Final ID
Wright, Johnson Wax Administration Center, Racine, Wisconsin, 1936-9
Wright decided to create a sealed environment lit from above, as he had done with the Larkin Administration Building. The building features Wright's interpretation of the streamlined Art Moderne style popular in the 1930s. In a break with Wright's earlier Prairie School structures, the building features many curvilinear forms and subsequently required over 200 different curved "Cherokee red" bricks to create the sweeping curves of the interior and exterior. The mortar between the bricks is raked in traditional Wright-style to accentuate the horizontality of the building. The warm, reddish hue of the bricks was used in the polished concrete floor slab as well; the white stone trim and white dendriform columns create a subtle yet striking contrast. All of the furniture, manufactured by Steelcase, was designed for the building by Wright and it mirrored many of the building's unique design features.
Wright, Robie House, Illinois, 1908
a U.S. National Historic Landmark on the campus of the University of Chicago in the South Side neighborhood of Hyde Park in Chicago. renowned as the greatest example of the Prairie School style, the first architectural style considered uniquely American. the buildings and their various components owed their design influence to the landscape and plant life of the midwest prairie of the United States. Typical of Wright's Prairie houses, he designed not only the house, but all of the interiors, the windows, lighting, rugs, furniture and textiles. As Wright wrote in 1910, "it is quite impossible to consider the building one thing and its furnishings another. ... They are all mere structural details of its character and completeness." More............
Wright, Guggenheim Museum, NY, 1943-59
design a building to house the Museum of Non-Objective Painting, "I want a temple of spirit, a monument!" Wright's inverted-ziggurat design was not built until 1959. Numerous factors contributed to this 16-year delay: modifications to the design (all told, the architect produced 6 separate sets of plans and 749 drawings), the acquisition of additional property, and the rising costs of building materials following World War II. A monument to modernism, the unique architecture of the space, with its spiral ramp riding to a domed skylight, continues to thrill visitors and provide a unique forum for the presentation of contemporary art. Highly expressive. The tower's simple facade and grid pattern highlight Wright's unique spiral design and serves as a backdrop to the rising urban landscape behind the museum. original plan- smaller rotunda, to house galleries, offices, workrooms, storage, and private studio apartments.
Aalto, Paimo Sanatorium, Finland, 1923-33
is a former tuberculosis sanatorium in Paimio, Southwest Finland, designed by Finnish architect Alvar Aalto. The building was completed in 1933, and soon after received critical acclaim both in Finland and abroad. The building served exclusively as a tuberculosis sanatorium until the early 1960s, when it was converted into a general hospital. Today the building is owned by Turku University Hospital but it's not functioning as a hospital. Building has been a private rehabilitation center for children since 2014. Aalto's starting point for the design of the sanatorium was to make the building itself a contributor to the healing process. He liked to call the building a "medical instrument". For instance, particular attention was paid to the design of the patient bedrooms: these generally held two patients, each with his or her own cupboard and washbasin. Aalto designed special silent basins, so that the patient would not disturb the other while washing. Aalto placed the lamps in the room out of the patients' line of vision and painted the ceiling a relaxing grayish green so as to avoid glare. Each patient had their own specially designed cupboard, fixed to the wall and off the floor so as to aid in cleaning beneath it. https://en.wikipedia.org/wiki/Paimio_Sanatorium
Mies Van Der Rohe, Weissenhofsiedlung, Stuttgart, 1927
is 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. 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.
Le Corbusier, Villa Savoye, Poissy, 1928-31
is 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. 1. Support of ground-level pilotis, elevating the building from the earth and allowed an extended continuity of the garden beneath. 2. Functional roof, serving as a garden and terrace, reclaiming for nature the land occupied by the building. 3. Free floor plan, relieved of load-bearing walls, allowing walls to be placed freely and only where aesthetically needed. 4. Long horizontal windows, providing illumination and ventilation. 5. Freely-designed facades, serving only as a skin of the wall and windows and unconstrained by load-bearing considerations.
Bunshaft, (Skidrow, Owings, and Merill llp), Lever House, NYC, 1951
is a seminal glass-box skyscraper built in the International Style. it was the second curtain wall skyscraper in New York City. blue-green glass facade. stainless steel mullions. 24-story blue-green heat-resistant glass and stainless steel curtain-wall. The ground floor contained no tenants. Instead, it featured an open plaza with garden and pedestrian walkways.
