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33 Cards in this Set
- Front
- Back
- A change occurs in Le Corbusier’s work after the war and is shown in this work
- Sits on a hillside o Important spiritual site (2 previous religious buildings were there) - Site of pilgrimage - Looked to many things for inspiration (3 years to design) - Roof was based on the construction of concrete dams - Patron believed that the architect could create the best religious design with more freedom - Many sculptural elements- many forms come from that of a ship - Looks different from every angle - Carved like a cave and tilted floor - Didn’t want religious iconography, but wanted spirituality by light and the way it enters the space - Ideally suited to the site - Humanized and less machine like - More emotional and less rational |
Le Corbusier, Notre-Dame-du-Haut, Ronchamp, 1950-54
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- Joint capital of 2 states
- Symbolized a “new India” (a new and modern progressive state) - Based master plan on hierarchy of circulation and separated by class - Saw sectors as individual cities and they should be self sustainable - Created laws to protect against sprawl - Used modular design - Wanted to symbolize progress & harmony (coming out of turmoil) - Parasol was a reoccurring theme (symbolizes protection) - First of the buildings to be completed - Monumental porticos |
Le Corbusier, High Court, Chandigarh, 1951-55
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- Large box with grid of windows
- Modern in design, but appears as a historic feeling (shows strength and endurance) - Main façade has “scooped” porticos - Vast and inspiring interior space - Office space arranged around exterior - Separation of load bearing and cladding functions - Plan fails to respond to the climate and social conditions - Insisted that architecture is based on art |
Le Corbusier, Parliament, Chandigarh, 1951-63
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- Designed using the same approach as the Bauhaus (form follows function)
- Works with the site and climate - Designed around letting light in - Simple, well designed, fittings - Some glass block walls with steel frame - Didn’t like the term “international style” o Integrated modern architecture - House works together in a dramatic way o Spotlights & backlights - Interior: o Minimal color (mostly black & white w/ splash of red) - No applied ornament - Open areas (glass boxes and screened in porch) made it seem like less of a mass, but more of a volume - Brought in a “New England” style, but it does not seem to represent anything from New England |
Walter Gropius, Gropius House, Lincoln, MA, 1938
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- Built for a physician (Edith Farnsworth)
- A weekend retreat - Wanted a house that was “serious architecture” - Made almost entirely out of glass and steel o 8 steel vertical supports that support 2 horizontals (roof and floor) o Terrace o 1 room wide open (for the exception of 2 bathrooms and storage) - Used travertine marble and primavera wood were the only other main materials - No driveway or landscaping - One room in a meadow - Everything is plum and level- glass was perfectly rectangular (fine craftsmanship) - “Perfect” piece of architecture - Client was dissatisfied o No screens (attracts bugs) o No air conditioning o Travertine decks required cleaning every other week o Rust removal - International Style b/c: o Lack of ornament but attention is paid to the materials o Regularity o Glass makes it appear weightless (mass-less) |
Mies van der Rohe, Farnsworth House, Plano,IL, 1945-51
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- First International Style sky scraper
- National Historic Landmark - Built for one of the oldest and most conservative banks in the country - Pulled structure out to the surface which gave more room in the interior o Provided visual stripes - One curved wall (streamline affect) - 27 stories tall and 4 offices deep - One of the first sky scrapers to be air conditioned - Elegant materials (marble) - Furniture was designed by the architects - Letters are set back so that it doesn’t interrupt the surface o Letters are 27’ tall |
George Howe and William Lescaze, PSFS, Philadelphia, PA, 1926-32
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- International Style b/c:
o Mostly glass o Straight lines formed by structure and frames o Regularity (rhythm w/ windows) o Asymmetrical building (horizontal and vertical) - No setbacks o Only occupied 25% of the lot with the tower - Accessible outdoor space - Seems like weightless hovering volume - Sealed box (ac only ventilation) - Built for Lever Brothers (soap company) o Building reflects cleanliness |
Skidmore, Owings and Merrill, (Gordon Bunshaft), Lever House, NYC, 1951-2
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- Located across the street from the Lever House
