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AEG Turbine Factory / Peter Behrens / Berlin / 1908
-roofline reflects what's going on inside
-see the structure
-movement in germany that believed that the lives of german citizens would be improved by modern products, design, and architecture in their lives
-new way of expressing structure mass and windows
-reversal of relationship of weight and weightlessness, corners are pushed back while facade, and central face columns extend. |
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Philip Johnson / AT&T Building / NYC / 1978-84
o Post-modernism had potential to represent traditional ideals
o Post WWII, corporations embraced international style and “took it over”
o In 1980’s, corporations take over post-modernism.
AT & T building represents first example of this
o Designed originally in 1978, completed in 1984
80’s were period of increased consumerism and economic growth
Revived interests in architecture
o Not well received at first, people were used to glass boxes
o Historicist in intent, but somewhat radical in design
Historical styles had been so absent from our culture suddenly seemed avant-garde
o Most prominent and noticeable element is its top
Roofline has form of Chippendale, drawer furniture, oval top.
o Historical avant-garde dichotomy
o At this time, they started reinventing themselves, new logo, saying they were a communications company.
Company presenting themselves in a progressive way
o Historical style in a post-modernism style
o Base of building
Clearly has a façade, a back, and two sides
At base, thin columns gave it aesthetic of it standing on legs
Monumental arched entrance, very large in scale
o View through entrance to grand lobby
Sculpture (Spirit of communication), commissioned in 1916, had been on top of the old AT & T building, thought that it represented the company.
• Was seen atop the building, now it was placed in the lobby on ground floor
• Naked sculpture holding telephone wires.
o AT&T was basically blessing the style by having their building in this style |
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Frank Lloyd Wright / Barnsdall House (a.k.a Hollyhock House) / Los Angeles / 1916-21
-bound by 4 roads ; wanted to make a theatre, studio etc
-long low entrance (lots of brick, wood, etc)
-central courtyard -> arch emphasis on wall (ornamental abstracted hollyhock
-heavy interior |
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Walter Gropius / Bauhaus School / Dessau, Germany / 1926
-didn't have urban context (large open field)
-most understood from it's aerial view
-has no clear facade
-balance of formal visual elements (led to international style)
-each part of complex has different fenestration to fit purpose |
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Casa Battlo / Antonio Gaudi / Barcelona / 1904-7
-Evocation of nature, skeletal, vegetative, not of history
-Empathy in building, using forms that show weight being borne, and therefore connect with the building
-Mix of hand crafted, and industrial elements
-even industrial elements use both natural (pulled, flowing, animal or plant aesthetic) and mechanical aesthetic (displayed rivets) indicative of the search for the proper aesthetic of the modern age
-was inspired by Viollet-le-Duc |
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William van Alen / Chrysler Building / NY / 1928-30
-represents aggressive integration of art deco ideas into architecture.
-introduced new materials (aluminum and stainless steel)
-art deco ideas (stepped/zig-zag form)
-shiny material at top, arranged in art deco form made the top of building very prominent and attention grabbing through form and material
-aluminum considered luxurious
-exotic wood used |
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Le Corbusier/ Contemporary City for 3 million/ Project/ 1922
-wanted to take on central city, did not advocate making people leave city
-plan that sought to accommodate growth
-office buildings (cruciform shape) middle class
housing, low income housing by factories
-opens up land for green space “a city in a garden”
-2 story high rise villas similar to maison citrahon |
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Eileen Gray/ Villa E. 1027 (house for jean badovici) / Rocquebrune / Cad Martin / 1926
-Designed as a vacation home
-House named in code for Eileen and Jean
-influence of Le Corbusier – ribbon windows, free plan, raised up, roof garden
-focused on influence of sun on terrace
-deeper ribbon windows w/ shutters
-separated rooms by changes in floors or ceilings or certain pieces of furniture |
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Erich Mendelsohn / Einst ein Tower / Potsdam / 1920-24
-exploration of concrete and it's inherent properties
-use of concrete as a sculptural, flowing material
-sense of motion in the form of the building
-made of brick and then white-washed, rather than the intended concrete (cost) |
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Shreve, Lamb, & Harmon / Empire State BLDG / NY / 1929
-made show of new materials (stainless steel)
-ostentacious display in lobby
