Arch final combo
Alvar Aalto, Baker House, Cambridge, Mass. 1946-1949, view and plan.
Aalto paid attention to environment; humanized approach to design Modern and flat-roof Shape of the building is curve-linear plan; pre-war modernism: simple geometry Views are the most important; it faces the river; each room has a different view of the river It uses red brick, unplastered -- typical of tradition of Boston (red brick) -- not modernist-like
Josef Hoffmann, Palais Stoclet, Brussels 1905-1911.
Abandoning excessive design -- Decoration is only concentrated at a few points Most visible is the clean, white surface -- Things are changing rapidly -- only seven years Ideas circulated at a great speed due to publications, photographs, postcards, books; exhibitions, fairs that promoted art and design
Frank Lloyd Wright, Kaufmann residence, Bear Run, Penn. 1936-1939.
Also known as "Falling Water" Built in a rural, natural setting Organic metaphor: not hidden in nature, but tries to state something
Josef Maria Olbrich, Pavilion of the Sezession, Vienna 1898.
An honoring monument Decorations -- Lots of decoration on the door -- Round/spherical globe on the top using metallic wings, but then large surfaces are left without decorations -- Workshops were built in Austria where luxury objects were built
Tadao Ando, Modern Art Museum, Fort Worth, Tex. 1996-2002.
Ando's details are very precise and detailed; likes reinforced concrete Need very good contractors who can work carefully More than 50 American contractors refused to work on the project; they said it was impossible to make the artist's vision true -- Found a Swiss contractor (international contractor) to finish the project Case study of problem: firm is Japanese, contractor is American
Otto Wagner, Karlsplatz Subway Station, Vienna 1898 and Majolikahaus, Vienna 1898- 1899.
Architects began to criticize art nouveau Subway station's desgin idign -- Arch is highly decoration -- Adoption of curvelinear -- Façade is covered by sra design
Shreve, Lamb and Harmon, Empire State building, New York 1931 and Wallace Harrison Raymond Hood, etc., Rockefeller Center, New York 1931-37, RCA building.
Art Deco Rockefeller was designed by Raymond Hood -- much change from neo-Gothic buildings
Charles R. Mackintosh, Art School, Glasgow 1897-1899, façade and detail of the entrance.
Art nouveau land: ephemeral era He looked in areas that required new innovation Replace design with natural design; bimorphic colors But going towards so dramatic changes
Antoni Gaudí, Casa Vicens, Barcelona 1883-1885 and Palau Güell, Barcelona 1885- 1889
Barcelona became important center; important political movements Class in Barcelona wanted to invest in innovative design -- Gaudí developed close relationship with Güell (trader) Preferred medevial references than classical -- Casa Vicens; Güell Palaos Very intricate design in Casa Vicens Fragments of colored tiles
Frank Lloyd Wright, Barnsdall house, Los Angeles 1916-1921, view and plans.
Barnsdall was an heiress of an oil company Commissioned Wright to build this building Element: non-Western architecture (Mayan style--imported not from Europe, but from Americas) New attitude in design
Walter Gropius, Bauhaus, Dessau 1925.
Bauhaus was meant to be a center for art/architecture and industry Important place for experimentation; many architects and artists were trained there This new building for the Bauhaus became central symbol of 20th century architecture Model for other modern schools Façade is just glass; structural elements are moved inside Factory ideas used by Gropius earlier is applied to a school. Importance: experiments done with industrialist sector is moved to other areas, such as education; reinforced concrete allows the structures to be moved inside; no signs of classicism; enormous change: changing public opinions on modernism
Raimondo D'Aronco, First International Exposition of Modern Decorative Art, Turin 1902.
Building is inspired by nature, flowers, natural elements Idea florishing because it was financially successful
Le Corbusier, Convent of La Tourette, Evreux-sur-Arbresle 1956-1960.
Building is made using reinforced concrete; no stucco or plaster Gives the appearance that it's aging; old Brutalism - using concrete as basis of design
Frank Lloyd Wright, Taliesin III, Spring Green, Wis. 1926.
Building meant to be a community house: Wright's followers can go there to study Controversial because he ended up using his followers
Frank Lloyd Wright, Frank Lloyd Wright house, Oak Park, Ill. 1893, view and plan.
Built the house when he was 22 y.o. (see plan) Traditional building; built using traditional materials Elements: complex organization (not just a square or triangle, but a summation of various geometric shapes)
Greene and Greene, Gamble house, Pasadena, Calif. 1908, detail.
