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ARCH 262: Modern Architecture from Enlightenment to Millennium > Mid-Term Slides > Flashcards

Mid-Term Slides Flashcards

1
Q
A

Fagus Factory

Gropius and Meyer

1911

  • Horizontality of windows
  • Regularly intervalled columns
  • Flat roof
  • Glass reveals the lack of structural support in the corner
  • Allusion of continuity design structural breaks
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2
Q
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Narkomfin Housing Project

Ginsburg and Milinis (1928-30)

Moscow

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3
Q
A

Auditorium Building, Detail

Adler & Sullivan (1886-90)

Chicago

  • Heavily rusticated arches
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4
Q
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Zuev Workers Club

Melnikov and Ilya Golosov (1928)

Moscow

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5
Q
A

Winslow House, Entrance

Frank Lloyd Wright (1893)

River Forest, Illinois

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6
Q
A

German Pavilion in the Barcelona World Fair

Ludwig Mies van der Rohe (1928-9)

Barcelona

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7
Q
A

Pavilion de L’Esprit Nouveau, Interior

Le Corbusier (1925)

Paris

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8
Q
A

The Red House, Exterior

Philip Webb (1859)

Bexleyheath

  • Microcosmic utopic of restored ethics of design and labor in defiance of industrial capitalism
  • Inspired by medieval masonry
  • ‘the workman had control over his materials, tools, and time’
  • Built-in furniture = synthesis between architecture and interior
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9
Q
A

Bank of England

Sir John Soane (1789-1833)

  • Graeco-Gothic architecture
  • Series of domed and vaulted trading halls
  • Brick arches and fireproof vaulting of hollowed clay pot construction
  • Innovation coincides with departure from gold standard
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10
Q
A

Church of the Three Crosses

Alvar Aalto (1955-8)

Vuoksenniska, Finland

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11
Q
A

Somerset House, View from across the River

William Chambers (1776-96)

London

  • Captures Piranesi’s theories on environment
  • Close relationship with River Thames
  • The river used to flow directly past the building
  • Cornice and series of heavily rusticated arches
  • Incorpates a range of classical order
  • Corinthian façades at entrances to each public institution
  • Creates a legible hierarchy for the complex
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12
Q
A

Church of the Sagrada Familia, Nave

Antonio Gaudi (1882-)

Barcelona

  • Irregular formation spans like a web
  • Clustered and irrational
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13
Q
A

Altes Museum, Plan

Karl Freidrich Schinkel (1825-58)

Berlin

  • Concealed dome reclaims neoclassical architecture opening the space to the public
  • Various paths of circulation
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14
Q
A

Villa Savoye

Le Corbuiser (1828-31)

Poissy, France

  • Collaboration of media
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15
Q
A

AEG Pavilion

Behrens

1908

  • German Shipbuilding Exposition
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16
Q
A

Scheu House

Adolf Loos (1912)

Vienna

  • Bare exterior emphasises the anonymous identity of the modern man
  • The house becomes a private space
  • Stepped profile offers roof terraces on each floor
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17
Q
A

Vienna Secession Building

Josef Maria Olbrich (1897-99)

Vienna

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18
Q
A

Encyclopédie, Plates for Encyclopédie by Blondel

Diderot (1751-2)

  • Classical architecture
  • Measured with proportions
  • Dichotomy between architecture as product of reason and of imagination
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19
Q
A

Postparkasse

Otto Wagner (1904)

Vienna

  • Ornament cast in aluminium
  • Clad in white marble
  • Represents the impenetrabilty of the bank
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20
Q
A

Villa Wagner

Otto Wagner (1888)

Vienna

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21
Q
A

Paimio Chair

Alvar Aalto (1933)

Paimio

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22
Q
A

Ecole du Sacre-Coeur

Hector Guimard (1895)

Paris

  • Inspired by Viollet-le-Duc’s V-joint supports
  • Decorative carving ressembles a bone
  • Display of reinforcements as ornaments
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23
Q
A

Monticello, Interior

Thomas Jefferson (1770-1809)

Charlottesville

  • Adapted interior for habitation
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24
Q
A

Rookery Building, Plan

Burnham and Root (1885-8)

Chicago

  • Light court in the centre of the plan
  • Before widespread use of electricity
  • Plan accounts for natural light
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25
Q