-tower as mooring post for blimps
-fanned “wings of progress” to carry the country into the future
-created as tallest building in world (202' taller than chrystler building, which had opened a few months prior) and remained so for a very long time |
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Walter Gropius / Fagus Shoelast Factory / Alfeld,Germany / 1910
-student of Behrens
-no structural element at corner of building
-emphasizes new construction techniques (steel, curtain wall, large ares of glazing, volumetric rather than massive) |
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Frank Lloyd Wright / Fallingwater / Bear Run, PA / 1934-7
-Built over a stream called Bear Run (under the house)
-Actively integrates the house with the landscape using modern construction techniques
-several level, connects to landscape
-reinforced concrete trays cantilevered out
-fieldstone (local) for central hearth which anchors house
-steel glass in large quantities (experience)
-flooring has visual sense of flowing like stream
-visually access stream on little patio below house
-steream and house as one |
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Mies van der Rohe German Pavilion / International Exposition, Barcelona / 1929
-celebration of modern architecture, rich materials
-exploration of minimal structure
-truth of materials
-simple elements create many complex shapes
-chrome columns in cruciform shape, elegant
-statue “morgen” serves as human form to contrast machined aesthetic of pavilion |
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Eero Saarinen / GM Technical Center / Warren, MI / 1948-56
Completed same year the interstate highway act signed into law
Facilitated suburbanization
A complex of offices incorporating 5 divisions of mechanical engineering and other types of the automobile industry
320 acre site, 12 miles north of downtown Detroit
What’s the appropriate aesthetic?
New geography and landscape
Looked to nature of the product of the company for inspiration
Not aesthetically, but more ideologically.
Metal working industry, precision, mass producing, should be incorporated in architecture
Precise, well made look
Industrial product
Each of the 5 divisions had an administration building
Building designed on a 5 foot module.
Tall and thick vegetation along the complex
Saarinen wanted to control access, but also wanted to pronounce setting in suburban landscape
Incorporated unique structures
Water tower and styling dome, both clad in stainless steel.
“Where today meets tomorrow”
These types of projects were “pointing the way” to the future
Beaux-Arts maxim that a building’s form should express its character.
Highly inventive
The design both facilitated and represented GM’s corporate policy of decentralized control and flexibility.
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Frank Lloyd Wright / Guggenheim Museum / NY / 1946-59
-wrights last building before he died
-took the idea of centralized classical dome space and literally durned it upside down, which gives it a dynamic movement
-integrated the gallery into the spiral
-very connected experience, really undid a lot of history of what a museum should be
-this building as a sculptural element breaks out of the grid plan of the site
-exterior reflects interior
-fully attained his ideal of an organic architecture in plan, elevation, and section truly interact |
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Moshe Safdie / Habitat for Expo 67 / Montreal / 1967
-identical prefabricated living units
-inspired by plants, cellular structure
-manipulating how cells are attached,
-designed to create affordable housing
-designed to integrate the variety and diversity of scattered private homes
-successful one among all the others that are derrived from it |
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Hotel Tassel / Victor Horta / Brussels / 1892
-known for interior
-translates ideas of art nouveau into architecture
-interested in iron (it's ability to stretch/flex)
-open plan with abstract/ vegetative forms which flow into each other
-wanted to reveal construction techniques(flat surfaces are flat) |
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Philip Johnson / IDS Building / Minneapolis, MN / 1973
Not regular rectangular glass box, put in facets at the corner, increasing corner offices
Reflective glazing
Couple of reasons
Most significant for energy
First office tower of this scale to also incorporate a “public” atrium in the form of a “crystal court”
Faceted roofline
Atrium space has changed with different managers throughout its time
Seats removed in 80’s to keep traffic flowing through
Garden like area, seats, shops
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Eero Saarinen / Jefferson National Expansion Memorial / St. Louis / 1948-64
-completely monumental, without any function
-visually very simple structure
-triangular footprints at the bottom
-build in the way of building a compression area of masonry
-color of the structure has different condition depends on the climate
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Phillip Johnson / / Johnson House / New Canaan, CT / 1949