California was economically attract place for people with skills; wealthy area; entertainment industry area Re-adaptation of the bungalow; Japanese and Asian architecture (roofing, glass doors, etc.)
Victor Horta, Hotel Solvay, Brussels 1895-1900, façade and plan.
Cities/clients willing to invest in new architecture Solvay became rich through intellect; prominent figure in society as a scientist -- Horta used steel (new technology) Hotel Solvay -- Occupies a small space; Only two façades (main street and courtyard) -- Solves the problem: wealthy client want to have a presence in Belgium, but not much money is available -- Places stairwell in the center -- Curvelinear shape inside: increases surface -- Structure should be visible; structural honesty -- Intricate details and decorations possible using iron -- Architect must abandon existing style and use forms from nature
Walter Gropius, entry for the Chicago Tribune competition, 1922 and Eliel Saarinen, entry for the Chicago Tribune competition, 1922.
Competition of Chicago building It was an international competition; most entries came from out of country; one of one of the most advanced challenges Appearance of the building is no longer dependent on material
James Stirling and James Gowan, Ham Common Flats, London 1955-1958.
Complex of apt; uses yellow bricks (no stucco); it's unlike other buildings (Baker House) Simple volume Reinforced concrete is not covered, it's visible; becomes apart of the design
Le Corbusier, Maisons Jaoul, Neully-sur-Seine 1951-55.
Contrast between perimeter wall (brick) and structure (reinforced concrete) Make invisible material
Jacques Herzog and Pierre de Meuron, Caixa Forum, Madrid 2009.
Cultural center in Madrid Windows + metal panels (unprotected from oxidation) -- gives unique appearance
Alexander Jackson Davis, John C. Stevens House New York 1845
Davis: very well-educated; knew Duran's (Fr.) and Pictoresque-era works -- Wrote books on architecture -- Very wordly; influenced by various international works Stevens House: uses classical designs; Ionic columns -- Democratic transformation of design -- His work is eclectic; uses neo-Gothic, neo-Classical
Bertram Grosvenor Goodhue, Nebraska State Capitol, Lincoln, Neb. 1934, detail of the statues of Wisdom and Justice on the North portal.
Decorated with complex decorations: buffaloes and Indians Decorations are concentrated in various focal points
Peter Behrens, AEG Turbine Factory, Berlin 1908-1909.
Deutscher Werkbund: gov't org. promoted close relation b/n designer and workers (design and mass production); promote publications, booklets--propaganda to spread the message Put together industrialists and designers Behrens--industrialist designer--designs buildings, furniture, etc. Became central because many famous 20th century architects worked under him Emil Rathenau--AEG--believed the need to create close relation with artists/designers Turbine Factory: first to think about how a factory should be designed; how it should look Long glass façade that allows light to enter; large window Behrens believe that factories are not just machines: embodiment of modern society; like churches in the past Long steel pillars; it looks like steel columns; critics saw this as an ancient temple Façade looks like the pronaos of a temple Importance: even though this factory design will be abandonded, architects are thinking about how modern industrial building should look.
Denys Lasdun, University of East Anglia, Norwich 1962-1968.
Dorms of a new university They are in a pyramidal shape, increases the amount of light Aesthetics of the building are built on reinforced concrete
Henry Bacon, Lincoln Memorial, Washington D.C. 1911-1922.
Drastic difference from Wright's work during the same period of time Traditional, classical design
Frank Lloyd Wright, Kaufmann residence, Bear Run, Penn. 1936-1939, cross section.
Elements: solid walls; long, cantilever (beam) Natural organization (tree with a solid trunk) Wright tries to say how architecture should interact with nature
James Stirling, Neue Staatsgalerie, Stuttgart 1984.
Example of post-modernist attitude
Hector Guimard, Paris Metro, Porte Dauphine Station, 1899-1904, view and detail.
Exemplify the art nouveau movement; rejecting historical references; bimorphic and natural style -- Changes thanks to wide book distribution, transfer of ideas Metro: like train, it is important; Paris came late into subway construction
Frank Gehry, Gehry House, Santa Monica 1978.
Experimented with his own house with materials
Antoni Gaudí, Sagrada Familia, Barcelona 1884 (begun).
Famous church (completed a few weeks ago) Three parti portico; Looks like a castle made of sand Architecture should go back to nature for its source
Jacques Herzog and Pierre de Meuron, Eberswalde Senior Technical School Library, Eberswalde 1993-96.