‘Different buildings should tell their purpose by their arrangement, by their construction, and by their ornament’

‘A man who does not know these different characters and cannot make them felt in his work is not an architect’

A

Livre d’architecture

Germain Boffrand

1745

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26
Q
A

Casa Batllo

Antoni Gaudi

Barcelona (1906)

  • Mimics skeletal bones and sockets
  • Irregular façade
  • Cuvier’s Elephant Skeleton
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27
Q
A

Royal Academy Lectures, Primtive Hut

Sir John Soane (1807)

  • Progression from Laugier’s frontiscpiece
  • Primtive hut for the primtive man
  • Neoclassical ideology
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28
Q
A

Postparkasse, Exterior

Otto Wagner (1904)

Vienna

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29
Q
A

Melnikov House

Melnikov (1927-30)

Moscow

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30
Q
A

Panthéon, Interior

Jacques Germain Soufflot (1755-1792)

Paris

  • Marriage of colonnades with a series of domical vaults
  • Baseless Doric columns in crypt
  • Decorative Corinthian columns in nave and portico
  • Flying buttress allow dome height
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31
Q
A

Postparkasse, Central Hall

Otto Wagner (1904)

Vienna

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32
Q
A

Majolika Haus, Detail

Otto Wagner (1898)

Vienna

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33
Q
A

Paimio Sanatorium

Alvar Aalto (1928-33)

Paimio, Finland

  • Constructivist in its dynamic asymmetry
  • Angled to engage with natural landscape
  • Concern for the intimate and tactile aspects of modern design
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34
Q
A

Pavilion de L’Esprit Nouveau

Le Corbusier (1925)

Paris

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35
Q
A

Bank of England, Rotunda

Sir John Soane (1789-1933)

  • Motif of arches create sense of light
  • Pay homage to neoclassical
  • Borrow Gothic construction
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36
Q
A

Schroderhuis

Gerrit Rietveld (1924-8)

Utrecht

  • Arrangement of geometric shapes and lines
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37
Q
A

The Three Temples (from Différentes vues…de Pesto)

Giovanni Battista Piranesi (1778)

  • Depicts classical architecture in ruins
  • Incorporates notion of time
  • Physical and evolutionary effects of time
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38
Q
A

Kew Gardens

Capability Brown and Willaim Chambers (1760s)

  • Chinese pagoda
  • Chambers praised Chinese gardensfor their asymmetrial disposed structures
  • Assymmetry highlights nature in freedom
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39
Q
A

Berlin Chair

Gerrit Rietveld (1923-4)

  • Exploration of geometric arrangements
  • Exploration of relationships between colour
  • Create space and harmony through color
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40
Q
A

Panthéon, Plan

Jacques Germain Soufflot (1755-1792)

Paris

  • Based on a cross plan
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41
Q
A

Austrian Parliament

Theophil Hansen (1873-83)

Vienna

  • Greek revival
  • Origins of democracy in ancient Athens
  • Fitting of a new democratic parliament
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42
Q
A

Academy of Architecture, Plan

Karl Friedrich Schinkel (1831)

Berlin

  • Geometric vocabulary of modernization
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43
Q
A

Wolf House

Mies van der Rohe (1925-27)

Gubin, Polnd

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44
Q
A

Dom-Ino Frame

Pierre Jeanneret (1914-5)

  • Master new material of reinforced concreated
  • Columns and floorpates
  • Logical independence frees architect from dependence on tectonics
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45
Q
A

MR Cantilever Chair

Mies van der Rohe (1927)

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46
Q
A

Guaranty Building, Interior

Adler & Sullivan (1894-6)

Buffalo

  • Motif of balustrade ornament
  • Elevator allowed building height
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47
Q
A

Komintern Tower

Vladimir Zhukov, 1922

Moscow

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48
Q
A

Majolika Haus

Otto Wagner

Vienna (1898)

  • Ornament came from textile design
  • Borrows from other artistic disciplines
  • Ornament as purely decoration
    • No explicit function
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49
Q
A

Church of the Sagrada Familia, Cross-section of the nave

Antonio Gaudi (1882-)

Barcelona

  • Bone-like skeleton
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50
Q
A

Paimio Sanatorium

Alvar Aalto (1928-33)