Mies w/ Johnson, Lake Shore Dive Apartments, Chicago, 1948-51
is a twin pair of glass-and-steel apartment towers. characteristic of the modern International Style as well as essential for the development of modern High-tech architecture. they went on to be the prototype for steel and glass skyscrapers worldwide. it was initially considered to be considered too extreme and not originally accepted at the time it was built. Since Mies was a master of minimalist composition, his principle was "less is more" as it is demonstrated in his self-proclaimed "skin and bones" architecture.
Venturi, Vanna Venturi House, 1959-64, Philadelphia
one of the first prominent works of the postmodern architecture movement. 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. 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.
Le Corbusier, Notre Dame du Haut, Ruchamp, 1950-55
one of the most important examples of twentieth-century religious architecture. made mostly of concrete and stone and is comparatively small, enclosed by thick walls, with the upturned roof supported on columns embedded within the walls, like a sail billowing in the windy currents on the hill top.. The main structure consists of thick masonry walls, which are curved to improve stability and provide structural support. The monumental curved concrete roof is a shell structure supported by columns hidden in the walls. A gap underneath allows a sliver of light to filter into the interior. The internal and external walls were finished with mortar, which was sprayed onto the surfaces before being whitewashed or painted.
Stirling, Engineering Building, 1959, University of Leicester
provocative building. Intended to not look English. moving and looking to the future (influenced by modernist movement). Focus of his thesis was Le Corbusier's Swiss Pavilion. Trying to demonstrate languages missing in England. Brick, terra cotta coating, glass and glazing (from Bruno Taut). Regular found and inexpensive materials. Miesian languge of objectsright out of catalogs (mass production)
Sydney Opera House, Utzon, 1957-73, Australia
utilized elements of the expressive. thin shell construction. (like Eero Saarinan, a judge of the competition) 20years of construction. Immediately embraced once opened and used for everything related to Sydney. built in 3 stages: 1-the upper podiums, 2- the outer shells, 3- interior design and construction. the had to use computers to structural analyze the shells due to its level of complexity and for the arches. this resulted in the shells being built from spheres allowing various lengths in he arches.
Gropius, Bauhaus, Dessau, Germany 1926
was a German art school operational from 1919 to 1933 that combined crafts and the fine arts, and was famous for the approach to design that it publicised and taught.[1] The German term Bauhaus—literally "construction house"—was understood as meaning "School of Building". The school existed in three German cities: Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933, under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism.
Garnier, Cite Industrielle, train station, 1917
Represents the culmination of several philosophies of urbanism that were the outgrowth of the industrial revolution in the 19th century Europe.
Tatlin, Monument to the 3rd International, Russia, 1919-21
Tatlin's Constructivist tower was to be built from industrial materials: iron, glass and steel. In materials, shape and function, it was envisaged as a towering symbol of modernity. It would have dwarfed the Eiffel Tower in Paris. Plan was halted due to insufficient funds amongst other things.
Mies Van Der Rohe, Crown Hall, Illinois, 1953
architecture school of IIT, utilizing techniques of traditional architecture. Schinkle like stairs that lead up into the building. less abstract than he wanted because people weren't ready at the time. Quality of a sense of mass. Enclosure of volume over mass. Formal, symmetrical building that feels like part of the landscape. About defining space and the flexibility of it that's not defined by structure. Extended I-beams with giant trusses over the roof. Concrete tray structure. Opaque glass.
Steiner Loos, Steiner House, Austria, 1910
example of rationalist architecture. https://en.wikipedia.org/wiki/Steiner_House
Hood and Howells, Chicago Tribune Building, Manhattan, NY, 1928
https://en.wikipedia.org/wiki/Tribune_Tower
Le Corbusier, competition for the league of nations, 1927, Geneva
https://thecharnelhouse.org/2014/03/19/hannes-meyer-and-le-corbusier-alternative-visions-for-the-palace-of-the-league-of-nations-1926-1927/
Hood, Rockefellar Center, Manhattan, NY, 1931-40
A large complex consisting of 19 high rise commercial buildings covering 22 acres between 48th and 51st streets. Midtown Manhattan
Piano and Rogers, Pompidou Center, Paris, 1977
A new contemporary museum. A design where they essentially turned the building inside out. People were shocked with this selection. Emphasized function by showcasing them on the outside of the building. Framework was clearly exposed. Created a generous, open, universal space on the interior of the building. Open unobstructed spaces. Constructivist ideas led to a renaissance of interests to what was going on in Russia.
Le Corbusier, Maison Don Imo, 1914-15
An open floor plan structure. It is a design idea to manufacture in series, that combines the order he discovered in classical architecture. A prototype as the physical platform for the mass production of housing. 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.