Façade has photographs Concrete and glass with photographs
Norman Foster and partners, London City Hall, London 1998-2002.
Foster + partners is composed of hundreds of people; Foster not necessarily in charge of all projects Large organizations rely on architects as artist, but they are transient group of people
Norman Foster and partners, Swiss Re Headquarters, London 2004.
Foster and partners based in London, started in 1960s They became international organization and commissioned to build in over 50+ countries Swiss Re - known as The Gherkin
Frank Gehry, Walt Disney Concert Hall, Los Angeles 1997-2003.
Geometric form + use of technology created this buildings CAD and other systems -- able to design complicated forms and structures
Raymond Hood and John Howells, Chicago Tribune building, Chicago 1922-1925.
Gothic spires on top Adopt Gothic inspirations
Walter Burley Griffin and Marion Mahoney Griffin, Muller house, Chicago 1906-1910.
Griffin used to be a follower of Wright, then moved to create their own firm Successful works and designs--130+ projects in the 20th century
Walter Gropius and Adolf Meyer, Fagus Factory, Alfeld-an-der-Leine 1911-1912.
Gropius started very young; started building factories Element: glass façade; corners also feature windows, as opposed to being massive and heavy This transparent factory became important example for other factories to be more open
Ludwig Mies van der Rohe, model for a glass skyscraper, Berlin 1922.
Gropius successor--he had a different opinion and style Glass façade
Hector Guimard, Castel Béranger, Paris 1894-1898, façade and detail of the entrance.
Guimard received traditional education After Guimard met with Horta, he decided to follow Horta's style -- Building is made of steel -- Contrasting of red and yellow bricks; glazed tiles; ballistrate with long lintels -- Entrance features nature/curvelinear design; not historical but natural forms
Albert Speer and Adolf Hitler, model for the plan for Berlin, 1936-1942 and model for the Great Hall, Berlin 1941.
Hall, Berlin 1941. Nazis come into play; favored two designs: vernacularism and classicism Wanted to create a central road through Berlin, starting with an arch and goes to a classical architecture Huge arch Huge dome with giant columns Emphasize the people in power
Antoni Gaudí, Parc Güell, Barcelona 1900-1914, plan and detail of the portico.
High middle-class area park Columns are not straight; looks like natural material
Erich Mendelsohn, Einstein Tower, Potsdam 1919-1921.
Historic movements: expressionist movement Designed as a laboratory, for Einstein It used reinforced concrete, allowing it to use curvelinear shapes Germany was poor, needed to repay for war damages So lack of iron: used brick first, then covered with Rocco
Victor Horta, Maison du Peuple, Brussels 1895-1899, view and plan.
Horta also worked for Socialist party Translate into new design from idea -- Important to use new technology
Frank Lloyd Wright, Robie house, Chicago 1906-1910, project.
House for an industrial family Element: flat roof that protrudes from the mass of the building Wright style: using simple geometrical elements to create something complex
Henry Hobson Richardson, Sever Hall, Harvard University, Cambridge, Mass. 1878- 1880
Huge arch; windows make the build transparent
Robert Venturi and Denise Scott Brown in Las Vegas, 1968.
In Learning from Las Vegas Urban case -- Las Vegas streets Featured the billboards, the symbolic impact of them Moved the discourse from structure towards the appearance of building; relationship between structure and form Return to historical languages
Antoni Gaudí, Casa Milá, Barcelona 1905-1907.
In an area of city, expansion Looks like a building carved from stone (the quarry) Naturalistic aesthetic -- "house of the Flinstones"
Gerrit Rietveld, Schröderhuis, Utrecht 1924.
It features intersections of flat surfaces Polychromatic It has an absence of decoration Rid of the old classicism, and decoration; Abstract geometry: embodiment of society based on math and technology
Alvar Aalto, Enso-Gutzeit Building, Helsinki 1959-1962.
It is located in the center of the city Geometrical form, with strict repetition of window; wide marble -- called the "sugar cube"
Le Corbusier, Notre-Dame-du-Haut, Ronchamp 1950-1954.
It was a chapel It is a symbol of 20th century architecture Geometrically-shaped, but not a combination of simple shape; many curves (unlike pre-war modernism) Building is determined by the external wall (white plaster) and roof (inverted shell, reinforced concrete) Roof is supported by pillars (if you remove the walls, it can still stand) Alludes to natural form -- moved towards interaction with nature
Philip Johnson and John Burgee, ATT Building, New York 1978-1982.