Paimio, Finland

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51
Q
A

English Edition of Laugier’s An Essay on Architecture, Frontispiece

1855

  • Goddess replaced by men
  • Classical architecture is a product of man’s labor
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52
Q
A

Les Ruines des Plus Beaux Monuments de la Grèce

Juian David Le Roy (1758)

Greece

  • Proposed Greeks as the original artists
  • Immense scale
  • Symmetry of classicism
  • Isolated structure
  • Drew from his imaginations
    • The actual site was in ruins
    • ‘The ruins of ancient buildings can be envisioned fromvery different perspectives … to servilely provide measurements’ had never been his intent
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53
Q
A

Altes Museum, Exterior

Karl Friedrich Schinkel (1823-30)

Berlin

  • Horizontality
  • Ionic colonnade
  • Expansive courtyard
  • ‘Every great period of civilization has left behind its own styles of architecture, why shouldn’t we attempt to find a style of our own time?’
  • Modernized classicism
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54
Q
A

Casa Vicens

Antonio Gaudi (1883)

Barcelona

  • Irregular geometric shapes
  • Irregular use of colour
  • Mimics free-forming rocks
  • Moorish motifs suggest regional identity
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55
Q
A

Narkomfin Housing Project

Ginsburg and Milinis (1928-30)

Moscow

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56
Q
A

Wainwright Building, Detail

Adler & Sullivan (1891)

St Louis

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57
Q
A

Melnikov House

Melnikov (1927-30)

Moscow

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58
Q
A

The Crystal Palace

Joseph Paxton (1851)

London

  • Constructed with glass and iron
  • Housed 1851 Great Exhibition of the Works of Industry of All Nations
  • Iron was present in most craft, now including architecture
  • Based on greenhouse technology
  • Mass-production technology allow its speedy construction and precision
  • Vast scale
  • ‘materiality is blendied into the atmosphere’
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59
Q
A

Bauhaus

Walter Gropius and Adolf Meyer

1925-6

  • White panelling
  • Glass appears to be floating
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60
Q
A

Maison Carrée, The Arena and the Tour Magne at Nimes

Hubert Robert (1786)

  • Neoclassical architecture as a topic of study
  • Corinthian columns
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61
Q
A

Robie House

Frank Lloyd Wright (1909-10)

Chicago

  • Horizontality
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62
Q
A

Vienna Secession Building, Entrance

Josef Maria Olbrich (1897-99)

Vienna

  • Gold detail designed by Gustav Klimt
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63
Q
A

Le Antichita Romane, Frontispiece

Giovanni Battista Piranesi (1756)

  • Architecture as a work of the imagination
  • Imaginary vision of the monuments on via Appia
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64
Q
A

Villa Savoye, Staircase

Le Corbusier (1928-31)

Poissy, France

  • Juxtaposition of ramp and spiral stairs
  • Dom-Ino Frame technology allows stairs
    • Not-load bearing
    • Malleability of concrete
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65
Q
A

Wainwright Building

Adler & Sullivan (1891)

St Louis

  • Subsumed floors between rising order
  • Emphasized base and attic
  • Reduced pilasters to the width of a single window
  • Phalanx of verticals read simultaneously as columns and mullions
    • As structure and as ornament
  • Tripartite hierarchy responds to functional distribution of the interior
  • Verticality and strong pilaters isolate the building
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66
Q
A

“The Tree of Architecture”, From A History of Architecture on the Comparative Method

Sir Banister Fletcher

1901

  • Modern architecture depicted as the latest branch/flower
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67
Q
A

Villa Savoye

Le Corbusier (1928-31)

Poissy, France

  • Raised on pilotis
  • Pure white prism hovering above the convex surface
  • Interior is free and symmetrical
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68
Q
A

Vienna Secession Building, Exterior

Josef Maria Olbrich (1897-99)

Vienna

  • Natural motifs
  • Jugendstil (Art Nouveau)
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69
Q
A

Plan Voisin

Le Corbusier (1925)

  • Buildings in the centre of black
  • No longer adjacent to street
  • Cleared space creates room for greenery
  • Verticality
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70
Q
A

Sussex Rush Seated Chair

Morris & Co. (1864)

London

  • Morris’ company took on all facets of interior design
  • Kept harmony within the interior
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71
Q
A

