Architecture & Graphic Design by alston wise

ARCHITECTURE GRAPHIC DESIGN —

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A N H I S TO R I C A L S T U DY · A L S TO N W I S E

ART NOUVEAU 1 8 9 0

1 9 1 0

LO O K I N G TO T H E PA S T TO G I V E P R E S E N T WO R K S I G N I F I C A N C E · O R N A M E N T B E C O M E S F U S E D W I T H T H E O B J E C T, C R E AT I N G A N O R G A N I C E N T I T Y · D I A LO G U E O F O R N A M E N T & E M P T Y S PAC E · S PAT I A L S I L E N C E · B L U R R I N G O F O R N A M E N T A N D F O R M · A R C H I T E C T U R E I S S E E N A S O U R F U N DA M E N TA L C OV E R I N G · D E S I G N O F W H O L E I N T E R I O R S A S A R E S U LT O F P R E O C C U PAT I O N W I T H I S O L AT E D O B J E C T S · H E C TO R G U I M A R D / V I C TO R H O R TA / H E N RY VA N D E V E L D E / JA N TO O R O P / H E N R I TO U LO U S E - L A U T R E C / S I G F R I E D B I N G / C H A R L E S M AC K I N TO S H / M A R G A R E T M AC K I N TO S H

IMAGE TOP LEFT:

Johannes Theodorus Toorop. Delftsche Slaolie (Delft Salad Oil poster) (1894) IMAGE TOP RIGHT:

Siegfried Bing. Maison de L’Art Nouveau (1895)

IMAGE BOTTOM LEFT:

Gustav Klimt. Initial “D” (1998) IMAGE BOTTOM RIGHT:

Hector Guimard. Porte Dauphine Aedicule, Paris, France (1899-1099)

CLOCKWISE FROM TOP LEFT:

Henry Van de Velde. Design of the 1908 edition of Ecce Homo by Friedrich Nietzsche; Charles Mackintosh. Scottish Musical Poster (1896); Charles Mackintosh. Glasgow School of Art (1897-1899, West wing constructed 1907-1909)

CLOCKWISE FROM TOP LEFT:

Cabaret Fledermaus (c.1909); Henry van de Velde. Tropon, l’Aliment Le Plus Concentré (1899); Business Office of Mitsukoshi Department Store, late Meiji era

SECESSION E S T.

1 8 9 8

I D E A O F T H E TOTA L WO R K O F A R T · SY N T H E S I S O F T H E A R T S · “ TO E V E RY AG E I T S A R T, TO E V E R Y A R T I T S F R E E D O M ” · I N S P I R E D BY W I L L I A M M O R R I S A N D B R I T I S H A R T S & C R A F T S M OV E M E N T · SY M M E T R Y A N D R E P E T I T I O N · I N F L U E N C E O F JA PA N E S E A R T A N D I T S I N C O R P O R AT I O N I N TO E V E RY DAY L I F E · OT TO WAG N E R / J O S E P H M A R I A O L B R I C H / J O S E F H O F F M A N / G U S TAV K L I M T

TOP LEFT IMAGE:

Joseph Maria Olbrich. Vienna Secession Building (1897-99)

BOTTOM LEFT IMAGE:

Joseph Maria Olbrich. Vienna Secession Building (1897-99)

RIGHT IMAGES, CLOCKWISE FROM TOP LEFT:

Joseph Maria Olbrich. Vienna Secession

Building (1897-99); Joseph Maria Olbrich. Secession (1898); Josef Franz Maria Hoffmann. White and Black Clock (1902)

ADOLF LOOS 1 8 7 0

1 9 3 3

P R OTO - M O D E R N P I O N E E R · C R I T I Q U E O F A R T N O U V E AU F O R ‘ P R O B L E M (O R C R I M E ) O F

O R N A M E N T ’ · O R N A M E N T H A S N E I T H E R A PA S T N O R A F U T U R E · T H E P E R S O N O N T H E I N S I D E C O M P L E T E S T H E S PAC E ; S PAC E I S D E F I N E D BY T H E P E R C E P T I O N O F T H E P E R S O N I T E N C LO S E S · S E Q U E N C E T H R O U G H S PAC E A N D T I M E I S H I G H LY C O N T R O L L E D ; PAC I N G TO T H E WAY W E M OV E T H R O U G H S PAC E · I M P O R TA N C E O F T H E WA L L , W H I C H A L LOW S U S TO PA R T I T I O N S PAC E , B U T A L S O C O N N E C T S PAC E · S P L I T T I N G O F T H E WA L L : “ WA L L S B E LO N G TO T H E A R C H I T E C T ” · P U S H A N D P U L L B E T W E E N P U B L I C A N D P R I VAT E S PAC E W I T H I N T H E H O M E · I N T E R E S T E D I N H OW D O TO N E G OT I AT E T H E D I L E M M A O F T H E M O D E R N S P L I T B E T W E E N T H E P U B L I C A N D T H E P R I VAT E

CLOCKWISE FROM TOP LEFT:

Adolf Loos. Loos Haus, exterior. Vienna ( 1909-1910); Adolf Loos. Tristan Tzara House, Paris (1926-1927); Adolf Loos. Michaelerplatz, interior staircase. Vienna (1910-1912); Adolf Loos. House for the gentlemanâ&#x20AC;&#x2122;s outfitter Goldmann and Salatsch , interior staircase. Vienna (1910-1912)

school

CHICAGO 1 8 8 0

1 9 0 0

B I R T H P L AC E O F M O D E R N A R C H I T E C T U R E , L A R G E LY A S A R E S U LT O F C H I C AG O F I R E O F 1 8 7 1 · S T R U C T U R E O F V E R T I C A L S KYS C R A P E R · “ F O R M F O L LOW S F U N C T I O N ” S U L L I VA N · S I M P L I F I E D O R N A M E N TAT I O N B A S E D O N N AT U R E A N D G E O M E T RY · S PAC E I S LO G I C A L LY O R D E R E D · WA L L S O F G L A S S · S T E E L S K E L E TO N · J O H N W E L L B O R N R O OT / LO U I S E S U L L I VA N / DA N I E L B U R N H A M / A D L E R & S U L L I VA N / B U R N H A M & R O OT / C H A R L E S AT WO O D

CLOCKWISE FROM TOP LEFT:

Burnham & Root. Monadnock Building, Chicago Illinois. Staircase Detail (1891-1893); Owen Jones. The Grammar of Ornament. London (1856); Adler & Sullivan. Auditorium Building (1886-1890); Louis Sullivan. Carson Pirie Scott Building Entrance Detail (1899)

1 8 9 0

School

PRAIRIE 1 9 1 6

I N T E G R AT I O N O F S PAC E W I T H L A N D S C A P E · H O R I ZO N TA L P L A N E S · AVO I D H I S TO R I C A L P R E C E D E N C E A N D LO O K TO M O R E P R I M I T I V E I N F L U E N C E S , F O R E X A M P L E , JA PA N · S E A R C H F O R U N I Q U E M I D -W E S T S T Y L E O F A R C H I T E C T U R E · I D E A O F “ O R G A N I C A R C H I T E C T U R E ” · I M P O R TA N C E O F T H E H O M E I N W E L L- B E I N G O F T H E I N H A B I TA N T · F R E E - F LOW I N G S PAC E · F R A N K L LOY D W R I G H T / DW I G H T H . P E R K I N S / M A R I O N M A H O N Y G R I F F I N

CLOCKWISE FROM TOP LEFT:

Frank Lloyd Wright. Unity Temple Oak Park, Illinois Exterior perspective and partial plan (drawing 1929-1930); Frank Lloyd Wright. Darwin Martin House Window (1903-1905); Frank Lloyd Wright. Robie House, Chicago: interior, living room, view towards hearth (1908-1910); Frank Lloyd Wright. Frederick C. Robie House (1908-1910)

WERKBUND 1 8 9 8

1 9 2 7

E S TA B L I S H E D TO H E L P G E R M A N Y R E B O U N D F R O M E C O N O M I C R E C E S S I O N A N D B R E A K- U P T H E C L U B S T H AT H A D S TAG N AT E D G E R M A N E C O N O M I C G R OW T H · G E R M A N Y F O U N D T H AT T H E Y C O U L D N OT C O M P E T E O N P R I C E A LO N E , B U T H A D TO C R E AT E A M U C H H I G H E R Q UA L I T Y P R O D U C T · A DVO C AT E S M A S S P R O D U C T I O N · N A R R AT I V E T H AT SY M B O L I Z E S T H E I N D U S T R I A L S H I F T F R O M FA R M TO FAC TO R Y · FAC TO RY B E C O M E S A B U I L D I N G T Y P E · I N D I V I D UA L I T Y V. T Y P E · H E R M A N M U T H E S I U S / P E T E R B E H R E N S / H E N RY VA N D E V E L D E / WA LT E R G R O P I U S / T H E O D O R F I S C H E R / RICHARD RIEMERSCHMID

IMAGE TOP LEFT:

Peter Behrens. AEG Filaments Lamps Poster (1907) IMAGE TOP RIGHT:

Peter Behrens. AEG Logo, Typography and Environmental Design (1909)

IMAGE BOTTOM LEFT:

Peter Behrens. AEG Factory Building, Berlin, Germany (1909) IMAGE BOTTOM RIGHT:

Peter Behrens. AEG Factory Building Structural Detail, Berlin, Germany (1909)

CLOCKWISE FROM TOP LEFT:

Hermann Muthesius. Haus Cramer, Berlin. (1911-1913); Friedrich VordembergeGildewart. Leni Matthaei D.W.B (1924); Walter Gropius. Fagus Factory, Berlin. (1911-1925); Walter Gropius. Fagus Factory, Berlin. (1911-1925)

Richard Riemerschmid. Drapery Fabric (1908)

EXPRESSIONISM 1 9 0 8

1 9 2 5

A R C H I T E C T U R E I S S E E N A S A TO O L F O R R E S H A P I N G S O C I E T Y · N E W M AT E R I A L S W E R E E X P LO R E D, S U C H A S S T E E L , C O N C R E T E A N D G L A S S · I D E A S O F A U TO P I A N S O C I E T Y D R OV E B U I L D I N G C O N C E P T S · I N F L U E N C E D S T Y L I S T I C A L LY BY A R T N O U V E AU · FAC TO RY B E C O M E S A B U I L D I N G T Y P E · B R U N O TA U T / L U DW I G M I E S VA N D E R R O H E / H A N S P O E L Z I G / M A X B E R G