-the “glass house”
-Miesian principles after WW2
-wealthy, rurual estate area
-very light/transparent anchored by brick pedestal and cylinder that houses fireplace/BR
-subtle completely open plan like the Barcelona Pavillion
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Alvar Aalto / Baker House Dormitory / MIT, Cambridge Mass / 1948
-follows the flow of the river
-gives more visual acess to the river
-gives students individual spaces
-rough brick with variety of color
-solve the problem of modern life, the connection between the individual and the collective
-basic theme and details both present his idea
-a big shift from buildings like villa savoye |
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Frank Lloyd Wright / Johnson Wax Headquarters / Racine, WI / 1936-9
-becomes a model for suburban campuses/ headquarters after WW2
-low profile, spreads horizontally
-inward focus (windows are made of plastic tubes, non transparent)
-low entrance, opens into large atrium of “mushroom capitals” (lilly pad columns)
-glazing on top lets in a log of light yet sheltered gives inward focused |
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Antonio Sant' Elia / La Citta Nuova / Project / 1914
-Nuove Tendenze
-central station, commercial housing
-Reinvent modern city (raise the level of the city, drop the streets) engage new materials, abstraction
-no plan, rather a collection of drawings of buildings and a manifesto
-no nature
-get rid of old monuments, design
-expresses a need for movement, and hiding static places, but doesn't show any people. |
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Mies van der Rohe / Lake Shore Drive Apartments / Chicago / 1950
-two identical towers, placed perpendicular to each other
-chic, sleek, modern aesthetic
-core of stacked functional elements pulled to interior
-frees up exterior for living space
-I-beam corner decoration to reflect structure of building
-open plan
-rather modest in size (for such expensive apartments) |
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Larkin Building / Frank Lloyd Wright / Buffalo, NY / 1903
-built in very industrial area
-attempted to separate the office workers from the the factories and production
-inwardly focused building
-centered around atrium with skylight
-exterior reflects function
-entrance on side breaks down formality |
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S.O.M. / Lever House / NY / 1951
-was a striking, avant-garde, progressive, new aesthetic, but led to uniform look of city
-curtain wall allows for nearly full transparency, completely enclosed building
-very shear wall, thin metal mullions create continuous look of facade, windows flow into each other |
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Juan O’Gorman / Library, City University / Mexico City / 1950-53
-forms in common with the international style
-the most iconic and recognizable building
-bring local tradition icons to the building
-adaption of international modernism t the regional culture |
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Richard Neutra / Lovell Health House / Los Angeles / 1927-29
-progressive in terms of aesthetic and materials
-first steel framed house
-terracing and reinforcement needed due to dramatic site
-extends into landscape (cantilevered sections)
-spirit of stripped aesthetic (Int'l style-no wright inspiritation) |
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Le Corbusier / Maison Dom-i-no / Project / 1914
-base material-reinforced concrete which can be quickly pored and erected on site
-5 points of architecture
-use columns so that the interior and facade are freed from structural duty
-houses should be raised off of ground, should have flat roof with garden
-progressive idea for mass production of housing
-quickly reproduced-planed to rebuild Europe after the war |
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Majolika House / Otto Wagner / Vienna / 1898
-wanted to be honest to material and structure
-curtain wall is new construction technique, form should express this
-primacy of function before form
-straightforward use of materials (expressing their inherent properties)
-surface made up of tiles, patterned |
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Adolf Loos / Mueller House / Prauge / 1930
-designed his homes directed “inward”
-area for women to sit, area fro men as well
-luxurious materials used in simple way as cladding
-uses many different levels/ half stairs
-very simplistic exterior
-Loos argues that the simplicity of the exterior mask goes along with the freedom of design in the interior |
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Le Corbusier / Notre Dame du Haut / Ronchamp, France / 1954
-designed to be experienced
-each side is unique, sculptural event
-curves, convex, concave walls, varieties of elemetns
-different from Le Corbusier's previous design
-unexpected elements
-use of light, as summons sun moves in the day, the experience of the interior changes a lot
-roof seems heavy looking from the exterior but from the interiror the roof is lifted up leaving a little bit of space between the wall and the roof, which makes light appear to breathe into it |
