101 interview project by raj parikh

Architects Alvar Aalto Max Abramovitz Robert Adams David Adler Gregory Ain Basil Al-Bayati Ralph Allen Tadao Ando Paola Antonelli Ron Arad Thomas Archer Gunnar Asplund Gae Aulenti Alberto Campo Baeza William Bernoudy Max Bill Santiago Calatrava Sir William Chambers Serge Chermayeff. David Chipperfield Antonio Citterio Clarke and Menfee Mary Colter Antonio Cruz Cutler Anderson Architects Pietro da Cortona William A. Delano Neil Denari DP Architects Leopold Eidlitz Craig Ellwood Norman Foster Frank Gehry Nicholas Grimshaw Zaha Hadid Steven Holl Wallace Harrison Herzog and de Meuron Howeler + Yoon

Bjarke Ingels Frankiln D Israel Alexander Jackson Hugh Newell Jacobsen Norman Jaffe Thomas Jefferson Phillip Johnson Ely Jacques Kahn Louis Kahn Atsushi Kitagawara Kanner Architects Ken Yeang Waro Kishi Pierre Koenig Rem Koolhaas Rob Krier Thomas Kundig Kengo Kuma Denys Lasdun Le Corbusier Pierre Charles L'Enfant Lewis Tsurmaki Lewis Maya Lin L N Cottingham Charles Rene Mackintosh Fuksas Massimiliano Cliff May Bernard Maybeck McKim, Mead & White Richard Meier Hannes Meyer Michelangalo Mies van der Rohe Andres Mignucci Robert Mills Charles Moore Luigi Moretti Julia Morgan Willam Morgan Morphosis

Jean Nouvel John Nash Gyo Obota Frederick Law Olmsted Andrea Palladio Cesar Pelli Renzo Piano Alex Popov Rob Wellington Quigley Marmol Radziner Kevin Roche Aldo Rossi Peter Rose H. H. Richardson Richard Rogers RMJM David Salmela Carlo Scarpa Adrian D. Smith (SOM) Rogelio Salmona Robert AM Stern Thomas Tavernia William Thornton Richard Upjohn Theo van Doesburg Wiel Arets Michael Wilford and Partners Paul Williams Frederick Clarke Withers Chrisophter Wren Frank Lloyd Wright Dominikus Zimmerman

Pavilion at Wrest Park, Bedfordshire

Harcourt House, Cavendish Square, London

Thomas Archer practiced architecture many, many years ago and he was certainly not in it for the money. He was an amateur that only designed buildings for pleasure and for the prestige feeling it gave him. His other job was as a Groom Porter where he controlled the gambling in the royal palaces. It was here where he earned his income. He liked designing Thomas Archer because he wanted to put buildings 1668â&#x20AC;&#x201C;1743 into the world that he enjoyed and he wanted other people to enjoy Practiced in Europe them with him. Archer spent a few years traveling the world and this was an advantage for him because he began to see different styles of work and this had a great impact on him. He was a big fan of the Roman and English Baroque and this is what inspired a lot of his works and ideas. He became intrigued by the Roman Baroque architecture such as broken pediments, and he loved to try and handle the space. He composed many works and buildings that impressed many people and this is how

Pavilion at Wrest Park, Bedfordshire

St Paulâ&#x20AC;&#x2122;s, Deptford in London

he started to make a name for himself. His buildings became very popular among the English folks and he really started to become popular as he built more projects. He started to play with the florid style that was developed by the Italians. After Archer returned from his travels he developed a more flamboyant style then the other architects and this allowed him to stand out among the best that were practicing and working at that time. After the devastating fire, Archer helped to rebuild London and this is when some of his buildings started to come alive. He was one of the architects that was able to contribute to these effects and his style was very important because it was not the same as anyone else at that time. He was almost known to overdue things and make them stand out too much but this is just how he was. It was his unique style and most people respected it and liked it. They admired the uniqueness that they had never seen before; they were all so used to the contemporary easy style that it was a change of things for them.

Pavilion at Wrest Park, Bedfordshire

Harcourt House, Cavendish Square, London

Pavilion at Wrest Park, Bedfordshire

St Paulâ&#x20AC;&#x2122;s, Deptford in London

Archer liked subtle manipulations of curves in buildings to exaggerate their size or boldness; he wanted it to really pop out and make an impression. He was very important in his time and he ended up becoming one of the more popular architects of his time in Europe, he was very influential and powerful.

Heythrop Park

Dome, Pavilion at West Park,

6 Bedfordshire

St. Philipâ&#x20AC;&#x2122;s Cathedral Birmingham

Heythrop Park

Dome, Pavilion at West Park, Bedfordshire

St. Philipâ&#x20AC;&#x2122;s Cathedral Birmingham 7

St. Paulâ&#x20AC;&#x2122;s

Chettle House in Dorset

Work Cited: Whiffen, Marcus. Thomas Archer Architect of the English Baroque. (Los Angeles, CA:Hennessey & Ingalls, Inc., 1973). 8

Roehampton House, residence of Benj Goldsmid.

St. Paulâ&#x20AC;&#x2122;s

Chettle House in Dorset

Work Cited: Whiffen, Marcus. Thomas Archer Architect of the English Baroque. (Los Angeles, CA:Hennessey & Ingalls, Inc., 1973). Roehampton House, residence of Benj Goldsmid.

Manor House: http://www. trianglemodernisthouses.com/ aalto-manner.jpg

Alvar Aalto was born in Kuortan, Finland and completed his basic education at Jyvaskyla Lyceum School before enrolling to study architecture in 1916 at Helsinki University of Technology. In 1923 he opened his first firm in Jyvaskyla, which became a very notable area due to the fact more buildings were designed by him than in any other city. In 1924 he married his Alvar Aalto wife and on their honeymoon to Italy which had a strong influence Feb 3,1898- May 11,1976 on Aalto. Finland In Aaltos early work he produced predominantly a “Nordic Classicism” style, which he then morphed it into something of his own by incorporating modernistic ideas into the designs. When he first began his firm he worked by designing a lot of single family homes sticking mainly to the Nordic Classic al style. An example of this early work is the manner house in Toysa, as well in the Alatalo farmhouse. Some of his first public spaces included the Jyvaskyla and Seinajoki Defense 10

Alatalo Farmhouse: http:// www.trianglemodernisthouses.com/aalto-railway2.jpg.gif

Corpse building; http://file.alvaraalto.fi/upload/172_1.png

Corps buildings. Each of these buildings contains very simple geometry and symmetry. The Viipury Municipal Library was one the turning points of Aaltos work; it was this project when he began to convert his projects towards a more modernistic approach. The exterior of the building however is not where this modernistic style is evident; rather it is the interior of the building, with its use of natural materials, warm colors, and rising and falling lines. The Turun Sanomat Building is where Aalto’s modernistic approach really begins to evolve. Its exterior once again remained subtle but the interior with contained large rounded triangular concrete columns and spherical lighting fixtures all arranged in a very symmetrical/ repetitive fashion. The Turun Sanomat building also set the tone for the Paimio Sanatorium which contains many similar themes such as the use of concrete and repetition. Turun Sanomat Building and Paimio Sanatorium are examples of more pure modernist works; they represent Aalto’s questioning of conventional modernist approach and show his move to

Manor House: http://www. trianglemodernisthouses.com/ aalto-manner.jpg

Alatalo Farmhouse: http:// www.trianglemodernisthouses.com/aalto-railway2.jpg.gif

Corpse building; http://file.alvaraalto.fi/upload/172_1.png 11

a more daring, synthetic attitude. During the middle of Aalto’s carrier he began to experiment with wood and move away from pure modernism. This idea was tested in his design of Villa Mairea, a home designed for a young artistic couple. The house forms a U-shape around a central inner courtyard or garden, whose central feature is a kidney-shaped swimming pool. The design of the house is a blend of numerous stylistic influences such as traditional Finnish designed to fit with conformist modernism, as well as influences from English and Japanese architecture. Aalto then designed the student dormitory, the Baker House, built predominately from red brick. This building then triggered Aalto’s redbrick period where he used this material in majority of his projects. Some of the Aalto’s buildings from the red brick period include Säynatsalo Town Hall, Helsinki Pensions Institute, and Helsinki House of Culture. Each of these buildings are built with would brick while these buildings take one more curvature than his prior buildings but still maintaining symmetry.

Library: http://aedesign.files.wordpress.com/2010/08/a.jpg 12

Prior to Aalto’s death he began to design a group of separate marble-clad buildings for the Finnish Academy facing the bay which would contain various cultural institutions such as a concert hall, opera, museum of architecture and headquarters for the academy. Unfortunately Aalto died before this project was completed, but his firm continued on with the project and tried to remain as true to his vision as possible. Ultimately the buildings remained symmetrical and appropriately tied together the surrounding landscape

Turun Sanomat Building: http://www.archigraphie.eu/ wp-content/uploads/2012/05/ Aalto-Turun_Sanomat_Build-

Library: http://aedesign.files.wordpress.com/2010/08/a.jpg

Turun Sanomat Building: http://www.archigraphie.eu/ wp-content/uploads/2012/05/ Aalto-Turun_Sanomat_Build-

and the buildings each playing off of each other beautifully. Alvar Aalto was able to fuse rationalist architecture with an organic style of design. Aaltoâ&#x20AC;&#x2122;s unique way of combining multiple materials and incorporating the landscape as part of the building is something seen throughout his work. -Alexandra Garner

Helsinki College auditorium: http://upload.wikimedia.org/wikipedia/commons/d/d4/Helsinki_University_of_Technology_auditorium.jpg

Villa Marina: http://classconnection.s3.amazonaws. com/320/flashcards/397320/jpg/villa_ mairea1318460471757.jpg

Aalto Theater: http://upload.wikimedia.org/wikipedia/commons/6/6c/

Baker House: http:// www.google.com/imgres ?um=1&hl=en&sa=N&tbo =d&rls=com.microsoft:en14

Aalto Theater Interior: http:// designmuseum.org/media/ item/4219/-1/33_11Lg.jpg

Work Cited: Fleig, Karl. Alvar Aalto. Book II. (Switzerland: JRP Ringier, 1971.)

Helsinki College auditorium: http://upload.wikimedia.org/wikipedia/commons/d/d4/Helsinki_University_of_Technology_auditorium.jpg

Villa Marina: http://classconnection.s3.amazonaws. com/320/flashcards/397320/jpg/villa_ mairea1318460471757.jpg

Aalto Theater: http://upload.wikimedia.org/wikipedia/commons/6/6c/

Baker House: http:// www.google.com/imgres ?um=1&hl=en&sa=N&tbo =d&rls=com.microsoft:en-

Aalto Theater Interior: http:// designmuseum.org/media/ item/4219/-1/33_11Lg.jpg

Work Cited: Fleig, Karl. Alvar Aalto. Book II. (Switzerland: JRP Ringier, 1971.) 15

Deceased New-York-based architect, Max Abramovitz, designed the two famous buildings, Avery Fisher Hall at the Lincoln Center in New York, and the Phoenix Mutual Life Insurance Building in Hartford, Connecticut. Both are iconic because of what they represent and the innovative ways in which they were constructed. Abramovitz was aesthetically Max Abramovitz driven and focused greatly on May 23, 1908 - Sept 12, 2004 how the public perceives his work, more than any other aspect. He New York Architect strived for iconicity and boldness in all that he created so that he could get people remembering and thinking about his buildings. His buildings to him, were his legacy, and still are. Avery Fisher Hall at the Lincoln Center may be one of the most famous music concert halls in the world because of the location and of course, the architecture. Though it was built in 1956, it has 16

a contemporary structure, and stood out from the surrounding buildings (as did many of the buildings he built did) around the Lincoln Center vicinity.

IMAGE name of building – Make sure to credit below the image…Respect copyrights

What is most interesting about the design of this concert hall is the process in which he designed it. Abramovitz focused greatly on the design process and unlike many architects of his time, and even the time now, he created models, rather than sketched, to solidify the concepts he was trying to convey. His models were also very much inspired by European concert halls he has visited in the past. He was very hand-on, and rightfully so since technology was not as advanced as it is today. His manual design process gives his extravagant buildings credibility and a sense of humbleness because the buildings are so great, yet they were designed with very little technology. Not only was Abramovitz inspired by precedents, but also by other architects. The columns of the Avery Fisher Hall were inspired by Corbusier and the concept of how he utilized columns.

Avery Fisher Hall in New York 1

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Avery Fisher Hall in New York 2

IMAGE name of building – Make sure to credit below the image…Respect copyrights Interior of Avery Fisher Hall 3

Abramovitz was very

aesthetically driven in his architecture. For the Avery Fisher Hall, he wanted a dramatic exterior that would capture the attention of those who pass by and would reflect the greatness of the auditorium it houses, as well. He did so with the Corbusier-inspired columns, and the glass walls, which give it a â&#x20AC;&#x153;transparentâ&#x20AC;? appearance. The glass walls allow for light to come into the concert hall during the day, and allow the building to glow from the inside at night. Because this is a music hall, Abramovitz could not solely focus on aesthetics. He had to take into consideration the acoustics of the building and how well sound will travel throughout the auditorium. He added wooden fixtures and arched balconies, killing two birds with one stone; those two birds being acoustics and aesthetics. The wooden fixtures expanded the look of the auditorium, making it look vast and also enhanced the experience of concerts. He also had to keep in mind the economic aspect of the building. Though he wanted to expand the auditorium and put more seats in, the issue of finance arose and his expansion of the building was halted.

Avery Fisher Hall in New York 4

IMAGE name of building â&#x20AC;&#x201C; Make sure to credit below the imageâ&#x20AC;ŚRespect copyrights

Phoenix Mutual Life Insurance Building in Connecticut 5

Another building designed by Abramovitz is the Phoenix Mutual Life Insurance building in Hartford, Connecticut. With this building, he integrated aesthetics with business, with the intention of drawing more business firms to the area. This building is unlike any office building because of the curved exterior and the reflective glass. The reflection pool in which this building was situated in front of added to the aesthetics of the building as it countered the grand scale of it. The building was looked at

Phoenix Mutual Life Insurance Building in Connecticut 6 19

more as a monument than an office building, which attracted businesses to the area, which was his initial intention. IMAGE name of building – Make sure to credit below the image…Respect copyrights

Max Abramovitz was an exceptional architect during his lifetime and his buildings carry his legacy, as they will remain iconic for a long period of time. The manner in which he accommodates the utility of the building and the presentation of it is something that not many architects can successfully do.

Phoenix Mutual Life Insurance Building 7

Phoenix Mutual Life Insurance Building 8

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Avery Fisher Hall 9 20

Work Cited:

1 http://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Avery_Fisher_Hall.jpg/350px-Avery_Fisher_Hall.jpg 2 http://s3.evcdn.com/images/block250/I0-001/000/323/378-7.jpg_/avery-fisher-hall-78.jpg 3 http://www.maestroartist.com/files/venues/4/633287355698906250.jpg 4 http://dashes.com/anil/images/avery-fisher-hall.jpg 5 http://historicbuildingsct.com/wp-content/uploads/2008/08/phoenix.JPG 6 http://upload.wikimedia.org/wikipedia/commons/f/f7/Phoenix_Mutual_Life_Insurance_Building,_Hartford_CT_-_edge.JPG 7 http://connecticuthistory.org/wp-content/uploads/2011/09/getimage.exe-e1316013917842-610x768.jpg 8 http://www.columbia.edu/cu/wallach/exhibitions/images/troubled/Abramovitz-Phoenix-Mutual-Life.jpg 9 http://mcp.us/media/boxoffice/Avery_Fisher_Hall_PHOTO.jpg Harwood, John, Max Abramovitz, and Janet Parks. The Troubled Search: The Work of Max Abramovitz. New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2004. Print.

Robert Adam, along with his brother James Adam, took on the family architecture firm in Scotland in the 1700s. The works done by Adam consisted of both private homes and public squares, projects on different ends of the spectrum. However, similar styles are seen throughout. Adam’s work is said to have influenced architecture across the western Robert Adam world during his time period. 1728 - 1792 Adam’s style of architecture Scotland is significant and notable because he was the first of his time to reject the idea of naturalism. When it came to decorating the interior of a building, Adam would refuse to blatantly use the human figure. Previous to his designs, statues of humans adorned the rooms of most buildings. Adam provided the architecture world with his own style that could be beautifully decorative, but without the presence of statues. His rejection of statues brought about a transition from that particular decorative manner and influenced other architects 22

to seek out new ecorative styles of their own. However, Adam’s styles became quite influential and popular among Western architecture. Plaster-work in the interiors of Adam’s projects proved to be a major theme. Many interiors of his designs include heavy detailing around cielings and doorways. A great amount of detail is seen within these structures, especially within the moldings in certain spaces. The moldings seen within Adam’s works contain structural significance in addition to decorative purposes. They sustain the thinner upright doorways as well as the somewhat weak gardlands and various patterns made by the molding. Without the use of plaster, this type of structure would only be attainable through the use of metal, a material that clearly would not match properly to Adam’s style. The images adjacent to this showcase the plasterwork detailing used by Adam in his design. The top image is taken from Kedleston Hall, one of the first projects that showed a development of Adam’s style. The detailed cielings

seen in Adam’s work cannot be ignored. Adam worked with several styles of decorative cielings throughout his practice. A specific cieling style that became known as his own was the scalloping method, also known as the fanning of roundels. In this type of decoration, the ceiling is not flat, but takes on a three-dimensional appearance. Parts of the cieling curve in a set pattern, creating niches within the ceiling. This style was used often enough by the Adams for it to become considered their own style. Symmetry played a major role in Adam’s designs in more than one way. As was typical during the eighteenth century, the plan of most buildings were seemingly symmetrical, especially from the frontal view. This is shown in the section and plan of one part of Kedleston Hall in the image below. Symmetry was seen in the works of many architects at the time, as it was the traditional style. It is, at times, still seen today, but is not a top priority in modern architecture. Symmetry, however, is not only seen in the exterior of a building. Adam’s style usually used symmetry within decoration. His decorative, scalloped ceilings abided by a certain pattern. That pattern, in addition, held several symmetrical patterns within itself. Rooms within Adam’s buildings usually tended to mimic each other. One of his plans in his early work is perfectly symmetrical and serves the purpose of creating an “echo” throughout the space, as Adam puts it. Adam’s designs utilize traditional Corinthian columns in both the interior and the exterior, starting from his early work and continuing on into his later works. An even number of these tall, classic columns was used for several reasons. On 24

which he designed and designed decoration for. On the contrary, it was their sequence within the plan and their relationships with the greater rooms in the building that made these rooms so significant. Adam was well known for radically altering the layouts of existing buildings that he worked on. This also included making changes to designs done through collaboration with other architects, something that was often done. - Allison Friedel

the exterior of buildings, they were typically used to support a portico out front. The detail of these columns, especially at their tops, provided a decorative element to the buildings they were used on. The columns were also used decoratively inside of buildings. They served the purpose of “screening” certain rooms, maintaining their openness to other rooms, but purposely setting it aside at the same time so that it could be functional toward its purpose. The image in the lower righthand corner on the previous page shows this. This is the transition between two rooms in the Syon House, one of Adam’s first notable works. The columns could also be seen as a three-dimensional element of decoration popping out of walls. The significance of these columns in the interior of buildings is proven by the fact that they are included in the plan. They subtly influence the spaces they are intentionally placed into. Adam’s designs paid particular attention to procession throughout spaces. What made his designs stand out during this time is not the actual rooms themselves,

Work Cited: Rykwert, Joseph, and Anne Rykwert. Robert and James Adam: The Men and the Style. New York: Electa/Rizzoli, 1985. Print. 26

Work Cited: Rykwert, Joseph, and Anne Rykwert. Robert and James Adam: The Men and the Style. New York: Electa/Rizzoli, 1985. Print. 27

Edwards House

Drawn By: Adrianna Matyas Gregory Ain was an architect who worked in the mid- 20th century in the Los Angeles area. His education prepared to make significant contributions to the development of the modern house. He chose to mainly work on small, single-family houses and began to restructure the spatial structure of the home. Ain went against the typical designs of homes and Gregory Ain started to promote an open spatial March 28, 1908January 9, 1988 relationship between the kitchen and living room. Ain believed Los Angeles, California that by doing this, it had strong psychological aspects for women because it connected the spaces of work and relaxation. Not only could women then watch children at play, but also they were better involved when company was over because the two spaces were connected. Ain’s floor plans consistently showed this relationship and developed the theory of “flexible space” and the “flexible house.” 28

Beckman House Beckman House

Dunsmuir House

These innovations were partially motivated by his progressive political views. Ain was affiliated with the Communist movement. Many of his designs were for clients also affiliated with the party and the spaces served as meeting rooms. Ain also began to design furniture to be put in the spaces he designed. This extended the number of things Ain could do for clients. He also used this opportunity to experiment with new ideas; an example is putting a shower next to the private balcony, which allowed residents to bathe in the treetops. Ain enjoyed sites that gave him a challenge including sloping hills or exposed sides. He began a new era for building in the United States. The 1920s was mostly focused on public buildings like churches, schools, libraries, and movie theaters. The 1930s saw a shift: laws and housing policies began to favor the “small house.” The National Housing Act of 1934 by President Roosevelt stimulated Ain’s career because he specialized in the “small house.” Then came the Federal Housing Administration and their publication, Planning

Edwards House

Beckman House Beckman House

Dunsmuir House 29

Neighborhoods for Small Houses in 1936, which lead to the subdivision of lots to make many homes in an area. Ain began to design modest houses for working-class clients. The geometry of Ainâ&#x20AC;&#x2122;s houses was mostly made up of overlapping squares that were typically arranged diagonally to one another and offset to create dynamic relationships between related space like the living room and dining room. These plans were created in a strict modular system. Ain then began to increasingly transition into prefabrication. He created lightweight, movable partition walls to create a multidimensional space. Ain worked with uniform prototypes and building materials to make the house building process more efficient, he sought to change the construction process because it was so expensive. After this evolution, Ain began a four-unit apartment building, which was his first experience in multi-family housing. Being the pioneer he was, he decided to change the typical layout of an enclosed apartment and instead treated each unit like its own house creating a front door and backyard for each.

Drawn By: Adrianna Matyas

Mar Vista Tract Development

In the 1940s Ain was awarded the Guggenheim Fellowship, allowing him to study prefabricated housing. This came in handy as the end of the war approached and his most productive time was looming. After the war, Ain sensed the need for change. Instead of the completely specialized homes he made in the 30s, the 40s and 50s required something very different. There was now an emphasis on governmentsponsored suburbanization, this lead to a housing shortage. Ain said about prefabrication

Tierman House

Drawn By: Adrianna Matyas

Mar Vista Tract Development

Tierman House

that whole houses could not be made in factories, but the principles of it could be brought to the field. The assembly line production brought a new efficiency to the building industry. Ain began to build housing instead of houses. He created cookie-cutter houses with factory created pieces to maintain efficiency. Although more efficient, the homes maintained an openness about them in the layout of the rooms. Ain continued to create large housing tracts, which attracted Phillip Johnson, the curator of architecture for the Museum of Modern Art. Johnson asked Ain to create a house in the museum’s garden in 1950. This was towards the end of Ain’s design career because it was the time of the “Red Scare” and Ain was a communist, this caused Ain to lose many opportunities. After the war, he began to teach and spread his knowledge at University of Southern California, then Dean of the Pennsylvania State School of Architecture before his death in 1988.

MOMA Exhibition House

Park Planned Homes Model

Avenel Cooperative Housing Project

After Ain finished his schooling, he worked for Rudolf Schindler and Richard Neutra, who had a lot of influence on the rest of his career. During his times working, he had mixed feelings about his Beaux Arts training in college took further root as he developed a largely modernist architectural vocabulary. In the onestory single family residential development, Ain was shaped by the FHA’s desire to promote home ownership to the modest income families and to help the growing number of returning veterans. The design showed individuality through the different placement of standard architectural elements, for example, different setbacks, moving the entrance to different places, integrating the building and landscape design. Ain then partnered with landscape architect Garrett Eckbo to create different landscapes on the sites. Eckbo used a large number of planting materials from different climates to create park-like atmospheres along the streets which opened up space between the houses in the complex to allow for more spatial social interaction instead of having enclosed barriers. - Adrianna Matyas Work Cited: Denzer, Anthony, and Thomas S. Hines. Gregory Ain: The Modern Home as Social Commentary. New York: Rizzoli International Publications, 2008. Print. “ArchitectureWeek - Culture - Gregory Ain’s Small Houses” ArchitectureWeek - Culture - Gregory Ain’s Small Houses. ArchitectureWeek, n.d. Web. 9 Nov. 2012. “Gregory Ain Mar Vista Tract.” Gregory Ain Mar Vista Tract. N.p., n.d. Web. 9 Nov. 2012. Bariscale, Floyd B. “Tierman House.” Flickr. Yahoo!, 17 Mar. 2008. Web. 9 Nov. 2012. II, JKG. “Gregory Ain @ Moma NY.” Flickr. Yahoo!, 06 Sept. 2008. Web. 9 Nov. 2012. Treib, Marc, and Dorothée Imbert. Garrett Eckbo: Modern Landscapes for Living. Berkeley: University of California Press, 1997. Web. 9 Nov. 2012. Thornburg, Barbara. “L.A. at Home.” MAK Center Architecture Tour: A Sneak Peek. L.os Angeles Times, 14 Sept. 2009. Web. 9 Nov. 2012.