Bruno Taut. Glass Pavilion, Werkbund Exhibition. Cologne, Germany (1914)

CLOCKWISE FROM TOP LEFT:

Hans Poelzig. Grosses Schauspielhaus, Berlin, Germany (1919); Ludwig Mies van der Rohe. Glass Tower Model for Berlin Station Comp, Berlin, Germany (1919); Max Berg. Breslau: Jahrhunderthalle Int, Breslau, Germany (1913)

O P P O S I T E PAG E

Sonia Delaunay. Dubonnet (1914)

CLOCKWISE FROM TOP LEFT:

Johannes Molzahn. Überreicht: Franz Kopp. Germany (1922); Egon Schiele. Letter to the Artist’s Sisters Edith and Adele Harms. (1914); Oskar Kokoschka. Untitled frontispiece in the book Die Träumenden Knaben (The Dreaming Boys) by Oskar Kokoschka (1917); Johannes Molzahn. Book Cover for Die neue wohnung – Die frau als schöpferin by Bruno Taut. Germany (1924)

FUTURISM 1 9 0 9

1 9 4 4

A R E AC T I O N TO S E N T I M E N TA L R O M A N T I C I S M A N D T H E LO O K I N G TO T H E PA S T · F O C U S E D O N WA R , T H E M AC H I N E & I N D U S T RY · “ T H E N O I S E O F M O D E R N L I F E ” · “ L I F E A S S U C H ” · E X P E R I M E N TAT I O N A N D C H A L L E N G I N G O F C O N V E N T I O N · M A I N LY C O N C E R N E D W I T H “ T H E N E W C I T Y ” · VA S T U S E O F P R I N T E D M AT T E R TO C O N V E Y T H E I R M E S S AG E · D R AW I N G S L I K E A S TO RY B OA R D, D R AW N F R O M A N O B L I Q U E V I E W A N D O F T E N C R O P P E D · F. T. M A R I N E T T I / U M B E R TO B O C C I O N I / L U I G I R U S S O LO / A N TO N I O S A N T ’ E L I A / G I AC O M O M AT T É -T R U C C O

CLOCKWISE FROM TOP LEFT:

Corrado Govoni. Autoritratto: Rarefazione di Govoni [Self-Portrait: Rarefaction of Govoni]. In Lacerba 3, no. 9 (February 28, 1915); F. T. Marinetti. Poesia 3–6, Il Futurismo [Futurism] (1909); Matté Trucco. Lingotto Building (1916-1923); Antonio Sant’Elia. Stazione d’aeroplani e treni con funicolari e ascensori su tre piani stradali (1916)

DE STIJL 1 9 1 8

1 9 2 8

N AT I O N & I D E N T I T Y · I N T E R D I S C I P L I N A RY N AT U R E O F T H E M OV E M E N T S E T T H E F O U N DAT I O N · A M S T E R DA M S C H O O L · A F F O R DA B L E P U B L I C H O U S I N G · I N F L U E N C E O F K A N D I N S KY & M O N D R I A N · U S E O F A XO N I M E T R I C S · F O U R D I M E N S I O N A L I T Y O F S PAC E · I N F L U E N C E S O F C U B I S M , S U P R E M AT I S M A N D DA DA I S M · R E D U C T I O N O F E L E M E N T S TO G E O M E T R I C F O R M S A N D P R I M A R Y C O LO R S · J . J . P.O U D / T H E O VA N D O E S B U R G / G E R R I T R I E T V E L D / J O H A N N E S B R I N K M A N / P I E T Z WA R T

CLOCKWISE FROM TOP LEFT:

Gerrit Rietveld. Red Blue Chair (1923); Gerrit Rietveld. Rietveld Schröderhuis (1924); Piet Zwart. NKF Catalog (1927-28); Theo van Doesburg. Cover the Journal ‘DeStijl’ (1917)

CLOCKWISE FROM TOP LEFT:

Wassily Kandinsky. Kreide und Russ (1911); Wassily Kandinsky. Orange - Composition with Chessboard (1923); Theo Van Doesburg. Cafe Aubette Project: Cinema-Dance Hall (1926); Piet Mondrian. Composition with Red Blue Black Yellow and Gray (1921)

O P P O S I T E PAG E :

Theo van Doesburg. Simultaneous CounterComposition (1929-30)

LE CORBUSIER 1 8 8 7

1 9 6 5

F O C U S O N P R O P O R T I O N S R E L AT E D TO H U M A N S A N D B U I L D I N G S · I N 1 9 1 6 , H E C H A N G E S H I S N A M E TO L E C O R B U S I E R = T H E C R OW- L I K E O N E : A N Y T H I N G C A N B E R E I N V E N T E D ; PA I N T I N G S S I G N E D BY O R I G I N A L N A M E , A R C H I T E C T U R E BY P S E U D O N Y M · H O U S E I S T H E M AC H I N E O F L I V I N G · U S E O F R E I N F O R C E D C O N C R E T E · R E L E A S E S 5 P O I N T S O F A R C H I T E C T U R E I N 1 9 2 6 : P I LOT, R O O F G A R D E N , F R E E P L A N , R I B B O N W I N D OW S & F R E E FAC A D E · AC C E P TA N C E O F M AC H I N E AG E

CLOCKWISE FROM TOP LEFT:

Le Corbusier. Villa Savoye Savoie. Poissy, France (1928-1931); Le Corbusier. Le Corbusier, Oeuvre Plastique 1919-1937 (1937); Le Corbusier. Notre-Dame du Haut, exterior. Ronchamp, France (1950-1954); Charles Édouard Jeanneret. Untitled, pg. 111, in the book Le Poéme de l’angle droit by Edmond Jeanneret (Le Corbusier) (1955)

BAUHAUS 1 9 1 9

1 9 3 3

R E F O R M O F A P P L I E D A R T S E D U C AT I O N · P I O N E E R S O F S I M P L I C I T Y · L E A R N I N G BY D O I N G · C R A F T TA U G H T A S A M E A N S TO P R E PA R E F O R M A S S P R O D U C T I O N · N O N - E L I T I S M · “ F O R M D E R I V E D F R O M F O R M ” · L I C E N S E D P R O D U C T I O N O F B AU H AU S F U R N I T U R E , T Y P O G R A P H Y A N D O B J E C T S · WA LT E R G R O P I U S / J O H N D E W E Y / J O H A N N E S I T T E N / M O H O LY- N AGY / H E R B E R T B AY E R / M A R C E L B R E U E R / H A N N E S M E Y E R / L U DW I G M I E S VA N D E R R O H E

CLOCKWISE FROM TOP LEFT:

Herbert Bayer. Newspaper Stand made out of pre-fabricated materials (1924); L谩szl贸 Moholy-Nagy. The Benevolent Gentleman (1924); Herbert Bayer. Trademark Development sketches (1925); Bauhaus Dessau Building. Architect: Walter Gropius, Typography: Herbert Bayer (1925); Herbert Bayer. Bauhaus Alphabet (1925)

O P P O S I T E PAG E :

Bauhaus costumes by Oskar Schlemmer (1925).

Translated from the Hungarian by John Bรกtki. From Between Two Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930. (The MIT Press. Cambridge, MA: 2002). T H I S PAG E , C LO C K W I S E F R O M T O P L E F T :

Gropius and his Bauhaus staff. Source Unknown (1929); Lemke House. Architect: Mies van der Rohe (1930-32); Bauhaus Dessau Building. Architect: Walter Gropius, Typography: Herbert Bayer (1925); Lรกszlรณ Moholy-Nagy. Prospectus on 14 Bauhaus Books (1928)

CONSTRUCTIVISM 1 9 2 1 - 1 9 3 9

E X P LO R I N G C O M M O N G R O U N D B E T W E E N PA I N T I N G , S C U L P T U R E A N D A R C H I T E C T U R E · T Y I N G

P R E S E N C E O F T H E B O DY TO A R C H I T E C T U R E · P R O U N : T H E P R OJ E C T F O R T H E A F F I R M AT I O N F O R T H E N E W · I D E A O F H O R I ZO N TA L S KYS C R A P E R S · A R T I S I N T R I N S I C A L LY A S O C I A L P H E N O M E N O N · BUILDING ON FUTURIST IDEA OF CONSTRUCTION · BELIEVED IN THE REAL OBJECT AMONG REAL O B J E C T S O R T H E F O L D I N G I N O F A R T I N TO L I F E · C LO S E R E L AT I O N S H I P B E T W E E N C O N S T R U C T I O N A N D S O C I E T Y · T H E M A S S - P R O D U C E D O B J E C T · K U R T S C H W I T T E R S / E L L I S S I T Z KY / A L E K S A N D R R O D C H E N KO / G U S TAV K LO U T S I S / L Á S Z L Ó M O H O LY- N AGY / T H E O VA N D O E S B U R G / N AU M G A B O / KO N S TA N T I N M E L N I KOV

CLOCKWISE FROM TOP LEFT:

El Lissitzky. Cloud Building Project: Unrealized montage of design in Nikitsky Square, Moscow (1925); El Lissitzky. Of Two Squares Dedication. Russia (1922); Constantin Melnikov. Melnikov House (1927); Alexander Rodchenko. LEF (Art Journal of the Left Front) (1923); L谩szl贸 Moholy-Nagy. Bridges 1 K 33 (circa 1920

MIES VAN DER ROHE 1 8 8 6

1 9 6 9

A R C H I T E C T U R A L P R AC T I C E I S S E A R C H F O R T R U T H · W H AT I S B U I LT M U S T B E C L E A R LY C O N -

S T R U C T E D · S T R U C T U R E A S A W H O L E F R O M SYS T E M TO D E TA I L · I N F L U E N C E O F P R E -W W I E X P E R I E N C E S ; N E O C L A S S I C A L R O OT S I N H I S WO R K · C E N T R I F I C A L S PAT I A L A R R A N G E M E N T ( F R O M I N S I D E O U T, S P I N N I N G O U T I N S PAC E ) · H O R I ZO N TA L I T Y: S T R E TC H I N G O F T H E S PAC E S · F R E E S TA N D I N G P L A N E S A N D C O L U M N S A L LOW F O R O P E N P L A N · I N T E R E S T E D I N P L A N E O F S U R FAC E E I T H E R T H R O U G H I L L U S I O N O R D I R E C T N E S S O F M AT E R I A L I T Y · S I G N I F I C A N C E O F FAC T: H OW D O W E I N S E R T O U R S E LV E S I N T H E FAC E O F C I R C U M S TA N C E S · N OT W H AT W E P R O D U C E , B U T H OW W E M A K E R O O M F O R T H E S P I R I T A N D P R OV I D E I T W I T H A N O P P O R T U N I T Y F O R E X I S T E N C E