- Company produced high-end liquor - Curtain wall - Verticality and horizontality contrast with eachother - Appears differently throughout the day - Sophisticated and elegant image - Interior was dynamic (walls could be moved at will) - Different style but follows the basic ideas of Sullivan |
Mies van der Rohe with Philip Johnson, Seagram Building, NYC, 1954-8
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- Architect:
o Finland’s most famous architect o Believes in form follows function o Believed only two things in art: humanity or its lack o Becomes associated with the town of Jyvaskyla (designed about 70 buildings for this town) o Tries to create an organic link between energy, people, and buildings o Often made compromises with clients (unlike FLW) o Founded ARTEK with his wife o Created about 1000 buildings - Establishes his reputation as a master of functionalism - TB Sanatorium - Proved that he could emphasize human connection - Included special furniture, lighting, HVAC, etc. to better help the patients - Breaks away from strict rationalism- gives concern to psychological needs - TB is a lung disease so it was thought that fresh air and sunlight were best for the patients - Each function is created in slightly different ways - International style o Flat roofs o Some ribbon windows o Smooth surfaces - clean lines and forms so that it’s easy to clean - Not following a design in a formulaic manner - Created compression molded furniture - Creates the Paimio Chair- designed to help patients breathe better o Able to be mass produced |
Alvar Aalto, Paimio Sanatorium, Finland, 1929-33
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- Most admired piece of residential architecture
- One of Aalto’s major works - Works to combine many things (collages elements) - Uses ceilings and floors of wood and incorporates various textiles o Creates warm “home” feeling - Takes terrain into account - Welcomes the outdoors in - International b/c: o Variety of materials with smooth surfaces o Flat roofs o No applied ornament - Looks to create an interior forest (bring the woods inside) o Abstraction of a finished forest - Break from strict rationalism - Open and freed plan, but uses different levels to give feeling of walking through land |
Alvar Aalto, Villa Mairea, Finland, 1938-41
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- Most important architectural contribution to MIT
- Large scale housing with flexible interior units so that they’re not all the same - Each student room has a view - Curved exterior provides unique floor plan for each unit |
Alvar Aalto, Baker House, MIT, Cambridge, MA, 1947-8
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- Architect:
o One of the most famous Philadelphia architects o Highly influential o Lived, worked, and taught in Philadelphia o Went to UPenn o Studied with Cret o Made an alliance with George Howe - Medical research building - Breaks away from international style - Breaks away from glass and steel buildings o Can be other materials - Lead the Philadelphia School - Differentiates space o Served space- laboratories o Servant spaces- mechanical, elevators, etc - Tower sections for mechanical areas - Articulating 2 different primary spaces on exterior - Created a new modernism - Had problems with functionality (protection from sun) - Interested in geometric solids |
Louis Kahn, Richard's Medical Research Laboratory, University of Pennsylvania, Philadelphia, 1957-65
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- Responds to site (site looks over ocean)
- Goes back to Beaux Art training - Creates walk through spaces - Uses the concept of “institution” o Creates organization - Antique quality although modern - Found the underlining form that it should take - Designs on many different levels |
Louis Kahn, Salk Institute, La Jolla, CA, 1959-65
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- Believes government should be the central space
- Parliament in center - Built up on vast brick platform and surrounded by water - Offices are towards the exterior o Building is created in “layers” - Modern building, but seems elemental o Seems like it could be created in the ancient past (gives off idea of strength and stability) - Concerned with light and volume - Exterior shell outside of windows creates shade - Modern masterpiece - Creates interactions b/c different buildings and types of buildings are grouped together |
Louis Kahn, National Assembly Building, Dacca, 1962-75
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- Architect:
o Not a trained architect, but became one of California’s best developers o Wanted aesthetically pleasing designs for all o Keeps profit low to offer high quality - Atrium in center - 2 Car garages - Large picture windows - Overhangs (to protect from the sun) - Exposed beams stretch within the house and are exposed - Community centered (community swimming pools and other shared areas) - Had 3-4 bedrooms - Sold for $11,000 to 14,000 |