MOMA Exhibition House

Park Planned Homes Model

Avenel Cooperative Housing Project

Drawing of image in the style as taught by Eric Jenkins

Drawn by: Amber Summerour Ralph Allen’s architecture can be described as useful, efficient, resourceful, competent, bold, preservative, functional, practical, useful, creative or simply summed up as ingenious. His work incorporates many aspects of great architecture, his buildings are works of art and architecture. The elements of form, light, color, rhythm, materials and space are Ralph Allen intelligently and strategically Born in 1932, Died integrated in Allen’s designs and form his style. All of Ralph Practiced in California Allen’s architecture reflects and represents his purpose and style. Ralph Allen designs with concrete as a focal material. Concrete in its most basic form can be described as bulky, dull, cold, plain and grey. Allen’s architecture takes this basic form of concrete and styles it into art that is useful, desirable and appealing. Allen’s purpose in using concrete as the main building material in his designs is to be most cost efficient and because it 34

is useful for multiple purposes. Several of his buildings are schools or public spaces that are allotted modest funding, which allows him minimal budget for design. To budget spending on materials he takes advantage of the durability of the concrete by usually forming the roofs of public buildings into parking spaces because the concrete structure can support the heavy load of automobiles. By using the roof space as a garage it also saves land to either expand the building or allow for the common ground around the building to be used for other purposes. Allen has utilized these techniques that are specific to his style in his design for Century High School in Santa Ana California. By putting the parking lot on the roof of the building, 150,000 square feet was made available for other uses and it does not take away and positive aspect of how the building looks on the faced. Concrete is not only durable and cost efficient but it is very flexible and can be molded to fit many forms. This is a great addition to Allen’s design methods as he designs the shapes of the concrete to be intriguing and inviting.

Drawing of image in the style as taught by Eric Jenkins

The structures of his concrete buildings are not all basic squares or rectangles, he has found creative ways to form and mold the concrete into a variety of shapes. The Orange Covenant Church designed by Allen is formed by the use of circular shapes as well as the more common rectangular shaped elements. Allen’s work not only incorporates the elements to satisfy his architectural style, but he incorporates elements to satisfy the client’s needs too, adding them to fit his style type. While representing his style and satisfying the clients requirements, he incorporates many tasteful but useful elements such as simple structural geometric shapes in both the interior of his designs and the exterior. These shapes create efficient space while creating visually pleasing geometric formulations. The Orange Covenant Church in California is a prime example of how simple geometric shapes can be placed to form a attractive building. Although a large portion of his buildings are made of concrete material, other types of materials are blended to create variation which is an important aspect of architectural design. Even though concrete is satisfying

By: Amber Summerour 36

because it is durable and cost efficient, being an essential goal to Allen’s architecture, it is important that he add different material types to his designs. His style often blends concrete with other shades and types of stone, glass, metal and earth tone materials. The blend of materials is important to his work because his style includes the goal of connecting the building to the outside environment and colors along with materials largely effect that. In several of Ralph Allen’s designs he incorporates

By: Amber Summerour

concrete indoors but in smaller portions. In Allenâ&#x20AC;&#x2122;s design for Century High School, Moffett Elementary School and Costa Mesa Library, it is designed into forms of a triangular or square grids. These grids play a duel role as they allow natural light to shine in and are an attractive feature as they can enhance and illuminate the space while adding to the decor. The grids create patterns developed by light and shadow which has become a distinctive and important element to Allenâ&#x20AC;&#x2122;s style as he commonly controls light in an effective way. Most buildings that Ralph Allen has designed have been large community or public spaces. Due to the fact that these buildings need to support a massive capacity, their sizes are large. The insides of these buildings are proportionate to the large outside structure. This is accomplished by large rooms, open ceilings and bright lively light. Allenâ&#x20AC;&#x2122;s style achieves a feeling of warmth and comfort from the inside but cold and massive from the outside. Concrete structures tend to not be very inviting because they are mostly bulky and massive in size which lead

to them being intimidating. Once one enters into the concrete buildings of Ralph Allen, the feeling developed from viewing the outside changes because the warm light is shown through and the material changes to create a warm comfortable sense of belonging, even with the large space presented. Through years of practice, Ralph Allen has molded and formed concrete into a variety of ways and expanded the use in architecture. His buildings are a creative and diligent mixture of beauty and function. -Amber Summerour

Work Cited: pictures and sourceAllen, Ralph. Concrete spirit: The Architecture of Ralph Allen. Massachusetts: Rockport Press, 1995. Print. 38

Work Cited: pictures and sourceAllen, Ralph. Concrete spirit: The Architecture of Ralph Allen. Massachusetts: Rockport Press, 1995. Print. 39

Sayamaike Historical Museum ©Mitsuo Matsuoka

Sketch- Toto Seminar House Cold, concrete walls and cantilevers bring space out of the earth. Elements of nature are even evident on the interior of space. While the light plays off the concrete, giving the space warmth, still water reflects the transition of cold to warm. The subtleties of light create depth, an aura of peace—a form of architecture unlike any other. This is the method of Tadao Ando.

Sketch- Sayamaike Historical Museum

Tadao Ando

Featured above is the Toto September 13, 1941— Seminar House in Hyogo, Japan. This structure is a good example of International, Japan how Ando creates form which rises out of the earth. One can see how the concrete slabs seem to rises out of the rich, green foliage. It is also a very “natural” structure in that it adapts to the topography of the earth. The location of the structure along side the ocean brings out this sense of nature as well. This is just one of many structures of Ando’s where water is utilized. In this case, the water establishes peace as well as a great vista. 40

Sayamaike Historical Museum ©Mitsuo Matsuoka

The Sayamaike Historical Museum in Osaka is a example of water used as a source of serenity but also reflection. The still pool of water in the middle of the complex creates the effect of an alternate world below; one gets the urge to step in the abyss and discover that which is underneath the real world. Ando also uses waterfall in this structure. In this way, he creates space by using the falling water as a barrier. The horizontal pool of water seems to slowly trickle over the edge, creating a sharp transition from the horizontal to the vertical. What is notable about this structure is the use of smaller concrete panels as opposed to Ando’s more prevalent use of large concrete slabs. However, Ando seems to use the same type of concrete—usually a smooth, spotty stone, containing rows of inch-deep holes equidistant from one another. Because the concrete is not an even hue, simplicty and perfection comes through in Ando’s work. The use of holes in the concrete creates pattern in the structure, drawing the eyes around all the edges of the surface.

Sayamaike Historical Museum ©Mitsuo Matsuoka

Sketch- Sayamaike Historical Museum

Tadao Ando

Sayamaike Historical Museum ©Mitsuo Matsuoka

Light is one of the most essential concepts Ando uses in his work. It is the element which makes his structures so profound. There is not one piece of architecture Ando has created which has not included some manipulation of light. Either through natural or artifical light, Tadao Ando demonstrates his mastery of bending light in all his work. Wall corners bend the light at sharp angles. Tiny gaps in concrete slabs can create windows, while other times gaps in the roof (covered with glass) act as skylights. The Naoshima Contemporary Art Museum uses one large skylight to illuminate darkness within. These are just few of the many ways Ando controls the radiance of the sun. In addition, he uses light fixtures in walls corners to create the effect of natural light. A good example of how Ando uses artificial light is through his Armani Teatro in Milan, Italy. Here one can see how the light fixtures in corners tend to provide a natural effect. He uses gaps within a concrete facade while artificial light shines through. Inside the actual auditorium are colored lights which create an array of moods and settings.

Naoshima Contemporary Art Museum ©Mitsuo Matsuoka 42

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Armani Teatro ©Shinkenchiku-Sha One extreme case of controlling light can be found in Ando’s renown Church of the Light. In this church, the space is illuminated from the crossshaped rift in the concrete wall behind the altar. The thin opening allows light to penetrate through; the sun seems to almost pierce the concrete. Again, from this building we see how simplicity creates great architecture. Through lighting and symbolism, the Church of the Light is considered a truly ineffable space.

Church of the Light ©Mitsuo Matsuoka

Naoshima Contemporary Art Museum ©Mitsuo Matsuoka

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Church of the Light ©Mitsuo Matsuoka 43

the senses, but the soul as well. Ando says, “The role of

architectural space as spiritual shelter is crucial” (12). When space can capture people in this

particular matter, architecture has fulfilled its purpose.

—Matthias Arauco Shapiro Koshino House ©Shinkenchiku-Sha

Through the use of natural elements—earth, water, and light, Tadao Ando creates captivating, profound, and poignant architecture. By focusing on these concepts alone, Ando reminds the public the importance of simplicity within architecture. Ando finds that using natural elements are essential to all architecture in that they present a spiritual dimension to structures. He states that his goal in architecture is to express the distinctness of the existing landscape. To Ando, architecture is something that can not only capture the imagination through

Koshino House- Interior ©Shinkenchiku-Sha

Work Cited: Meditation Space, Unesco GA Photographers 44

Jodidio, Philip, and Tadao Andō. Ando: Complete Works. Köln: Taschen, 2004. Print.

Featured here is Ando’s Koshino house. This is another great example of how Ando’s utilizes the earth and even transforms the land in his buildings. Here, the concrete cuts into the land, creating space below ground level. This house is especially unique in that Ando creates patterns with light and shadow. Some pieces of concrete block and divide the sunlight, which develop interesting patterns on interior walls. These patterns change as the sun rises and sets. Through the use of natural elements—earth, water, and light, Tadao Ando creates captivating, profound, and poignant architecture. By focusing on these concepts alone, Ando reminds the public the importance of simplicity within architecture. Ando finds that using natural elements are essential to all architecture in that they present a spiritual dimension to structures. He states that his goal in architecture is to express the distinctness of the existing landscape. To Ando, architecture is something that can not only capture the imagination through

the senses, but the soul as well. Ando says, “The role of

architectural space as spiritual shelter is crucial” (12). When space can capture people in this

particular matter, architecture has fulfilled its purpose.

—Matthias Arauco Shapiro Koshino House ©Shinkenchiku-Sha

Koshino House- Interior ©Shinkenchiku-Sha

Work Cited: Meditation Space, Unesco GA Photographers

Jodidio, Philip, and Tadao Andō. Ando: Complete Works. Köln: Taschen, 2004. Print. 45

Italian-born architect, Paola Antonelli, is the curator and architect of the Museum of Modern Art (MoMA) in New York. She has curated many exhibitions at MoMA in an effort to teach and express her passion for design. She has a very contemporary mindset as she was influenced greatly by the modern design of buildings and furniture of her home country of Italy. It was when Paola Antonelli she moved to New York was her Born in 1963 fascination with contemporary Practices in New York design and art solidified. Antonelli is very good at explaining concepts through art and object, as she does in her many exhibitions. As a child, she claimed to be more comfortable with objects than with people, so as she got older and as she studied Architecture, she began to design to help integrate the relationship between people and objects. Through objects, Antonelli can convey 46

messages and make certain points to her audience. She tries to captivate people with her designs and make them involved with the process. Design to Antonelli, is not decoration or a leisurely activity, but work that requires advanced ways of thinking in order to find ways to manipulate an object so it can better perform its function, whether that object be light, materials, or a piece of furniture. Architects and designers are the ultimate synthesizers because they integrate and work simultaneously with human needs, sustainability, materials, natural occurrences and conditions to synergistically create something.

moMA in New York 1

IMAGE name of building â&#x20AC;&#x201C; Make sure to credit below the imageâ&#x20AC;ŚRespect copyrights

When designing the Museum of Modern Art, she was often referred to as a maverick, which has a negative connotation. She believes that architects need to be mavericks in order for their work to be unique. Architects should use whatever (rational) means and tools necessary to get a message across or to make a point to the public. In doing so,

MoMA in New York 2

MoMA in New York 3

identity and sense of self is reflected in the work. The main concept MoMA tries to convey is finding solutions to social fixations and problems. A wonderful thing about MoMA and the designing techniques of Antonelli is that they are inspired by global experiences and happenings, and accommodate to them so that they understand the message being conveyed and feel comfortable with it. For example, the vastness that the MoMA has accommodates social problem of the lack of interaction. The courtyard in front of the main entrances of the museum allow for the integration of people who share a profound interest in modern art and the large atrium in the museum’s interior allow for further congregation. Another concept is making something the public deems as miniscule and inferior, and giving it significance and meaning. The construction of the building reflects this concept very well.

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Aerial Perspective of MoMA 4 48

IMAGE name of building â&#x20AC;&#x201C; Make sure to credit below the imageâ&#x20AC;ŚRespect copyrights

Model of MoMA 5

It is built to a great scale and houses modern art, art that is not appreciated by the public as other forms. The scale of the building also makes one feel inferior, but the movement through the museum and the themes of the different exhibitions cater to the specific social problems of individuals so that they no longer feel inferior. The building also reflects what it holds. The museum carries modern art so it is structured in a contemporary fashion so that civilians are not misguided, and know immediately that this

MoMA in New York 6

modern-looking building in fact is a modern art museum. Along with social issues that are often swept under the rug by the public, is the issue of technology. Though it is the Museum of Modern Art and it is inferred that the building is abundant with advanced programs, Antonelli wanted to bring back manual labor back into the design and architecture of the Museum of Modern Art. “As we become more and more wireless and impalpable, designers, instead, want us to be hands-on.” In doing this, she humbles this building, reminding the people of their potential as humans, reminding people they need not to rely on technology to make something great.

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Interior of MoMA 7

Facet of MoMA 8

With the Museum of Modern Art, she focuses heavily on aesthetics and utility, two aspects of architecture that are hard to balance as discussed in Why Architecture Matters by Paul Goldberger. She succeeds in doing so by making her exhibits and the building itself bold and captivating that the audience dares not to shy away 50

Renovated Interior of MoMA 9

from it, as it immediately sparks their curiosity. Then after grasping their attention through aesthetics, she makes sure her profound concepts are conveyed clearly. She is also very environmentally conscious and uses solar and green technology to run the museum in an effort to be sustainable and not wasteful. She makes the most of the space she creates. Paola Antonelli is the epitome of the modern mind and it is clearly reflected in the Museum of Modern Art, which she designed, and currently curates. Without being too striking or unrealistic with her modern ideas, she incorporates her modern designs to accomodate basic human needs, and manipulates materials and the conditions surrounding, and simultaneously imposes a profound message to her audience, visitors of he museum. The balance of utility, aesthetics, sustainability, materials, and economic factors, that she maintains is unheard for many modern architects and designers. Her style is unique and her concepts are unforgettable.

Work Cited: 1 http://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/MoMa_NY_USA_1.jpg/250px-MoMa_NY_ USA_1.jpg 2 http://www.artsjournal.com/culturegrrl/MomaEd.jpg 3 http://www.isabellestravelguide.com/wp-content/uploads/2011/12/MoMa_NYC.jpg 4 http://hyperallergic.wpengine.netdna-cdn.com/wp-content/uploads/2011/05/sfmomadesign_TOP.jpg 5 http://www.new-york-art.com/e/moma-5.jpg 6 http://elissa.typepad.com/photos/uncategorized/moma_1.jpg 7 http://www.thecityreview.com/momalob3.jpg 8 http://www.sherryfrenchgallery.com/wp-content/uploads/2011/08/Moma.jpg 9 http://gothamist.com/images/2004_11_moma.jpg Antonelli, Paola. Talk to Me: Design and the Communication between People and Objects. New York, NY: Museum of Modern Art, 2011. Print.

The Way of the Cross

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Process: With a body of work residing in Stockholm, Sweden, Gunnar Asplund was an architect during Sweden’s Romantic and Classical design period. However, even though Asplund designed to the period he did not conform to it. Rather his process indicates that he allowed himself to be influenced by other types of design. Many of Asplund’s sketches are Gunnar Asplund flexible enough for him to make 22 September 1885 – 20 October his usual changes during a project, 1940 and so often one finds a certain Stockholm, Sweden detail or lack of it in his sketches, but not in the actual building. Much of his inspiration came from precedents or from his excursions to different countries and to different buildings. His most important trip to Italy made a significant influence on Asplund’s style, this Romanticism with a strong connection to nature. Asplund was able to apply his innovativeness to his ability to evoke moods that connect building to the structure of the town. One of the greatest aspects of his work is that he was 52

Stockholm Woodland Chapel http://3.bp.blogspot.com/_gCVRiaGS5SI/Sukd_ UYGa2I/ AAAAAAAAACQ/5K9Kfe16FVY/s400/ Erik+Gunnar+Aspland,+Woodland +Cemetery+Chapel,+Stockholm+1918-20.jpg

Inside Woodland Chapel

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able to effectively use aesthetic symbolism. This overview will present works that I think best highlights Asplund’s process and style. Romantic Period South Stockholm Cemetery 1918-1920: Located in the Scandinavian pine wood, the design of the South Stockholm Cemetery is a collaboration between Asplund and his friend Sigurd Lewerentz. Leaving the forest in its natural state, Asplund and Lewerentz designed a system of narrow winding paths, arranging graves along pedestrian walkways. This walkway is known as The Way of the Cross, and it winds up to the Chapel reaching a climax in the cemetery. Another important feature in this cemetery is The Woodland Chapel, which Asplund himself designed. The design and building process subjected this chapel to many changes. From afar this chapel appears to be a floating pyramid, with its steeply pitched, dark shingles, evoking a sense of mystery. This Chapel has the essence of both a classical and vernacular nature. This is because during the building process, Asplund gained inspiration by a trip to

The Way of the Cross

http://upload.wikimedia.org/wikipedia/commons/d/df/Skogskyrkogarden_HolyCross.jpg

Stockholm Woodland Chapel http://3.bp.blogspot.com/_gCVRiaGS5SI/Sukd_ UYGa2I/ AAAAAAAAACQ/5K9Kfe16FVY/s400/ Erik+Gunnar+Aspland,+Woodland +Cemetery+Chapel,+Stockholm+1918-20.jpg

Inside Woodland Chapel

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the Hytten Pavilion which had more of a tribal design. Following this inspiration he changed his originally classical temple design. Because of this, his sketches do not exactly match the building, but they do have an outline of what the chapel looks like. With the essence of a hut the dark shingled pyramid roof matches with a flat ceiling all around the exterior, while on the inside there is a marriage of Tuscan columns and classical dome. This gives the illusion that a dome has been carved out of a solid block. Lister County Courthouse 1917-1921: Like the Woodland Chapel this structure emerges from a combination of classical and vernacular design; but unlike the mysterious chapel’s design, the courthouse evokes a more playful mood. The interior has the essence of a fat person. This is due to the predominant circular courtroom set within the interior of a rectangular building. Within the court room there are fat heavy balusters that line the pews and judge’s bench. Within the lobby, the outer walls of the courtroom seem to be expanding into the lobby area, and heavy

Lister County Courthouse

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Inside Lister County Courtroom

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glass spherical ceiling lamps are hung throughout the lobby, giving the impression that glass globes are falling from the ceiling. Such playful design symbolizes the function of a courthouse and its relevance to the town. Classical Period The Stockholm Public Library 1921-1924: Filling Sweden’s need for a public library Asplund rose to the challenge and created his best classical design ever. The intention of this design was to use geometric shapes symbolic of the human mind. In order to

Lister County Courthouse

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Inside Lister County Courtroom

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solve his problem of symbolism Asplund designed two different schemes. In the original scheme the library would be a rectangular building with a dome, central hall, and skylights similar to the Pantheon. The inside of the dome was lined with bookshelves and shaped into a sphere. The floor of the dome had a mosaic of a body with the inscriptions Gnoti Seafton, (Greek phrase for “ ‘know thy self”).With all this detail the spherical dome represented the inside of a brain and the front façade had the appearance of a bald man with a goatee. However, this original design would have been too expensive, and so Asplund went with a simpler, more rigid geometric design. This new design enhanced the symbolism of the mind by taking on geometrical Greek concepts of reasoning. Rather than an actual dome, Asplund designed a cylinder head, keeping true to the idea of a cranium. Inside, there is an embodiment of what is known, unknown, and the imagination. Asplund accomplishes this symbolism with the design of the interior. Inside, the cylinder’s high rough, stucco

Stockholm Library first scheme sketches Picture taken from book

walls are lined with wooden bookcases and are blanked by the light that comes from the high windows. Descending along the sides are two dimly, rose lit stairs, and in contrast a stair ascends from the darkness to meet the main front desk. This represents the known and unknown. Located on the ground floor is the children’s library and adjacent to that is the story telling room. This represents the imaginative part of the mind. Finally on opposite sides of the entrance door handles are statues of Adam and Eve. This completes Asplund’s journey into the mind. Asplund was not only able to meet the needs of the town Stockholm, but he was able to stay true to his love for aesthetics and symbolism, while finding solutions through investigation and flexibility. que moditibus sit, arciate ndignis ciuscius dolest faceperuptat aut accum ask;djvalkdfjvn;askjdnv;kjlnque millorum vel - Alexandra Paintsil

Stockholm second scheme sketches picture taken from book

Stockholm Public Library

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Work Cited: Wrede, Stuart. The Architecture of Erik Gunnar Asplund. (Cambridge: The MIT Press, 1980).

Stockholm Library first scheme sketches Picture taken from book

Stockholm second scheme sketches picture taken from book

Stockholm Public Library

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Work Cited: Wrede, Stuart. The Architecture of Erik Gunnar Asplund. (Cambridge: The MIT Press, 1980). 57

Junta Castilla y Leon

“Trapping Sunlight In Motion” - Alberto Campo Baeza’s description of the Pibamarmi Stand in Verona, Italy - describes the concepts which fuel Baeza’s inspiration. The majority of his work is inspired by a concept of “ineffable architecture,” or architecture too breathtaking for description. In his architectural designs, Baeza explores various ways to portray Alberto Campo Baeza his fascination with the element 1946 - Present of time. Time is closely linked with Madrid, Spain architecture; in fact, architecture is dependent on it. Sustainability and permanance are two goals every architect strives to achieve in a building. If a building can survive the instability of the world, the architect has succeeded; however, although permanance is a desirable attribute in architecture, there is more to a building than a stable structure. In his work, Alberto Campo Baeza demonstrates an understanding architecture’s significance, and the concepts necessary to achieve ultimately beauty in ineffable architecture. 58

Between Cathedrals

Olnick Spanu House

Elements of Material Baeza’s work consists of two main elements of material: white decor and glass. In Junta Castilla y Leon, Baeza uses simple concrete and glass with white columns to promote a feeling of calm. Walls surround yet do not entirely conceal the glass box found in the center; Baeza instills a sense of mystery and yet also a sense of relaxation in the visitors to Castilla y Leon. His work Between Cathedrals uses wide, open space and pure white materials in order to draw the eyes to the blue of the sky and the adjacent water. The concept is literally to be “between cathedrals;” trapped in a place of one’s own reality. The space is quite fitting for reflective thought; the blue of the sky and the white of the architecture is calming yet thought provoking. In the Olnick Spanu House, Baeza combines the use of both glass and white surroundings to compose a peaceful gathering area. The glass room is a gateway to the outdoor world; the white ceiling and columns are a reminder of the distinction between safety inside and the unpredictability of nature.

Junta Castilla y Leon

Between Cathedrals

Olnick Spanu House 59

Elements of Design Baeza’s talent at capturing a concept in the physicality of a building is resplendent in the Caja Granada, which Baeza refers to as a “box full of light.” The heavy cement structure of the building is softened by the light which penetrates the cement by means of hundreds of small excavations in the wall. Baeza intertwines the elements of light and unexplainable gravity to create a unique experience in each of his buildings. While the cement is protective and overimposing, it is softened by the ephemeral light streaming in from the walls. Massive rectangular volumes of concrete are framework for movement throughout the space as well; while one feels overpowered by the concrete and insignificant next to the pillars, the light provides a sense of safety. In the words of Baeza, “Gravity constructs space; light constructs time, makes time meaningful. The central concerns of archtecture are how to cntrol gravity and how to relate to light. Indeed the very future of architecture epends on whether a new understanding of these phenomena can be achieved.”

Porta di Milano

Baeza inherently trusts the concept of beauty achieved through light and gravity in architecture; his rendering of the Porta di Milano portrays the extent to which light can manipulate a room. Baeza explains that in his concept for the Porta di Milano is a desire to create the most beautiful space in the world; a desire to create a cloud of light. Baeza captures this sensation in a mere rendering; of the insignificance of the visitor to the expanse of the space, of the hope and desperation one might feel when entering. 60

Caja Granada

Porta di Milano

Caja Granada 61

Elements of Geometry The extravagance of the light and magnitude of structure inside Baeza’s buildings is complimented by the simple exterior structures. Baeza’s buildings are frequently pure white and rarely take a form other than a square or circle, or a combination of the two. The Daycare for Benetton is a short cylinder, holding inside four rectangular structures. Parks between the areas serve as space for the child’s play Baeza’s distribution of space to accomodate function is flawless. In the Gaspar House, Baeza traps a multitude of cube-like structures and square subtractions on the interior. From the exterior, it is no more than a white box. Baeza enjoys the simplicity of basic geometric shapes; it leaves room for interior creativity. In the Museum of Memory, arguaby Baeza’s most captivating building, the exterior is no more than a rectangular volume; however, the interior is adorned with white intertwining walkways capturing Baeza’s favorite aspects of warping geometry bending and excavating space.

Daycare for Benetton

Essentially, Alberto Campo Baeza combines basic elements of architecture such as material, design, and geometry to create masterpieces unlike any other existing building. His use of white walls and glass is pristine while his contradiction of gravity and light complement each other. His work is fluent and recognizable due to the qualities which altogether form his ultimate concept: ineffable architecture. Architectural permanance can be achieved through the suspension of time; the suspension of time is achieved by pure manipulation of space. Each contributing element defines Baeza’s work as singular and geniunely refreshing; he composes a portfolio of unforgettable, and consequently ineffable, architecture.

Gaspar House

Work Cited (All Images and Information): Museum of Memory 62

Gili, Mónica. Alberto Campo Baeza. Trans. Paul Hammond, Stephen Thorne. (Editorial Gustavo Gili, SA, Barcelona, 1999).