CLOCKWISE FROM TOP LEFT:

Ludwig Mies van der Rohe. International Art Exhibit, German Pavilion, interior. Barcelona (1929); Ludwig Mies van der Rohe. Farnsworth House. Plano, Illinois (1945-1951); Ludwig Mies van der Rohe. Lafayette Park High Rise. Detroit, Michigan (1959); Ludwig Mies van der Rohe. Chicago: Federal Center general view. Chicago, Illinois (1964-7); Ludwig Mies van der Rohe. International Art Exhibit, German Pavilion, exterior. Barcelona (1929)

CASE STUDY 1 9 4 4 - 1 9 6 6

C O L L I S I O N O F M O D E R N I S T P R I N C I P L E S W I T H A M E R I C A N H O M E : I N D U S T R I A L M AT E R I A L S /

A B S E N C E O F T R A D I T I O N A L D É C O R / O P E N I N T E G R AT I O N W I T H N AT U R A L S E T T I N G · I N T E G R AT I O N O F N E W T E C H N O LO G I E S · E AC H P R OJ E C T WA S A C A S E S T U DY O F A C L I E N T ’ S PA R T I C U L A R N E E D S · R O L E O F T H E I M AG E I N T H E P R O M OT I O N A N D D O C U M E N TAT I O N O F M O D E R N A R C H I T E C T U R E · I D E A O F A S S E M B LY A N D K I T O F PA R T S · S TA R T S E E I N G S T E E L F R A M E S & M O R E L E G I B I L I T Y I N C O N S T R U C T I O N · R I C H A R D N E U T R A / E E R O S A A R I N E N / P I E R R E KO E N I G / C H A R L E S A N D R AY E A M E S / J . R . DAV I D S O N /

Pierre Koenig. Job 2980: Case Study House No. 22 / Stahl House. Los Angeles, Calif (1960) Photography by Julius Shulman

charles & ray 1 9 07

EAMES

1 978

1 9 1 2

1988

D E S I G N E D E V E RY T H I N G F R O M F U R N I S H I N G S A N D B U I L D I N G S TO E X H I B I T I O N S , P U B L I C AT I O N S , TOYS , G A M E S A N D F I L M S · T H E Y U S E D M U LT I - S C R E E N S L I D E F O R P R E S E N T I N G E V E RY DAY T H I N G S I N N E W WAYS A N D E X P LO R I N G T H E I R R E L AT I O N S H I P S · E N C O U R AG E D P E O P L E TO F I N D B E AU T Y I N E V E R Y DAY T H I N G S · T H E I R FA M O U S F I B E R G L A S S C H A I R WA S R E VO L U T I O N A RY B E C AU S E I T U S E D A S I N G L E B O DY- F I T T I N G S H E L L TO M A K E A S E AT · E M P H A S I Z E D T H E B E AU T Y O F S C I E N T I F I C P R I N C I P L E S A N D S O U G H T TO E D U C AT E OT H E R S A B O U T S C I E N C E · " TOYS A R E N OT R E A L LY A S I N N O C E N T A S T H E Y LO O K . TOYS A N D G A M E S A R E P R E L U D E S TO S E R I O U S I D E A S .”

CLOCKWISE FROM TOP LEFT:

Charles and Ray EAMES. photo ÂŠ Eames Office, LLC (1948); Charles Eames and Ray Eames. Job 2717: Eames House, also known as Case Study House No. 8. Los Angeles, CA (1949) Photography by Julius Shulman; Charles Eames and Ray Eames. House of Cards. (1952); Charles Eames and Ray Eames. Production Art for Powers of Ten, mixed-media panels and reproductions. Prints & Photographs Division, Library of Congress (1977)

CIPE PINELES 1 9 0 9

1 9 9 0

B E G A N H E R E D I TO R I A L C A R E E R I N T H E O F F I C E O F M . F. AG H A , A R T D I R E C TO R F O R C O N D É N A S T P U B L I C AT I O N S VO G U E , VA N I T Y FA I R , A N D H O U S E A N D G A R D E N , A N D L AT E R B E C A M E T H E F I R S T A U TO N O M O U S WO M A N A R T D I R E C TO R O F A M A S S - M A R K E T A M E R I C A N P U B L I C AT I O N · S H E I S A L S O C R E D I T E D W I T H B E I N G T H E F I R S T A R T D I R E C TO R TO H I R E F I N E A R T I S T S TO I L L U S T R AT E F O R M A S S - M A R K E T M AG A Z I N E S · R E C R U I T E D T H E B E S T A N D B R I G H T E S T O F H E R T I M E , I N C L U D I N G P H O TO G R A P H E R S A N D R E K E R T E S Z , H E R B E R T M AT T E R , C O R N E L L C A PA , TO N I F R I S S E L L , A N D T R U D E F L E I S C H M A N N ; D E S I G N E R L A D I S L AV S U T N A R ; A N D A R T I S T S S . E . A N D R I C H A R D L I N D N E R A N D L U C I L L E C O R C O S · S H E U S E D H E R P O S I T I O N TO S H OW A M E R I C A N WO M E N H OW TO S E E T H E M S E LV E S A S PA R T O F T H E W I D E R WO R L D ; P O S S E S S I N G K N OW L E D G E & M O N E Y, A N D I N CONTROL OF THEIR DESTINIES