Royal Salt Works, Gatehouse

Claude-Nicolas Ledoux (1775-79)

Arc-de-Senans, France

  • Colossal baseless Doric columns
  • Learned recognized Doric as the appropriate Classical order for utiliterian buildings
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72
Q
A

Barn a la Paestum

Sir John Soane (1798)

Malvern Hall Estate, Warwickshire

  • Neoclassical inspiration
  • Triangular pediment
  • Doric columns
  • New materiality in the use of red brick
  • Fitting of the English country landscape
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73
Q
A

Manufactures and Liberal Arts Building

George Post (1893)

Chicago

  • World’s Columbian Exhibitions
74
Q
A

Tugendhat House

Ludwig Mies van der Rohe (1930)

Brno, Czech Republic

75
Q
A

Palace of Fine Arts

Charles B. Atwood (1893)

Chicago

  • World’s Columbian Exhibition
  • Ionic colonnade
  • Neoclassical architecture
76
Q
A

The Reliance Building

Burnham and Root (1890)

  • Designed by Charles Atwood
  • Lack of hierarchy
  • Faced with terracotta tiles
    • Enhanced lightness
  • Achieves harmony thorugh arrangement of windows and glazing mullions
77
Q
A

Elephant Skeleton (reconstructed from fragments)

Cuvier

1821

Recherches sur les ossements fossiles

  • Relates architecture to structure of fossils and skeleton
  • The bone is metonymic of the whole
  • The whole skeleton could be deduced from one bone
78
Q
A

Somerset House, Jean-Louis Desprez’ idealized view

William Chambers (1776-96)

  • Distorts key features of Chambers’s design
  • Exaggerates height of the dome
  • Captures notion of the sublime
79
Q
A

Karlplatz, Interior

Otto Wagner (1899)

Vienna

80
Q
A

Vilipuri Library

Alvar and Aino Aalto (1927-37)

Vlabord, Finland

81
Q
A

Church of the Sagrada Familia, Exterior

Antonio Gaudi (1882-)

Barcelona

  • Decomposition of Gothic and Moorish architecture
  • Inspired on termite mounds and stalagmites
82
Q
A

Gate for Saint-Denis

Nicole-Francois Blondel

Jacques Swebach (draftsman)

1672

  • Baroque update of the triumphal arch
  • Marks entrance into Paris
83
Q
A

Moller House, Interior

Adolf Loos (1929-30)

Prague

  • Designed all furniture to create harmony in interior
  • Neutrality of exterior begins to invade interior
  • Spatial planning - considers relationship between rooms in their arrangement
  • Sense of warmth through use of wood and marble
84
Q
A

Casa Mila, Exterior

Antonia Gaudi (1906-10)

Barcelona

  • No coherent vocabulary
  • Expansive
  • Irregulay shaped and placed windows
  • Reminiscent of a lotus flower
85
Q
A

Urban Expansion Plan

(1860)

Vienna

  • Urban expansion to fill in reserved monarchy spaces
  • Bring surrounding milieu and historical center into conversation
  • The ring road
  • Buildings include parliament, museums
86
Q
A

Kaufhaus am Michaelerplatz

Adolf Loos (1910)

Vienna

  • No ornament on residential upper level
  • Finishing on buildings distinguishes commericial from residential
  • Ornament is replaced by commercial public spaces on the bottom
  • Low lever in style of Tuscan order faced in marble
87
Q
A

Tzara House, Exterior

Adolf Loos (1925-6)

Paris

  • Separation of base with rough masonry
  • Flat stucco on upper levels
  • Two styles of cladding imply two residence
88
Q
A

Moller House, Front view

Adolf Loos (1929-30)

Prague

89
Q
A

The Temples of Paestum, from Le Antichita Romane

Giovanni Battista Piranesi (1756)

  • Chiaroscuro creates sense of momumentality and power
  • Colonnades of Doric columns
90
Q
A

Marshall Field Wholesale Store

Henry Hobson Richardson (1885-7)

Chicago

  • Rusticated
91
Q
A

Chicago Stock Exchange

Adler & Sullivan (1893-4)

Chicago

92
Q
A

Syon House, Plan

Robert Adam (1760-69)