Daycare for Benetton

Gaspar House

Work Cited (All Images and Information): Museum of Memory

Gili, Mónica. Alberto Campo Baeza. Trans. Paul Hammond, Stephen Thorne. (Editorial Gustavo Gili, SA, Barcelona, 1999). 63

The single biggest influence on William Adair Bernoudy’s architecture was his apprenticeship with Frank Lloyd Wright. Bernoudy spent three years studying under Wright, and many more years as a personal friend. It is obvious that through these interactions, Bernoudy’s style was shaped and molded into one similar to Frank Lloyd Wright’s. William Adair Bernoudy Studying under one of the world’s greatest architects gave Bernoudy 1910-1988 a distinct style. He picked up St. Luis, Missouri Wright’s organic modern style. From Wright, Bernoudy learned how to complement with the site; he learned the importance of material, especially, brick, wood, and glass, and how to extend the interior into the exterior. Despite his obvious traits picked up from Wright, Bernoudy had some unique characteristics. He was a kind and warm person who listened to his clients needs. He did not just create beautiful buildings, but also ones filled with character and emotion. He also, unlike Wright, 64

incorporated the past into his modern design rather then rejecting it outright. Within all of his buildings Bernoudy has a strong connection to the surrounding area. He is able to blend the inside and outside of the house to create a relationship between the building and the site. The best example of this is the Pulitzer pavilion. Bernoudy was able to create a seamless transition from the house into the pool, blurring the change from interior to exterior. . He does this by carrying the same materials used inside the house to the patio, which gradually descends into the swimming pool. He brings the garden onto the patio by planting a dogwood tree and ivy within the concrete floor.

Pulitzer Pavilion Outside Clarance John Laughlim

Pulitzer Pavilion Inside Sam Fentress

William Bernoudy learned from the best about the sensitivity of materials. A powerful use of both wood and brick is a common theme throughout all of his homes. An example of this is in the Schweiss house. This home, designed for a sculptor, is a perfect model for the power of material. He is able to create a unique harmony between brick, wood and glass, to construct a beautiful home. Bernoudy uses a wooden support to hold up a triangular shaped roof and large prism shaped windows. This is all supported by a massive brick foundation. He is able to continue the importance of the materials by transitioning them inside. The whole house circles around a large brick fireplace, which extends up to the ceiling. He also leaves the ceiling exposed to reveal the wooden support structure.

Schwiess House Sam Fentress

He uses the organic materials to create a warm and emotional feeling to the home as well as connecting it to the surrounding site. Bernoudy continues this theme through many of his homes too create a common feeling to all of his buildings.

Schwiess House Sam Fentress

Schwiess House Interior Sam Fentress 67

One of Bernoudyâ&#x20AC;&#x2122;s most admired projects is the Temple Emanuel. This Jewish Temple was designed in 1961. This building does a very good job of centralizing around the Jewish Tradition. The main design of the building was the hexagonal shaped walls that created a roof in the shape of the Star of David.

The Temple Emanuel Sam Fentress

The interior continues Bernoudyâ&#x20AC;&#x2122;s modern tecnique by using organic materials, like brick and wood, to create a warm and inviting atmoshphere.

The Temple Emanuel Interior Sam Fentress Christian Bernier

Work Cited: Overby, Osmund, and W. A. Bernoudy. William Adair Bernoudy, Architect: Bringing the Legacy of Frank Lloyd Wright to St. Louis. Columbia: University of Missouri, 1999. Print. 69

Hochschule für Gestaltung

Max Bill emerged from Switzerland in the mid-1900s as a notable architect, artist, industrial and graphic designer. His prowess in the arts began with his interest in “architectural sculpture,” which is innate in both his artwork and architectural design. Bill’s creative process was spurred by the inspiration to create “concrete art,” which morphed into the Max Bill concept of sculptures constructed 1908 - 1994 of granite solids. The design for Zurich, Switzerland his sculptures began with colorful, geometric diagrams; likewise, his sculptures serve as the basis for his architectural concepts. The clear parallels between his artwork and architectural design contribute to the overall abstract concept inherent in his work: a transition from art to architecture. Bill’s use of abstraction in his design allows for the introduction of ideas and concepts outside the realm of architecture - his sculptures - to create structural skeletons as the framework for his revolutionary ideas. 70

Fischer House

Studio House Bill #2

Elements of Material Bill’s notion of “concrete art” inspired his simplistic use of material, consisting of wood, concrete, and glass paneling. Concrete physically appears in several of his designs, a result of Bill’s close affiliation with the Bauhaus in Dessau, Germany. Bill was educated at this institution; it now serves a precedent for his concepts. Unmistakable parallels can be found between the Bauhaus and Bill’s personal academic university, Hochschule für Gestaltung, in Ulm, Switzerland. The material ideas inspired by the Bauhaus are continued into Bill’s later work, inclusive of the Fischer House, built in Switzerland in the 1950s. The Fischer House has a concrete skeleton resembling Bill’s sculptures. The sculptural frame is enclosed by massive glass windows, which promote a sense of life and vibrancy in the house. Similar concepts exist as well in the design of his second studio house. A protective, concrete exterior serves as a barrier to the colorful interior, decorated not only by Bill’s work but also his geometric arrangement of space.

Hochschule für Gestaltung

Fischer House

Studio House Bill #2 71

Elements of Design The relationship between Bill’s sculptures and his architecture is further revealed in the format of his design. Each sculpture follows a distinct geometric pattern, as does the spatial arrangement that contributes to the interior of Bill’s architecture. The most significant example of Bill’s commitment to organization in his work is the use of staircases in the Hochschule für Gestaltung, which sequentially divide a vertical space into an ongoing pattern of triangles, each interacting with the other. The division of ascending space allows for a sense of transition and movement throughout the site, complimenting Bill’s simplistic use of material. Movement seems so simple, so necessary, that it is nothing short of natural to make progress through the space. Just as Bill’s staircases contribute to the organization of the space in the Hochschule, the entire building functions as a structural staircase built into the landscape. The institution, designed as a sequential pattern of buildings, is constructed into a hill, forcing the architecture to rise in response to natural elements.

Hochschule für Gestaltung

Bill’s inclusion of elements of ascension relates back to the structure of his sculptures, which are built in the direction of the sky, dependent on their geometric patterns to counteract gravitational force. The staircases that support the interior of his first studio house resemble these structures, which stand contingent on the pieces that construct them. Bill’s architecture is built off the pretense of a puzzle: each piece is entirely necessary not only for completion of design but also for form, functionality, and purpose. 72

Konstruktion 1939

Hochschule für Gestaltung

Konstruktion 1939 73

Elements of Geometry Structure is a necessary architectural element in order to achieve sustainable projects; however, Bill’s inclusion of geometric shapes provides a dynamic difference in the form of the building. In Bill’s search for “concrete art,” he examined the concept of the “primitive hut.” The cubes and triangles integrated into his design allow for a reassuring simplicity. A vast majority of Bill’s contracts were for pavilion design; nearly every pavilion was inspired by the same concept of thin rectangular pillars supporting an open structure. As shown in the Ulm Pavilion, in Stuttgart, Germany, both Bill’s buildings and sculptures are enhanced by his geometric use of addition and subtraction. The generic shapes both added and removed from the structure allow for the manipulation of light, which affects the overall experience of the architecture. Bill’s pavilions are meant to be transcendental; the pavilions are a meeting place. The elements chosen indicate that Bill intends to provide a similar experience with his architecture to that of his artwork.

Pavilion Sculpture

On a variety of levels, Max Bill epitomizes a proficient artist. His inclusion of his art into his architectural design emphasizes his ultimate understanding of how art and architecture share similar elements - such as form, material, and rhythm - and can effectively be combined into an appealing architectural work. Bill’s overarching concept to his work of the transition from art to architecture and the corresponding relationship is supported by his use of structural elements, geometry, light, and form. Every element singularly contributes to the artistic appeal of the architecture; however, Bill combined the elements to create a form of architecture that manipulates space to create a unique experience for each participant of the building. Max Bill’s abstract artistic ideas merely decorated a sketchbook page as preliminaries, further progressed to sculptured masterpieces, and ultimately contribute to the creation of an entirely functional piece of sculpted artwork: one worthy of inhabitants. While the transition from art to architecture began as an abstract concept for Bill, as time passed the concept shaped itself into houses, pavilions, and schools. From his “architectural sculptures” to his “primitive huts,” Max Bill’s art and architecture reiterate the power of abstraction as an architectural concept.

Ulm Pavilion

Work Cited (All Images and Information):

Pavilion Proposition 74

Gili, Mónica. Max Bill. Trans. Joaquín Medina, J. Roerick O’Donovan. (Editorial Gustavo Gili, SA, Barcelona, 1999).

Pavilion Sculpture

Ulm Pavilion

Work Cited (All Images and Information):

Pavilion Proposition

Gili, Mónica. Max Bill. Trans. Joaquín Medina, J. Roerick O’Donovan. (Editorial Gustavo Gili, SA, Barcelona, 1999). 75

Antonio Cruz is an architect out of Spain; his partner Antonio Ortiz did almost every building with him. Being architects out of Spain, Antonio had to work with Spainâ&#x20AC;&#x2122;s old traditional buildings. He had to incorporate his new, modern buildings with the old renaissance looking buildings. For example Cruz was to build an apartment building in the old center of Antonio Cruz Seville. This part of Spain does not Born 1948have modern buildings and has Practices in Spain not even seen many of them. So Cruz created an irregular shaped building with a curved courtyard in the middle. The outer space looks very basic and boxy, but when looked at from the courtyard the curved walls and open ceiling makes this the heart of the building. Seeing that Seville is a very traditional town, Cruz used traditional Sevillian materials and characteristics that make this building stand out in the cityâ&#x20AC;&#x2122;s center but also makes it fit in with the cityâ&#x20AC;&#x2122;s other traditional buildings. 76

Cruz also has to work with remodeling or adding on to buildings that were built centuries ago. He had to adapt The Old City Court House in Seville so that it could hold two different institutions. He had to create a new main staircase that can be seen from the main entrance. Being that the courthouse is mostly marble and very traditional, Cruz made the staircase simple but yet iconic. He corned the staircase and made the first dozen steps cornered until you reach a platform where you turn and go up the straight staircase. He used a glass railing on the staircase but also used it around all of the balconies in the mezzanine bringing it all together. Cruz also redid the courtyard connecting the main staircase to a staircase making a path to the upper floors. This building being very old Cruz had little to do with the changing of light but he created skylights between floors to bring in direct light onto the lower floors. He cut out rectangular shapes out of the ceiling to illuminate the hallways leading to the offices. Cruz puts one thing into almost every one of his buildings, a courtyard. Courtyards are a

Spanish tradition all over the country. I believe Cruz does this to relate his modern buildings to Old Spanish style. When Cruz is building a modern building in a traditional part of Spain there are very few choices of how to make the building stand out but yet still fit in. A courtyard is the perfect solution. Cruz not only puts courtyards in for tradition but also to make the building one with the community, courtyards invite people off the sidewalk into the building. It is like a big welcoming mat into each of his buildings. Cruzâ&#x20AC;&#x2122;s most famous building would have to The Madrid Community Sports Stadium. Cruz created a structure that hold 20,000 spectators around the field. Although that is only phase one (future planning will create another massive stand that will be able to hold up to 45,000 spectators. This massive structure comes up from the fields level and balances on a number of curved concrete walls. The tallest part of the stands juts out over these walls. Cruz uses light so well in the building. In these curved walls Cruz has created little rectangular slits that not only provide light into the building but also ventilation. These slits let light into the ramps and stairs inside of the structure that bring you to your seats. They create a different atmosphere for every hour of the day as the sun is rising or setting. Antonio Cruz is a very accomplished architect. He has created sports stadiums to buss stations to houses and apartment complexes. He is a master of combining old with the new, or modernizing a building from the 1800s without making it look unwanted or ugly. The materials he used most were stone, concrete, and glass, but he knew when to use a certain one and when 78

not to. He combined a harsh cold building made of all concrete and warmed it up by making slits in the outer walls to let light in. Cruz was not an architect who would build buildings that would shock people, he wanted to build structures that put people in a certain space at a certain time and wanted them to have a memorable time there. Cruz has taught me I do not need to build things that define gravity or things that look like they are from space, he builds building that open people’s eyes to something new, he intrigues people into his buildings, and as an architect that is all we can ask for.-Michael Charpentier

Work Cited: “Cruz y Ortiz Arquitectos.” Cruz Y Ortiz Arquitectos. N.p., n.d. Web. 13 Nov. 2012. <http://www.cruzyortiz.com/>. 80

Work Cited: “Cruz y Ortiz Arquitectos.” Cruz Y Ortiz Arquitectos. N.p., n.d. Web. 13 Nov. 2012. <http://www.cruzyortiz.com/>. 81

Marmol Radziner is an Architecture firm out of Los Angeles California created by architects Leo Marmol and Ron Radziner in 1989. This firm utilizes space well and does a good job of not wasting very much space in commercial and residential areas. The majority of the buildings designed by this firm all have open space and clear paths to different rooms Marmol and Radziner and areas. The rooms are very + Associates open and simple and the walls are Los Angeles, California used well for display and storage 1989 space. The architects show a very clear path in all of the their buildings and every space flows eloquently into the next. The architects also utilize natural light very well not many lights are ever on. All of the buildings have very big windows and the walls are almost all glass letting as much natural light in. The massive windows not only add natural light but they give the impression that the exterior and surrounding landscape is apart of the building like in the Hilltop 82

Studio. The windows help with the blending of the interior and exterior incredibly well. Also the architects incorporate the big rooms, high ceilings and large windows to give a strong sense of open space and with the natural light and flow from the inside to the outside, the homes give the impression that the building is a shelter from the elements but not a shelter from the beauty of the landscape. Certain rooms are open air design that give the feel of being inside but with no windows or doors that lead out onto a patio or the lawn. The design path between the exterior and interior is very gentle, slow and delicate. It is never abrupt making the building seem like it belongs. The styles of this architecture firm are very modern, incorporating large squares and rectangles in different organizations to create their design. The buildings are built into the landscape and the tones of the houses compliment the surrounding environment. The houses blend nicely so when someone is looking at a hillside, a coastline, a desert or any type of landscape it looks like it belongs. So when

someone looks at the landscape the buildings it is not an eyesore and it does not disturb the beauty of the landscape. The buildings are designed as uniquely as possible to compliment the landscape from every angle. The buildings compliment their surroundings as well as letting the landscape do the same to the building. It also gives the building character and the architects design the building so that it equally compliments the landscape. The buildings colors and materials flow with the landscape as well everything is gently but intricately connected. Even the commercial buildings flow with the surrounding buildings but the modern structure with many windows is never sacrificed. They incorporate certain aspects of the outside into the environment into every building. Marmol and Radziner never have and unclear path in any of their designs all the buildings are well organized and space is utilized very well all the buildings have high ceilings and wide hallways and pathways giving the impression of a lot of space just like being outside and everything gradually blends into the next room. This then gives the interior a clean and smooth feel. The furniture is also designed by this firm to directly correlate with the design and appearance of every room. The walls are well used to keep the floor open for the people that will occupy the space. This firm puts a very large emphasis on path and space everything flows effortlessly. The architects are very careful with every detail so every space gives off the proper feel that it is supposed to portray and then making the space flow gently into the next room while changing the purpose of the next space. All the spaces are designed to gently 84

blend but not blur everything compliments one another but each space is unique and generates a different feel while simultaneously coexisting with the rest of the structure as well as the surrounding landscape. The path is important to this firm gently flowing from one space to another but everything is carefully blended so nothing intrudes on the purpose or feel of something else. A certain style of this firm is prefab where they design large boxes in a factory and then ship them to the site and assemble them there almost entirely complete. This style is kind of like an assembly line where all the parts are prefabricated and then assembled. This is only a small portion of the buildings designed by Marmol Radziner. This firm designs modern style homes that are all have a very square like look with a huge emphasis on space, path and natural light. The buildings are designed to flow from the interior right in to the outside landscape effortlessly and fluidly. This firms overall goal and style is blending buildings into the environment and surrounding landscape so that they are

as much apart of the landscape as the landscape is apart of the buildings. The buildings flow into the landscape so as not to intrude on each other but coexist beautifully, so neither one overpowers the other but compliments each other. The space is also used to give the sense that the interior and exterior are almost the same. â&#x20AC;&#x201C; Sam Ricci

Work Cited: Marmol, Leo, and Ron Radziner. Marmol Radziner + Associates: Between Architecture and Construction. New York: Princeton Architectural, 2008. Print. â&#x20AC;&#x153;Marmol Radziner.â&#x20AC;? Marmol Radziner. N.p., n.d. Web. 12 Nov. 2012. <http://www.marmol-radziner.com/>. 86

Santiago Calatrava is not only an architect, but also has his degree in engineering. Because he has this second degree it gives him an opportunity to design architecture on a different level. He uses this to an advantage, by creating daring architectural designs. Santiago Calatrava is known best for his work on bridges, but also has built some very recognizable Santiago Calatrava buildings. He has built more than July 28, 1951 thirty bridges through out the Paris, Valencis and Zurich world and continues to propose new, seemingly gravity-defying, designs. Santiago Calatravaâ&#x20AC;&#x2122;s style is very modernistic, based on the materials that he uses in a majority of his buildings and bridges. Calatrava creates many architectural designs that give reminding features of a whale. This is because he builds on a very large scale and takes advantage of the use of vertical lines, either intentional or by use of implied lines of windows and doors. Santiago Calatravaâ&#x20AC;&#x2122;s large scale, daring designs, make his buildings identifiable. 88

The inspiration for most of Santiago Calatravaâ&#x20AC;&#x2122;s buildings comes from things in nature. He has several buildings that start out as sketches, or ink drawing of human figures. Calatrava then uses these forms and figures as unspiritual guidelines for a building or bridge. This is the process that he uses to come up with the first sketches of the structure. Although it may start out looking like a human figure, through out the design process it changes from human, to geometrically shaped buildings and bridges. Two of the structures that were specifically designed and where the ideas came from human figures are the Alamillo Bridge, and an office building known as the Turning Torso. Both of these iconic pieces of architecture started as a sketch of a human and then were translated by Calatrava into architectural structures. The figures that Santiago Calatrava starts out with are figures that portray motion, such as a running torso or a turning torso, both used in the design of the architectural pieces motioned. This natural inspiration creates a simple connection between the structure and its surroundings. 89

Santiago Calatrava designs by looking for inspiration in nature. His way of incorporating forms and communicating them back to those who ask for a building is what makes him an architect. The idea of nature becoming part of a man made building is what Santiago Calatrava strives to do and incorporate into his architecture. The notice ability of the organic entities, and smooth shapes that give motion to the building. The smooth transitions that create movement through the structure are equivalent to the original ideas that Calatrava had for the building when he first sketched figures in motion. It is not simply figures that inspire Santiago Calatrava, but there are also buildings that are said to represent other forms too. Such as a planetarium that is based off of a human eye, complete with a dome that opens just as lashes do. Or a canopy that is arched over an opera house, which he also built. The canopy is designed specifically to resemble a flower petal. Santiago Calaravaâ&#x20AC;&#x2122;s uses this style of incorporating aspects of nature. This style is reflected in the types of material that he chooses to use in all of his buildings and bridges to keep naturalistic ideas.

One of Santiago Calatravaâ&#x20AC;&#x2122;s most recognizable and impressive designs is his Alamillo Bridge, in Seville Spain. This suspension bridge came from the inspirational idea of a running torso. This torso is portrayed by a beam, slanted in the opposite direction of the water below. The supports of the bridge run from the top of the beam to base of the bridge, showing that the bridge is literally suspended only the single beam. The concept of this bridge is to create an imaginary triangle suspended above the Meandrp San Jeronimo. 91

The building that is referred to as the Turning Torso is an example of how Santiago Calatrava uses the idea of a natural human body as inspiration for his buildings. This building is constructed of nine boxes all on separate angles to create the illusion of turning. Each box has five floors. This makes this a very tall, steel structure. These are two the aspects that Calatrava focuses on, materials and scale. Another notable building done by Calatrava is the City of Arts and Sciences/Opera House. This is the building that was inspired by the human eye. There is an ellipse a center sphere that illuminates at night. Calatrava makes light an important aspect of this building by including all glass windows. Even the sides of the building that open representing they are made of glass to allow light in and out of the building. The Sondica Airport and Control Tower in Bilbao, Spain include some of Santiago Calatravaâ&#x20AC;&#x2122;s most signature aspects of design. The use of materials, asymmetrical shapes, and vertical lines are noticeable factors about the architecture of this airport. 92

Santiago Calatrava has a very distinct style of architecture. His buildings and bridges consist of the same use of materials, many large windows, and specific geometrical lines. Santiago Calatrava has a knack for turning the geometrical lines into visually appealing smooth forms and shapes. His use of materials is also a very identifiable aspect to all of his architecture. Both the bridges and the buildings he designs include materials such as concrete, glass, and steel. Not every building uses each of these materials, but every building does include at least one of these specific materials. The bridges that he designs are always made of white concrete and steel. Although bridges are Santiago Calatravaâ&#x20AC;&#x2122;s specialty he also creates many freestanding structures. At times he will make the bridges or building that be designs give off the illusion that it is a freestanding structure. The bridges that he creates include asymmetrical deigns and also as in his buildings he includes many repeating vertical lines. These lines create illusion of height, and can also represent spiritual uplifting. Because Santiago Calatrava is known for his large scale designs, and daring architecture that requires his engineering skills he faces the issue of cost while designing his projects. He is a very ambitious architect and with all the design aspects that he includes in his monumental structures this becomes an important factor. - Masie Carr

Work Cited: All Images Jodidio, Philip. Calatrava: Santiago Calatrava, complete works, 1979-2009. Hong Kong: Taschen, 2007. Print. 93

of wood to accent things that he feels are important.

David Chipperfield is a great British architect that is still practicing today. His simple yet moving designs are shaping British Architecture. Even though it seems like a very abstract idea, he has the ability to allow a building to blend in with its environment while at the same time standing apart from the buildings around it. His use of simple colors and David Chipperfield geometric cutouts provide an 1953-present interesting take on architecture Britain that can at times be overlooked. Despite his simplicity, his work is very important to the architectural community. A vast majority of Chipperfieldâ&#x20AC;&#x2122;s work is very simple in design. He uses plain fronts with minimal texture and simple colors, such as blacks, whites, and greys, to convey his ideas of what architecture should be. Within these seemingly plain but intricate works of art, Chipperfield uses various types and colors 94

While the use of his plain fronts and simple walls may appear boring to some, he uses asymmetry and geometry to balance what some view as too plain. In many of his works, he cuts out areas of walls or of the floor plan in order to create some types of pattern and allows for variance. Though a pattern is often created, it is usually not followed throughout the entire building because of the aspect of asymmetry that he uses. Asymmetry is used in many aspects, from the patterns that he creates with geometric cutouts to the actual shape of the building. The asymmetrical design is often used so that the building is not so repetitive and boring to the eye. This creates uniqueness to every building that he creates while they still follow the same general principles. One other very important thing that Chipperfield does an excellent job of is in the integration of all of his building into their surrounding areas. Whether it

of wood to accent things that he feels are important. While the use of his plain fronts and simple walls may appear boring to some, he uses asymmetry and geometry to balance what some view as too plain. In many of his works, he cuts out areas of walls or of the floor plan in order to create some types of pattern and allows for variance. Though a pattern is often created, it is usually not followed throughout the entire building because of the aspect of asymmetry that he uses. Asymmetry is used in many aspects, from the patterns that he creates with geometric cutouts to the actual shape of the building. The asymmetrical design is often used so that the building is not so repetitive and boring to the eye. This creates uniqueness to every building that he creates while they still follow the same general principles.

One other very important thing that Chipperfield does an excellent job of is in the integration of all of his building into their surrounding areas. Whether it

A vast majority of Chipperfieldâ&#x20AC;&#x2122;s work is very simple in design. He uses plain fronts with minimal texture and simple colors, such as blacks, whites, and greys, to convey his ideas of what architecture should be. Within these seemingly plain but intricate works of art, Chipperfield uses various types and colors 95

is in the middle of a city of in relatively remote locations in nature, he manages to make the building a part of its surroundings. In regards to city buildings, he manages to use the space provided to make the building part of its surroundings while also allowing it to stand out as its own. Sometimes, he does this by the inclusion of a big glass window that serves as a barrier to the outside, but the transparency of the glass creates an ambiguous barrier that further blends his buildings with their surroundings. A great example of this is the House in Galicia in Corrubedo. This house sits perfectly in line with the other houses that it is in line with while fitting exactly in the area allotted to it. It is squeezed between two houses and there is a possibility that it could be missed. Chipperfield doesnâ&#x20AC;&#x2122;t allow this to happen. All of the other houses in the line are facing towards the street, completely ignoring the beautiful waterfront that is behind it. Chipperfield uses this along with his architectural prowess to create a space that stands out. He makes the house face the water and places a glass faĂ§ade on it that blends it with the natural environment around it.

One final major thing that Chipperfield does is his use of light to amplify the effects of a space. He includes various techniques that allow for light to enter a space, such as the integration of glass and the use of geometric cutouts. This light that flows in from the outside even further enhances the buildings relationships with their environments. The light that is present during the day flows into the building and lights the inside. In contrast, at night, the artificial lighting from the inside, when paired 96

with large glass faces, give the appearance that the building is glowing. All in all, Chipperfield is a great British architect that uses simple faces, asymmetric geometries, and light to create works of architecture that will always be regarded as significant.