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Boris Iofan / Palace of the Soviets / Project / 1931-33
-response to league of nations
-was affected by the rise of Joseph Stalin (crushing of experimental, progressive, individual thoughts and ideas)
-neoclassical (abstracted classicism)
-”wedding cake” w/ Lenin on top
-attempts to crush free will
-rebells against modern architecture and art, since that is all about freedom |
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Palais Stoclet / Josef Hoffmann / Brussels /1905-11
-founder of Wiener Werkstatte, 1903
-applied panel aesthetic
-windows flat with wall
-rope like element outlines walls to emphasize their planar qualities
-building about volume, not mass
-used rich materials to express luxury in modern aesthetic
-interior as well as exterior expresses planar properties |
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Charles Moore / Piazza dItalia / New Orleans / 1978
-surrounded by an urban surface parking lot
-entrance has a modern hut-laugier
-referencing historical italian style in a modern way
-articulated as section cuts
-the mirrors reflect the columns, self referential
-column made by water pouring down
-night view intentionally referencing the commercial contemporary world |
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Renzo Piano & Richard Rogers / Centre Pompidou / Paris / 1974
-Bright colors brought in from pop culture
-Building inside out, all the “guts” of the building are exposed/glorified
-one of the few building designs influenced by archigram that actually got biult
-system and function of the building became it's aesthetic
-main circulation of the building is on the exterior |
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Michael Graves / Portland Public Services Building / Portland, OR / 1983
-reflective curtain wall
-making reference to the classical architecture
-idea of civic life should be adapted
-sculpture in the front shows the civic idea |
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Otto Wagner / Post Office Savings Bank / Vienna / 1905
-Symmetrical, axial, that is the end of the classical elements
-plays with classical design
-creates pattern out of construction technique in how tiles are attached to building
-glass blocks in floor allow light into lower levels, and gives sense of openness and transparency (non secretive)
-very industrial aesthetic, revealing the way the building is put together
-exhaults the applied systems such as ventilation, and uses form to express that they are applied |
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Vladimir Tatlin / Project for the Third International / Project / 1920
-art should be acutely engaged in our lives, not merely superfluous decoration
-wanted to create an egalitarian society
-materials of building should dictate technique of building--> technique should dictate form
-form is a double helix, tilted w/ circular plan (designed to be 1300 ft tall, exposed structure)
-full of motion, aspiration, in flight
-comparable to Eiffel tower
-seems more of a mechanical instrument than building, but i was intended to contain functions of state, therefore being both a symbol and a center of the government
-internal spaces were meant to be dynamic, each level rotating at speeds that increased as you went up
-was never built |
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Lescaze & Howe / PSFS Building / Philadelphia / 1931
-first international style office building in US
-has an asymetrical form
-huge base, corners curved |
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Robie House / Frank Lloyd Wright / Chicago / 1909
-iconic home of prairie style
-two horizontal bars sliding past each other
-dramatically recessed eaves
-strong sense of privacy created
-every detail emphasizing the horizontality of building (eaves, capstones on walls which extend and protrude, raked bricks, roman (long narrow) bricks
-hearth still center of home |
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Louis Kahn / Salk Institute / La Jolla, Ca / 1960
-Kahn had the same idea s Salk about science and humanity
-elevation allows for horizontal activity
-the potential of architectural concrete expression
-very precicely and carefully designed
-facing the pacific ocean, a stream of water flowing down into the ocean (visual effect)
-shows kahn's interest in mass and solidity |
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Alvar Aalto / Town Hall / Sänyätsalo, Finland / 1950
-scale of the buliding changes depending on where you stand
-mixture of forms including industrial and natural
-cntrast is highlighted
-semi-enclosed courtyards and vernacular farm buildings and handmade material
-picturesque compositions dominated by columes signifying community
-every single detail is carefully designed |
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Erich Mendelsohn / Schocken Dpet. Store / / Stuttgart, Germany / 1926
-forms of marketing scaled up
-relation to Louis Sullivan's dept. store (curved entrance on corner)