Cipe Pineles. Vogue Magazine Cover Design (unused). New York (1939)

TEAM X 1 9 5 3

1 9 8 1

O P P O S E D T H E N E W M O N U M E N TA L I T Y ’ S R E L I A N C E O N SY M B O L S · S H I F T TO A R C H I T E C T U R A L E X P R E S S I O N · U S E D M E TA P H O R + SYS T E M S T H E O RY · T H E T R E E , T H E T H R E S H O L D, C O M M U N I T Y · S E L F - R E G U L AT I O N / T H E C I T I Z E N W I T H I N T H E C I T Y · C Y B E R N E T I C S : A C LO S E D SYS T E M S O E F F E C T S A R E M E A S U R E D A N D V I S I B L E ; I D E A O F F E E D B AC K · N E T WO R K O F I N T E R AC T I O N S ; D E C E N T R A L I Z AT I O N O F P OW E R A N D S E R V I C E S · C I T Y A S SYS T E M O F I N F O R M AT I O N · L E G AC Y O F E C O SYS T E M S I N C I T Y · L I V E / WO R K T Y P O LO GY · JAC O B B . B A K E M A / A L D O VA N E YC K / G E O R G E S C A N D I L I S / A L I S O N A N D P E T E R S M I T H S O N / G E O R G E S C A N D I L I S / S H A D R AC H WO O D S / G I A N C A R LO D E C A R LO

CLOCKWISE FROM TOP LEFT:

Aldo van Eyck. Amsterdam Orphanage. (1960); Team 10 Hardcover Book by Jos Bosman (Author), Christine Boyer (Author), Zeynep Celik (Author), Ben Highmore (Author), Tom Avermaete (Author), Kenneth Frampton (Author), Max Risselada (Editor), Dirk van den Heuvel (Editor), Team 10 (Contributor). NAi Publishers (March 1, 2006); Otterlo Meeting 1959, (also CIAM '59), organised by Team 10. Meeting place, KröllerMüller Museum, located in the Hoge Veluwe National Park, 43 participants. Netherlands Architecture Institute (NAI)

ALVAR AALTO 1 8 9 8

1 9 7 6

LO O K S TO V E R N AC U L A R · C O M PA R E S V I L L AG E S A N D H O U S E S TO G R E E K R U I N S , W H E R E WO O D R E P L AC E S M A R B L E ( U S E O F LO C A L M AT E R I A L ) · R O O F S SY M B O L I Z E O R G A N I C G R OW T H B E C AU S E H O U S E S W E R E A D D E D O N TO A N D T H E P I TC H O F T H E D I F F E R E N T R O O F S A R E S TAC K E D I N S T E A D O F I N C O R P O R AT E D · A S K E D H OW A N A R C H I T E C T C O U L D U S E H U M A N I M AG I N AT I O N TO AC H I E V E P R AC T I C A L G OA L S · I N T E R E S T E D I N D I F F E R E N T S T E P L E V E L S ( T E R R AC E S ) F O R L I V I N G S PAC E S · SY M B O L /S H A P E O F T H E F I S H : I N T E R E S T E D I N L I F E - C YC L E O F T H E F I S H A N D H OW I T C O N N E C T S TO M A N ’ S D I S C O N N E C T I O N O F DA I LY L I F E A N D S P I R I T UA L L I F E

Alvar Aalto. Villa CarrĂŠ. Bazoches-sur-Guyonne, France (1956-1959)

LOUIS KAHN 1 9 0 1

1 9 7 4

“A C I T Y S H O U L D B E A P L AC E W H E R E A L I T T L E B OY WA L K I N G T H R O U G H I T S ST R E E T S C A N S E N S E W H AT H E S O M E D AY W O U L D WA N T TO B E ” · I N T E R E S T E D I N H OW S PAC E A N D S T R U C T U R E Y I E L D O R D E R · H O N O R T H E M AT E R I A L T H AT YO U U S E ; A S K I N G W H AT T H E M AT E R I A L WA N T S TO B E , B U T A L S O W H AT T H E S PAC E WA N T S TO B E · E AC H S PAC E S H O U L D B E C R A F T E D TO S U P P O R T T H E AC T I V I T Y · “ N O S PAC E I S S PAC E U N L E S S I T H A S N AT U R A L L I G H T ” · H U M A N I Z I N G L I G H T BY “ W R A P P I N G R U I N S A R O U N D B U I L D I N G S ” : A WAY O F C O N T R O L L I N G T H E I N T E N S I T Y O F L I G H T A N D TO F I L L E X T E R I O R S PAC E S W I T H L I G H T T H AT C A N T H E N M I G R AT E I N TO B U I L D I N G · “ O U T S I D E O F T H E B U I L D I N G B E LO N G S TO T H E S U N ; I N T E R I O R B E LO N G S TO T H E S H A D OW ”

CLOCKWISE FROM TOP LEFT:

Louis Kahn. Margaret Esherick House. Chestnut Hill, Pennsylvania (1959-1961). Photography by Ezra Stoller. Louis Kahn. Mikveh Israel Synagogue, project Perspective of entrance. Philadelphia, Pennsylvania (1961). Louis Kahn. New Haven: Yale University Art Gallery: Ext.: Gallery: view from Weir Courtyard. New Haven, CONN (1951-1953).