Drawing of image in the style as taught by Eric Jenkins

Antonio Citterio was exposed to design from a very young age. He was born in Milan, Italy. His father, a craftman, introduced Citterio into the world of furniture making, which launched him into a career of design. He went to a design high school called the “Istituto d’Arte of Cantu”, and later went to the School of Architecture at the Politecnico in Milan. Antonio graduated in 1976, however Antonio Citterio thought that architecture 1950 school was total chaos saying Milan,Italy “it was forbidden to talk about architecture, with the results being that you no linger had an idea of what architecture was, much less aesthetics or creativity”. Because of this experience he turned away from architecture, and focused on his design. He found inspiration in the modern movement that was taking place, focusing on artisanship and industry. He was able to rethink everyday objects to make them 100

Cene, Bergamo Mark Hillesheim

both aesthetic and functional. He is able to observe how the world is changing and adapt his designs to fit it. “Antonio Citterio is the master of the good compromise. In the design process, he listens to all the needs and constraints of the program (issues of beauty, technology, price, etc.) and in a time consuming trial and error process, he proceeds until an appropriate solution is found”(Cappellieria 10). He was able to create highly successful chairs, tables, and storage systems. Citterio

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Cene, Bergamo Mark Hillesheim

101

eventually found his way back into architecture claiming that it was because of the extraordinary clients he was fortunate enough to find. He is able to use his problem solving skills he acquired through industrial saying that â&#x20AC;&#x153;Architecture only differs from design in its locations and scale, however, the production process is the same.â&#x20AC;? (16) He found inspiration in the masters of the modern movement like, Mies van der Rohe, Le Corbusier, and Aalto. He focuses on harmony with the landscape by putting his emphasis on structure and material. This is apparent in a private residence Citterio build in Bergamo. He is able to look back to the history of the surrounding area and continue the tradition, however he is able to incorporate his contemporary style into it in order to create a modern house that fits in with its surroundings. He creates a dynamic design by having tall reflective window, while using stonewalls to subdue the building and to create harmony with the surrounding landscape.

Cene,102 Bergamo Mark Hillesheim

Citterio finds structure to be just as important as material. This is best depicted through the Edel Music offices he created in Hamburg. He uses the structural design to create a simplistic and stylistic design that fulfills its purpose wonderfully. It

Edel Music Office Klaus Frahm 103

Edel Music Office Klaus Frahm

creates a calm and nondistracting workplace. This building too, relates to its surroundings by mimicking the reflective qualities of the nearby river, and also showcases the structure to relate to its industrial surroundings.

Figure 2

Bulgari Hotel, Bali _Rio Helmi

104

Bulgari Hotel, Bali _Rio Helmi

Another instance of Antonio Citterio synchronizing with his site is at the Bulgari Hotel in Bali. He is able to capture the historical significance of the area by mimicking the local style, but he is also able to incorporate his modern style as well. He uses organic materials, like wood, stone and straw, but he is able to use them in a streamline way connects it to the rest of his buildings. Throughout the building the structure is exposed creating a light and airy look to the building. He is able to continue his theme of function and aesthetics, while also keeping a sense of history and nature to the building.

Christian Bernier

Work Cited: Cappellieri, Alba, and Antonio Citterio. Antonio Citterio: Architecture and Design. Milano: Skira, 2007. Print. 105

Cabin

Croffead House The Architectural Firm of W.G. Clark and Charles Menefee, an American firm who practiced during the 1980’s and 90’s with a distinct style. The Firm mostly designed in the Modern Style popular in the 80s and early 90’s and almost always focused around the concept of a struggle between the lost of landscape in the natural and its replacement with. Clarke And Menefee Clark himself wrote “In the best 1982 architecture this replacement through an intesnification of the United States of America place, where it emerges no worse for human intervention, where culture’s shaping of the land to specific use results in a heightening of beauty and presence.” Since the very mindset of the Architect is to preserve the original nature of the landscape than we know that the concept of their work will be centered around this concept of “Replacemnt”. Clark and Menefee completed 22 projects together as a firm before splitting up in 1999. Of the 22, all but two are located

Clark House

106

Lucy Daniel’s Foundatio

in the American South in states like Virginia, Louisiana, but primarilry in South Carolina. These projects include a preschool, a hotel, and even a bus stop, however almost all of them are residential homes. Every single one of these houses has one thing in common; their location. All these houses are located in rural areas, out away from the cities and located on their own plots, away from other structures, giving them their own identity. When given these different locations, sperated from all else but the landscape around it, they work to design their buildings to fit into the surroundings as well as posssible. They attempt to fully “replace” the scene that they have disturbed with another scene of both landscape and architecture that work together to compliment eachother. Clark and Menefee are proposing a concept that architecture has an obligation to give bick to the area around it as a price for existing in that space. This is an easy task to do when design a home out in the middle of the woods in the middle of Virginia, however how can architecture give back to its

Cabin

Clark House

107

Lucy Daniel’s Foundatio

landscape when it is located in the middle of a heavily populated city? Clark writes, “We Fail to recognize that cities and towns by their very conciseness adn economy are great acts of conservation adn deference, and that they alone offer any hope of protection of the land. We fail to realize that good cities have distinct edges, whether natural or designed, that the placemnt of cities, their allegiance to the natural setting, is as important as that of te built form. Like the mill on the stream, a city must engage its place and make it better.” answering this question by believeing that cities aren’t and inbalance in structure and nature but the cities them selves come together to work as one piece of architecture that it self has its own landscape and thus responsibilities to its place. Although Clark and Menefee do mean this literally that the Architecture should conform with is surrondings, they also mean this on a deeper philisophical level. Clark summarizes this belief with what they call the “Three Places”. This belief is that each site is actually the combination of “three places”: the physical place, the cultural place, and the spirtual place. The physical place is the

Middleton Inn actual tangible place where site is located. The physical space contains things like earth sunlight, and a view. The second place, or the cultural place is the level of that space that contains the traditions and history of the humans who are related to the space. The final place, or the spiritual place is the least tangible but still the most powerful. The spiritual place of a location is the spaces ability to evoke emotions and fules our imagination. These three levels of architecture are not an orignial concept at all to clark and menefee since they

108

Croffead House

Reid House

Croffead House

Reid House

can are derived from Platoâ&#x20AC;&#x2122;s division of the Human Being into the body, mind, and spirit. The Firm of Clark and Menefee are famous for doing very few projects over their career and the very long process it takes them to complete a project. Although not often practiced in the modern world, this effort to slow down and complete things with precision rather than haste is a virtue that they were often criticised for. They fall victim the the struggle between what is ideal to do the best work possible and what is real where architects have to answer to clients on to the clients satisfaction. Which is interesting becuase this parallels the very struggle they face within their architecture itselft; what is ideal to design and what is pratical. They could have designed numerous differnet buildings that satisfied their every desire for full architectural replacemnet but it would never be built if it cost the client twice what the budget. This struggle is what every architect suffers from, when does Architecture truly achieve perfection, and when does it have to be have to be finished, despite its restrictions.

The Architecture Style of Clark and Menefee is centered around the concept of â&#x20AC;&#x153;replacemntâ&#x20AC;? but grew to a much deeper philisophical character that questions the nature of society and the role humans in the context of space and landscape rather than landscape in the context of humans. By establishing this relationship between nature and architecture, Clark and Menefee were able to distinquish their buildings as part of the original space because they took in the elements of the surrounding area and then engaged the landscape to make it beter.

Reid House

Bus Stop

Work Cited: Jensen, Richard. Clark and Menefee. (New York: Princeton Architectutal Press, 1999). 110

Middlton Inn (Cover Photo)

Reid House

Bus Stop

Work Cited: Jensen, Richard. Clark and Menefee. (New York: Princeton Architectutal Press, 1999). Middlton Inn (Cover Photo)

111

Waterloo Street Where L.N.Cottinghale lived and began collecting Gothic Artifacts

Gamekeeper’s Cottage Of all the famous architects in human history, none would be know if it wasn’t for the generation before them who experimented and laid the groundwork for their designs. Before modern architecture, there had to be previous era of architects to lay the groundwork for all the future men who would radically change the field from mere construction and L.N. Cottingham ornamentation to art of complex 1787-1847 design we have today. People always thought about space, it England is in our nature, and some have even experimented with it. An architect is not just a modern man but there have been architects all throughout history, including L.N. Cottingham. L.N. Cottingham, or Lewis Nockalls Cottingham, was an English architect who worked in the beginning of the 19th Century. Cottingham is known for being one of the many architects behind the Gothic Revival period. 112

Westminster Abbey

Chepel of King Henry VII

Cottingham was not just an architect but an expert on all things Gothic. One of the reasons Cottingham was so influential in this movement wasn’t necessarily because of the buildings he designed but because of the work he left behind. Possibly his greatest achievement, Cottinghame was a scholar who published many works on his structural analysis of Gothic buildings still in use at the time. The Gothic Revival was a period not just of constructing new buildings in the Gothic style,but primarily about the search for knowledge and the understanding of the Gothic Style. Cottingham was able to influence the practice of medieval revival architecture through his study of past research in comparison to different Gothic Buildings. He published his early findings in two works, Plans of Westminster Abbey (1822) and Plans,

Elevations, Sections, Details, and Views of the Magnificent Chapel of King Henry VII at Westminster Abbey Church, The History of its Foundation and an Authentic Account of its Restoration (1829) which

he intended to create an

Waterloo Street Where L.N.Cottinghale lived and began collecting Gothic Artifacts

Westminster Abbey

Chepel of King Henry VII

he intended to create an 113

archeological movement to discover more of the Gothic Period instead created a mostly architectural movement where more were willing to attempt then to research. This was a tremendous breakthrough at the time of Cottingham because up until then nobody was able to sketch and illustrate with such precision. In fact many of the other Architects at the time turned down the challenge to sketch King Henry’s chapel due to its very complex nature. These two publications started a string of many other scholars going and studying the other Gothic works of the time to expand the “technical knowledge of the Gothic structure”. Architectural Historians often credit Cottingham with being an innovator in this movement. The vast majority of revolutionary architects who came after Cottingham had a copy of his publications, many years after the Gothic Revival ended. Despite Cottingham being a Gothic Revival Architect, he had a rare sense of Romanticism in relation to Gothic Architecture for his time. In the preface to Plans of the Chapel of King Henry VII, Cottingham advised readers to ‘note down the impression made on

Gamekeeper’s Cottage his mind by their varied forms as a whole’ which was a mindset that very few Architects had at this time but then developed later on. A large part of these structural research esays came soley from the study of the Medieval Vault and its support of weight. Numerous times the scholars structural resarch would lead to the conlusion that the building itself was no longer safe due to damage over hundreds of years since its completion. One of the larger discoveries of Cottingham

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Westminster Hall

Waterloo Street Where L.N.Cottinghale lived and began collecting Gothic Artifacts

115

Westminster Hall

from all his research was the arguement that Architectural features such as rib vaults and flying buttresses originated from structural engineering, not architectural ornamentation. He then went on to propose that modern architectural elements derrived from the modern advances in engineering and the matierials available. Cottingham gained support for these ideas from an old friend who was a structural engineer and architect of St. Luke’s Church, Chelsea, John Savage, a credible engieer at the time. Savage wrote “The msot splendidn works of architecure, those which must affect and control the mind, have alwasy been produced by men who were eminent for their full mastery of the principles of construction. This knowledge is absolutely essential to any design that should combine the most valueable of all qualites originality, and simplicity. As an architect, Cottingham embodied these same beliefs that he did when he was just a Gothic scholar. As an architect, Cottingham had the same desire to interpret not just the methods of the Medieval builders but also their

Elvaston Castle

spirit. When designing, Cottingham tried to incorperate this very spirit which he learned from the great cathedrals and bring it to the different mansions he was comisioned to build. This wasn’t a trait unique to Cottingham but almost all the Gothic Revival Architects translated thier knowledge from the Church structures into every other structure they would design, spreading the Gothic Revival style into the whole of society. Despite being known primarly for his reaserch and not his architecture, L.N. Cottingham is still one of the most significant architects in Human History. He helped intiate the Gothic Revial and make it what it was which paved the way for the very Architecture wehave now.

St. Luke’s Church Chelsea, England

Cottingham’s Sketch of Henry VII’s Chapel Book Cover 116

Work Cited: Myles, Janet. The Great, L.N. Cottingham 1787-1847 Architect of the Gothic Revival. 3rd ed. (London: Lund Humphries Publishers, 1996).

Elvaston Castle

St. Luke’s Church Chelsea, England

Cottingham’s Sketch of Henry VII’s Chapel Book Cover

Work Cited: Myles, Janet. The Great, L.N. Cottingham 1787-1847 Architect of the Gothic Revival. 3rd ed. (London: Lund Humphries Publishers, 1996). 117

Schimdt Residence

Pine Forest Cabin

Cutler Anderson Architects is a firm nationally recognized for its designs and concepts. This firm designs mostly in Northwest America and is headed by James Cutler and Bruce Anderson. Cutler Anderson Architects originally starts off as Cutler Architects in 1977 with the base that nature is the essence in which buildings should follow and conform to, and to build around nature instead of Cutler Anderson Architects Since 1977 on top of it. With the addition of Bruce Anderson, a student of Brainbridge Island, Washington, USA James Cutler beforehand, came with the same ideas and brought the idea that the relationship between nature and architecture needs to be articulated in all the buildings and designs created. This firm is very strong on their beliefs, shown through their buildings. All of the buildings designed by Cutler Anderson Architects, allows for the â&#x20AC;&#x153;essence of the treesâ&#x20AC;? to show through and allows for nature to stay visible, while the house or building is what becomes more camouflaged. 118

Hewitt House

Like in the Schmidt Residence, the use of vertical lines and wood framing allow for the trees around the building to be equally part of the design. The building also uses the slops of the ground to dictate the design. The stone outline of the walkways grows and shrinks depending on ground, to keep it even, but still move with the nature. This idea of keeping the essence of the trees alive in the outsides of their buildings is often accomplished by having materials similar to the area as the outside, wood panels in a wooded area or stones near a rocky mountain side. In the Pine Forest Cabin in Methow Valley, Washington the tall ionic pines match the tall pine beams shown through glass windows and the long vertical pine panels of siding along the other sides of the house give the natural pattern of the wood a place to shine. However in the Hewitt Residence, where the trees were not the only main focus the bolder struck land was also brought into the outside design. By integrating the stone and the wood, the outside faĂ§ade of this residence becomes a mix just like the terrain. The other

Schimdt Residence

Pine Forest Cabin

Hewitt House

119

way the outside is mixed into the nature instead of being placed on top is the shape and size of the buildings. In many buildings, if the area was bare the buildings would be low to the ground and shaped to fit the earth, not the other way around. When designing on Lopez Island, Washington for the Reeve Residence, the house was to be placed on a side of a long narrow bolder, so the building took the shape of long and low to the ground as well. This creates the sense that the building was actually part of nature, and not man-made. This is because it fits into the rock instead of jumping out of it. Another way the building can fit into nature is when it is designed to be high into the trees on wooden stilts to fit with the wooded area like in the Paulk Residenceâ&#x20AC;&#x2122;s main house. The house is built up to be level to where the entrance is, but also to be part of nature. The house in Seabeck, Washington is in a dense area of the woods the idea to keep the trees as the focus, the house needed to blend into the woods and the tall pines. The use of pine beams for the stilts on the house makes the trees more emphasized and house less.

Reeve Residence

120

The Wright Guesthouse in Highlands, Washington is also an example of a flat, long and narrow because the area of the forest that the house is placed is a meadow next to the large pine tree forests of Washington. The house did not want to take away from the forest background or the meadow foreground. The house is built up to be level to where the entrance is, but also to be part of nature. The outside faĂ§ade of these buildings designed by Cutler Anderson Architects is not the end to the blending of

Paulk Residence

Reeve Residence

Paulk Residence 121

nature into the architecture. A great aspect to their company is furniture, innovatively creating natural and organic shapes and allowing for the blend of nature further into the home. The use of large windows, paths from outside to inside, and the use of wood and natural materials inside the house allow for almost the inability to define the space. The Guesthouse in Madina, Washington blends the inside and outside to the point where the stone fireplace in the dining room is built in connection to the stone wall outside the house, which follows the pattern of the natural stones there. One can see this easily because there is just a glass wall between the inside and out, almost completely eliminating the definition of inside and outside for this space. Because of the continuing of wooden beams from inside to out and the same stone floor, the definition of in and out is blurred to the point that all that is focused on is the nature right next to you. This idea that material can change the idea, emotion of a place, and emphasis on one aspect instead of another comes from

Guest House

a teacher of Cutler, Luis Kahn who believes that every material has an essence and from that a design can change spiritually. Even in the Spring Creek Ranch Golf House the use of inside beam work and the pattern of the chairs, designed by Cutler Anderson Architects, have a pattern to restate the idea of the house. This golf house being in Collerville, Tennessee the trees are not the big skinny pines, but smaller thick trees, which the building represents as its density is an aspect of the design. And the idea behind their want for people to go back to enjoying nature while in or outside a building comes from Le Corbusier in the 1930s and 1940s with his push for deurbanization. It can be seen in the designs and buildings by Cutler Anderson Architects that there is an understanding that architecture does not overtake nature, but weaves into the nature. Emily Curato

Guest House

Spring Creek Ranch Golf House

Work Cited: Kennedy, Alicia, Sheri Olson, and Theresa Morrow. The Best of Cutler Anderson Architects. Gloucester, MA: Rockport, 2008. Print. 122

Guest House

Spring Creek Ranch Golf House

Work Cited: Kennedy, Alicia, Sheri Olson, and Theresa Morrow. The Best of Cutler Anderson Architects. Gloucester, MA: Rockport, 2008. Print. 123

rear view, Golden Mile complex Golden Mile Complex

The Singaporean architectural firm, DP Architects is a firm that specializes in urban environments, something in which they express a great passion. They focus their efforts to make their buildings stand out within the city, while simultaneously pushing for integration within the urban environment. They are observant of the belief that architecture does not exist DP Architects by itself, but in relationship to 1975(Began as Design Partnerthe environment surrounding it. ship in 1967) Although not necessarily one of Singapore their main goals, there is a push to immediately appeal to anyone who views it. This push is especially evident in their more commercially oriented architecture. Through the following sampling of their architecture, we will see how their architectural style is manifested in real world projects. Resting near the waterfront, the Golden Mile Complex is one of their first buildings as a firm, then known as Design Partnership. It was to be the first of many in a step of revitalization of the 124

Grand Park Orchard

Velocity@Novena Square

Singapore downtown area. It is a multi-use building, housing both residential and retail. Its unique sloped shape aimed at giving those within the building the perfect balance of shade and light, as well as views of the bay for all of the residents. Grand Park Orchard, also in Singapore, is a building remodel, attempting to repurpose a hotel building and create out of it a new experience out of the elevenstory, with hotel rooms. The remodel included the moving of the internal elevators to make way for a large, 28-meter LED screen, which is situated where the building meets the street corner. Ve l o c i t y @ N o ve n a Square is another great expression of integrating architecture into the urban framework. The building itself is a retail area mostly focused on health and exercise, and this is expressed through the vibrant green color of the outside of the building as well as the lively, rippling shape of the structure. The structure itself makes a statement viewing it from the street; the energy that is inside the building is seemingly equaled to that of the outside.

rear view, Golden Mile complex Golden Mile Complex

Grand Park Orchard

Velocity@Novena Square 125

The building is something like a bright green wrapper that creatively ties and unifies the other main buildings of the complex--the two glass office towers, a mall, and a mass transit station—thus creating more of a singular urban hub. In creating the Dubai Mall, located in the United Arab Emirates, part of a complex of buildings that also includes the tallest building in the world, DP Architects attempted to create a different shopping experience than that of the normal mall. In fact, it creates to form something like a shopping city. They tried to recreate the feeling of a city by using narrow pathways and pedestrian “boulevards”, landmarks, simulating the urban environment. The shopping within is separated into their own distinct sections, many of which are organized by various landmarks and urban markers. Acknowledging the traditions of the Arab culture, there is use of traditional Arabic motifs throughout the building, a nod to the architecture that came before it. Esplanade—Theaters on the Bay was built in a response to Singapore’s desire to have a center for the arts. The main focus of atrium, Dubai Mall

Esplanade--Theaters on the Bay`

the complex is the theater and the concert hall. The both of them are covered in what could be described in rounds shells of glass and metal. The shell creates a dramatic effect within the inside of the building; the ever-changing dance of light and dark which is displayed within both the theater and the concert hall make one glorious experience. The entirety of the complex is oriented in the shape of a “V”, giving notice to the main civic buildings that make up the downtown neighborhood in which it rests and the nearby waterfront. 126

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Esplanade--Theaters on the Bay`

IMAGE name of building – Make sure to credit below the image…Respect copyrights

127

Another project located near Singaporeâ&#x20AC;&#x2122;s Orchard Road, Wisma Atria is a unique case in DP Architectureâ&#x20AC;&#x2122;s history, for they are the original architects of the mall originally built in 1986, and were commissioned to remodel the building twice. The first time it was remodeled, in the year of 2004, the aim was to bring the building outside of itself, and have a deeper dialogue with the pedestrians walking around it. The building, once opaque was made more visible to the street by the addition of glass. The pedestrian sign near the main entrance interacted more with the passersby; it extended out quite visibly in the form of a bright blue frame. In competition for attention with the other retail areas in the neighborhood, however, the main entrance was remodeled again. The white, tiled jagged edges of the old entry replace the cool, square frames of the first remodel. Through the unique form architecture, DP Architects aim to embrace and enhance the urban environment, and even when they are building outside of that environment, they reference that vocabulary

to draw on the spirit of the cityscape. Their passion for the city is shown by the way they construct buildings to reference the natural and built surroundings that exist around it. Whether one likes or dislikes their style of architecture, one can clearly appreciate their passion, and learn from it.

Visma Atria, 2004

Visma Artria, 2004

Visma Artria, 2012 128

Work Cited: DP Architects. DP Architects. Mulgrave: The Images PublishingGroup Pty Ltd, 2012. All Photos: DP Architects. 2012. 12 November 2012 <dpa.com.sg>.

Visma Atria, 2004

Visma Artria, 2004

Visma Artria, 2012

Work Cited: DP Architects. DP Architects. Mulgrave: The Images PublishingGroup Pty Ltd, 2012. All Photos: DP Architects. 2012. 12 November 2012 <dpa.com.sg>. 129

William Adams Delano was a contemporary architect. He started prac cing his contemporary architecture in 1915. Delano was good at drawing and art so being a contemporary architect just fit. William Adams Delano went to paris to study architecture in 1898. This is what really gave him his style. Seeing other forms of architecture especially contemporary in paris William Adams Delano gave him a great feel. Seeing January 21, 1874 to January 12, other forms of what you do helps 1960 you create your own style. Seeing something that is similar gets your Long Island, New York crea vity rolling to come up with your idea. That is what Delano did by going to Paris to study architecture. Delano was an architect during a booming me in america. Being such a great me in America, big mansions and houses were on a rise in the suburban areas. This was a perfect opportunity for the new architect Delano to start oﬀ his career in his new firm. The houses that were being built in these areas consited of, a 130

main house, another building like a garage, barn, or shed, and also a garden or some sort of landscape. Landscape was a big thing on this new form of architecture. Through the transi on of Delano’s work you can see that his gardens and or landscapes are a big part in his structural architecture. It makes his building pop or coincides with the building as a beau ful surrounding. At this me the styles that were traveling through america were what we think of now as old beau ful homes. Some of the styles were Georgian and Colonial. Delano felt stron about his architecture in and out and stated that architecture, “must be in control, if the design is to be a success” (The Architecture of Delano & Aldrich, 25). With the Georgian and Colonial style homes that Delano did he always brought his ar s c side to the interior. Being good at art through his life Delano made sure he brought that into his architecture. He would, for example, bring into the rooms he designed. He would paint murals on the walls that fit with the style of the house and room. Doing

this was a big help in making a welcoming home. Since he is the architect it is easier for him to portray what he wants the story of the building to tell through his art on the walls. Taking all the colors and pictures and the flow of the brush with the structures that he designed would make dominant homes that people loved. A big thing that Delano was good at was crea ng space. He would create beau ful, and even symmetrical space in his architecture. This is a great feature that he had because in architecture space is everything. From day one in class i learned that space is very important. For someone to create such spaces that were smooth symmetrical and that told a story was talent. William Adams Delano had talent. From the placement of his structure on the land to the placement of the plants and materials in his landscape, everything told a story and created beau ful space. As you can see in the picture below, the symmetry of the building is beau ful, the way he aligned the bushes is perfect. The bushes create a great open space in front of the house for numerous things: parking of automobiles, children at play, gatherings. The tall bushes preform as like a natural fence that blocks everything in. The color contrast is so welcoming. He portrayed that walking up the created space to the front of this building is warm, welcoming, and protec ve. The color is warm as the beau ful structure welcomes you and the natural barrier of the tall bushes guards you. This is a great example of how talented William Adams Delano was with his architecture, landscaping, color contrast and the ability to create space.

