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31 Cards in this Set
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Classic International Style Modernist Architecture |
-concealing of stone, brick or other materials under white paint, plaster or cement to create uniform simple surfaces [organic modernists reject this] -asymmetrical compositions created from the interaction of rectangular volumes [organic modernists will use curves instead] -large expanses of plate glass; or, ribbon windows that emphasize the expansive surface planes in which they are embedded -pilotis that give the illusion that the volumes of the building are floating -open plans that do away with earlier room divisions in favor of long sightlines -careful coordination of indoor/outdoor spaces using large expanses of glass and outdoor terraces |
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Prairie Style |
-pancake flat -horizontal stretching far -orchestrated progressions of open spaces instead of strictly defined rooms -careful modulation of relationship bt interior and surroundings -use of natural motifs drawn from local flora and fauna |
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-Frank Lloyd Wright, Winslow House, River Forest, IL 1893 -strong change in materials from brick to cement to dark terracotta tile -roof appears to be floating -stark symmetry -ornament on door -geometry different in back, more prairie style (more volumes) |
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-Frank Llyod Wright, Ward Willits House, Highland Park, IL, 1901 -very horizontal -leads with symmetry in the front and stacks other volumes behind it -big sheltering roofs above floating volumes -window more meant for protection than open view -design about geometry and hierarchy of heights -art, glass, furniture designed by Wright -modern for its geometry, although it didnt come up quickly |
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-Antonio SANT’ ELIA, railwaystation/airport, La Città Nuova, 1914 -paper architecture -futurist designs that influenced the new age -displayedin May 1914 at an exhibition of the NuoveTendenzegroup, of which he was a member. |
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-TATLIN, Monument to the 3dInternational, 1919 -A spiraling exterior (intended to be made of iron) encloses geometric structures fashionedfrom glass. -Although it existed in various models, it was never actually built and remains a keyexample of a purely Utopianarchitecture.-supposed to be 3 times taller than Eiffel tower but didn't have enough iron -twisting and stacking |
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-GROPIUS, competition entry for Tribune Tower competition, 1922 -June 1922, the ChicagoTribune announcedit would build a new tower, which was to be "the most beautiful officebuilding in the world." |
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- RIETVELD, Schroeder House, Utrecht, Netherlands, 1924 -crafted objects that evolved to building -2 facades to street -geometry and specific color palette -planes, boxes getting pulled apart -mix of indoor and outdoor spaces, windows -zigzag chair, furniture built in -private spaces for bed and bath |
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-MELNIKOV, Soviet Pavilion,Decorative Arts Expo, Paris, France, 1925 -the design strongly impresses therest of the world with the advanced architecture of the Soviets -steps, designs chairs, meeting |
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-GROPIUS, Bauhaus Dessau, Dessau, Germany 1926 -The Bauhaus compound in Dessau wasa purpose-built structure for the school, housing students, and providingclassroom, workshop and office space. -strives to combine all the arts as components of new arch -white, function visible from outside -hopeful, optimistic, futuristic -technology- looking at all the positive benefits (mass production) -emphasis on properties of material -valuing women as designers -all furniture designed -disliked by Natzis (for its free thought) |
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-LEONIDOV, Project for LeninInstitute of Librarianship, Moscow, USSR, 1927 -auditorium -alter experience people had in space -displayed and published, but never built |
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-LE CORBUSIER, Villa Savoye, 1928 -flat site -geometric, landscape surrounds it as a contrast -parking spaces under covered area, unusual circulation, weightless -movement through space essential, ramps, slow leisure -larger areas of glazing from inside, views are key -birth of pilotis |
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-MIES VAN DER ROHE, GermanPavilion, Barcelona International Exposition, Barcelona, Spain, 1929 -not much time to prepare -meant to be an arch statement, a reception area -linear/horizontal/rectangle -indoor and outdoor -lots of glazing -rich use of material, hand selected stone -classier modern -furniture an after thought for king and queen |