Middlesex

  • Grand-domed space at the centre
  • Variety of paths in the courtyard layout
  • Orchestrate a pictoresque architectural and socila circuit through public rooms
93
Q
A

Transportation Building

Louis Sullivan (1893)

Chicago

  • World’s Columbian Exhibition
94
Q
A

Monticello

Thomas Jefferson (1770-1809)

Charlottesville

  • Stately neo-classical home
  • Inspired by Palladio’s plate of Villa Godi
95
Q
A

Oxford Museum

Deane & Woodward (1855-1861)

Oxford

  • Rich ornamental window frames by O’Shea brothers
  • Modern evocation of medieval cathedral facades
  • Ruskin’s philosophy advocated roughness and imperfection
  • Battle of iron and stone
96
Q
A

Academy of Architecture

Karl Friedrich Schinkel (1831)

Berlin

  • Purple-ish blue decoration with satured red brick represent novel structural system
    • Echoed by terracota representations of Amphion
    • Amphion’s lyre inspired harmonic construction of ancient city walls
97
Q
A

Moller House

Adolf Loos (1929-30)

Prague

98
Q
A

Guaranty Building

Sullivan and Adler

Buffalo (1894-6)

  • Pillow capital associated with architecture of the near East
  • Terracotta finishing highlights verticality
  • Corinthian columns at base of the buildings pay homage to neoclassical column
99
Q
A

Taliesin East

Frank Lloyd Wright (1911)

Spring Green, Wisconsin

  • Synthesis of architecture and landscape
100
Q
A

L’Esprit Nouveau

Ozenfant & Jeanneret (1920)

  • Problematic relation between art and industry
  • Corbusier believes the artist will play an integral role in modern society
101
Q
A

Hotel Tassel, Interior

Victor Horta (1893)

Brussels

  • Found solution to narrow building sites
  • Top lit staircase becomes social hub
  • Art Nouveau
  • Dissolves structure into ornament
  • Vegetal, floral design
102
Q
A

Karlplatz, Exterior

Otto Wagner (1899)

Vienna

103
Q
A

A View of Stourhead in the Country of Wilts

Coplestone Warre Bampfylde (1775)

  • English pitroesque garden
  • Landscape organised around irregularly shaped lake
104
Q
A

Panthéon, Pediment

Jacques Germain Soufflot (1755-1792)

  • Details of iron reinforcement
  • Iron skeleton innovates architecture
  • System of iron ties rods reinforces arcuated and vaulted structure
  • Masked by Neo-classical pediment façade
105
Q
A

University of Virginia, Aerial View

Thomas Jefferson (1817-1826)

Charlottesville

  • Takes license to appropriate styles
  • Incorporates change in scale
106
Q
A

Advertisement and Packaging Display, Tropon

Henry van de Velde (1893)

107
Q
A

Hotel Eetvelde

Victor Horta (1895)

Brussels

  • Roof lighting
  • Thin membrane of iron and coloured glass
  • Vegetal, floral pattern in stained glass
  • No repetition in patterns
    • Each is different
108
Q
A

Panthéon (orig. Église Ste-Geneviéve), Exterior

Jacques Germain Soufflot (1755-1792)

Paris

  • French neo-classical
  • Modelled on the temple front
  • Free-standing temple façade with a dome
  • Classical architecture had no model for space
  • Flying buttresses allow height of the dome
    • Refinement of the Graeco-Gothic synthesis
    • Purity of Greek architecture, lightness and audacity of Gothic
    • Borrows Gothic architecture for sense of light and height
    • Gothic masked parapets offer structural solutions for height
109
Q
A

Academy of Architecture, Exterior

Karl Friedrich Schinkel (1831)

Berlin

  • Window sills form a frieze
  • Masonry-frame building
  • Prussian native brick
  • Low window displays bring history to the public
  • In Schinkel’s words ‘represent various moments in the history of the development of the art of building’
  • Terracotta door depicts histories of architecture
    • Framing panels reference story of Callimachus’ discovery of the Corinthian order through natural forms
    • Reveals higlight ordering system of the natural world
    • Plant forms do not repeat but grow and flower
110
Q
A

Royal Salt Works, Plan

Claude-Nicolas Ledoux (1775-1779)