132

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One main thing in architecture is circula on. Circula on relies on mul ple factors. The circula on first depends on the floor plan lay out. How the rooms are laid out is a big part of the circula on. Delano was very good at crea ng a well balanced circula on. Hall ways are a hard part in the circula on because you don’t want to create track. Delano had a knack for crea ng great walk ways and with the space that he created he was able to balance out the circula on. He would put rooms that have least circula on away from the ones with the most. For instance, if the house was a ranch then William A. Delano would put the bedrooms on back end or along the exterior walls, away from the more circulated rooms, like the living room, dinning room, kitchen, etc. which would be located in the front of the house and or middle. This is a very smart idea because the most traﬃc is between the kitchen, bathrooms, and living rooms. On a mul ple story home Delano would place the bedrooms and other least traﬃcking rooms on the top floor. The reasoning would be

because all of the room with the most traﬃcking would be located on the first floor with the garage, and entrance. The rooms with the least traﬃc would be located upstairs where one would only have to go minute amount of mes. Delano also had a great circula on with the exterior of the house. As pictured to the le , Delano laid a beau ful path, one side to walk into the home and another to walk out. That is a clear cut and perfect way to form a healthy circula on. That is also followed by his great landscape. Delano had the whole package in architecture. His styles were beau ful and his works were simply amazing. He could do every part of the designing by himself because he was so talented. The works and styles that he preformed will be studied for years to come. David J. Del Rio

Work Cited: Pennoyer, Peter. Walker, Anne. Stern, Robert. Jayne, Thomas. The Architecture of Delano & Aldrich. (W. W. Norton 2003) 134

Work Cited: Pennoyer, Peter. Walker, Anne. Stern, Robert. Jayne, Thomas. The Architecture of Delano & Aldrich. (W. W. Norton 2003) 135

1983 to 1988 was a five year span that Neil M. Denari lived and worked in New York City in the United States of America. He started his architecture career in Paris where he interned for a li le me. That was a great experience because he got out of the states and into the world to see different architecture. Seeing different architecture gave him a great u Neil M. Denari understanding of different things September 3, 1957 he can do. There are so many different structures out in the New York City/ United States world and ge ng out seeing them only made him a be er architect. Neil M. Denari is an abstract architect. He likes the realism in architecture and likes to bring that into his work. Denari’s architecture has a lot to do with systems. He states about a system that, “Virtually all condi ons in the world operate via systems that organize and structure a comprehensive assemblage of equipment (ar ficial or natural) and informa on (Gyroscopic Horizons, 17). Neil thinks that architecture 136

is a part of nature. He wants his architecture to be one with the people and nature. He states, “Architecture is a commodity for a few, a necessity for most, and poten ally desired by all.” This basically talks about how he designs his architecture. He designs it nice and luxury yet with the creden als that people need. The result is a beau ful structure that is suitable for people’s needs. Materials are big with architects. Materials are on of things that ma ers most. Because of a material a space can feel bigger or smaller even brighter or darker. Neil is a big user is very appealing materials. One of the materials he uses a lot of is glass. He states, “Above all, though, glass is the most eﬀec ve conceivable material expression of the fundamental ambiguity of atmosphere: the fact that it is at once proximity and distance, in macy and the refusal of in macy, communica on and no communica on. Whether as packaging, window, or par on, glass is the basis of a transparency without transi on; we see, but cannot touch. The message is universal and abstract” (Gyroscopic

Horizons, 20). The material dates back to where I talked about being one with nature. Neil M. Denari likes to use materials to show his surroundings. For example in the city, like New York City, Neil used a lot of glass and shiny, reflec ve metal. He does this for mul ple reasons, some of which to show the surroundings. The glass can be transparent or reflec ve either way works. Reflec ve shows the actual surroundings. Being reflec ve shows the city and how fast itâ&#x20AC;&#x2122;s moving. It makes the building look even bigger reflec ng oďŹ&#x20AC; other buildings as if they go forever. Now transparent also works. Using transparent glass shows the inside of the building. Thinking of a city you think cooperate big sky scrapers. Show the inside of the building gives the corpora ve city feel. With transparent glass you can also show things you canâ&#x20AC;&#x2122;t outside. Showing a nice looking lobby or structures inside is a great a rac on to bring people in and make it look nice for the exterior. Using a shiny metal is also a great thing that Neil uses in the city. Using a shiny metal gives the fast city like feel. Walking past a building with metal on it does not give you clear reflec on. Instead the reflec on is fast moving and disfigured as it would be in super speed. Now thinking of a city you think super speed and never ending so it is a perfect fit. In the building above that i drew is a perfect example. It is a modern building with a bunch of glass and metal used. The le side as you can see Neil used a lot of tanium metal to show the slickness of the building. Looking at the structure from the ground looks like it is just so slick with the metal and the way it stands on 138

its legs. Moving to the side you can see the transparent glass with a blue nt. This shows a deal of what is inside the building. It is amazing because of one side you have a superfast slick feeling. Moving to the other side you get a feeling of warmth and wonder as to what else is in side beyond your viewing point. Denari does this eﬀect on purpose. As Neil’s career went on technology improved. As technology improved, architecture improved. This is how Neil M. Denari’s designs improved. The computer programs gave him even be er chances to go the swerves with materials that he liked to do. This really helped out his like for modern architecture and crea ng structures. This also gave him a chance to fool around with colors. If you no ce in Denari’s architecture, he has a lot of vast color. With the programs as they evolved it gave him a be er chance to place with color. As me went on Neil M. Denari started to get more into technology. In 1992, Neil got focused on more technology based architecture, for example planes. He felt that in cinema

there is an unlimited amount of possibili es. Neil M. Denari states, “Architecture has its most impressive eﬀect when it is understood as a material discourse. Not to con nue the project of building as merely the restatement of the real, this eﬀec veness asserts the idea that architecture is the experiment medium” (Gyroscopic Horizons, 9). He talks about how objects are viewed. Knowing this helps him create his architecture. He states a func onal logic has value use, economic logic of exchange value, logic of symbolic exchange, and logic of a sign value. Knowing these values and taking them into considera on as he creates his architecture or materials helps his product be more successful. Neil M. Denari feels that architecture is a movement. He feels that each me something is created is a new movement in architecture and each thing bring something new to table. Bringing something new, taking that inferring it into a new structure and crea ng another new thing as an on going cycle. As me goes on architecture becomes newer, and new things are created. As you can see and read about Neil M. Denari his architecture and crea ons grew in a new movement and trend. David J. Del Rio

Work Cited: Denari, Neil. Gyroscopic Horizons. (Princeton Architectural Press, New York) 140

Work Cited: Denari, Neil. Gyroscopic Horizons. (Princeton Architectural Press, New York) 141

Broadway TabernaclePerspective drawing

First Congregational Church of New London, Conneticutt

Leopold Eidlitz is an architect from the mid to late eighteen hundreds known for his push into the “Gilded Age” for architecture and use of the modern transcendentalists ideas in his designs. He is also know as a founding member of AIA and writer and critique of many other buildings Leopold Eidlitz and architecture in general. 1823-1908 He is actually more known for New York City, New York his writing and teaching of (educated in Austria) architecture than his buildings because most have not been kept and most of his sketches and notes have been lost. What is left however still can depict what Eidlitz’s main ideas for design were. In many of the churches he designed, including the First Congregational Church of New London, in New London, Connecticut, his typical “German Idealism and American Transcendentalism” shows through as a main idea behind the designs. Being from Eastern Europe and studying in Europe, there 142

St. George’s Episcopal Church

Temple Emanuel

are many aspects to Eidlitz’s designs that are based off of historical forms like Goth, Romanesque or Moorish. However, the American aspect was that he took the ideas of the past and used them to answer questions of the present for different buildings. Eidlitz believed that designing religious architecture was the highest form of architecture. In this perspective drawing of a church Eidlitz designed, Eidlitz’s work of detailing flying buttresses and tower show the passion for religious buildings. His ability to take information and ideas from the past made him versatile in his ability to design all different types of religious buildings. Like the design for St. George’s Episcopal Church in New York is in a similar style to the Congregational church, both coming from a Gothic influence, however both meet the needs for their respective branches of religion. He believed that to design a religious building one could not be held down by their own religion and had to look to what the philosophy of the religion they were building for said. At many points in his life,

Broadway TabernaclePerspective drawing

First Congregational Church of New London, Conneticutt

St. George’s Episcopal Church

Temple Emanuel 143

Eidlitzâ&#x20AC;&#x2122;s work was questioned and critiqued for mixing and altering classical styles. In the 1866 Temple Emanu-El in New York City, many people criticized Eidlitz for his mix of Moorish outward appearance and sectionally looking like a Christian Church. Combining both Gothic style and Moorish themes, Eidlitz created the Temple Emanu-El. This synagogue was what Eidlitz thought to be his masterpiece because of his ability to manipulate different styles of architecture and ideas of what should be in the synagogue with new and innovative ideas. His ideas were a mix of Christian and Jewish ideas and the building resembled many ideas from both. Eidlitz designed buildings for Jewish, Protestant, Catholic, Presbyterian, and Episcopalian groups but he designed most for the Congregational Churches in New England. Eidlitz took pride in the fact that he could change and be relevant. For example, after an AIA meeting when a man discussed how CastIron was overused for no good reason and regular Iron should be used again, Eidlitz designed a bank out of iron to see if it was just as good and durable. Throughout Eidlitz life he searched for

First Church of Christ

144

Astor Librar, New York

new ways to define what was beautiful through the idea that a beautiful and culturally meaningful building could change a whole experience in a city or place. When even designing banks or libraries, he aspired to meet his goals to influence the people and area and to keep with the modern ideas and allow for the people to understand the building and what it stands for. He also always tried to make and find new ways to make the inner matter resonate and connect to the outside faĂ§ade like in the Assembly Chamber for the New

Assembly Chambers New York State Capitol

First Church of Christ

Astor Librar, New York

Assembly Chambers New York State Capitol

145

York State Capital, originally designed by Eidlitz. The bright interior and extensive patterning was thought to be a strong message of the power within the government. He worked to find his ideas with what the correct amount of structure and ornament was needed to create a mature and respectable building. With this idea was also the idea that the reason for the building had to be expressed in a way that made you think past the initial reason for being there. Even with a bank or library. Eidlitz worked in the bank he created in New York City and believed that every time even her walked into the building he thought about what the building was saying and if it was changing with the times, like he wanted it to. He always wanted his work to keep with the times and be able to change and mean different things to new generations and eras. Eidlitz main style idea was a rational equation between expression and construction and the subject and science. The science behind it was to get the characteristics and odd mode of representing and expressing the process of a

Exteriour New York State Capitol

structure and idea behind the building represented throughout the whole construction and refiguring how to represent those aspects as the construction proceeded. A German philosopher, Robert Vischer believed and wrote of the connection between the viewer’s emotion and art and architecture. With this Eidlitz used symmetry in many buildings because of the effect on views it gave. Like in the design for The Brooklyn Academy he hoped that the symmetry would hide the expansiveness of the building itself. He also designed with the intention of using identifiable characteristics for buildings to ‘help’ and guild the public to a conclusion about the building. Leopold Eidlitz was determined to keep with the times and use the past in new ways to create buildings that drew the viewer in and created an emotional response. Emily Curato

American Exchange Bank

The Brooklyn Academy

Work Cited: Holliday, Kathryn E. Leopold Eidlitz: Architecture and Idealism in the Gilded Age. New York: W.W. Norton &, 2008. Print. 146

Exteriour New York State Capitol

American Exchange Bank

The Brooklyn Academy

Work Cited: Holliday, Kathryn E. Leopold Eidlitz: Architecture and Idealism in the Gilded Age. New York: W.W. Norton &, 2008. Print. 147

Foster and Partners is an international architecture firm with studio locations across the globe. The main studio, known as the Riverside Studio, is located in London, England. Other studios are located in New York, Madrid, Abu Dhabi, Hong Kong, Shanghai, and Beijing. The firm does work in various locations across Europe, Asia, and the United States. The Norman Foster firm’s early work began in the June 1st, 1935 early 1960s. The work of the firm became more defined in the London, England 1970s. The practice’s early work mostly consisted of lightweight, steel-framed enclosures that are adaptable to growth and change. Such structure was done mostly for industrial projects, such as the Sainsbury Centre for Visual Arts, located in London, England. (Top image on next page.) The success of the gallery’s interior is due to it’s distinct exterior. It consists of three different types of steel cladding panel that have the ability to be reconfigured in any 148

combination with no difficulty. This project serves as a major example of Foster’s early work through the use of steel systems that can be rearranged, making the building easily adaptable as time goes on. As the firm did more projects, it continued to affect architecture by exploring the integration of structures and their specific services. “We believe the quality of our surroundings can lift the quality of our lives.” The quote taken from Foster and Partner’s website ( http:// w w w. f o s t e r a n d p a r t n e r s . com/ ) speaks to the firm’s consistent intent to improve the experience taken from each building they design. A majority of the projects done by the firm are social, public spaces. Although Foster and Partners has designed several well-known private homes, most projects assist the general public. These projects serve purposes of community, conference, culture, education, health, government, industry, sport, and office space. Foster’s work does an excellent job in bringing several purposes together within one space. Most of the firm’s projects

have the ability of serving more than one function smoothly. Many projects also presented several different challenges the firm had to face when designing the building. A prominent example of both these themes is the New German Parliament building in Berlin, also known as the Reichstag. (Shown below.) The design process began in 1992 and was completed in 1999. The purpose was to rebuild the original Reichstag, which was previously damaged by war and was never properly restored. Upon beginning this project, Foster faced four major aspects that had to be taken into consideration for the design. They were: the building’s significance as a democratic forum, a commitment to public accessibility, sensitivity to its history, and its responsibility of functioning a meticulous environmental agenda. Through Foster’s design, the building is open to both public and politician use. It’s main feature is a glass masonry shell that both allows in natural light and puts the activities within the building on display for those just passing through and observing. In this way, it serves dual purposes. As the firm’s work continued and advanced, several common themes are seen among its projects. One of the themes is a subterranean or partially buried building, which is a style that was used in the firm’s early work and continues to be used. Digging a building into the ground usually reduced costs for the project as a whole and made the structure far more energy efficient. These subterranean buildings appear to be dissolving into the landscape they are placed in. This style or method began to be used in the early 1980s, and evolved from there. One of the more 150

building that is used as a broadcasting center. Bridges as a way of passing through the building is another style often seen in Foster’s work. Bridges have been used to both connect buildings to each other on the exterior, as the person using the space remains in the building. They are also heavily used in the interiors of buildings within the upper levels. This creates more open spaces for people to walk through the building. It ties into the use of transparency within much of the works. The firm has also designed numerous actual bridges for clients. Procession throughout the buildings is also a key theme in the firm’s work. The firm has designed several centers of transportation. Each of these projects’ design focuses on the way in which people move through the space. The top priority is to make the space navigatable so that users can get to their transportation easily and in a timely manner. Aside from transportation centers, an emphasis on procession and pathways through the space can also be seen in certain office spaces and social centers. Foster’s work modernized and advanced architecture by asking how the experience of the building can be improved, or redefined. Several of Foster’s works attempt to recapture or redefine the very use of the space. The works also show an advancement in technology over time. Almost every project is significantly energy efficient in more than one specific way. The projects also usually used prefabrication, especially for metal cladding systems, as a method of production, a technological advancement. This also helped buildings to be more adaptable to change as time goes on. --Allison Friedel

modern buildings that uses this style is the Great Glasshouse, a part of the National Botanic Garden of Wales, located in Llanarthne, Wales. (Shown on previous page.) Built in the late 1990s and completed in 2000, this structure is described as appearing to be “cut discreetly into the hillside.” The building’s location inside the hill provides the plants inside of the building with protection from the cool, North winds. Another common style seen in Foster’s work is the use of transparency. Glass is used as a material in almost every single building designed by Foster and Partners. This is expected seeing as the firm stresses energy efficiency in almost every project as well. Most buildings take full advantage of natural light. In addition, transparency is put to use in the interior of the building. The design of ITN Headquarters (bottom right image on previous page) in Londdon, England, for example, utilizes inner balconies and glass walls around office space. While the offices are private areas, transparency exists for the purpose of communication. This is especially fitting to a

Works Cited: Foster, Norman. Foster: Catalogue 2001. Munich [u.a.: Prestel, 2001. Print.

152

“Foster + Partners.” Foster Partners. N.p., n.d. Web. <http://www. fosterandpartners.com/Projects/ByType/Default.aspx>.

Works Cited: Foster, Norman. Foster: Catalogue 2001. Munich [u.a.: Prestel, 2001. Print. “Foster + Partners.” Foster Partners. N.p., n.d. Web. <http://www. fosterandpartners.com/Projects/ByType/Default.aspx>. 153

Rouse company : http://www. flickr.com/photos/rob_goodspeed/451691937/

Frank Gehry was born in Canada, in his teenager years he moved to the U.S. where he then became a U.S. citizen. Most of his early influences were in southern California with modernists such as Raphael Sorlano, Harwell Harns, and Richard Neutra. Ghery also mentions Frank Lloyed Wright and more importantly Alvar Aalto as two of his biggest influences. Frank Gehry Gehry began his firm in Los Angeles February 28-1929 in 1962, he named it Gehry United States, Los Angeles CA Associates now known as Gehry Partners, LLP. In the early years of his firm he worked with sculptors and painters, and eventually started to build homes for some of his close artist friends. Most of Gehry’s first large building designs were very conventional, with geometric square shapes and basic materials, such as concrete. One building that displays this conventionality is the Rouse Company headquarters in Columbia, Maryland. The Rouse headquarters is comprised of very geometric shapes and a basic concrete medium 154

Barcelona Fish: http:// thomasmayerarchive.de/

Chiat/day Hainstreet Headquarters: http://www.santamonicapropertyblog.com/

and is simple compared to Ghery’s work to come in the future. Ghery then began to transform his works into more fluent shapes and was drawn to smoother materials and even shiny materials such as metals. Ghery claims that the Barcelona fish is what transformed his work. While it has no purpose to the actual function of the building its very fluent organic form and use of metal sets the tone for his later work. One example of Ghery’s new evolved style is the team Disneyland administration building, it consists of very curvy deformed geometric shapes that create a very playful cartoonish appearance. The American center in Paris is another great example; it displays the same deformed geometric shapes and even has a similar smooth yellow exterior as the Disneyland administration building. The Vitra Design Museum and factory, is a furniture museum in Germany (sketch1). It is comprised of many shapes varying from some smooth circular shapes to harsh jagged square shapes. Gehry seems to limit his use of materials to a white plaster to act as the

Rouse company : http://www. flickr.com/photos/rob_goodspeed/451691937/

Barcelona Fish: http:// thomasmayerarchive.de/

Chiat/day Hainstreet Headquarters: http://www.santamonicapropertyblog.com/

155

main surface of the exterior and dark metal to act as the roof. The building allows curved forms to break up the very harsh angular shapes that seem to jut out across the building. One of the most pivotal buildings of Gehry’s was the Guggenheim Museum; he was able to utilize new computer software that allowed him to create his very extravagant designs with the aid of a computer. Gehry later went on to develop the program into his own and named Catia. The Disney Concert hall was then built with this software in 2004, the concert hall features many of the same characteristics of the Guggenheim, with Its very curvy, metal exterior. The EMP Museum or the, Experience Music Project and Science Fiction Museum, in Seattle is another great example of the utilization of this software. The Museum is an array of many different metals and shapes, and one of the figures within this building is said to be a smashed electric guitar. Gehry collected pictures of Stratocaster guitars and began to bring in guitar body shape into the design of the building. This idea of hidden forms is very significanrt in Gehry’s work.

EPM Museum: http://upload.carlcares.org//commons/9/9d/Aerial_view_of_ EMPSFM.jpg 156

The Guggenheim displays several shapes which includes a ship a flower and a fish. This idea of hidden forms or creating these shapes in buildings is very common in his work. Another example of this is in the Chiat/day Hainstreet Headquarters, Gehry created a large pair of binoculers which acts as an entrance into the building. Another image/ form that seem to appear in Gehry’s work are fish. Examples of this can be seen in his breakthrough piece the Guggenheim which also contains the shape of a fish with its head and tail cut off.

American center: http://www. flickr.com/photos/yellowmo/3550780532/

EPM Museum: http://upload.carlcares.org//commons/9/9d/Aerial_view_of_ EMPSFM.jpg

American center: http://www. flickr.com/photos/yellowmo/3550780532/ 157

Other examples of this are the Inhabitable Fish which is a large fish sculpture that acts like the entrance to and entrance, like the Hainstreet Headquarters. Not only does the fish play a role in the designs of his buildings but also in his design of jewelry and furniture as well. Another important aspect of Gehrys’s work is his very unique process of design. He begins with a very abstract sketch just to get an idea of the shape of the building. He then creates a more readable sketch before creating a very simple model. Gehry continues to develop his models until he has a clear understanding of them then the building is placed into Catia where much of the structural and engineering factors are worked out. Much of Gehry’s work falls within the style of deconstructivism, the ability to go beyond current models of structural definition, the forms don’t reflect specific social or universal ideas. His past in sculpting is clear throughout his work in the hidden forms and stories within his buildings. Gehry’s style at times seems unfinished and to some people even crude, but his work is

always consistent and speaks of a common language. Gehry’s use of deformed shapes and common material use creates a fluent language amongst his buildings making them very unique and recognizable. -Alexandra Garner

The Inhabitable Fish: http:// www.eikongraphia.com/ wordpress/wp-content/ Fish_dance01_2816%20in%20

Disney Concert Hall: http:// good-wallpapers.com/pictures/3738/Disney_Concert_

Disney Concert Hall Sketch: http://www.bing.com/images/ search?q=frank+gehry+americ 158

Guggenheim: http://www. karieandscott.com/blog/wpcontent/uploads/2008/07/

Work Cited: Friedman, Mildred. Gehry Talks. (New York; Rizzoli Internatioal Publications, 1999)

The Inhabitable Fish: http:// www.eikongraphia.com/ wordpress/wp-content/ Fish_dance01_2816%20in%20

Disney Concert Hall: http:// good-wallpapers.com/pictures/3738/Disney_Concert_

Disney Concert Hall Sketch: http://www.bing.com/images/ search?q=frank+gehry+americ

Guggenheim: http://www. karieandscott.com/blog/wpcontent/uploads/2008/07/

Work Cited: Friedman, Mildred. Gehry Talks. (New York; Rizzoli Internatioal Publications, 1999) 159

Gagosian Gallery

Richard Gluckman is known for his art of display. He is one of the top designers of galleries and museums today. Gluckman believes in a collaborative approach to design. He starts with discussion in the studio with a design team with a focus on interaction and investigation. The team accomplishes this through a variety of methods such as sketches, computer programs, and 3-D RIchard Gluckman models. Gluckman likes to bring engineers and consultants in on Born June 16, 1947 the project at an early stage to New York, NY integrate them at the beginning so they better understand the project. Throughout the project development the client plays a huge role. This gives the client an opportunity to see a step by step progression of the project, which opens up communication and helps the architect get a better idea of what the client wants. Gluckman’s architecture is largely defined by clarity 160

Gagosian Gallery

and restraint. Clarity can characterize a building, clarity of form, clarity of spatial diagram, clarity of structure, and clarity of materiality and detail. While creating a clear and functional space, you cannot be excessive or overbearing. It is all about balance. The Gagosian Gallery in New York City is an appropriate representation of his design of display, as it achieves most of the elements of his design principals. Above all else function is essential, each museum has different needs for displaying collections of art. . Originally the building was just a distribution garage, but surprisingly the changes were mostly to manipulate the interior of the building. There were many challenges and requirements because of the variety of the artwork being displayed, some exhibits were temporary, some were large and needed a large open space. The hardest part about having temporary exhibits is Gluckman had to design a space that could work with any type of art, and not just “work” but still create an experience

Gagosian Gallery

The Gagosian Gallery in New York City is an appropriate representation of his design of display, as it achieves most of the elements of his design principals. Above all else function is essential, each museum has different needs for displaying collections of art. . Originally the building was just a distribution garage, but surprisingly the changes were mostly to manipulate the interior of the building. There were many challenges and requirements because of the variety of the artwork being displayed, some exhibits were temporary, some were large and needed a large open space. The hardest part about having temporary exhibits is Gluckman had to design a space that could work with any type of art, and not just “work” but still create an experience

Gagosian Gallery

Gagosian Gallery 161

for the viewer. Gluckman does this with his use of materials, he used 100 ft spanning steel trusses as support for the roof so columns wouldnâ&#x20AC;&#x2122;t interrupt the artwork. These trusses gave the gallery the ability to show larger(taller) exhibits. Ten foot high, translucent plastic clerestory are a source of natural light which brings light in during the day and gives the building a presence at night. Gluckman is known for incorporating the old in with the new when he is transforming an older space. He does this through keeping one of the defining features of the garage, the garage doors. He uses frosted glass in the gridded doors and keeps the spirit of the garage in the gallery. Another great transformation of Gluckmanâ&#x20AC;&#x2122;s is The Museum of Contemporary Art in San Diego, CA. This project is unique because it is a modern addition to an older building, Gluckman worked with a preservation architect. The existing building is the 1915 baggage building, adjacent is the former railway express agency building. The existing building is in the style of Spanish

MCASD Addition

Bagage Building Mission Colonial Revival style with Moorish influences. That means it has and exterior of brick and stucco, spanish clay roof tiles, and historic wood storefronts with historic glass. These finishes were restored to preserve the buildings character. On the interior Gluckman made use of the steel truss roof system and the high clerestory windows to incorporate the old with the new. The rest of the interior was made into large light filled spaces, ready for installation art. MCASD Addition

162

MCASD Addition

The Addition next to the baggage building is three stories, this building really accentuates Gluckman’s attention to material. The addition has a 10 foot concrete base and the facade is made of corrugated metal panels, channel glass, and aluminum storefront windows. The pattern of windows and metal panels outlines the space within the building. The metal panels match in color to the building museum’s terra-cotta roof tiles, so this helps the blend in with its surroundings. The corrugation of the panels looks like the side of an old box car, which is appropriate because it is on the site of the old railway express agency building. The new building is not just exhibition space but includes offices, a classroom, and room for Amtrak users. This building successfully makes a seamless transition between old and new, while increasing the functionality of the spaces.

