Arc 188 Final

Front 1

New Realities

Back 1

Stalinism

Fascism

Nazism

Front 2

The two Miami Voices

Back 2

Victor Furth: 1949 Came to Miami to teach in the Department of Architecture.

Rudolf Frankel:1950 Came to Miami to teach in the Department of Architecture, where he established a city design program, the department’s first graduate degree offering.

Front 3

CHARTE D'ATHÈNES

Back 3

Produced by Le Corbusier. A document about urban planning. Huge impact after WWII

Front 4

Ville Radieuse

Back 4

Unrealised project designed by the French-Swiss architect Le Corbusier in 1924.linear city based upon the abstract shape of the human body with head, spine, arms and legs. The design maintained the idea of high-rise housing blocks, free circulation and abundant green spaces proposed in his earlier work

Front 5

BRUTALISM / NEO-BRUTALISM

Back 5

movement in architecture that flourished from the 1950s to the mid-1970s. "raw concrete." massive in character (even when not large), fortress-like, with a predominance of exposed concrete construction, or in the case of the "brick brutalists" ruggedly detailed brickwork and concrete together. strength, functionality, and frank expression of materiality.

Front 6

ALVAR AALTO

Back 6

SCANDINAVIAN architecutre

Front 7

NATIONAL ROMANTICISM

Back 7

Nordic archtectural, 19th and 20th century-Designers turned to early Medieval and even prehistoric precedents to construct a style appropriate to the perceived character of a people New Doricism

Front 8

FUNCTIONALISM / FUNCTIONAL RATIONALISM

Back 8

principle that architects should design a building based on the purpose of that building.

Front 9

NEUES BAUEN

Back 9

The new objectivity. Modern architecture that emerged in Europe, primarily German-speaking Europe, in the 1920s and 30s.

Front 10

CIAM

Back 10

International Congresses of Modern Architecture, was an organization founded in 1928 and disbanded in 1959, responsible for a series of events and congresses arranged across Europe by the most prominent architects of the time, with the objective of spreading the principles of the Modern Movement focusing in all the main domains of architecture (such as landscape, urbanism, industrial design, and many others).

Front 11

Team X

Back 11

Group of young architects who at the IX CIAM Congress, meeting in Aix–en– Provence, France, in 1953, were selected to plan the X CIAM Congress to meet at Dubrovnik, Jugoslavia, in 1956. Later in 1959, at the XI CIAM Congress, meeting in Otterlo, Netherlands, the same group introduced a declaration that dissolved the CIAM

Front 12

EXPRESSIONISM

Back 12

was an architectural movement that developed in Europe during the first decades of the 20th century in parallel with theexpressionist visual and performing arts, that especially developed and dominated in Germany.

Front 13

GENIUS LOCI

Back 13

Genetic footprint of a place. Each city has a unique ‘spirit of place,’ or a distinctive atmosphere, that goes beyond the built environment. This urban context reflects how a city functions in ‘real time’ as people move through time and space.

Front 14

NEOPLASTICISM

Back 14

"The Style" or De Stijl. pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white.

Front 15

Regionalism

Back 15

approach to architecture that strives to counter the placelessness and lack of identity of theInternational Style (architecture), but also rejects the whimsical individualism and ornamentation of Postmodern architecture. It is a progressive approach to design that seeks to mediate between the global and the local languages of architecture.

Front 16

VERNACULAR

Back 16

architecture based on local needs, construction materials and reflecting local traditions.

Front 17

Duck

Back 17

Building which architecture is subordinate to overall symbolic form.

Ex: Tail O' Pup (hotdog building)

Front 18

Decorated Shed

Back 18

A formally simple structure with rich, complex, and often shocking ornamental flourishes.

Ex: Memorial Library looks like actual book

Front 19

POST–MODERNISM

Back 19

began as an international style the first examples of which are generally cited as being from the 1950s, but did not become a movement until the late 1970s and continues to influence present-day architecture.

Front 20

PASTICHE

Back 20

describe developments as imitations of the building styles created by major architects: the implication is that the work is unoriginal and of little merit, and the term is generally attributed without reference to its urban context. Incorporating several styles and putting them together.

Front 21

SCENOGRAPHIC

Back 21

Of or belonging to scenography, scene painting

Front 22

Tectonic

Back 22

Of or pertaining to the building in general. Constructional constructive. In reference to architecture and kindred arts.

Front 23

Faux

Back 23

Fake

Front 24

Critical reconstruction

Back 24

theory regarding the reconstruction of Berlin following the fall of the Berlin Wall; it aims to define the “central role of the city” and “invent the contemporary equivalent”.[1]

Goals include a return to traditional urbanism, with building size limited to one block, and building codes that encourage development that mimics pre-World War II Berlin. Development schemes that preserve or restore pre-war street patterns are preferred. Stone and ceramic exteriors are favored over steel and glass.

Front 25

Five Points of Architecture

Back 25

1. Support Pilotis

2.Free floor plan

3. Garden roof

4. Horizontal window

5.Free facade

Front 26

Frank Llyod Wright

Back 26

XYZ Axis

Front 27

ANALOGY

Back 27

Correspondence in some respects, especially in function or position, between things otherwise dissimilar. A form of logical inference, or an instance of it, based on the assumption that if two things are known to be alike in some respects, then they must be alike in other respects…

Front 28

ARCHETYPE

Back 28

A model or first form; the original pattern after which a thing is made, or to which it corresponds.”; archetype (c.f. Max Black, Models and Metaphors, 241): “…a systematic repertoire of ideas by means of which a given thinker describes, by analogical extension, some domain to which those ideas do not immediately and literally apply.

Front 29

MODEL

Back 29

A small object, usually built to scale, that represents some existing object. 2. A preliminary pattern representing an item not yet constructed, and serving as the plan from which the finished work… will be produced…

Front 30

TRANSFORMATION

Back 30

The act of transforming or the state of being transformed… [thus]…to change in form or appearance; metamorphoses; to change in condition, nature, or character…

Front 31

MORPHOLOGY

Back 31

Shape, form, external structure or arrangement, esp. as an object of study or classification. Also: a particular shape, form, or external structure, esp. of (a part of) an organism, landform, etc.… 4. gen. The history of variation in form.

Front 32

PROTOTYPE

Back 32

The first or primary type of anything; the original (thing or person) of which another is a copy, imitation, representation, or derivative, or to which it conforms or is required to conform; a pattern, model, standard, exemplar, archetype. b. spec. That of which a model is a copy on a reduced scale.