Arc-et-Senans, France

  • Semi-circular plan doubled to make an elliptical hub
  • Utopian self-contained town called Chaux
  • Inspired by layout of the amphitheatre
  • Garden city ideal as, on the circumference, public buildings are disposed within nature
111
Q
A

Concerni d’invenzione (Prisons of the Imagination) series

Giovanni Battista Piranesi, Italian (1720-1778)

c. 1750

112
Q
A

Casa Mila, Catenary Arches supporting Roof

Antonio Gaudi (1906-10)

Barcelona

  • Caternary arch references natural phenomena in physics
113
Q
A

Paestumdrawing

Giovanni Battista Piranesi, Italian (1720-1778)

c. 1750
* Inspiration for Rudolph’s ruin-like walls

114
Q
A

Frank Lloyd Wright House, Interior

Frank Lloyd Wright (1889)

Oak Park

  • Interior rooms fold into each other
  • Horizontality
  • Synthesis between architecture and furniture
    • Built-in furniture
115
Q
A

Bauhaus

Walter Gropius and Adolf Meyer (1925-6)

Dessau

  • Elastic, assymetrical form
  • New idea of space
  • Roof became the fifth facade
116
Q
A

AEG Turbine Hall

Behrens

1909

  • Transparency of the factory
  • Affectation of load-bearing column
  • Shared vocabulary with the products manufactured
  • Unbroken sheet of glass
  • Pseudo pediment
117
Q
A

Syon House, The ante-chamber

Robert Adam (1860-69)

Middlesex

  • Rich colours andreflections
  • Highgloss scagliola columns
  • Military trophies drawn from Piranesi’s illustrations
  • Ionic order creates the illusion of a symmetical square in a irregularly dimensioned room
118
Q
A

Project for Office Building

​Ludwig Mies van der Rohe (1921)

Friedrichstrasse, Berlin

119
Q
A

Maison particulière

Theo van Doesburg (1923)

  • Isometric drawing
  • Exploration of creating space through color
120
Q
A

The Red House

Philip Webb (1859)

Bexleyheath

  • All furniture was hand-crafted
  • Synthesis between interior and architecture
121
Q
A

Hotel Tassel, Wall Detail

Victor Horta (1893)

Brussels

  • Floral, vegetal, expansive design
  • Art Nouveau
122
Q
A

Fallingwater, Plan

Frank Lloyd Wright (1936-7)

Connellsville, Pennsylvania

123
Q
A

Winslow House

Frank Lloyd Wright (1893)

River Forest, Illnois

  • Identification of base
  • Horizontality
    • Order of the land
    • House should assimilate the way of the land
124
Q
A

Salon de Princesse, Hotel Soubise

Germain Boffrand (1735-39)

Paris

  • Rococo Interior
125
Q
A

Auditorium Building

Adler & Sullivan (1886-90)

Chicago

  • Squashed column under rusticated entablature
  • Multifunctional building
    • Hotel, offices and retail
  • Main auditorium in the heart of the bulding
  • Ornament serves as a frame for new technology
  • Capable as being read as part of the urban fabric
126
Q
A

Fallingwater

Frank Lloyd Wright (1936-7)

Connellsville, Pennsylvania

  • Building in nature
  • House reacts to nature
  • Corner entrance creates diagonal pathway
    • Maximises space
  • Synthesis of architecture and nature
  • Rock boulders incorporated into architecture
127
Q
A

Robie House, Plan

Frank Lloyd Wright (1909-10)

Chicago

  • Horizontality
128
Q
A

Glass Pavilion

Bruno Taut (1914)

Cologne

  • Glass tiling reflected in stair fillets
129
Q
A

Western Union Building

George Post (1873-5)

New York

  • Clock tower borrowed from civic buildings
    • Gives the private company façade of grandeur
130
Q
A

Manufactures and Liberal Arts Buildings, Interior

George Post (1893)

Chicago

131
Q
A

Monument to Rosa Luxembourg

Ludwig Mies van der Rohe (1926)

132
Q
A

Wolf House, Terrace

Ludwig Mies van der Rohe (1925-7)

Gubin, Poland

133
Q
A

Villa Mairea

Alvar Aalto (1937-39)

Noormarkku, Finland

134
Q
A

Canopy for Paris Metro

Hector Guimard (1900)