MCASD Addition

communicating and including clients so they end up with the result they want and sometimes more than they had expected. His use of material and incorporation of the old into the new is something everyone can learn from. He teaches us new isn’t always better and sometimes we have to go back and find out what worked in an old building and bring it into our designs to better our architecture. Gluckman changed the traditional gallery from the popular “white cube”, to a space that doesn’t just hold art, but is art in itself.

MCASD

Gluckman has advanced the field of architecture through his collaborative approach to design and his way of

MCASD Addition 164

Works Cited Photos: David Heald courtesy MCASD Mertins, Detlef. Frame Work: Gluckman Mayner Architects. New York: Monacelli, 2009. Print.

MCASD Addition

MCASD

MCASD Addition

Works Cited Photos: David Heald courtesy MCASD Mertins, Detlef. Frame Work: Gluckman Mayner Architects. New York: Monacelli, 2009. Print. 165

Another one of the main features of Holl’s design is his

deliberate manipulation of light. His buildings that show this the best are those that mainly consist of solid geometric forms

Institute for Contemporary Art- VCU

is even coming from.

Sarphatistraat Offices- Amsterdam, The Netherlands

The most common concept throughout Steven Holl’s architectural design is the use of metallic grey cubes that are pierced by many random holes and cutaways. He uses these forms to control and shape the space in and around the structure into a work of art. His buildings are sculpted in a way that can distort reality, and create a

unique experience. Despite having such repetition in his design, each of his pieces always has some

The NYU Department of Philosophy

December 9, 1947 United States

unique aspect or feature that builds off of his past work. He makes an effort to constantly redefine and retell that same central idea, of this structure that can succeed at creating so many paths and

166

Although most of Holl’s work is characterized by the use of straight, rigid forms, he does employ more abstract and organic shapes in quite a few buildings. One example is the use of abstract rounded cutouts that are scattered around on one surface in or on the outside of a structure as an accent that allows for interesting light patterns that add a playful, surreal atmosphere to the

Steven Holl

connections throughout itself, and the environment around it.

entirely made of white. In those designs, his use of cutouts is less prominent, and on the inside of the space, he carefully controls both natural and artificial light in a way that illuminates the space, but makes it appear almost ethereal, since it isn’t really apparent where the light

space. The appearance of this feature in the door of the Chapel Chapel of St. Ignatius, Seattle

of St. Ignatius is a necessary touch, because it brings life to

Another one of the main features of Holl’s design is his

deliberate manipulation of light. His buildings that show this the best are those that mainly consist of solid geometric forms

Institute for Contemporary Art- VCU

is even coming from.

Sarphatistraat Offices- Amsterdam, The Netherlands

Although most of Holl’s work is characterized by the use of straight, rigid forms, he does employ more abstract and organic shapes in quite a few

unique experience. Despite having such repetition in his design, each of his pieces always has some

The NYU Department of Philosophy

buildings. One example is the use of abstract rounded cutouts that are scattered around on one surface in or on the outside of a structure as an accent that allows for interesting light patterns that add a playful, surreal atmosphere to the

Steven Holl

December 9, 1947 United States

space. The appearance of this feature in the door of the Chapel Chapel of St. Ignatius, Seattle 167

of St. Ignatius is a necessary touch, because it brings life to

the thick structure of metal and glass, especially because it’s the one feature of that uses wood, a warm contrast to the rest of the

building. Holl was able to bring an organic touch to the space, which allowed him to keep the design true to who he was as an architect while not forgetting the function of the sacred space. Another concept that Holl plays around with is color. In some of his designs he uses his basic geometric forms and then adds in accents of color in unexpected ways. Sometimes, he manipulates his glasswork so that it will refract light into rainbows that bounce around the interior of his spaces, or in other cases, like Simmons Hall at MIT, he includes bright colors along the inside of the windows, and the building is illuminated by different colors depending on the lighting conditions. The MIT project is also significant because it serves as a representation of Steven Holl’s concept development

Linked Hybrid- Beijing, China

process. Simmons hall is an obvious stepping stone in the train of thought that led to the creation of the Linked Hybrid project in Beijing. The basic design of Simmons hall is based around a sponge, which is most apparent in the organically shaped “holes” that form the stairways throughout the building. In Linked Hybrid, these pathways have been pulled to the exterior to connect all of the different Chapel of St. Ignatius- Seattle 168

towers of the structure. These bridges allow for people to

Simmons Hall- MIT

the thick structure of metal and glass, especially because it’s the one feature of that uses wood, a warm contrast to the rest of the

Linked Hybrid- Beijing, China

towers of the structure. These bridges allow for people to

Simmons Hall- MIT 169

pass between the residential areas to the commercial and

his varying techniques of either moving people through his spaces along curved, sloping, relaxed pathways, or direct, straight, quicker routes.

public greenspaces easily, and activity inside the community doesn’t have to be affected by

weather

conditions.

Also, the convenience of the bridges encourages people to travel by foot rather than

Simmons Hall Section

by vehicle, which lowers the environmental impact of the

Throughout his career, Steven Holl has consistently worked to redefine conventional architecture, while always keeping his own signature style. He doesn’t allow the constraints of necessity hold back his artistic expression, and his drive to create innovative and unique architecture. - Juliana Holland

Linked Hybrid

depending on perspective. No matter what the project, Holl’s most important goal seems to be to look at the function that a structure will serve, and then figure out ways to fulfill that function in a way that is distinctly different from the traditional method. His most common way of doing this is through the manipulation of space and circulation through

Work Cited: Mosco, Valerio Paolo., and Steven Holl. Steven Holl. Milan: Motta, 2010. 170

Holl, Steven. Architecture Spoken. New York, NY: Rizzoli, 2007.

pass between the residential areas to the commercial and

his varying techniques of either moving people through his spaces along curved, sloping, relaxed pathways, or direct, straight, quicker routes.

public greenspaces easily, and activity inside the community doesn’t have to be affected by

weather

conditions.

Also, the convenience of the bridges encourages people to travel by foot rather than by vehicle, which lowers the environmental impact of the

Simmons Hall Section

community. Both projects also have clearly similar exterior designs, with solid forms cut into with many prominent square-based windows that have bright colors painted on the inside of the window frames, which change the look of the structure depending on perspective. No matter what the project, Holl’s most important goal seems to be to look at the function that a structure will serve, and then figure out ways to fulfill that function in a way that is distinctly different from the traditional method. His most common way of doing this is through the manipulation of space and circulation through

Linked Hybrid

Work Cited: Mosco, Valerio Paolo., and Steven Holl. Steven Holl. Milan: Motta, 2010. 171New York, NY: Rizzoli, 2007. Holl, Steven. Architecture Spoken.

were just a tease into what you might see on the inside. Horta’s facades were made of a variety of materials like iron, wood, stone, and had curving lines.

Tassel House Horta House

Victor Horta was a pioneer in the Architecture world. He built the first art nouveau building and started an architectural style that was imitated by all of Europe. Art nouveau is a type of design that is really completely different than other style of that Victor Horta time. Art nouveau is inspired January 1861-September 1947 by nature, the lines are organic, Brussels, Belgium flowery, and asymmetrical. It had a strong theme of unity, every material and decoration flowed with the others and the same curves and lines could be seen repeating in different aspects of the interior. The curve seen throughout art nouveau is thought to represent energy, growth, and blossoming. Another aspect that made Horta’s style different is the facade of his buildings. The facades of buildings in that time were mostly flat and all of them were stone. Horta’s facades weren’t flat and uniform, they 172

Tassel House Tassel House

The Tassel House, built in 1893, was the first art nouveau building. Every single aspect of the house incorporated this new style. Horta was not just innovative in his style choice but he also used all of the most modern materials available. Materials like iron and glass were just some of his tools used in shaping his style. The exterior of the house right away incorporated these materials, all columns of the time were stone but Horta’s were iron. The windows were painted glass and were never seen on the facade of a house. The Facade included consoles and had a fluidity and smoothness to it that no other building had. The real art nouveau was inside the house. Not only was Horta an architect but he was an interior designer. He designed every aspect of the house, from the furniture, to the stair railings, even the door handles were representative of his design. The house did not have a

were just a tease into what you might see on the inside. Horta’s facades were made of a variety of materials like iron, wood, stone, and had curving lines.

Tassel House Horta House

Tassel House Tassel House

173

traditional floor plan, he wanted it to have a fluid asymmetrical flow. Two light wells filled the house with sunlight and were positioned so they distributed the light to the other rooms, he used mirrors to extend the space and the light. The iron columns had iron strips sprouting from them and they continued up to support the ceiling, this is the type of design that proved that it is designed after nature. The columns like tree trunks sprouting branches or a flower stem sprouting leaves to support the petals to bloom. The “petals” were then painted glass windows that did not just look beautiful, but had the function of having a warmer tone of light coming in rather that straight sunlight. As brilliant as Horta’s work was not all of it has been appreciated to the same degree . Maison de Peuple, built in 1899, was one of Horta’s largest works. It’s basic design was a circular square on a slope. This was unlike some of his other building in that it wasn’t a house. Maison de Peuple was one of his later works and displayed more geometrical lines than previous

Horta Door

projects. The materials used were brick, glass, and steel, these materials were still considered modern and so the building was a great success in further advancing the design world of art nouveau. It was a multi-functional building with offices, shops, and event rooms. In 1965 Maison de Peuple was demolished. Many architects all over the world tried to save it before it was ruined but the mayor, Lucien Cooremans, made the decision to demolish it so a skyscraper could take it’s place. The building that took it’s place was

Maison de Peuple

174

Horta House

Horta Door

Horta House

not anything special, it was just part of a trend in Brussels at that time, which involved building as many skyscrapers as they could.

Horta House

Another great building of Hortas’ was his own house which he built in 1898. He design and built this house as his home and workshop. This is truly the greatest representation of Horta’s design because he wasn’t working with a client in mind, nothing was holding him back from designing the house exactly the way he wanted it. Although he had complete freedom, his designs were still styled after nature and consisted of curved lines and flow. Horta not only used modern materials, but did not try to disguise them. His Materials were part of the decoration, and they helped emphasize the structure of the house rather than hide it. The floor plan of this house was different, all of the rooms were built around a central hall with a painted glass ceiling which illuminated the whole house at times. Natural illumination was also an innovation of Horta’s, sure people used

windows but the way Horta would place a glass ceiling on a house really affected the whole atmosphere. The light was distributed through with mirrors and where natural light wasn’t available, Horta designed his own light fixtures within the art nouveau style. This is just one example of his innovative attitude, if he couldn’t find what he wanted for a building he would make it himself and it was unlike anything else at the time. Horta didn’t just inspire the art nouveau style that was popular from 1893 to 1910, but he started a new way of seeing things, his style was not just for visual pleasure but increased functionality. He broke the boundaries that no one else wanted to and was very successful. The style he started with his curved lines and fluidity of design continued into present day. If you look at art, jewelry, and a lot more you can see traces of his style that wouldn’t be here today if he hadn’t taken the risk that he made so long ago.

Horta House

Work Cited: Horta House Fig 176

Aubry, Françoise, and Jos Vandenbreeden. Horta: Art Nouveau to Modernism. Ghent [Belgium: Ludion, 1996. Print.

not anything special, it was just part of a trend in Brussels at that time, which involved building as many skyscrapers as they could. Another great building of Hortas’ was his own house which he built in 1898. He design and built this house as his home and workshop. This is truly the greatest representation of Horta’s design because he wasn’t working with a client in mind, nothing was holding him back from designing the house exactly the way he wanted it. Although he had complete freedom, his designs were still styled after nature and consisted of curved lines and flow. Horta not only used modern materials, but did not try to disguise them. His Materials were part of the decoration, and they helped emphasize the structure of the house rather than hide it. The floor plan of this house was different, all of the rooms were built around a central hall with a painted glass ceiling which illuminated the whole house at times. Natural illumination was also an innovation of Horta’s, sure people used

Horta House

Work Cited: Horta House Fig

Aubry, Françoise, and Jos Vandenbreeden. Horta: Art Nouveau to Modernism. Ghent [Belgium: Ludion, 1996. Print. 177

Figure 1.1

A Danish architect by the name of Bjarke Ingels is known for his innovative and ambitious designs and projects. Many of his buildings break the average stereotype of traditional architecture. He often incorporates sustainable development ides and sociological concepts into his designs but tries to maintain a balance between playful and practical approaches BJARKE INGELS to architecture (). It is apparent OCTOBER 2, 1984 throughout his works that he COPENHAGEN, DENMARK focuses on the smaller details that are noticed on the final product. One of Ingels’ famous works are the VM Houses located in Copenhagen. The VM houses are made of simple but exquisite materials, composed of glass frames with balconies erecting from the sides. The buildings are literally the shape of a V and M and in the middle is a corridor that enhances communal living and provides people a place where they can meet and children can play. Ingels created a different style of living while maintaining

Figure 2

178

Figure 3.1

the simplistic yet elegant lifestyle. The next designs that Bjarke Ingels is known for are his Mountain Dwellings. The Mountain Dwellings are the sequel to the VM Houeses. Bjarke’s intentions were to create parking garage and housing in one area without two separate buildings. The Mountain Dwellings resemble Mount Everest. Bjarke uses cubes to display this effect. He wanted every view of the building to look different as well. Bjarke Ingels third project in the same area is known as the 8 House. Bjarke wanted to design housing that would allow people to go from the ground level to the floor of their homes easier than normal. Instead of inputing stairs, he designed a ramp that allowed people to walk or ride their bikes from the first level all the way to the 10th floor. He designed a three-dimensional neighborhood rather than the average cubic building. It is in the shape of the number, hence the name. Once again, Ingels focuses on the community as a whole, enhancing social life. The Danish Pavillion is another one of Bjarke’s famous works. The pavilion is a big loop in

Figure 1.1

Figure 2

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Figure 3.1

which visitors can ride their bikes around. At the center is a big pool with fresh water from Copenhagen’s harbor. The pavilion is composed of glass and metal framing creating a solid and reflective surface. Another one of Bjarke’s infamous designs is the Helsingor Psychiatric Hospital in Denmark. Bjarke had the patients in mind when he designed the hospital. He knew psychiatric patients needed a calm and serene environment. He defied all stereotypical hospital designs and created hallways with windows. While this may sound like a simple substitution it makes all the difference. Instead of the patients feeling enclosed they will feel open and free with limitations. Because it is in the shape of a snowflake each and every window offers a unique view as well. In my opinion, one of Bjarke’s most diverse designs are the Harbour Baths in Denmark. Floating pontoons made of renewable indigenous wood from local forests. Bjarke’s clients asked him to design a place of leisure and water culture in the heart of the city. He constructed a water recreation area using different shapes for the pools and the diving board is a block of wood adding a different experience. Figure 4.1 He created four separate pools that connect under the pontoons. The Harbor Bath consumes very little utility energy for operation and maiintainence. Bjarke’s style is apparent throughout almost all of his designs. His use of materials vary from glass, metal, differents woods and concrete is obvious as well. He creates massive amounts of space and allows light to effect different aspects of his work. He uses shapes and figures to configure a completely different atmosphere that people aren’t typically used Figure 5

180

Figure 4.2

181

Figure 4.2

to but it works. From the Mountain Dwellings to the 8 House, Bjarke is always trying to enhance the communityâ&#x20AC;&#x2122;s way of life and making it easier to live with one another.

Figure 6

Figure 2,2

Work Cited: Images: Nicholai Muller http://www.archdaily.com/970/vm-houses-plotbig-jds/vm-03-photographer-nicholai-me280baller/ (Figure 1.1) Dragor Luft http://www.archdaily.com/15022/mountain-dwellings-big/ Jens Lindhe http://www.archdaily.com/83307/8-house-big/ Felix Luong http://www.arthitectural.com/wp-content/uploads/2011/02/JDS_PSY_Helsingoer-Psychiatric-Hostpital_aerialshot.jpg David Basulto http://www.archdaily.com/wp-content/uploads/2008/09/232397695_xpo-outside.jpg Ingels, Bjarke. Yes Is More: An Archicomic on Architectural Evolution. 1st Ed. (New York: Express, 2010).

182

Figure 3.2

to but it works. From the Mountain Dwellings to the 8 House, Bjarke is always trying to enhance the communityâ&#x20AC;&#x2122;s way of life and making it easier to live with one another.

Figure 6

Figure 2,2

Figure 3.2

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Figure 1.0 Franklin D. Israel was an architect who did not focus on just one style, nor did he have one “signature” form of architecture. What made Franklin D. Israel successful was his skill and signature in many different architectural facets. His expertise ranged from lighting to shape designs and included in those was his ability to effect people emotions as they Franklin D. Israel used his space. 12/02/1945-06/10/1966 In Franklin D. Israel’s Snell Southern California House (Figure 1.1), we can view his purposeful placement of the bedrooms. He places each first floor bedroom along the outer walls. This created a common inner room, which would bring together the family in what he called a “central hearth”. He explores this ability to create feelings of the inhabitants in other buildings also, just as the Toyota complex (Figure 1.2) which is explained later. He also places each bedroom in the Snell House along the outside to give each room user private access to the outside. Franklin D. 184

Israel does this frequently, he allows the main users to have their own space, and this is later explained in the Propaganda films (Figure 2.0) building as well as the Roberts house. Israel tries to create architecture that gives the selected space the ability to make the activities that go on in the space as effective as possible. For example we can explore the Mid-Atlantic Toyota Building. (Figure 1.2). This is where he first began his exploration of internal organization. And in this building he was able to do so with the addition of the ability to encourage sympathetic interaction between the workers, and the physical building itself. He created separate sections of the building depending on the purpose of it in order to make the building run as efficiently as possible. In total, this building successfully represents its activities, and portrays Franklinâ&#x20AC;&#x2122;s belief in separation of space and it effects the emotions of the users by his exploration of internal organization. Franklinâ&#x20AC;&#x2122;s internal organization leads us to his style. He frequently uses clear

Figure 1.1

Figure 1.2

Figure 1.3 185

cut shapes put up against each other. By “clear-cut” I do not mean that everything is square, because an idea we will explore later is Franklins use of curved walls; what I do mean is that anywhere that has edge, is sharp and concise, nothing blends together. Franklin’s Gilette studio (Figure 3.0) is a prime example. The studio is said to be a “pattern of order”. This pattern is created by the combination of many shapes put against one another. Another, more modern, example is Franklin’s “Altman House” (Figure 2.1). His contrasting materials, wood and metal, and the clear-cut shapes, are a toptier modernistic approach to a house. Another example of this is in Franklin’s Propaganda Films Building (Figure 2.0). As stated before he realizes that to be efficient in the filmmaking environment, he realizes there are many types of personalities, which would best be separated. This is for the best of the productivity of the company, similar to the Toyota building (Figure 1.2). He separates the space with use of his sharp shapes giving the inside of the warehouse a touch of style. Not only does Franklin support separation of space in commercial areas, but similar to the Snell house (FIgure

Figure 2.0 186

Figure 2.1 1.1), he also gave the Roberts, Randy and Dianne, (FIgure 1.0), their own separate workspaces within their residential home. I believe Franklin took the belief that people, and organizations run more efficiently when there is separation, so he wants his architecture to support that belief. The Roberts home also represents Franklins, clearcut shape style externally. The outside of their house is said to be â&#x20AC;&#x153;distinct parts that lock together.â&#x20AC;? This is a good explanation as it describes his style well. Franklin also has a

Figure 2.2 187

few other techniques that he frequently uses. For example, he will simply take out shapes from random walls, internally and externally. (Figure 1.3) . This shows that not only does Franklin like when shapes get put together for a design, but subtracting shapes out of walls adds to his style as well. In Franklins Arango-Berry House, (Figure 2.2), his main focus is to connect with the nature that surrounds it. While they wanted a private back yard, Franklin took some sections of the cement walls that privatized the yard and introduced black jail-cell like polls. This allowed the nature to be viewed through the cut out, while still maintaining privacy. Finally, Franklin D. Israel “has a way” with light. He identifies his signature in lights in 3 ways. First his use of the shadows produced by light. He uses the shadows reflected as a decoration, a very natural decoration. For example, in Israel’s Tisch-Avnet building, (Figure 3.1) located in California, he covers the office in a glass and steel canopy ceiling, and the light that shines through decorates the entry hall with an array of shadowed

Figure 3.0

Figure 3.1

Figure 3.2 188

lines. Franklin kept the angle in mind, and specifically decided on an angle of the canopy that follows the line of movement from the street into the main level of the building. His second signature is bending light around curved walls. I frequently noticed Israel used curved wall to separate and enlarge spaces. (Figure 3.2). With those walls he would keep in mind the way the light worked with and around the wall and frequently would add lighting into the curve. Finally, Israel’s buildings have a certain way of guiding light in through windows, that stuck out as I read his monograph. One example of his windows peculiar attributes were that they were placed behind a large wall, which forced the light out and around the object, an effect that is very striking in black and white photographs. Second, he also frequently lined the walls and floors leading up to a window with different shapes and movement which gave the effect of light “pouring” into the room, over and around each different object. (Figure 3.0) Franklin D. Israel was able to successfully affect the architectural world by combining practical ethics, and clear concise design. While Israel is recently deceased, his architecture with forever portray his thoughts and ideas as they pertained to both productivity and artistic details in a space. -Lexi Halperin

Work Cited- All Pictures: Israel, Franklin D. Franklin D. Israel: Buildings and Projects. New York: Rizzoli International Publications, 1992. Print. 189

Toyo Ito defines architecture as the act of creating order. He is all about making sure everything is where it needs to be and how it needs to be done in order for it to make sense logically. Although the element that is constantly playing a key role Toyo Ito in this process that defines the June 1, 1941 order is Geometry. The order Japan of modernist architecture is the 20th century as it was all about steal and reinforced concrete. Which the industrial revolution made room for urban architecture to expand to new horizons. A considerable question proposed, is a new architectural order possible? Considering the fact that years ago order of grid

190

^ Fg1 - Tods Italian Shoes

^ Fg2 - Tower of the Winds

amplifies homogenization of space meaning it ensures a better economic efficiency, getting into the green design aspects of what Toyo Ito is all about. Why green? There are more benefits that come alone with the facts of green design but it has its own issuesâ&#x20AC;Ś. A further and yet complicated problem is posed by the impossibility of fundamentally solving the greatest issue of the 21st century, energy conservation. We must recover an intimate relationship with the natural environment. Dana Buntrock calls him the amazing Mr. Ito â&#x20AC;&#x153;Ito works magicâ&#x20AC;?. Ito is all about trying to create a house as light as cloth. For Ito it is almost odd for an architect to truthfully escape the architectural manifesto and considerably make the conclusion of: A desire not to create joints, a desire not to create beams, a desire not to create walls, a desire not to create rooms and a desire not to create

^ Fg1 - Tods Italian Shoes

^ Fg2 - Tower of the Winds

191

architecture all together. Taro Igarashi talks about the times when Toyo Ito was growing up he would pass by the Akahiko Memorial Hall in the Suwako Museum and simply just admire the building over and over again. Up unntil about his fifties when Toyo eliminated the idea of conventional architecture. A really important figure is the White U house that he had built for his sister. The most radically self contained visitors said the house seemed like an underground chamber. Seemingly apart from the one large open courtyard in the center and the little windows are enough to allow light in. Although the courtyard is surrounded by concrete it gave the Tokyo style house stillness to it. According to empathetic architecture Ito’s fundamental question – how can the pure space be created within oneself to be opened to the outside world. According to Ito there is not reason in creating architecture if one looses the will to ^ Fg. 3 - Porta Fira Tower

achieves or promote a pure space. The Experience of the Sendai Mediatheque swept away all vacillations during the process of initial conception to eventual realization; he was liberated from the spell of purity. Ito seemed ever so certain about the Sendai for the final understanding of the glass open structure that he did not even finish his sentence; “if they do not accept my proposal..”. Ito was ever most confident in 192

^ Fg.4 - Mikimoto Ginza

^ Fg.4 - Mikimoto Ginza 193

his work after the Sendai.

Toyo Ito is particularly keen on creating structure that will not only symbolically impress the human eye but with create a sense that it is not even there its airy and has lots of room to breathe. Also Toyo focuses on the main problem of energy conservation on all aspects of his creations. Just look at the different buildings Toyo Ito has created throughout this presentaion and look how he uses the earth natural elemants such as earth, water, and light. There is simply no way in asking for the proper way in designing because every architect is unique in their owm way and some how they are all in the same profession. We wonder how someone like Toyo Ito came up with his ideas to begin with, but considerably there is always a method to the madness when thinking about designing. Toyo simple knew what he wanted to create in the way he designs all his buildings and thats something we cannot question when he clearly stated that architecture to him is all about order and green design. -Heather Imel

^Fg. 5- Apartments Barcelona“sea wave facade”

^ Fg. 6 - Tama Art Universtiy Library

^ Fg. 7 - Za Koenji Public Theartra 194

Work Cited: Toyo Ito. (New York: Phaidon Press Inc, 2009). Fg.1 -Tods- http://www.yankodesign.com/2008/12/22/live-intokyo-want-to-buy-some-italian-shoes/ Fg.2 - Tower of the Winds - http://www.studyblue.com/notes/ note/n/architecture-final/deck/887491 Fg.3 - Porta Fira towers – http://www.dezeen.com/2010/03/03/ porta-fira-towers-by-toyo-ito-and-b720-arquitectos/ Fg.4 – Mikimoto Ginza- http://en.wikipedia.org/wiki/ File:Mikimoto_Ginza2.JPG Fg.5 - Apartments in Barcelona- “the sea wave facade”- http://archidialog.com/tag/toyo-ito/ Fg.6- Tama Art University Library & Fg.7- Za Koenji public theatre http://coolboom.net/tag/toyo-ito/

his work after the Sendai.

