisers also have offices in the Planalto, including the Vice President and the Chief of Staff; the other ministries are laid along the Ministries Esplanade. As the seat of government, the term Planalto is often used as a metonym for the executive branch of the federal government. The presidential palace was a major feature of Costa's plan for the newly established capital city. Niemeyer's idea was to project an image of simplicity and modernity using fine lines and waves to compose the columns and exterior structures.[1] The longitudinal lines of the palace are kept by a sequence of columns whose design is a variation of those at the Palácio da Alvorada, although they were arranged transversely to the body of the building. The palace's façade is also composed by two strong elements: the ramp leading to the hall and the parlatorium (speaker's platform), from where the president and foreign heads of state can address the public at the Three Powers Plaza.[6] A reflecting pool was built in 1991 to increase security around the palace and to balance humidity levels during the long dry season in Brasília. It has an approximate area of 1,635 square metres (17,600 sq ft), holding 1,900 cubic metres (67,000 cu ft) of water, with a depth of 110 centimetres (3.6 ft).[1] Several Japanese carp live in the pool

Rifat Chadirji, Offices and Tobacco Warehouses, Baghdad, 1974

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Aldo Rossi, Vertical City, 1980 (drawing)

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