Wright, Unity Temple interior, Chicago, 1905
Because of its consolidation of aesthetic intent and structure through use of a single material, reinforced concrete, Unity Temple is considered by many architects to be the first modern building in the world. This idea became of central importance to the modern architects who followed Wright, such as Mies Van Der Rohe. plan of the design looks back to the bipartite design of his own studio built several blocks away in 1898: with two portions of the building similar in composition and separated by a lower passageway, and one section being larger than the other
Le Corbusier, Citrohan Proposal, 1922
Citrohan home is, within three basic prototypes (Domino, Monol, Citrohan) created by Le Corbusier to create housing could be built in series like machinery, the most developed throughout his career. "machine for living". consisted of three overlapping floors. The three levels of this cell were linked by a staircase that rose along Le Corbusier, Maison Dom Ino Project,
Kahn, National Assembly Building, Dacca, 1962-75
Design for a new capitol building. A new country that gained its independence but still poor as any other country. He approached it much like Le Corbusier did with Chandigarh a decade earlier. But Kahn focused on forms that have a sense of power and meaning. No dome or columns as they were not appropriate for south Asia a this time. Brick and concrete consolidated clusters creating monumental architecture that in some ways resembles a Roman ruin. large scale hallway leading to staircase. Rotation of elements in a very symmetrical fashion. Then the deliberate asymmetry by the placement of the mosque that emphasized the role of the space. Concrete is a material that is cheap. Seems to imitate these kind of scaffolding forms. Then strips of marble to add a more elegant kind of material. To add a sense of significance in a place where they cant afford it. Basic forms cutouts to allow for both lighting and airflow.
Sullivan, Guaranty (Prudential) Building, Buffalo, NY, 1896
Early skyscraper in Buffalo, NY. Belief that form follows function. Divided building into 4 zones. Supporting steel structure was embellished with terra cotta blocks. A tall building "must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line." "The entire façade of this building is clothed in ornament, like hieroglyphs on the columns and walls of temples in ancient Egypt." Sullivan's ornament is unmistakably original, but it is not without precedents in the contemporary tradition of the English Arts and Crafts movement.
Van Doesberg, University Hall, 1923
It is unusual that Theo van Doesburg, whose work was anything but baroque, was predisposed to design an interior for this centre of the university. Van Eesteren's drawing of the University Hall inspires him to introduce the diagonal, which represents movement in the philosophy of De Stijl. Van Doesburg's colour design for the university's hall is the only project produced of the collaboration to reveal the painterly and spatial-aesthetic influence upon the architecture; it demonstrates that, unlike Oud, Van Eesteren was prepared to concede to this influence and adapt the construction. Tries to create an abstract language but is restricted by the walls of the building. This building was influential to the heart and soul of the De Stijl movement.
Scharoun, Philharmonic Concert Hall, 1956, 1960-63 interior
Made after the war. Return to desire of more compressive image. Remained in Germany during the war. Rebuilt the ravage of Germany. Desire of the allies to rebuild the Berlin office. Reconstruction of all cultural institutions of Germany. Function was primary. most important being sound/ acoustics. Created a different way to come together for music by placing orchestra in the center.
Kahn, Kimball Museum, 1966-72, Fort Worth
Museum becomes more important than art. Prestige with luxurious materials. Uses antiquity in the classical forms that he seen in his trip at the academy. updates them to where he felt the things in the past were missing. Teacher at Yale and Penn- students shouldn't just fall in line but consider other languages. Series of Roman barrel vaulted spaces. Portico defined by two principle supports. Concrete shell construction with marble and travertine. Pompee resemblance in the forms, shapes, and construction.
Wright, Larkin Administration Building, Buffalo, NY, 1904
Noted for its many innovations, including air conditioning, stained glass windows, built-in desk furniture, and suspended toilet bowls. Exterior details were executed in red sandstone; the entrance door, windows, and skylights were of glass. Vertical brick piers and wall planes. Glass roofed central hall rising the entire height and with horizontal office floors woven around it. More....
Horta, Maison du Peuple, Brussels, 1899
One of the most influential buildings of the Art Nouveau design in Blgium. Demolished in 1965 for a skyscraper and is considered an architectural crime. Restrictive irregular building place along a circular square and on a slope, horta still provided a building with maxium functionality. Mainly constructed in white iron. Experimental combination of brick, glass and steel made this an example of modern architecture.