^Fg. 5- Apartments Barcelona“sea wave facade”

^ Fg. 6 - Tama Art Universtiy Library

^ Fg. 7 - Za Koenji Public Theartra 195

Palmedo House Drawing Hugh Newell Jacobson is a modern architect who is based out of Washington D.C. He is known for many different things, from high ceilings and steep pitched roofs, to plan facades and symmetry, his work can usually be very obvious. Many of his buildings are seen sprawling out over the property, some even look like many smaller cube Hugh Newell Jacobson houses connected to each other. 1929- ??? His early work started more with the construction of Washington D.C. houses than public buildings. Jacobson started off as an apprentice to Philip Johnson. A sense of precision and clarity reflects the styles of Jacobson’s master. Very early in his career, Jacobson could be considered a modernist and this was clearly shown through the plain facades, rectangular shapes, and flat roofs. The houses built in the late 1950’s and early 60’s were relatively plain and simple. Tall ceilings and an integrated building and landscape are shown through 196

the Thoron House built in 1959. It isnâ&#x20AC;&#x2122;t until 1971 that Jacobson really finds his own architectural language. This is the language that many of his most recent houses represent. The Blumenthal House shows his style the best with high ceilings, plain facades and pitched roofs. One of his most famous Palmedo House Massimo Vignelli, buildings he made is actually Robert Lautman Hugh Newell Jacobmore of two additions to an son Recent Work existing building. This building located in Washington D.C. is one of many that serves as an icon to the United States of America. The Capitol Building used to be about half the size that it is today. In 1983, The Putterson House Massimo Congress realized that it was Vignelli, Robert Lautman Hugh time that the Capitol Building Newell Jacobson Recent Work had some work done to it. With the help of the Architect of the Capitol, Honorable George M. White, Congress also moved for additions to the building for extra room. Hugh Newell Jacobson was chosen to create the plans for such an addition. Jacobson worked hard to keep the integrity of the original facade of the Capitol, and using that, he was able to add two wings to the building. Any Back view of Capitol Addition uninformed passerby would from http://www.nwlc.org not even know the difference 197

in the wings against the original building, and those people would never even know that the wings were not original to the building. Hugh Newell Jacobson had managed to capture the style of the Capitol and successfully attach two newer wings to it. Hugh Newell Jacobson in his most recent work has been known best for his high pitched roofs and resulting airy ceilings. The best example of this kind of Architecture is the Advaney House in Holland. Here, an all white exterior help to reflect light as much as possible and to â&#x20AC;&#x153;Announce the form more clearly against the dark wall of the rare garden beyond.â&#x20AC;? (Massimo Vignelli, Hugh Newell Jacobson Recent Work; pg. 98) The interest here is not in the floor plan, for it does not give anything too special. However the design is meant to echo the stepped gable houses of early Dutch Houses. Hugh Newell Jacobson wanted to represent the rich Dutch heritage and yet make something new on something so mundanely old in Holland. As an added challenge, the site for the house contains a pond and rhododendrons, holly, laurel, beech, and hemlock trees, making it hard to simply tear them down. The architect did

Front view of the Capitol Addition. from http://www.bizjour-

nals.com/albuquerque/blog/morning-edition/2012/08/mapi-federal-rules-weigh-on-economy.html 198

Advaney House Drawing not want to disturb too much of the existing garden, so he placed part of the house over the pond letting the house absorb some of the naturally reflected light from the pond into the house. Keeping everything white in the house also helped to keep the house very bright during the day. The ADVANEY HOUSE SCAN high ceilings provide a sense of power in the form of the building, making everything feel very big and airy. Overall, Hugh Newell Jacobson did a splendid job at creating a new Advaney House. Holland house that reflected old Dutch Massimo Vignelli, Robert Lautman houses and was able to make Hugh Newell Jacobson Recent Work 199

an impact on the surrounding site. In his most recent work, Jacobson continues his style and language carrying it on to many more diverse kinds of houses. An example of this is his work in Snowmass Colorado on the Segal House. Based on a mountainside, the complex of four rectangular Fletcher House photo by boxes connect together and Robert C Lautman as a whole the house blends into the nature surrounding it. Jacobson used a different face for this project, although it is structurally similar to his many other works. The stone face gives the house a rustic feel while Jacobson’s touch gives it a homey feel. Jacobson, in the same year as the Segal House still Segal House Image from builds something very much http://www.hughjacobsen.com/ within his style. 2003 gave Snowmass.htm birth to the Fletcher House. Paul Goldberger sumarizes Jacobson’s archticectual style as “A set of Parts that join together to IMAGE name of building – make a large whole” (Hugh Make sure to credit below the Newell Jacobson Works from image…Respect copyrights 1993-2006; Massimo Vignelli, Paul Goldberger. © 2007 Rizzoli International Publications INC) Nef House Image from http://3This style has bees seen ring-binder.blogspot.com/2011/11/ through many of his old-farmhouse-just-aint-what-itused-to.html

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different works; The Putterman House, Palmedo House, Greene House the Advaney House, and the Fletcher house just to name a few. Those Same examples also prove Paul Goldberger’s comment in the same book saying that all of Jacobson’s work is really just an “abstaracted cottage” (Hugh Newell Jacobson Works from 1993-2006; Massimo Vignelli, Paul Goldberger. © 2007 Rizzoli International Publications INC). Currently Jacobson Currently works out of Washington D.C. running his own firm with his son called Jacobson Architecture. His Architecture is universal, for he has had expirience building in places all around the world, and his website (http://www. hughjacobsen.com) has five different language options on it. Upon Practicing for over fifty years, Hugh Newell Jacobson is a highly decorated member of the Architecture community, and continues to serve as a key member to the community living in Washington D.C. today. -James Wronski

Hugh Newell Jacobson

http://www.hughjacobsen. com/Bio.htm

Work Cited: -Hugh Newell Jacobson Major Projects 1959-1988; Massimo Vignelli, Robert C. Lautman, Vincent Scully. © 1998 AIA Press -Hugh Newell Jacobson Recent Work; Massimo Vignelli, Robert C. Lautman, Howard Associates, Stanley Tigerman. © 1994 AIA Press -Hugh Newell Jacobson Works from 1993-2006; Massimo Vignelli, Paul Goldberger. © 2007 Rizzoli International Publications INC 201

He would change his mind frequently while the project was being built, and would be at the site all the time helping with the physical labor and tweaking certain aspects as he saw fit. Even once the projects were finished, he would often return to check up on his creations, whether the clients wanted him there or not. Jaffe employed many different elements in almost all of his projects. He favored raw materials, especially giant slabs of stone or shingles on the outside, and various woods for the lofty interiors. Mayan influences were present in all stages of his designs, most clearly through thick materials and the balance of walls and roofs. While the exterior of the buildings often looked heavy with large cantilevered roofs and solid materials, the ceilings on the inside were soaring and light. He kept the insides light with skylights, clerestory windows, and various other methods- but he always made it so that at any time of the day the inside was bright and glowing. Jaffeâ&#x20AC;&#x2122;s main goal in his residential homes was to comfort his clients, and between the light, sunken living rooms, and friendly Osofsky House, Gordon pg. 88

Norman Jaffe was an American architect who rose above his modest beginnings to become revered for his unique residential designs with dramatic roofs that pulled the sky and earth into his projects. He had many influences, and the most apparent in his designs were those of Frank Lloyd Wright, Joseph Esherick, Japanese architecture, and Mayan architecture.

Norman Jaffe

B. April 3, 1932 There was a specific process of D. August 19, 1993 design that Jaffe went through United States of America for all of his projects. After interviewing the clients about their needs and preferences, he would begin by walking the site multiple times during all hours of the day, observing the changes in landscape throughout the day and paying specific attention to light. Then he would sketch quick, expressive designs that he would evolve over time into more technical drawings. For Jaffe, however, there was never a real division between the design process and the construction process. 202

Burland House, Gordon pg. 48

Norman Jaffe

fireplaces, the houses often provided such solace. Norman Jaffe went through several phases in his architecture career before he arrived at his own recognizable style of “romantic modernism”. His earlier buildings tended to be influenced greatly by Japanese architecture, from his time observing it in the US army, and they were often structures made of multiple ‘pavilions’, each of which was a separate room. When he discovered the Hamptons later in his career, and was employed for various vacation houses on the shore, he began to employ more simple shapes, often in a style similar to Frank Lloyd Wright but also influenced by his modernist contemporaries. Jaffe made sure that houses had an intimate connection with the their landscapes, but they still didn’t interact with the sky as much as his later designs did. One of his most important projects in this part of his career was the Perlbinder House, whose design dominated the dunes but fit in snugly, showing his excellence handling the relationship between building and environment. He also shaped the experience of the Becker House, Gordon pg. 72

Goldman House, 204Gordon pg. 52

Jaffe House, Gordon pg. 77

Wohl House, Gordon pg. 156

Goldman House, Gordon pg. 52

Jaffe House, Gordon pg. 77

Wohl House,205 Gordon pg. 156

visitor by laying out the path with differing ceiling heights and width of staircases.

last phase of architectural progression began when he started designing more buildings for the public, and also commercial buildings, such as 565 Fifth Avenue; these fully realized his most mature style. His most important work from this time, and possibly his whole career, was the Gates of the Grove Synagogue. The way he plays with light in the synagogue shows his attention and care for the congregation, and the mastery of light he had by the end of his career. -Jaclyn Nagy

Eventually as he matured, Jaffe began to focus more on trying to connect the earth with the sky. He called this style the ‘Zeus’ style, because the slanting roofs, different from the often-flat roofs of modernism, were meant to connect the sky and land like one of Zeus’ thunderbolts. The roofs got larger and angles got more dramatic further into his career, and often this resulted in odd shapes of rooms, which were therefore harder to place furniture in. As Jaffe gained recognition and wealthier clients, connections with the environment in his projects were sacrificed in favor of more privacy and security for the clients. Houses became fortresses, disconnected from their surroundings. Further, gaining recognition made it difficult for Jaffe to pay much attention to individual projects as he became more in demand, and it wasn’t long before he became stressed and overworked, and projects began to just follow a formula. After a sabbatical in India, his

Perlbinder House, Gordon pg. 61

Hillman House, pg. 154

Gates of the Grove Synagogue, www.aestheteblog.com

Work Cited: Gordon, Alastair. Romantic Modernist: The Life and Work of Norman Jaffe, Architect. New York: Monacelli, 2005. Print. 206

565 Fifth Avenue, Gordon pg. 219

visitor by laying out the path with differing ceiling heights and width of staircases. Eventually as he matured, Jaffe began to focus more on trying to connect the earth with the sky. He called this style the ‘Zeus’ style, because the slanting roofs, different from the often-flat roofs of modernism, were meant to connect the sky and land like one of Zeus’ thunderbolts. The roofs got larger and angles got more dramatic further into his career, and often this resulted in odd shapes of rooms, which were therefore harder to place furniture in. As Jaffe gained recognition and wealthier clients, connections with the environment in his projects were sacrificed in favor of more privacy and security for the clients. Houses became fortresses, disconnected from their surroundings. Further, gaining recognition made it difficult for Jaffe to pay much attention to individual projects as he became more in demand, and it wasn’t long before he became stressed and overworked, and projects began to just follow a formula. After a sabbatical in India, his

Perlbinder House, Gordon pg. 61

Hillman House, pg. 154

Gates of the Grove Synagogue, www.aestheteblog.com

Work Cited: Gordon, Alastair. Romantic Modernist: The Life and Work of Norman Jaffe, Architect. New York: Monacelli, 2005. Print. 565 Fifth Avenue, Gordon pg. 219

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studies. With studies like the Lewis Guest House, Johnson first used many different models of the abstract design, and then used complex mathematics to figure out how to transfer his surreal ideas into the physical world. For each of the personal residences that Johnson either planned or finished, there is usually a central concept or idea that is unique to that particular Madrid, Spain

At first glance, the architecture of Philip Johnson doesn’t quite look

like it was all designed by the same architect. Other iconic architects usually end up following the same train of thought throughout

their works, redeveloping the same concept in different contexts, or having a certain “signature” that’s apparent in their designs. Johnson’s work tends to be more seemingly spontaneous; it’s sometimes quite difficult to figure out how he came up with a

Philip Johnson

July 8, 1906 - January 25, 2005 United States

design, and what he was trying to

accomplish. One of the reasons why his work becomes difficult to

understand is that his designs vary between the simple, elegant

towers that he uses for offices and skyscrapers, and the complex abstract forms that he typically uses for his many homes and house 208

project. The most well-known of his houses is the one that he built for his personal residence, The

Glass House. This structure of metal and curtain wall is meant to minimize the separation between indoor and outdoor space, and like

all of his residences, re-define the traditional concept of a “home.” The main house sits on a property that actually

contains many other “houses,” that were added over the years as Johnson developed new ideas. The site is really a display of how he changed over

Madrid, Spain

The most well-known of his houses is the one that he built

At first glance, the architecture of Philip Johnson doesn’t quite look

for his personal residence, The

like it was all designed by the same architect. Other iconic architects usually end up following the same train of thought throughout

Glass House. This structure of metal and curtain wall is meant to minimize the separation between indoor

Philip Johnson

and outdoor space, and like

July 8, 1906 - January 25, 2005 United States

all of his residences, re-define the traditional concept of a “home.” The main house sits on a property that actually

design, and what he was trying to

contains many other “houses,” that were added over the years as Johnson developed

accomplish. One of the reasons why his work becomes difficult to

understand is that his designs vary between the simple, elegant

towers that he uses for offices and skyscrapers, and the complex abstract forms that he typically uses for his many homes and house

new ideas. The site is really a display of how he changed over 209

the years, and shows the wide spectrum of design that Johnson

explored over his extenstive career.

While a large portion of Johnson’s work can still be seen today, many of his were never fulfilled. An example of this is the Seton

Fine Arts Center, which was never completed but is still significant to Johnson’s style because of the fact that it shows just how versatile

he is as an architect. It doesn’t particularly look like previous pieces, because he doesn’t confine himself to one signature style like many other architects do. His process is more focused on figuring out

what kind of architect he needs to be in the context of a project. His design personality shifts and adapts to accommodate for every project he works on, so that the end product will serve its unique purpose in the best way possible.

Johnson’s more recent works are focused mostly on his abstract houses, like Gate House, one of the many houses on Johnson’s personal property. Gate House is a great example of how skilled Johnson had become over the years, and how he was able to turn completely abstract forms into real structures.

Seton Fine Arts Center- Greenberg, PA 210

This is another way in which Johnson shows his versatility. Not only was he able to change his style completely to conform to the needs of a project, but he

Gate House- New Canann, Connecticut

the years, and shows the wide spectrum of design that Johnson

explored over his extenstive career.

While a large portion of Johnson’s work can still be seen today, many of his were never fulfilled. An example of this is the Seton

Fine Arts Center, which was never completed but is still significant to Johnson’s style because of the fact that it shows just how versatile

Gate House- New Canann, Connecticut

Seton Fine Arts Center- Greenberg, PA

This is another way in which Johnson shows his versatility. Not only was he able to change his style completely to conform to the needs of a project, but he

211

Johnson designed the exterior of this chapel to look striking, but not give away its purpose, so that the chapel in the public square doesnâ&#x20AC;&#x2122;t have to have a religious purpose in context of the environment around it, it can just stand as a symbol for universal thanksgiving and generosity. But once you step inside, the purpose of the structure is revealed in the vibrant stained glass work, and the feeling of ascension towards the central point of light. Johnson has succeeded in creating a sacred space that is disconnected from the traditional establishment of a church, in order to make a piece that can bring the community together, and really promote the concept of thanksgiving in a way that isnâ&#x20AC;&#x2122;t only applicable to the Christian faith. - Juliana Holland

was able to adapt over time and change his craft to accomodate to the new technologies available to the architecture field, even in his advanced age. Despite how innovative and expressive his abstract architecture is, the projects of his that are most wellknown are his more basic urban skyscrapers. But with each of them, he made sure to include some unique element that makes it stand out from the plainer structures around it. Interestingly, instead of designing colorful towers, or random shapes, like he would with a smaller project, Johnson chose to stick to the same palette of grey, tan, and glass that other skyscrapers use. He managed to make his designs prominent in an urban environment, without clashing or interrupting the already existing city.

Chapel of Thanksgiving- Dallas, Texas

Another group of buildings that Johnson completed over his career is the several chapels that he created, such as the Chapel of Thanksgiving in his Thanksgiving Square project.

Work Cited: Johnson, Philip, John Burgee, and Carleton Knight. Philip Johnson/ John Burgee: Architecture 1979-1985. New York: Rizzoli, 1985. 212

Kipnis, Jeffrey, and Philip Johnson. Philip Johnson: Recent Work. London: Academy Editions, 1996.

Chapel of Thanksgiving- Dallas, Texas

Work Cited: Johnson, Philip, John Burgee, and Carleton Knight. Philip Johnson/ John Burgee: Architecture 1979-1985. New York: Rizzoli, 1985. 213Philip Johnson: Recent Work. Kipnis, Jeffrey, and Philip Johnson. London: Academy Editions, 1996.

PUMA International

PUMA International Kanner Architects, established in 1946 in Santa Monica, California, was founded by Herman Kanner. The family run business has been passed down from Herman’s son, Charles to his grandson Stephen Kanner. Kanner Architects design with a fusion of structure, light, material and color. The environment of Southern California majorly influences the Modernist Kanner Architects designs of the firm. Many of their 1946 to Present works have a boxy stream-like design to them, giving each space Santa Monica/ United States an open and airy feeling. Kanner’s deign for PUMA International was the kick off point for most of the firm’s buildings. The stores are designed with bold colors and sleek geometric patterns. The simplicity of the lines and openness of the spaces draws the customer into the building; however the minimal aesthetic allows the merchandise to remain the focus of attention. Kanner uses several shifting and folding planes to divide and create the space. The glass wall in 214

Bentley-Massachusetts

Metro Hollywood Transit Village

front of the store allows light to flitter into the space, adding to the open feeling of the design. The bold red spread throughout the store contrasts the white walls and floors of the space. This contrast draws the customer into the building and directs them to circulate among the displays. The PUMA store concept demonstrates Kanner Architects’ use of space, color and light they employ throughout their work. The BentleyMassachusetts Apartments and Metro Hollywood Transit Village in Los Angeles displays similar qualities of the PUMA store concept. Kanner Architects designed both apartment complexes using geometric forms, light and lines. The main focus of both buildings is the geometry. The box-like shapes of the buildings complement the other squares on the façade of the building. The wall of square windows on the BentleyMassachusetts Apartments creates a streamlined effect. These windows allow residents to take-in the views of the city. White is the defining color of the space, which gives the building a Modernist quality. Following the building inside the space

PUMA International

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complements the streamline lines and color of the faĂ§ade. The multi color rectangles of the Metro Hollywood complex create a bold statement. Both Kannerâ&#x20AC;&#x2122;s designs for 511 House and Malibu 3 are focused on taking advantage of the Californian views. The 511 House is designed to capture views of the outdoors from every angle, almost as if one was outside. This continues Kannerâ&#x20AC;&#x2122;s concept of openness throughout all their spaces as well as their use of light. The use of materials and geometry is also continued in these projects, as the buildings are long rectangular shapes. The interiors of both spaces reflect the simple and openness of all Kanner designs. While these buildings contrast the ruggedness of the Californian landscape, they also complement it through the use of widows, which utilize the views. Canyon View is another work of Kanner Architects that exhibits the geometric-structure, light and material qualities of the firm. Even though the house is made of wood panels, unlike many other of their works, the panels giving the same sense of connection

Malibu 5 to nature as 511 House and Malibu 3. The interior of the house captures views of nature through the large rectangular windows, just as most of their works. The tall ceilings in the space give an uplifted sense to the rooms. The walls inside the space are painted white, contrasting the green space outside. The simple geometry and glass walls mirror this space to most of Kanner Architects design work. This house is yet another example of how the firm uses the same elements to create a simple and modern design.

216 511

House

Canyon View

511 House

217 Canyon

View

Kanner Architects use of structure, geometry, color and light are the basis in all of their designs. This sense of form and space is exemplified through the use of white walls, streamlined planes that divide spaces, windows, which utilize different views and light, pops of bold color choices and use of geometry. The connection to the surrounding environment is also an important aspect to each of Kanner Architects’ designs. Overall, Kanner designs have a Modernist quality, which can be seen throughout all their designs.

Canyon View

Malibu 3

Work Cited: “KANNER ARCHITECTS: Kanner Studio Collection.” KANNER ARCHITECTS. N.p., n.d. Web. 11 Nov. 2012. <http://www.kannerarch. com/en/>. Webb, Michael. Kanner Architects: 11 Projects. San Rafael, CA: ORO Editions, 2007. Print. 218 Malibu

Canyon View

Malibu 3

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Drawing by: Matthew Kelly Waro Kishi is one of the most dominant architects in modern Japan, publicized as a leading Japanese Neomodernist. Kishi designed some of the most “architectural” buildings today, known for his intelligence and integrity for both architecture and the world. His buildings are composed of clear geometries and material that is visualized into Waro Kishi conventional synchronizations. Born In 1950 – Present Day Kisho’s biggest challenge is Practices in Japan to incorporate all of the personal aspects he visualizes in architecture with his client’s personal tastes or site plans. He has been known to not accept other people’s suggestions or opinions regarding his projects and designs. Kisho is very intellectual and scholarly, which makes him sometimes too smart to simplify his works. He tries to fix this problem by looking at older, historic buildings, trying to integrate some of their architectural details into his designs. His architectural designs tend to run parallel and repetitive, 220

meaning many of his designs have a similar style. There are no shadows in Kishi’s buildings or plans. His buildings are visually brighter, being shown as clear, exposed and crisp. He uses glass extensively as a way to expose the interior spaces and uses natural elements, such as daylight, to make rooms even brighter. He adds industrial materials, such as steel, metal and iron, to give them an industrial and dramatic effect. Kishi has logical geometries that bring all of his architectural characteristics into his buildings in an influential and instrumental manner. Kishi’s Sonobe SD office, built in 1993, exemplifies these assets. The placing of the glassfilled office and noticeable steel bridge transform this site into a garden, where the white handrails establish a simple, but sophisticated geometry. The minimal steel frame of the building leans toward typical Japanese modern architecture, making the building appropriate for its neighborhood. Furthermore, the granite floor, expansive wall of windows and glass are influenced by older architectural concepts, such as der Rohes’s design of the

Barcelona Pavilion. The Kim house, constructed in 1987, further epitomizes his concept. The building incorporates a completely exposed ceiling, consisting of glass. The over-exposed sunlight brings not only minimal shadows, but also a new illumination to the interior space. Most of the construction for this row house was done offsite, as the four main steel beams were incorporated later to emphasize the difference between urban and rural designs. Keeping with his industrial design, Kishi integrated metal and concrete for the second level flooring. He used more traditional Japanese designs, the client’s preference, by adding white tiles to both the dining room and the outdoor courtyard to make the indoor and outdoor spaces connected. The Kim House expresses Kishi’s concept of clarity, intelligence and industrialization by unifying all of the diverse areas of the home into one cohesive space. Erected in 1998, Kishi’s house in Suzaku expresses Kishi’s concept of integrating natural elements into the indoor and outdoor spaces. Built in a residential area, this house is separated into two separate wings: the east (the living space) and west (the private space). The wings are entirely exposed by floor-to-ceiling glass windows; Kishi built a garden between the parts to prevent views from each space, giving privacy and distinction between the two areas. Kishi uses wood to protect the glass surface, which indirectly gave depth to the outdoor space in relation to the indoor space (both using wood on the walls and the exterior spaces). Although Kishi’s designs are vastly industrial, he tries to incorporate natural

Drawing By: Matthew Kelly 222

Drawing By: Matthew Kelly

into two separate wings: the east (the living space) and west (the private space). The wings are entirely exposed by floor-to-ceiling glass windows; Kishi built a garden between the parts to prevent views from each space, giving privacy and distinction between the two areas. Kishi uses wood to protect the glass surface, which indirectly gave depth to the outdoor space in relation to the indoor space (both using wood on the walls and the exterior spaces). Although Kishi’s designs are vastly industrial, he tries to incorporate natural 223

elements into his buildings as an effort to harmonize both the city and the natural world. Waro Kishi’s KyotoKagaku Research Institute, assembled in 1990, illuminates the concept of industrialization in relation to the natural world. Located in the open, hilly fields of Japan, this building was constructed for Buddhist statues. Kishi considered how the natural elements surrounding his site would be best used into his design. His solution was to have two entrances, one in the first floor and one on the second floor. He incorporates an entirely concrete foundation, with the building being solely structured (walls and ceilings) with steel beams. He integrates the exterior by adding alfresco terraces with the same floor as the interior (similar to the Kim house) to make the indoors and outdoors unified. This once again relates to his concept: making both nature and mechanization connected. Kishi thought that the technical specialists who work on Buddhist statues would be more mindful of the time gap between the sculptures and the original creators of the

statues if he designed the building by putting exceedingly modern designs in an established, historic natural site, hence exposing the time gap between the natural world and modern architecture. Many people who critique Kishi’s works negatively misconstrue him as a minimalist. Minimalism has cold geometry that corrodes architectural elements from spaces. Kishi argues he does not corrode, but incorporates little form into his buildings. If he incorporated more architectural forms and angles, it would take away from the industrial designs that he visualizes for his buildings. His style is a great representation of the modern Japanese view of planning, design and urbanity. Waro Kishi designs some of the most modern, Japanese architecture of present day, using his concept of intelligence, beauty, industrialization and nature to unite what he calls “architecture.”- Matthew Kelly

Work Cited: Furuyama, Masao. Works and Projects of Waro Kishi. 1st Ed. Milan, Italy: Mondadori Eleca spa Architecture, 2005. Print. Images from: Kishi, Waro. MARKERTokyo International Air Terminal Commercial Zone. 2005. http://k-associ ates.com/k.associates/en/, Kishi Lab. Department of Architecture and Engineering, Kyoto University Katsura, Nishikyo-ku, Kyoto 6158540, Japan. Web. 9 Nov 2012. 224

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Pierre Koenig is an architect from the United States of America. He was born in 1925 but he started to design in the 50s. I see his designs as very symmetrical and geometrical. I see that his designs are all based on geometrical shapes. The shape that I see the most in his designs is the cube. They buildings that he has designed are all basic cubical shapes, either by Pierre Koenig themselves or placed together to October 17,1925 - April 4, 2004 create outstanding architecture. California/United States of In the Schwartz House located in Los Angeles, California you can America see that the house is literally a cube, but in the Bailey House you can see how it is many cubes placed together to create one structure. Since he started to work in the 50s, I think that his ideas were ahead of his time. I believe that they were more modern and minimalist than the architecture of that era. The homes that were being built 226

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in his time were all made from wood, and I think they felt very thick and enclosed. Koenig on the other hand was building houses out of steel and glass, which I think made the spaces seem wider and more open to the elements. The idea of using less material in the design of a structure was something new in that era. The way that Koenig designed Case Study House No. 22 or the Stahl House, you are able to see this idea. Something that I think is common in the designs of Koenig is repetition in his structures. There is repetition in the way that the materials that he uses are placed on the outside and inside of his structures. I believe that the repetition in the design of the structures, give the structure a more reinforced feel. It’s as if the repetition gives more support to the structure, as well as weight. The repetition makes the structure feel heavier. In the Schwartz House you can see how the repetition causes this. I think that Koenig saw lighting as a very important aspect of the structures, especially

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Something that I think is common in the designs of Koenig is repetition in his structures. There is repetition in the way that the materials that he uses are placed on the outside and inside of his structures. I believe that the repetition in the design of the structures, give the structure a more reinforced feel. It’s as if the repetition gives more support to the structure, as well as weight. The repetition makes the structure feel heavier. In the Schwartz House you can see how the repetition causes this.