Johnson designs a skyscraper, not like the Seagram building Open pediment, reference to past classicism, on the top of the roof
Heins and Lafarge, Cram and Ferguson, Rafael Guastavino i Moreno (dome), Saint John the Divine Cathedral, New York 1899-1933, façade and dome.
Largest cathedral in the world Replica of the Gothic cathedral during the 20th century; Gothic church is less than 100 years old Technologically-advanced dome
Le Corbusier, Villa La Roche-Jeanneret, Paris 1923.
Le Corbusier finally puts his ideas into formation Absence of decoration, large windows; similar to Gropius' Fagus or Bauhaus White façade to emphasize the geometric shapes
Charles-Édouard Jeanneret (Le Corbusier), Dom-ino House, 1914-1915.
Le Corbusier is a fake name; Jeanneret was born in Switzerland Theory: architecture is both an artistic and industrial method It's a scheme: reinforced concrete slabs, strong columns Features no façade, simply what the inside should be Dom: house; in(n)o: innovation Based on idea of dominos, this scheme could be applied to numerous other architectures
Le Corbusier and Pierre Jeanneret, Villa Savoye, Poissy 1929-1931.
Le Corbusier's Five points of architecture 1. Free plan: using reinforced concrete to separate the façade from the structure 2. Pilote: use RC pillars on the ground floor to separate the building from 3. Free façade 4. ribbon windows: long windows 5. garden roof: RC allowed for large terraces to be built Some of the ideas applied: separation of the ground floor from the building Long windows and openings; it looks like an abstract building; gives ppl a panoramic view of nature Roof is accessible Epitomizes modern architecture of the time; shows how much architecture has evolved
Ludwig Mies van der Rohe, Lakeshore Drive Apartments, Chicago 1948-1951 and Ludwig Mies van der Rohe and Philip Johnson, Seagram Building, New York 1954-1958.
Made these skyscrapers Lakeshore Drive Apt Geometrical appearance, glass façade (only see the structural elements separating the glass façades) Can be seen as a large rectangular volume Seagram Building in Manhattan is a simple prism, geometrical character; looks black because it uses black-painted steel and tinted windows Stands out because of its dark appearance The building does not align with the rest, but is shifted by an open square It emphasizes the geometrical element; law also said that there must be enough space between two tall façades Many modern skyscrapers look like this, shows the success of modernism
Frank Furness and George Hewitt, Pennsylvania Academy of Fine Arts, Philadelphia 1871-1876
Many ideas of how American architecture should be... -- Depart from existent European styles
Herbert Baker and Edwin Lutyens, Viceroy's House (Rashtrapti Bawan), New Delhi 1913-1931.
Monumentalism Classical language still plays roles in society in 20th century
Frank Gehry, Guggenheim Museum, Bilbao 1991-97.
Museum was realized in an industrial city; not a tourist city Appearance is covered with titanium plates -- Used titanium because of the fall of Soviet Russia and available of titanium from their aircrafts
Charles Moore, Piazza d'Italia, New Orleans 1978-1979.
Number of architectural details from Italy (Rome)
Frank Lloyd Wright, Larkin building, Buffalo, N.Y. 1902-1906, perspective drawing and interior.
Office building built in an industrial area; mailing office Inward looking aspect; the company's dominant work force was female Few windows on the outside, and office all looking towards the central part of the building Window on the top, bringing in light Column design: intricate decoration and two strange spheres (similar to the Sezession) -- connection with European avant-garde movement
Frank Lloyd Wright, Unity Temple, Oak Park, Ill. 1905-1908, interior.
Participated in a design contest Interior: decoration is only intricate at specific points; looks very minimalist
Frank Lloyd Wright, Robie house, Chicago 1906-1910, plans.
Plan shows that it has 2 components: family and servant
Josef Maria Olbrich, Ernst Ludwig Haus, Darmstadt 1899-1901 (photograph of Ernst Ludwig's marriage in 1908) and Hochzeit, Darmstadt 1907.
Possible collaboration and Italy Founded new form of innovation Modern architecture: need to abandon old architecture Followed consistency in architecture: Success Absence of columns Windows: Asymmmrical; tall and vertical
Frank Lloyd Wright, Guggenheim Museum, New York 1942-1960.
Pre-war modernism was seen as non-human/friendly Wright was rediscovered It's not as simplified as other buildings
Le Corbusier, plan Voisin, Paris 1925, view of the model.