Place de L’étoile, Paris

  • Synthesis of metal structure and plant form
  • Utilised glass and iron technology
  • Iron skeleton resembles an animal
135
Q
A

Garrick Theatre

Adler & Sullivan (1892)

Chicago

136
Q
A

University of Vienna

Heinrich von Ferstel (1873-83)

Vienna

  • Renaissance = blooming of arts and science
  • Architecture = neo-renaissance
137
Q
A

Guell Palace

Antonio Gaudi (1886)

Barcelona

  • Amalgation of formal arches
  • No coherent vocabulary
  • Evolutionary biology
  • Guell saw Modernisme as an urban symbol of national progress
138
Q
A

Altes Museum, Rotunda

Karl Friedrich Schinkel (1825-28)

Berlin

  • Geometric motif highlights modernisation
  • Geometric vocabulary of exterior
  • Corinthian columns pay homage to neoclassicm
  • Free circulation
139
Q
A

Imaginary Prisons

Giovanni Battista Piranesi (1761)

  • Experimentaton with arrangements
  • Work of the imagination
140
Q
A

Rookery Building

Burnham and Root (1885-8)

Chicago

  • Arched windows
  • Romanesque revival
  • Light court
    • Before widespread use of electricity
    • Had to account for natural light
  • Skeleton disguised by windows stretching from column to column
  • Classical pilasters carrying flat architraves
    • Retain influence of classical façade
141
Q
A

Riehl House

Ludwig van der Rohe (1906-7)

Nesbabelsberg

142
Q
A

Casa Mila, Interior

Antonio Gaudi (1806-10)

Barcelona

  • Irregular colour
  • Irregular arrangement
  • Affectation of free forming spaces
143
Q
A

The Reliance Building, Detail

Burnham and Root (1890)

Chicago

  • Clad in terracota tiles
  • Sense of lightness
144
Q
A

Cenotaph for Newton

Etienne-Louis Boullée

1784

Night View

  • Not for military triumph
  • Turns away from grandeur of ancient Greece and Rome
  • Captures sublimity in infinite extent, daunting obscurity, and overpowering scale
    • Embodied in the sphere
    • Sublime nature of light
145
Q
A

Glass Pavilion

Bruno Taut (1914)

Cologne

  • Werkbund Exhibition
  • ‘glass as a building material shall tried out, perfected and exhibited’
146
Q
A

Rusakov Workers’ Club

Konstantin Melnikov (1927-8)

Moscow

147
Q
A

Winslow House

Frank Lloyd Wright (1893)

River Forest, Illinois

  • Back facade has no symmetry
  • Elements gain independence
    • Stair tower, conservatory clearly visible
148
Q
A

Tugendhat House

Ludwig Mies van der Rohe (1930)

Brno, Czech Republic

149
Q
A

Detail of Daisy Pattern

William Morris (1861)

London

  • Hand block-printed wallpaper
  • Morris mastered every craft of interior design
  • Remained the principle designer of all interior features
150
Q
A

Schroderhuis, Interior

  • Gerrit Rietveld (1924-8)*
  • Utrecht*
  • ‘Collaboration of the architect, sculptor and painter’
151
Q
A

German Pavilion at the Barcelona World Fair

Ludwig Mies van der Rohe (1928-9)

Barcelona

152
Q
A

Altes Museum, Stairs

Karl Friedrich Schinkel (1823-30)

Berlin

153
Q
A

An Essay on Architecture, Frontispiece

Abbé Laugier (1753)

  • Depiction of Enlightenment
  • Homology between natural world and architecture
  • Rationalists’ understanding of classical order
  • Muse of architecture clutches a compass and a right angle
  • Bottom corner represents former architecture in ruins
  • The primitive hut for the primitive man
  • ‘The simple and the natural lead to beauty’
154
Q
A

Skyscraper Project

Ludwig Mies van der Rohe (1922)

Berlin

155
Q
A

Proposal for Civic Center Square, Plan

Daniel Burnham (1908)

Chicago

156
Q
A

Virginia State Capital

Thomas Jefferson (1785-1799)

Richmond

  • Innovation of classical architecture regarding space
  • Appears to be a copy of classical temple
  • Introduces pilasters and windows
  • Introduces a cupola to filter light inside
  • Ionic columns
157
Q
A