Charles and Henry Green, Gamble House, Pasadena CA, 1908
Originally intended as a winter residence for David and Mary Gamble, the three-story Gamble House is commonly described as America's Arts and Crafts masterpiece. Its style shows influence from traditional Japanese aesthetics and a certain California spaciousness born of available land and a permissive climate. The Arts and Crafts Movement in American Craftsman style architecture was focused on the use of natural materials, attention to detail, aesthetics, and craftsmanship. Rooms in the Gamble House were built using multiple kinds of wood; the teak, maple, oak, Port Orford cedar, and mahogany surfaces are placed in sequences to bring out contrasts of color, tone and grain. Inlay in the custom furniture designed by the architects matches inlay in the tile mantle surrounds, and the interlocking joinery on the main staircase was left exposed. One of the wooden panels in the entry hall is actually a concealed door leading to the kitchen, and another panel opens to a clothes closet.
Behrens, AEG Turbine Factory, 1909
Revolutionary design. 100m long 15m tall glass and steel walls on either side. Employed by the AEG as an artistic consultant, designed the company logo and other company graphics. Initially influenced by the developing Art Noveau but soon turned to Werkbund. Which in turn was influenced by the British Arts and Crafts.
Antonio Sant'Elia, La Citta Nuova, 1913-14
Sant'elia's designs for La Citta Nuova are dynamic, elastic, and light. His buildings take new shapes and use new materials. Sant'elia readily admits that futurist buildings will not last for long periods of time, but that simply reinforces the idea of futurism: that buildings can change and new styles, forms, materials, and programs can define and redefine a new type of building as each generation rebuilds. And that is a lot like modernism, trying to reshape and redefine itself so that its meaning and form are constantly in flux. More......
Mackintosh, Glasgow School of Arts, Glasgow, 1897-1909
Scotland's only public self-governing art school offering university-level programmes and research in architecture, fine art and design. The school is housed in one of Glasgow's most famous buildings, often considered the masterpiece of Charles Rennie Mackintosh, built 1897-1909. Severely damaged by a fire in May 2014, the building is now undergoing a careful restoration.
Rietveld, Schroder House, Utrecht, 1924
She commissioned the house to be designed preferably without walls. Rietveld worked side by side with Schröder-Schräder to create the house. He sketched the first possible design for the building; Schröder-Schrader was not pleased. She envisioned a house that was free from association and could create a connection between the inside and outside. The house is one of the best known examples of De Stijl-architecture and arguably the only true De Stijl building.
Perret, Garage Ponthieu, Paris, 1906
Simplified cubic structure expressing the interior, large bays of windows and a lack of decoration, which resembled the later international style
Le Corbusier, Contemporary City for 3 million inhabitants (Superblock), 1922 immecubles villas
The only ever built element of the Immeuble Villas was one sample dwelling - The Pavillon de l'Esprit Nouveau, exhibited at the Ecposition des Arts Décoratifs in Paris in 1925.
Irving Gill, Walter L Dodge House, W Hollywood CA, 1916
The reinforced-concrete house blended Spanish Mission and Modern architectural styles.[2] It also incorporated many technological innovations, including a kitchen-sink garbage disposal; an automatic car wash in the garage; plain, flush doors that swung on hidden hinges or slid into walls; a central vacuum cleaning system; sheet-metal doors; natural and unadorned (simply polished) wood surfaces indoors; and skylights and windows that provided for luminous sunlit interiors. "revealing a functional asymmetry whose ornament was derived solely from the studied geometry of the sharp openings in plain walls."
Saarinen, Chicago Tribune
1922 for the Chicago Tribune's architectural competition for a new headquarters. The winning entry, the neo-Gothic Tribune Tower, was built in 1925. Saarinen's entry came in second place yet became influential in the design of a number of future buildings. influenced the shell building and the daily news building amongst others. starting place the upward sweep of Gothic architecture, but then advanced this sense of verticality as his primary design principle. influence on verticality.
Taut, Glass Pavilion, Cologne, 1914
was a prismatic glassdome structure at the Cologne Deutscher Werkbund Exhibition. constructed using concrete and glass.[1][2] The concrete structure had inlaid colored glass plates on the facade that acted as mirrors.[3] Taut described his "little temple of beauty" as "...reflections of light whose colors began at the base with a dark blue and rose up through moss green and golden yellow to culminate at the top in a luminous pale yellow."[3]
Mies Van Der Rohe, German (Barcelona) Pavilion, 1928-9
was 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 pavilion for the International Exhibition was supposed to represent the new Weimar Germany: democratic, culturally progressive, prospering, and thoroughly pacifist; a self-portrait through architecture.[1] The Commissioner, Georg von Schnitzler said it should give "voice to the spirit of a new era".[2] This concept was carried out with the realization of the "Free plan" and the "Floating roof".[1]