Project was probably not to be realized Voisin was an industrialist Idea is that architecture and industry should go together; one depended on another
Denys Lasdun, National Theatre, London 1967-1976.
Reinforced concrete was used at the National Theatre Many projects were sponsored by the British gov't
Vladimir Tatlin, Monument to the Third International, 1919-1920, model.
Revolution in Russia occurred; new revolutionary ideas: how Soviet society should be different from existing society and how art should differ Idea formed: new society would have close relation between art and industry One movement: constructivism; art and architecture should be renewed by working on construction (not form/design) Engineers were the heroes of the new society; but society was very poor The building was never realized because cost was enormous and no technology available in Russia at the time
Frank Furness and George Hewitt, Penssylvania Academy of Fine Arts, Philadelphia 1871-1876, interior
Russell Sturgis worked with Leopold Eidlitz (Cz.) First American translator of Théodore Labrouste -- Furness worked in the office of Richard Morris Hunt -- Read César Daly -- They were well aware of what was going on in the world; level of connection with European is high--with better technology and communication -- Influenced by LaBrouste Pennsylvania Acad. of Fine Arts -- Facade: opening with pointed arches; divided in two -- Replicate with Medieval origin -- Polychromatic -- Structural honesty
Eero Saarinen, TWA Terminal, Idlewild Airport (now John F. Kennedy International Airport), New York 1956-1962.
Saarinen (b. Finland) Complicated geometrical form Reinforced concrete allowed it to have its shape Unlike pre-war modernism -- building's shape cannot be simplified into fundamental shapes
Ludwig Mies van der Rohe, Farnsworth House, Plano, Ill. 1946-51.
Same principal of modernism Simple geometrical elements; contrast between structure and large glass surface
Frank Lloyd Wright, Ward Willits Wright house, Highland Park, Ill. 1902.
Separation of the roof and the main body of the house (similar to the Winslow house) Very few decoration
Giuseppe Terragni, Casa del Fascio, Como 1932-1936.
Shows similar ideas of Le Corbusier It is a house for a local fascist regime; building is modern, even though the group is conservative
Michael Graves, Public Services Building, Portland 1980-1982.
Simple geometrical object Façade has number of fake columns -- they're aesthetic, not structural Bi-chromaticism of the building Can be imanged as a monolith, monument Building counts more the way it looks than what is is made from
Cass Gilbert, Woolworth Building, New York 1911-13 and Raymond Hood, American Radiator building, New York 924.
Sky scrappers: very complex machines Architects are still hesistant about the types of tall building Inspired by Gothic design
Bertram Grosvenor Goodhue, Nebraska State Capitol, Lincoln, Neb. 1934.
Some elements of modernism Cross-organization, square transept; tall tower
Boris Michajlovic Iofan, Vladimir Scuko and Vladimir Gel'freich, project for the Palace of the Soviets, Moscow 1934.
Soviet changes from innovative ideas to old conservative idea Promenade to the building It then looks like a wedding cake, with Lenin pointing to future of socialism
James Stirling and James Gowan, Leicester University Engineering building, Leicester 1959-63; James Stirling, Cambridge University History Faculty building, Cambridge 1964-1966.
Stirling worked on many other buildings Historical attitude; imitating/reinterpretating modernism; does not go back to classicism
Daniel Libeskind, Jewish Museum, Berlin 1989-2001.
Straight, unique façade Libeskind thinks of himself as a superstar
Frank Furness, Provident Life and Trust Company, Philadelphia 1876-1879
Strange carpel columns with Corinthian decorations and polychromatic and visible cast-iron beams LaBrouste and Furness both question: should architects be shy or not about use of new technology? Should they expose the material they are using?
William Strickland, Merchant's Exchange, Philadelphia 1832-1834
Strickland -- Worked with Ben Laytrum -- Owned a copy of Antiquites; classical language of architecture Merchant's Exchange -- Anchors: uses many earlier designs; half Temple of Vesta -- Greek revival/neo-Classicism
Alvar Aalto, Town Hall, Säynätsalo 1949-1952.
Surrounded by the environment -- the building interacts with the environment (not modernist-like) Aalto refereed as organicism
Bruno Taut, Glass Pavilion, Cologne 1914.
Taut was also a member of the Deutscher Werkbund It's an ephemeral structure, designed for a fair; with cooperation of a glass manufacturer
Auguste and Gustave Perret, Theâtre des Champs-Elysées, Paris 1911-191, the structure.
The theatre is very complex, reinforced inner structure
Auguste and Gustave Perret, apartment building in Rue Franklin, Paris 1902-1904.