Maison Citrohan

Le Corbusier (1922)

  • Citroen (car brand) - ‘The house is a machine’
  • Lifted off the ground
  • External wall is an infill between suppressed columns
  • Walls read as thin membranes
  • Ornaments has been replaced by sculptural form
158
Q
A

Avenue of trees resembling a Gothic cathedral

Sir John Soane (1753)

  • Merging of landscape and architecture
159
Q
A

AEG Lamps

Behrens

1910

  • Not identical
  • Common form from internal form
  • Form is unchanging and permanent
160
Q
A

Rusakov Workers’ Club, Plan

Konstantin Melnikov (1927-8)

Moscow

161
Q
A

Soane House, Entrance foyer and stairs

Sir John Soane (1796-1837)

London

  • Gothic interior
  • Stained glass
  • Verticality
162
Q
A

Villa Mairea

Alvar Aalto (1937-9)

Noormarkku, Finland

163
Q
A

Frank Lloyd Wright House

Frank Lloyd Wright (1889)

Oak Park

  • Believes the earth is sacred
    • No basemet
    • Base begins on earth level
  • ​Bay windows and gable echo neoclassical elements
164
Q
A

“An attempt to express the yearning beauty of the melancholy which fills the heart as the sounds of holy worship ring forth from a church”

Karl Friendrich Schinkel (1810)

  • Gothic architecture as a product of natural world
  • Emphasis on verticality and height
  • Origins of Gothic arches
165
Q
A

Casa Vicens, Tower

Antonio Gaudi (1883)

Barcelona

166
Q
A

Soane House, Exterior

Sir John Soane (1796-1837)

London

  • Strong verticality
  • Neo-classical finishings
  • Abstraction of neoclassicism
167
Q
A

Ithiel Town

New Haven Old Statehouse (1828)

  • Neoclassical architecture inspired by Roman temples
  • Doric order columns
    • Rectangular abacus, echinus and fluted columns
    • Alternation of trigylphs and metopes
    • Triangular pediment framed by raking cornices
    • New republic of America founded on French ideals
    • Government buildings associated with neoclassical architecture
168
Q
A

The Acropolis, from The Antiquities of Athens and Other Momuments

James Stuart and Nicolas Revett (1762)

  • Depicted in ruins
  • With surrounding city
  • Basted Le Roy’s inaccuracies
169
Q
A

Muurame Church

Alvar Aalto (1926-7)

Muurame, Finland

170
Q
A

Robie House, Exterior Detail

Frank Lloyd Wright (1909-10)

Chicago

171
Q
A

People’s Gas Company Building

Daniel Burnham (1911)

Chicago

172
Q
A

The Great Exhibition of the Works of Industry of all Nations

Held inside Joseph Paxton’s Crystal Palace

1851

  • Exhibition of imperial era
  • Structure overthrew principles of mass and compression
  • Microcosm of the world with exterior feel within the interior
  • An image of the ideal world as opposed to the real
173
Q
A

Schroderhuis, Interior

Gerrit Rietveld (1924-8)

Utrecht

  • ‘Given colour its rightful place in architecture’
  • ‘Laws of color in space and time… produce a new harmony’
174
Q
A

View of Vienna’s 22nd District, General Plan for the regulation of Vienna

Otto Wagner (1893)

Vienna

  • Street planning becomes a priority
  • Wagner focused on the flow of goods and traffic
175
Q
A

Vilipuri Library, Main lobby

Alvar and Aino Aalto (1927-37)

Vlaborg, Finland

176
Q
A

Karntner Bar

Adolf Loos (1907)

Vienna

  • Dark, soft materials create sense of intimacy
  • Uninterrupted mirror extends height of the space
177
Q
A

Havana Cigar Shop

Henry van de Velde (1899)

Berlin

178
Q
A

Guaranty Building, Detail

Adler & Sullivan (1894-6)

Buffalo

179
Q
A

University of Virginia, Rotunda

Thomas Jefferson (1817-1826)

Charlottesville

  • Rotunda (1822-1826)
180
Q
A

Hotel Tassel

Victor Horta (1893)

Brussels

  • Synthesis of archtecture and ornament
  • Vegetal and floral design takes over the space

ARCH 262: Modern Architecture from Enlightenment to Millennium (2 decks)

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