Floor plan for Eichler Homes, Anschen & Allen, California, c.1950
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- Responds to the need of GI Vets
- Small single family homes that are between industry and the city - New form combines middle class suburbia with an attainable GI group of people - People become thrilled to have this small home (pride of home ownership) - Sold the idea of community - Cluster neighborhoods - Aware of urban planning theory - By 1960 the company was producing 1 house in every 16 minutes in the factory - Typically had 2 bedrooms, kitchen, bathroom, etc. - Small boxy cape cods - Many ideas taken by FLW - Open floor plans were very helpful - Special-needs paid attention to children - Family and play rooms developed |
Levitt Model House, Levittown, NY, 1949
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- Architect:
o Rebels against the International Style o Uses angular and curved geometries - Use of curved geometries and angular planes - Multiple structural systems - Interior: trays of seating flowing at different levels - Mimics music through architecture - Puts in personal feelings towards architecture |
Hans Scharoun, Berlin Philharmonic Concert Hall, 1956-63, Berlin
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- A good example of the style Italy reflected after the war
- 33 stories - Near railroad station - Non-rectangular - Flattened and oval in shape - Not as much glass as the International Style - Form gives architectural decoration - Structure: double vertebrate - Not imitation of American style (produce their own) |
Gio Ponti with Luigi Nervi, Pirelli Building, 1958-61, Milan
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- Holds offices and apartments
- 26 stories - Upper stories appear to be supported by buttresses - Tries to fit in with the neighborhood (near gothic cathedral) - Verticality relates to gothic cathedral - Punched windows that fit in with the neighboring buildings - Want to give sky scraper an identity so they related it to historic structures - Thought it was natural to incorporate historic styles in their work b/c they’re proud of their past |
Ernesto Rogers and Enrico Peresutti, Torre Velasca, 1956-58, Milan
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- Architect:
o Develops architecture that still recognizes and respects Mexico’s culture and history o Able to see beyond the machine and imagery of the International Style o Creates spaces for contemplation o Poetic puzzles to move through - Good example of how modernism is altered depending on where it was used - Clients wanted to be modern and cosmopolitan - Uses water extensively o Takes on many different aspects - Uses color and careful framing of views - Influence of International Style, but puts his own heritage into it |
Luis Barragan, San Cristobal, 1968, Mexico City
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- Architect:
o Wants to fuse architecture with landscape and typography o Usually reduces structures to minimalist passageways - Part of a larger plan for a city called Brasilia - Contains presidential palace, congress building, etc. (governmental purposes) - Representative to nation’s new look to industrialization and progress - Seems monumental - Seems international (could be placed anywhere- not tied to site) |
Oscar Niemeyer, Plaza of the Three Powers, 1958, Brasilia
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- Architect:
o Taught by Le Corbusier o Uses updated version of the “5 Points of Architecture” - Uses Metabolist Architects ideas o Create visionary urban projects o Blend mechanisms with a “space ship design” o Use moveable parts and connect pod-like structures to it - Gives monumental forms - Mix-use building - Almost a small city - Main elements: o Grids of cylindrical shafts o Large horizontal beams that contain offices o Served and service spaces o Total flexibility within rigid framework o Similar to “post and beam architecture” - use of local influences |
Kenzo Tange, Yamanasi Press and Radio Center, 1961-67, Kofu
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- Mechanical/techno style
- Houses many functions - Wanted to create a popular institution - Mega structure with steel tube frame - Glazed elevation - Mechanical tubes (pulled to the outside of the building) serve as ornament - Half of site dedicated to outside plaza - Constructed from prefabricated parts - Uninterrupted floor space (place partitions wherever) |
Richard Rogers and Renzo Piano, Centre Georges Pompidou, Paris, 1971-77
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- Architect:
o Considered a potent force o Coined term “international style” - Looks like piece of furniture - Generally viewed as the first post modern sky scraper - Slender rectangular building - No setbacks - Repetition of like spaces - Differentiated top and base (Sullivan’s ideas) - 9 strips of vertical fenestration - Pediment hides utilities (has use) but gives a unique view to skyline - Entry criticized b/c it made visitor feel very small and didn’t protect from weather - Historical/ classical references - Chippendale furniture roof top- abstracted from Vanna Venturi building |
Philip Johnson, AT&T Building, NYC, 1979
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- Architect:
o Designing for Target now o Studied at University of Cincinnati & Harvard o Became eclectic in his forms - Uses a lot of inspiration from classical tradition - Rejection of modernism & the machine - Inspired by classical design - Use of teal, terracotta, and blue o Colors allude to natural world - Civic building - Rejects iconic style of Mies - Uses windows to reflect grid pattern of city - Tripartite division of building (base, body, and head) - First major public building of the post modern movement - Fits into its urban context - Mini city - Considered “most significant building of its period” by outside critics - Tenants did not like it o Many called out sick (sick building syndrome) - some main elements needed to be replaced |
Michael Graves, Portland Building, Portland, OR, 1980-83
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- High tech tent
- Material was Teflon - Tent was used in repeating order - Used as a center for pilgrims who were making pilgrimage to Mecca - Thought about circulation shade and construction - Tent shape is very traditional - Allowed for great ventilation - Modern yet traditional |
Skidmore, Owings and Merrill, Hajj Terminal, Jeddah, Saudi Arabia, 1980
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- Houses governmental system
o Royalty system o Tribal groups - Central street was created within & acted like a traditional village o Functions were arranged around the street - References the tents of the “elders” - Sheltering roof - Gives off idea of protection (from climate and government) |
Jørn Utzon, National Assembly Building, Kuwait, 1972
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- Architect:
o Part of the Japanese New Wave o Looked inward and wanted a more poetic architecture o Light, stillness, and space were important elements - Cast concrete structure - Sense that it was created through a reductive process - Stark emptiness but not sterile - Echoes Bauhaus - Consists of 2 overlapping squares - Uses modernist ideas - Dedicates himself to use of the building |
Tadao Ando, Church on the Water, Tomamu, Japan, 1985-8
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- Architect:
o Part of the “Team of Four” o Breaks partly with the international style - One of the most expensive buildings to date - Open plan - Looks at how utility systems are incorporated - Created a new vision of the work space - Structure was brought out to the corners (typhoon proof) - Creates exoskeleton - Lifted on structural legs (forms gateway into city) - Promotes Hong Kong as a place of power |
Norman Foster, Hong Kong and Shanghai Bank, Hong Kong, 1979-85
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- Architect:
o Feels that architecture is linked with social purpose o Provides comfort and stimulating experience for occupants o Believes architecture must be progressive as opposed to nostalgic - Originally a traditional house & adds a casing around it - Nontraditional materials (metal gate, corrugated metal, etc) - Elevated everyday materials to new levels |
Frank Gehry, Gehry House, Santa Monica CA, 1978
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- Architect:
o Develops highly theoretical work o Buildings seem to exist in their own spaces o Believed place and tradition was having less and less meaning - Broke the traditional grid of the campus - Established own grid within the grid of the campus - Interest in Dada - Mocks other architects of the time (broken castle tower) - Rejects rules and contexts |
Peter Eisenman, The Wexner Center for the Visual Arts, Ohio State Univ., Ohio, 1983-9
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- Architect:
o Concerned with form o Parodies history - Creates a new landscape for the 20th century - Planned on abstract grid of coordinates - Concerned with relationship between form, function, and meaning |
Bernard Tschumi, Parc de la Villette, Paris, 1984-9
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- Creates spaces that are in tune with human experiences
- Connects lines between location and cultures in Berlin - Zigzag form - Expresses the disappearance of Jewish culture in the area - Visitor’s experience is very controlled - Supposed to give off the feeling that something is missing |
Daniel Libeskind, The Jewish Museum, Berlin, 1989-96
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