PAUL RAND 1 9 1 4

1 9 9 6

“ T H E V I S U A L M E S S AG E W H I C H P R O F E S S E S TO B E P R O F O U N D O R E L E G A N T O F T E N B O O M E R A N G S A S M E R E P R E T E N S I O N ; A N D T H E F R A M E O F M I N D T H AT LO O K S AT H U M O R A S T R I V I A L A N D F L I G H T Y M I STA K E S T H E S H A D OW F O R T H E S U B STA N C E . I N S H O RT, T H E N OT I O N T H AT T H E H U M O R O U S A P P R O AC H TO V I S U A L C O M M U N I C AT I O N I S U N D I G N I F I E D O R B E L I T T L I N G I S S H E E R N O N S E N S E ” · M A H O LY- N AGY I N F L U E N C E D H I S L AT E R Z E S T F O R K N OW L E D G E O F T H E O RY A N D P H I LO S O P H I C A L W R I T I N G S · A DVO C AT E S N E E D F O R “ F U N C T I O N A L-A E S T H E T I C P E R F E C T I O N ” I N M O D E R N A R T · I N T E R E S T E D I N T H E A B I L I T Y O F G R A P H I C A R T TO R E TA I N I T S R E C O G N I Z A B L E Q UA L I T Y E V E N I F B L U R R E D O R M U T I L AT E D · U S E O F R E B U S SY M B O L S I N C O R P O R AT E I D E N T I T Y

CLOCKWISE FROM TOP LEFT:

Paul Rand. Sparkle and spin comprehensives. (1957); Paul Rand. Subway Posters Score. Offset lithograph (1947); Paul Rand. Westinghouse - color photo logo; Westinghouse Corporation, (client) (1971); Paul Rand. IBM. Offset lithograph (1982)

SAUL BASS 1 9 2 0

1 9 9 6

A N I N N OVATO R I N T H E F I L M I N D U S T RY BY D E S I G N I N G T H E O P E N I N G C R E D I T S , A PA R T O F F I L M T H AT WA S P R E V I O U S LY I G N O R E D · “ T H E S E T I N Y R E M A I N S O F A N C I E N T H U M A N C I V I L I Z AT I O N S , I N A D D I T I O N TO T H E I R I N T R I N S I C B E AU T Y, B R I N G W I T H T H E M A S P E C I A L K I N D O F M Y ST E RY—A Q U A L I T Y O F T H E D I STA N T PA ST, T H E U N K N OW N A N D U N R E A L I T Y O F I T A L L . L I K E T H E B E ST K I N D O F D E S I G N O R F I L M W O R K , T H E Y C O M M U N I C AT E O N T W O L E V E L S : T H E V I S C E R A L O R E M OT I O N A L L E V E L A N D T H E M O R E C O M P L E X I N T E L L E C T U A L L E V E L . T H E G O A L , A N D T H E U LT I M AT E AC H I E V E M E N T, I S TO M A K E P E O P L E F E E L A S W E L L A S T H I N K . ” · U S E O F SY M B O L S A N D M I N I M A L I S T D E S I G N TO C O M M U N I C AT E C L E A R M E S S AG E

Saul Bass. Man with the Golden Arm. (1955)

POSTMODERNISM 1 9 7 0 s

1 9 8 0 s

" L E S S I S A B O R E " · B U I L D I N G D O E S N OT E N D W I T H I T S F U N C T I O N , B U T O N T H E B A S I S O F I T S

A P P E A R A N C E · P L AY A N D I R O N Y · R E I N T R O D U C E D A N AWA R E N E S S O F T H E PA S T W H I L E S T I L L BREAKING TRADITION · NO UNIFORM STYLE, BUT MANY DIFFERENT ONES — DE-PRIVELEGING OF O N E M E A N I N G · S O U G H T TO F I L L H U M A N D E S I R E F O R B E AU T Y T H AT WA S F E LT L AC K I N G I N M O D E R N I S M · B R E A K D OW N C O N S E N S U S O F TA S T E ; A C O N F L U E N C E O F N A R R AT I V E S · R O B E R T V E N T U R I / C H A R L E S M O O R E / M I C H A E L G R AV E S / P H I L I P J O H N S O N / A L D O R O S S I

CLOCKWISE FROM TOP LEFT:

Robert Venturi. Western Plaza; detail view from above. Washington, DC (1980); Philip Johnson. AT&T Building / Sony Tower. New York City, NY (1984); Venturi Scott Brown and Associates. Franklin Court partial view. Philadelphia, PA (1976); Charles Moore. New Orleans: Piazza d'Italia: Ext. New Orleans, LA (1976-9)

DECONSTRUCTIVISM 1 9 8 0 s

P R E S E N T

A TA K I N G A PA R T A N D P U T T I N G B AC K TO G E T H E R I N A F O R M O F C O N T R O L L E D C H AO S 路 H A R M O N Y I S D I S P L AC E D W I T H D I S H A R M O N Y, U N I T Y BY F R AC T U R I N G A N D C L A R I T Y BY M YS T E RY 路 I D E A S O F