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-Juan O’GORMAN, Casa O’Gorman, San Angel, Mexico City,Mexico 1929 -hardcore modernism located in a rich neighborhood Mexico City -horizontal bands of windows -pilotis to raise up -glazed area=studio/work space, back and bottom=home -flat roof -concrete spiral staircase (like corbusier) -exposed plumbing (considered poor taste by elite in neighborhood) |
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-MIES VAN DER ROHE, Tugendhat House, Brno, CzechRepublic 1930 -built into a hillside in Brno, CzechRepublic.builtfor wealthy clients who were able to get out of Czechoslovakiaahead of the Nazis -outdoor terraces -steel supports -originally meant to be brick but could not obtain, now white stucco -dialogue bt landscape and linear elements -partition walls and curtains to break up spaces, movement -hand picked materials, wooden panels not to be interrupted by a seam |
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-HOWE & LESCAZE, PSFS Building, Philadelphia, PA, 1932 -curve around corner, not authentic modern, commercial establishment -fast elevators, AC= very modern at its time |
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-Alvar AALTO, Finnish Pavilion, New York World’s Fair, NY, USA, 1939 -warehouse= "urban streetfee" -considers photography and film -designs everything - |
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-Oscar NIEMEYER, Brazilian Pavilion, New York World’s Fair 1939 -exhibit place -ramps -le corbusier influenced |
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-Alvar AALTO, Villa Mairea, Noormakku, Finland 1941 -country home, wooded rural site -large budget -big windows, floating balconies, indoor/outdoor -heavy painting -cluster of bamboo columns to serve as pilotis -stone steps -slender verticals (door, staircase) -garden room |
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-Luis BARRAGÁN, Casa Barragán, Mexico City, 1948 -main living is upstairs -use of color -living room with view facing garden |
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-SOM, Lever House, New York, NY 1952 -plinth raised on pilotis- creates courtyard - slender, elegant glass box -tinted glass at bottom of windows in offices -steel, granite, glass floating planes -made SOM known in steel and glass world of skyscrapers |
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-LE CORBUSIER, Chapel ofNotre Dame-du-Haut, Ronchamp, France, 1954 -curves -concrete -no ribbon windows -not strict/organic -wall very deep, like a fortress |
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-Juan O'GORMAN and others,Central Library, UNAM, outside Mexico City, Mexico 1956 -huge volume of storage space -windowless, covered in murals and stones -history of human thought about universe in the murals -integratingurbanism, architecture, engineering, landscape design and fine arts |
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-Oscar NIEMEYER, Palace ofthe Dawn, Brasilia, Brazil, 1958 -presidential palace -glass box raised on pilotis (curve) -reflecting pool, ramp |
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-Luis BARRAGÁN, Tlalpan Chapel, Mexico City,Mexico 1960 -very small for daily worship-entrance with reflective water pool/fountain -concrete repetition -griding everywhere -closed to open spaces |
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-Oscar NIEMEYER, National Congress Building, Brasilia, Brazil, 1960 -shining monument -perfect geometry (maybe to improve the government) |
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-Eero SAARINEN, TWA Terminal, JFK International Airport, 1962 -abstraction of flight -building pulls out to create needed shelter -part of staircase coming down -curvy, streamlined movement through space |
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-Gerrit RIETVELD, Red/Blue Chair, 1917 -Wooden armchair that he made in summer1918 from seven rails, six posts, two struts and two boards. Rietveld describedhis objective as being to make a chair “without mass or volume that did notenclose space, but allowed it to continue uninterrupted.” |
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-Le Corbusier, Toward anArchitecture, published in French 1923, English 1927 -1.THE SUPPORTS2. THE ROOF GARDENS3.THE FREE DESIGNING OF THE GROUNDPLAN4. THE HORIZONTAL WINDOW5.FREE DESIGN OF THE FAÇADEec log |
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The International Style |
-Henry Russell HITCHCOCK and Philip JOHNSON, TheInternational Style (exhibition and book1932] -Not a catalogue for the exhibition,but an argument formodernism's dominance made through captioned photographs,Hitchcock and Johnson's co-written volume wasalso published in 1932 and has been continuouslyin print ever since. -exhibit promoted the style of international modernism at Museum of Modern Art in NY |
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-Lucio COSTA, master plan ofBrasilia, 1957, which became the capital of Brazil in 1960 -supposed to look like a wing of a plane |