-activities within building become part of aesthetic (marketing itself) |
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Gerrit Rietveld / Schroeder House / Utrecht / 1924
-Planes, lines
-facade as a 3D composition(yellow, red blue)
-not all lines meet perfectly (dynamic composition to suggest ambiguity of bldg boundaries)
-interior flexible, expandable w/ movable furnishings and walls (shifting mobile planes)
-corners dematerialized, open, connect to space and beyond |
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Mies Van der Rohe / Seagram Building / NY / 1957
-along with Lever house, marked downfall of international style
-less flat facade than Lever House(breaks up facade with thicker, darker mullions which give texture to the wall |
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Secession Building / Josef Olbrich / Vienna / 1897-8
-symmetrical, axial, semi classical
-takes classical forms and subverts them
-has column like forms framing door, but they are not founded (are part of the wall) and has vine like tendrils applied to the surface
-has a dome, but it's not a true dome, is instead a “sculptural ball” covered in ornament, which does not sit over a domed space in the interior
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Michael Graves / Team Disney HQ / Burbank, CA / 1992
-stripped classicism
-ancient greece columns
-7dwarfs |
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Eero Saarinen / TWA Terminal / JFK Airport, NY / 1956-62
-wanted to design the arhcitecture that present the drama of air travel and the movement of it
-the fluid form of it suggests movement
-appears very dynamic and complex
-he became expressionist in his approach
-interior has a liquid flow of space
-shows his idea of what an airport suppose to be |
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Le Corbusier / Unité d'Habitation / Marseilles, France / 1946-52
-prototype of housing that has a different individual expression of residence
-interlocking floors
-corridors on every other floor only
-like self contained unit that are plugged int ot ehs lots (bottles in a wine rack)
-rough massive columns rather than slender ones cresponding to lcimate
-consciously leaving construction maks on the surface
-2 stories interiorer streets an commercial area, simple, efficient great sense of community |
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Constantin Melnikov / U.S.S.R. Pavilion @ Expo des Arts / Paris / 1925
-geometric and progressive design
-critics said that the stair was over important
-was intended to be constructed all of glass and steel (painted wood was substituted for steel due to shortages)
-pergola--> motions (like art of the time)
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Robert Venturi / Vanna Venturi House . Chestnut Hill, PA / 1962
-capitalized on complexities, contraditctions, ambiguities, and paradoxes
-architecture can be ornamental and functional at the same time
-traditional architecture bein rearticulated here
-entrance recess into the house
-laying with our expectations
-rear facade is different from the front facade |
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Le Corbusier / Villa Savoye / Poissy, France / 1929
-makes clear use of Corbu's 5 points of architecture
-the house is a machine for living
-enter, wash hands, glide “effortlessly” up ramp to upper levels
-uses traditional material for fireplace, but makes it understated, and ties it into the rest of the plan by having it as part of shelf that runs along with rest of the house, and chimney is modified to stand separate from wall, much as the columns do
-elimination of boundary between interior and exterior
-ship-like aesthetic |
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Le Corbusier / Villa Stein / Garches, France / 1926-28
-is compositionally balanced, but not in an axial or symmetrical way
-entryway for servants is smaller, less covered than that for owner/guest
-much traditional construction technique which was then altered to look modern
-industrial, mass produced aesthetic, even though much of it had to be made for the home
-interior is designed in a very free plan, demonstrating potential
-ribbon window extends to corners to emphasize lack of corner load bearing supports |
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Ward Willits House / Frank Lloyd Wright / Highland Park, IL / 1900-02
-First house that really identifies Wright as separate style
-long and low house, even though it's 2 stories it extends into landscape
-much to emphasize horizontallity, many lines and horizontal faces
-house is centered on the hearth (literally) this is characteristic of Wright's style henceforth
-open plan radiating from the hearth, rooms flow into another
-low roof with extended eaves
-lower(public) floor is made to pop with lighter colors and protrusion from the mass of the house, while the upper(private) floor is made to recede by by being set back and sheltered with the deep eaves, darker colors used, and made to appear shorter by the lighter stucco extending all the way to the upper floor windows |
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