F R AG M E N TAT I O N A N D R E T H I N K I N G T H E S K I N O F A B U I L D I N G 路 N OT B O U N D BY T R A D I T I O N A L R I G H T A N G L E S A N D G R I D S 路 P E T E R E I S E N M A N / DA N I E L L I B E S K I N D / B E R N A R D T S C H U M I / Z A H A H A D I D / R E M KO O L H A A S

IMAGE TOP LEFT:

Zaha Hadid. Contemporary Arts Center, Lois and Richard Rosenthal Center for Contemporary Art. Cincinnati, Ohio (2001-2003) IMAGE TOP RIGHT:

Peter Eisenman. University of Cincinnati, College of Design, Architecture, Art and Planning, Aronoff Center for Design and Art. Cincinnati, Ohio (1988-1996)

IMAGE BOTTOM LEFT:

Bernard Tschumi. Parc de La Villette; folly snack bar; Paris, France (1988) IMAGE BOTTOM RIGHT:

Daniel Libeskind. Jewish Museum, overview and main entrance; Berlin, Germany (1999)

FRANK GEHRY b . 1 9 2 9

I N F L U E N C E O F J A PA N E S E WO O D C U T S & F I S H I N H I S WO R K · “A R C H I T E C T U R E I S A S M A L L P I E C E O F T H I S H U M A N E Q U AT I O N , B U T F O R T H O S E O F U S W H O P R AC T I C E I T, W E B E L I E V E I N I T S P OT E N T I A L TO M A K E A D I F F E R E N C E , TO E N L I G H T E N A N D TO E N R I C H T H E H U M A N E X P E R I E N C E , TO P E N E T R AT E T H E B A R R I E R S O F M I S U N D E R STA N D I N G A N D P R OV I D E A B E AU T I F U L C O N T E X T F O R L I F E ' S D R A M A . ” · U S E O F U N E X P E C T E D M AT E R I A L S TO B R E A K C O N V E N T I O N O F T R A D I T I O N A L F O R M S · U S E O F C O N TO U R A N D R E F L E C T I O N

Frank Gehry. Frederick R. Weisman Art Museum: exterior, view from west. Minneapolis, MN (1990-93)

REM KOOLHAAS b . 1 9 4 4

C O N T R OV E R S I A L A N D P R OVO C AT I V E 路 " W E A R E S U R R O U N D E D BY C R I S I S M O N G E R S W H O S E E T H E

C I T Y I N T E R M S O F D E C L I N E . I K I N D O F AU TO M AT I C A L LY E M B R AC E T H E C H A N G E . T H E N I T RY TO F I N D WAY S I N W H I C H C H A N G E C A N B E M O B I L I Z E D TO ST R E N GT H E N T H E O R I G I N A L I D E N T I T Y. " 路 N O O N E S T Y L E , B U T A R A N G E O F F O R M S A N D E X E C U T I O N S 路 H A S W R I T T E N B O O K S O N T H E E VO L U T I O N O F THE CONTEMPORARY METROPOLIS 路 ENVISIONED AND DRAFTED MASTER PLANS FOR SUBURBAN PA R I S , T H E L I BYA N D E S E R T, H O N G KO N G , A N D OT H E R P L AC E S

CLOCKWISE FROM TOP LEFT:

Rem Koolhaas. Seattle Public Library; 10th floor carpet artwork by Petra Blaisse. Seattle, WA (2004); Rem Koolhaas. Seattle Public Library; stacks with book reference numbering on the floor. Seattle, WA (2004); Rem Koolhaas. Embassy of the Kingdom of the Netherlands; overview of building from across the river. New York, NY (2003); Rem Koolhaas. Seattle Public Library; elevator near 4th Avenue entrance. Seattle, WA (2004); Rem Koolhaas. Seattle Public Library; southwest corner of building. Seattle, WA (2004)

RURAL STUDIO c . 1 9 9 3

" E V E R Y O N E , R I C H O R P O O R , D E S E R V E S A S H E LT E R F O R T H E S O U L . " S A M U E L M O C K B E E 路 A

D E S I G N - B U I L D P R O G R A M T H AT F O C U S E S O N C O M M U N I T Y, LO C A L U N D E R S E R V E D P O P U L AT I O N S A N D R E C YC L I N G , R E U S I N G A N D R E M A K I N G 路 P R OJ E C T S I N C L U D E L I B R A R I E S , PA R K S , TOW N H A L L S , M U S E U M S , P L AYS C A P E S , H O U S E S , PAV I L I O N S , M A R K E T S , A N D C H A P E L S 路 " G O O D N E S S I S M O R E I M P O RTA N T T H A N G R E AT N E S S , A N D C O M PA S S I O N M O R E E V E N T F U L T H A N PA S S I O N . " S A M U E L M O C K B E E 路 LO C AT E D I N H A L E C O U N T Y, A L A B A M A & O P E R AT E D T H R O U G H AU B U R N U N I V E R S I T Y

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Auburn University Rural Studio. Hale County Animal Shelter; Hale County, Alabama (2006); Auburn University Rural Studio. Newbern Volunteer Fire Department; Newbern, Alabama (2005); Auburn University Rural Studio. Newbern Town Hall; Newbern, Alabama (2013) All photos ÂŠ Timothy Hursley