These architects were specialist in reinforced concrete Went to Ecole des Beaux Arts It's a small building in the city; used reinforced concrete to reduce structural surface and introduce protruding and concave façade. Also balconies. Walls are decorated with floral flowers, not structural--Art nouveau
Renzo Piano and Richard Rogers, Centre Georges Pompidou, Paris 1971-1977.
They were influenced by British technological innovations Put the technical elements on the outside; emphasize the machinist idea
Frank Gehry, Walt Disney Concert Hall, Los Angeles 1997-2003, detail.
Titanium films are placed over traditional building structures Contradiction of futuristic design and traditional structure
Richard Upjohn, Bowdoin College Chapel, Brunswick, Maine 1844-1855 and Trinity Church, New York 1846
Upjohn -- Interaction between US and German/European architects; he had a close connection with one of these acquaintances Church: Medevial models with Romanesque style -- Show how idea circulated during the time
Tony Garnier, drawing for the "Cité industrielle", 1917, bird-eye view of the industrial port.
Utopian project that was never realized An ideal city for 35 000 people; major was to be industry; it is base of modern cities
Ludwig Mies van der Rohe, IIT Campus, Chicago 1947.
Van der Rohe left Bauhaus and became director at IIT, and designed the campus Some buildings are mounted, base is not first floor Cubist/geometrical Van der Rohe starts pre-war modernism in US; elimination of history, classical language and decoration
Henry Hobson Richardson, Trinity Church, Boston 1872-1877
Very original, stylistic approach; small building; narrow façade Not structure: such large columns; size does no reflect the structural capacity of the buildng First true "American style/order": create architecture that does environmental, culture, and traditions of the British style Adapt the British style to the new American style Went to Ecole des Beaux-Arts; did not receive an official degree Worked in the atelier of architect Théodore Labrouste Returns to US 1865 and opens office in NYC New style: Richardsonian Romasque: but still original Trinity Church: cross with equal wings; many designs--shows a mastery of the architecture; main method combo of three partids; granite; brownstone houses Architect began to design the building; Worked with Joan of Arc, produced photograph to make a building for Richardshon; simialr to photographic effects at CMU End of tradition: end of neo-Clasical
Richard Rogers, Lloyds Building, London 1978-1986, interior and exterior views.
Visible ducts, pipes, elevators on the façade
Frank Lloyd Wright, Robie house, Chicago 1906-1910.
Windows give it a transparent-feel
Henry Hobson Richardson, Thomas Crane Memorial Library, Quincy, Mass. 1882
Worked at the Library, Harvard library Exemplifies the works of Richardson Used by Shinckel at bowel Boa Academy Structural honesty; modern Combo of windows; transparent facade; not possible to realize a long solid piece of glass; right now it's only possible with steel; Combines windows together;
Alexander Jackson Davis, project for a house for Robert Donaldson, Annandale-on- Hudson, N.Y. 1836 and project for a house for Joel Rathbone, Albany, N. Y. 1838
Worked on project of country houses -- Neo-Gothic style -- "Gingerbread" Debate: which style should be used to construct buildings? (Is neo-Gothic/neo-Classical right style?)
Ludwig Mies van der Rohe, German pavilion, Barcelona 1929.
Worked on the German pavilion for a fair in Barcelona; ephemeral building Used marble Transparent façade: glass Contrasts the massiveness of the stone elements with the transparency of the glass elements Intersection of flat surfaces. Cantillever roof. Straight stone slabs.
Frank Lloyd Wright, Winslow house, River Forest, Ill. 1893-1894.
Worked on the model of the single-family house External appearance: simplification of decoration; geometric; roof is like suspended in air Start of the "prairie-style" Similar to European's thinking during the same era: what to do with decoration?
Frank Lloyd Wright, Imperial Hotel, Tokyo, 1913-1922.
Wright was interest in: (non-European cultures) Primitism, exoticism, oriental works Works well to move away from classicism Arrive at abstract art Liked "Asianism" Wright gained access to a country that was just opening up; Wright was fascinated with Japan Rise of Japanese culture: poems, artworks Wright was one of the first foreigners who lived in Japan Published a book on Japanese culture; book was success
Frank Lloyd Wright, Broadacre City Project, 1934.
Wright's attitude Anti-urban attitude Disappearing City (1932) Strict hierarchical structure Families live in single-family houses; no skyscrappers Very spread out, large Depended on private transportation; American dream, American model