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I think that Koenig saw lighting as a very important aspect of the structures, especially

Since he started to work in the 50s, I think that his ideas were ahead of his time. I believe that they were more modern and minimalist than the architecture of that era. The homes that were being built 227

natural light. In his designs he used wide large glass windows instead of walls. I think he did this because most of his work was done in the west coast of the United States, especially in California. Since California is one of the states were the sun is shining most of the time, I think that Koenig wanted to take advantage of sunlight. That is why his designs have very large glass windows, to allow the sun to come in the structure. One of the best places were this is evident is in the design of the Case Study House No. 22. In this house Koenig took advantage that the house was going to be placed in the hills of Hollywood, where there is sun shining most of the time. The circulation in most of Koenig’s designs are simple because they are mostly residential areas. They are simple because it has one entrance and very basic home like characteristics, like stairs to go to rooms and such. All though it is simple, it does not mean that it is not intricate or well designed. The way that the circulation is in most of his designs is very open. The way that the interior

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is placed, a person can move about through rooms with ease. In most of the structures it is an open floor plan with doorways that lead to the outside of the structure. With the way that he designs, he allows the people to circulate freely without the sensation of enclosure. In the Iwata House, you can notice that the house was designed to move through it with no problem or obstacles. Its as if the interior of the structure was still in the outside world. I feel that the interior details

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I feel that the interior details 229

of the structures that Koenig designed are as important as the outside details. The details of how the rooms are placed and the furniture that is used are completely related to the design of the structure. I think that the furniture used in his buildings is ahead of their time the same way that his architectural designs are. The interiors of Koenig’s structures are very minimalist and modern, like the architecture. It seems that the furniture was designed by the same and in the same way as the structure. The interior detail and exterior detail coexist in perfection to create an idea that was advanced for its era. This was the idea that using fewer materials makes a more significant structure with a better experience as a whole. In both, the Case Study House No. 21 and No. 22 you can see this idea being projected by the design.

design is inspiring. His way of making the exterior and interior of abuilding become one, with less materials, to create an environment is something beyond belief. -Luis Perez IMAGE name of building – Make sure to credit below the image…Respect copyrights

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In my opinion, Pierre Koenig is one of very few architects that pioneered the design of most of the architecture that we see today. The way that he created an idea and then displayed it throughout his architectural

Work Cited: Steele, James, and David Jenkins. Pierre Koenig. London: Phaidon, 1998. Print. 230

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IMAGE name of building – Make sure to credit below the image…Respect copyrights Work Cited: Steele, James, and David Jenkins. Pierre Koenig. London: Phaidon, 1998. Print. 231

Kirchsteigfeld, Potsdam, Germany, Rob Krier It is quoted by Michael Graves, “ Urban design embraces the en re physical fabric of a city – the buildings themselves and the open spaces between them.” Rob Krier is a man who has dedicated his live to this idea of urban design. Talented as a sculptor and architect, Rob Krier considers himself truly as an urban designer, and righ ully so. As he “ranks as Rob Krier one of he most influen al urban June 10, 1938 planners and architects of post Luxembourg , Germany modernism.” Born in 1938 the Luxembourg na ve has spent his years around much of Europe, but specifically in Luxembourg as well as Germany. Krier’s stance on urban design and planning is one that is rooted in history. As he believes that con nuity and aesthe cism are ways of reviving the art of that lost in modernism. His ideals are ones that are of a tradi onal understanding of urban space, as 232

he reviews modern ci es today and sees the lack of concept and understanding shown throughout tradi onal urban planning. One of his urban designs, Brandevoort, Helmond Netherlands, shows this ideal quite well. As he designs the city as a whole, crea ng a center with a neighborhood a ached to it. The city itself consists of Dutch architecture, as he starts designing the plan he starts first with the road network of the city as the roads are centrally planned. Next he decides to use a system that has been around for thousands of years da ng back to the Romans and their pres gious city of Rome. Exemplifying Krier’s love of tradi onal urban planning, Brabant is designed in a Cardo- Decamnus plan. Cardo is the north-south oriented street while Decamanus, the east-west, crea ng an axis of the city. This tradi onal design is also seen in various other ci es throughout architecture history such as Jerusalem, but is not limited as it is used in modern day Cologne, Germany. Returning to Brandevoort however, Krier organizes the blocks concentrically in a radial manner around

the marketplace. The Market place or the center consists of the supermarket, school and church. The market is placed on the north view axis while the south towards the sun the church is located, as the two display a mercan le and religious ends to he spectrum of space. Branching out, the design has 5 neighborhoods or urban districts of which are designed with a specific philosophy Krier has. That each building must have the convic on of the individual, to mean that each building is shown diﬀerently. Conclusively that no two buildings next to each other be built by the same planner. The images I chose to display show the concept and vision Krier had of Brandvoort. First you can see the layout plan of Brandevoort as it illustrates the city, with center and suburbs surrounding it. Next was the view of facades and distribu on to diﬀerent architects within the project. Crea ng the individual feel of each buildings as no two alike are next to each other. Lastly are the finished work and architecture of the the complex as it exlempfies the what it truly is like in Brandevoort.

Compara vely, Krier’s design of Kirchsteigfeld, Potsdam, Germany is quite diﬀerent, as the urban desing basis of design forma on within this plan is block forma on. This use of design enables the crea on of streets and spaces that are unique as they carry their own characteris cs. Rhythm however is a large component in this Krier’s design of Kirchsteigfeld, as it is planned incredibly densely. Only diagonal view axes are possible which creates 234

-William Kirmsse

The images I chose to display the Kirchsteigfeld show the rhythm characterizing block perimeter development. In addi on they show the plan of Kirchseigfeld and the use of diagonal view axes as it move you to the town center.

Work Cited:

In conclusion, Rob Krier is an urban designer who innovates and designs fantas c urban planning. However he respects and acknowledges the use and design of past developments. As he urges the use of past works in modern urban design and points out the flaws our urban designs have today as he rejects the lack of purpose within modern ci es seen today.

“ARCHITECTURE URBANISM.” : Rob Krier: Urban Space (1979). N.p., n.d. Web. Nov. 2012. <h p://architectureandurbanism. Krier, Rob, Hans Ibelings, Philipp Meuser, and Harald Bodenschatz. Town Spaces: Contemporary Interpreta ons in Tradi onal Urbanism : Krier. Kohl Architects. Basel: Birkhauser-Publishers for Architecture, 2003. Print.

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diﬀerent and s mula ng views. In addi on this design using diagonals, also creates a labyrinth street system which may be it’s greatest feature Astonishingly, the complexity of the street system naturally directs you to the center of town. This feature is marveled especially within Krier’s work as his strong support of tradi onal planning is not ques oned a er the strength he shows within design and urban planning. The images I chose to display the Kirchsteigfeld show the rhythm characterizing block perimeter development. In addi on they show the plan of Kirchseigfeld and the use of diagonal view axes as it move you to the town center. In conclusion, Rob Krier is an urban designer who innovates and designs fantas c urban planning. However he respects and acknowledges the use and design of past developments. As he urges the use of past works in modern urban design and points out the flaws our urban designs have today as he rejects the lack of purpose within modern ci es seen today.

-William Kirmsse

Work Cited: “ARCHITECTURE URBANISM.” : Rob Krier: Urban Space (1979). N.p., n.d. Web. Nov. 2012. <h p://architectureandurbanism. Krier, Rob, Hans Ibelings, Philipp Meuser, and Harald Bodenschatz. Town Spaces: Contemporary Interpreta ons in Tradi onal Urbanism : Krier. Kohl Architects. Basel: Birkhauser-Publishers for Architecture, 2003. Print.

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Kengo Kuma is a man of many different architectural styles, but with one simple underlying theme. Kuma believes in the combination of modern technology coupled with traditional materials used in Japanese architecture. He has created exaggerated versions of classical architecture as well as minimalistic buildings made almost entirely out of glass. Kengo Kuma Kumaâ&#x20AC;&#x2122;s portfolio is very diverse 1954 and full of different ways of Tokyo, Japan achieving the same goal; using modern technology to create amazing spaces with traditional Japanese materials. Kengo Kuma focuses on three main aspects of his architecture; site, material and construction. An excellent example of his attention to site can be seen in his building called the Great Bamboo Wall. Built in Beijing, China, Kuma even incorporated the site of the house in its name. Kengo Kumaâ&#x20AC;&#x2122;s idea of building a house next to the Great Wall of China was a major part in its creation. Like how the Great 238

Wall moves across Chinaâ&#x20AC;&#x2122;s landscape, it seems Kuma tries to capture this sense of movement and rhythm by using strips of bamboo throughout the house. It is easy to see how this material captures the same rhythm and movement. Kuma did not forget to use traditional materials in this space, but in Great (Bamboo) Wall another space built in 2002 he http://kkaa.co.jp/works/greatcaptures the same aspect of bamboo-wall/ rhythm with modern materials. http://wahonizer-aa.blogspot. Kengo Kumaâ&#x20AC;&#x2122;s plastic house com/2010/03/part-archetype-bamutilizes fiber- reinforced plastic boo-wall-house.html to imitate how a natural material like wood or bamboo might have been used in the same situation. Kuma plays 239

with lighting as well in this space, using translucent fiberglass for the exterior walls and stairs. During the day a soft glow throughout the house is evident, while at night the house is illuminated glowing throughout. Kuma was very particular about its construction, even using plastic screws instead of bead at its joints. A building similar to The Great Bamboo Wall is Kumaâ&#x20AC;&#x2122;s Takayanagi Community Center. In this space Kuma incorporates a thatched roof and paper panels while still creating a very modern looking space. All of Kumaâ&#x20AC;&#x2122;s works, including this space, do not overpower the spaces they were designed for but instead compliment them. The Great Bamboo Wall having been designed to allow views of the beautiful surrounding landscape, to the Water / Glass Plastic House building; a penthouse http://www.floornature.com/projectsbuilt on top of a pool of housing/project-kengo-kuma-plastic240

water overlooking the sea. This must be a truly remarkable Takayanagi Community Center feeling when sitting down for http://www.designboom.com/ dinner, especially since Kuma contemporary/kuma.html incorporated an infinity edge to the pool, blending the two bodies of water. Water / Glass was built in 1995 and the most attractive building in terms of location and design. Kuma is also capable of using modern materials to create a traditional Japanese architecture, using glass as well as plastic in his work to take the place of bamboo or tile. In Water / Glass Kuma captures the feeling of peace and serenity through its minimalistic qualities. Everything Kuma has done in this space is to focus our attention on the 241

site, eliminating anything from obstructing our view of the surrounding landscape. Kengo Kuma’s Adobe Repository for Buddha Statue is exactly that, a space to house a wooden Buddha statue that dates back to the 12th century. Although, Kengo’s choice in Water / Glass designing this shelter in regard http://architortureland.blogspot. to the Adobe people is what com/2011/07/be-our-guest.html makes this space memorable. Once again Kengo’s choice in material is most definitly one of tradition, even though this space is very modern. The way Kengo designed the bricks to lay in this space allows both air and light to enter the space, making airconditioning unnecessary. Adobe Repository for Buddha Statue http://www.eartharchitecture.org/index.php?/ archives/912-AdobeRepository-for-BuddhaStatue.html

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- Kyle Moran

Work Cited: Buntrock, Dana. Materials and meaning in contemporary Japanese architecture: tradition and today. Milton Park, Abingdon, Oxon: Routledge, 2010. Print. 243

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Lewis. Tsurumaki. Lewis or also known as LTL Architects, is an architectural firm that was founded in 1997. The firm is the product of the partnership of Paul Lewis, Marc Tsurumaki, and David J. Lewis. There firm has a simple but extravagant design style. It is a very geometrical and plane, but at the same time it is done in a way that it looks complex. A very Lewis. Tsurumaki. Lewis common theme that I see in the 1997-present designs is the use of the cube. New York City/United States of Most of the designs that are done by LTL Architects are based off of America or have elements of the cube. Like the Arthouse in Austin, Texas or the Bornhuetter Hall in Wooster, Ohio. Both of these buildings are great presentations of how the cube is used in the architectural design. The way that they emphasize lines in their design, I believe, gives them that complex feel. These lines, which I talk about, can 244

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be seen in many places in the design. The lines that create the complexity, are distinguished in the way they place materials on or in the building, and also in the lighting fixtures that they use. Normally though, the lines are not perfectly symmetrical, which makes the place seem more elaborate. You can see this design element being displayed in the Fluff Bakery in New York, New York. Not only do they use lines all over their designs but they also do a lot of repetition. You can find the repetition being displayed on the façade or in the interior of there buildings. The Claremont University Consortium is the perfect building where the repetition is displayed both in the outside and inside. Another thing that seems very important to there designs is the way the lighting affects the architecture. Large windows are very common in there architecture, because they seem to want to use a lot of natural lighting, but in enclosed spaces or where natural light is no longer a factor, they use very modern lighting fixtures that

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Not only do they use lines all over their designs but they also do a lot of repetition. You can find the repetition being displayed on the façade or in the interior of there buildings. The Claremont University Consortium is the perfect building where the repetition is displayed both in the outside and inside.

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Another thing that seems very important to there designs is the way the lighting affects the architecture. Large windows are very common in there architecture, because they seem to want to use a lot of natural lighting, but in enclosed spaces or where natural light is no longer a factor, they use very modern lighting fixtures that

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The way that they emphasize lines in their design, I believe, gives them that complex feel. These lines, which I talk about, can 245

blend with the architecture. The lights are created in a way that they have a relationship with the architecture and they are important to the whole experience of it. It seems that LTL put the same design process in there lighting to make sure that a person can have a full experience throughout the architecture. In the Sullivan Center in The University of Wyoming you can see how the lighting is a part of the architecture. The main materials that they use are wood and glass. In most of their designs you will find that because they use these materials, the designs seem to be structurally more stable, but at the same time modern. The materials that are chosen depend on the purpose of the building. It seems that they choose materials that relate to the building. For example, in Dash Dogs, there are almost no materials being used. Very dark wood and very little glass are used, which creates an environment in which a person does not want to stay in, and that is the purpose of this place. It is a fast food restaurant that needs people to go in and out, but not stay.

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The way that the designs are created, they have circulation patterns that are specific to their purpose. Most of the designs are done in a way that the architecture is fully taken advantage of. This is done by the way that they allow people to travel through the space. If the building they designed is a museum like the Arthouse of Austin, then you can see how it is designed so that a person has to travel through the whole building, looking at the artwork, before reaching the last floor. Another

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Something that I noticed in the way that LTL designs their structures, is that they do not waste any part of the structure. The architecture is meant to fully appreciate the space that is being created. In some buildings, there is space being created in the space that is already there. This is incredible, because they are designing ways to create space without having to build on the ground. For example, in the Bornhuetter Hall of the College of Wooster, there are cubes that are expelled from the main structure. These cubes create more space than what the main structure was meant to have.

or in some cases more important than the outside. All though the details of the design allow the structure to be a whole, the inside has its own personality. In many of the designs where they cannot do anything to the outside, they create the ambience of the place with the details that they put in the interior. This is clearly seen in the Tides Restaurant that is located in New York, New York. In my opinion, LTL Architects are really effective in how they design their structures. They consider how to design the outside, inside, lighting and space in a way in which the architecture has a theme, and you can see the theme throughout the whole thing. I am inspired by there way of interpreting and designing a structure for its purpose and function in the world. -Luis Perez

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The details in the interior designing of LTL are remarkable. They put a lot of thought in the details of how to make the inside as important,

Work Cited: Lewis.Tsurumaki.Lewis: Opportunistic Architecture. New York: Princeton Architectural Press, 2008. 248

great example is the Dash Dogs, which is a fast food restaurant; it only has one way in and one way out with a wood barrier in the middle. Because of this circulation, a person is compelled to order food, pick it up and leave. So the circulation that is created in their designs are specific to their purpose. Something that I noticed in the way that LTL designs their structures, is that they do not waste any part of the structure. The architecture is meant to fully appreciate the space that is being created. In some buildings, there is space being created in the space that is already there. This is incredible, because they are designing ways to create space without having to build on the ground. For example, in the Bornhuetter Hall of the College of Wooster, there are cubes that are expelled from the main structure. These cubes create more space than what the main structure was meant to have. The details in the interior designing of LTL are remarkable. They put a lot of thought in the details of how to make the inside as important,

IMAGE name of building – Make sure to credit below the image…Respect copyrights

IMAGE name of building – Make sure to credit below the image…Respect copyrights Work Cited: Lewis.Tsurumaki.Lewis: Opportunistic Architecture. New York: Princeton Architectural Press, 2008. 249

Denys Lasdun’s work has inspired people for many years. Even though he is dead, he s ll lives through his designs because they are a part of history. His work was considered the last of orthodox modernism. His early work changed to a more modern look, but what changed it all was the Royal College of Physicians, the Na onal Theatre in London. Both are Denys Lasdun landmarks that are a part of history 1914–2001 and will always be remembered. London, England People can easily recognize Lasdun’s buildings because they all are made from layers of horizontals and project from shadows and glass. He also uses pla orms and towers to make a site and achieve his task. His details from all the joints are a language that express the way he feels about the space. His style has to do with his a tude in the designs, which are interlocking with urban landscapes. His buildings express strong geometry and consistent formal theme. Lasdun is so admired by people because of his crea ve way of 250

using materials and structure and make masterpieces out of them. Unlike most architects, he does not focus on color as much as the space it self which is very diﬀerent from most architects past and present. Lasdun says that “Architecture is an art taking in ‘the whole of human experience.” Once modern architecture became popular ,Lasdun’s designs started to change. He combined the right mixture of boxes on s lts, curved canopies, colored veneers. This is when we see his buildings really stand out because he mixes the old with the new. He uses some the old tricks he learned when he went to school and interpreted it in with the new way of designing. The Na onal Theatre is a prime example of how modernism was introduced in his buildings. He started converging axes and projec ng roofs and the use of glass as well. The Hallfield school was a good way to test out this new style of designing. Especially a er the Bri sh Reconstruc on. He used the combina on of 45- and 90degree angles and use the ground and figures as well. He started to uses the box-diagram

approach for new and unique pa erns. The first me he used these diagrams were houses in the east end of London. They rose fi een stories. He started to manipulate shadows and light and correspond them with scales and rhythms. All of these new ides of caused some controversy, because people hate change, but then they we realized that this is the new way of designing and can start a whole new genera on of architects. It is safe to say that Lasdun started a new style in London that influences people s ll today. Many architects influenced him to design the way he did, like Le Corbusier and Mies van der Rohe. He then gets into Gothic in away when he designed several buildings but never let them become the style that he is known for. In fact, his style is a mystery because he collaborates so many diďŹ&#x20AC;erent styles from other architects and other me eras. Since he has so many diďŹ&#x20AC;erent styles, his work can be considered experiments for other architects to learn from but ended up becoming much more than that. The way he uses his materials in columns and windows makes them looks like they would in the old days, but then the materials of steel and the geometric shapes come into use when he collaborates both into one design. Lasdunâ&#x20AC;&#x2122;s buildings definitely tell a story of me and how far architecture has come since he was the start of a new genera on in a rough me for England. Also, all his buildings have a heart loca on where they signify the building and express the importance of the space, color, light, and materials used in architecture. For example the contrast of granite surfaces and he introduces a new way of using balconies. He 252

uses the balconies the aspects of the shades defining the building and pu ng some life in the building, which is very important when designing as building, especially in that me period. The shape and where the balconies are located played an important role as well as the texture and materials use to give the balcony a characteris c that helps re-in-act the story of the building depending on the design and message that he wanted the buildings to say. The balconies geometric shape help define the shape of the actual building but maybe in away that could not be seen without them. The balconies also help blend in with the landscape and loca on of the building that helps define the space and set the tone for the building and the people going to visit the space. In every one of his buildings, landscape is always in the picture no ma er where it is. Either in downtown, or on a river with a bridge surrounded by trees, or by concrete walls and a row of there buildings that may or may not have inspire Lasdun to design his buildings the way he did. The design of the staircases and

seats for the audience at the Na onal Theatre was eye opener for many people in London. The na onal Theatre is a world famous theater that no one would expect to be designed the way it was, but Lasdun had a vision and he stuck with it to make a theater like no other theater in that me period. Perhaps, Lasdun inspires new architects today by his buildings just like Mies van der Rohe and others did for him. I know for my self that he definitely gave me a new aspect of architecture and appreciate the me I live in and to be thankful for the architecture the he and other architects of both his and my me supply. Every building tells a story, and every architect has their own style, and the style is what defines that architect and separates them from the rest, just Denys Lasdun and many other great architectures have their own style. Style is important and crea ve comes with that to design a great building and be remembered for it. -Lucas Moline

Work Cited: Cur s, William. Denys Lasdun: Architecture, City, Landscape (New York: Phaidon Press, 2003). 254

Work Cited: Cur s, William. Denys Lasdun: Architecture, City, Landscape (New York: Phaidon Press, 2003). 255

Drawn By: Matthew Kelly Charles Rennie Mackintosh was a visionary for European architecture in the eighteenth and nineteenth centuries. Born in Glasgow and practicing throughout Europe, Mackintosh had a considerable influence on European design. Mackintosh lived mostly in his hometown of Glasgow, designing many buildings there that came to be a new Charles Rennie Mackintosh architectural style for the world 7 June 1868 – 10 December 1928 to see. He designed during the Industrial Revolution; during this Practices in Scotland/England time, his hometown, Glasgow, was one of the most productive centers for heavy engineering and shipbuilding in the world. This allowed him to be indirectly exposed to a new kind of style: Asian Architecture. Mackintosh then created many Asian-influenced and modern designs based on the forms he had discovered, creating a new conception for European buildings. Mackintosh’s style was influenced by Japanese architecture, in which he combined Asian elements into traditional European 256

design. He admired the Asian style for its restraint and lack of expensive details, rather than Europe’s flashy, architectural aspects. He liked Japan’s simplicity and natural materials rather than Europe’s style: embellishment and detailed art. He loved the use of texture, light and shadow in Asian architecture rather than paintings of arrangement and repetition used in Europe. Even in his designs of furniture, he tries to design with Asian influence. He ventures away from traditional European furniture, which is seen as ornament, displaying the wealth of its owner. He liked how Japanese arts and architecture focused on the quality of the space, designed to evoke a comforting and natural feeling to the space. It became evident that Mackintosh was going to incorporate these Japanese ideals into his plans. One of the most famous buildings he constructed was the Glasgow School of Art, constructed from 1897 to 1909. This building made him internationally famous because he integrated both simplistic (Asian) and complex (European) design into the building. He

designed the interior to have exposed steel beams, signifying Japanese design, but used natural stone on the exterior in a scattered form to resemble European architecture. Additionally, he incorporates straight-lined, plain window designs; he also uses steel and other industrial elements as windowpanes and architectural details on the bases of the windows to illuminate the harmony between natural and industrial elements (Asianinfluenced concepts). The interior is integrated with complex beams to hold up the gabled roof (a traditional style), but incorporates streamlined geometry by making the roof solely glass, making a skylight and exposing natural light into the building (a modernism style). Through the design of this building, Mackintoshâ&#x20AC;&#x2122;s concept is revealed: combining traditional and modern designs into one unified space. The Hill House, erected in 1902, has similar incorporations of modernism and traditionalism. The exterior includes elements of a typical traditional English Tudor: stucco as the siding with a slate, gabled roof. He integrates modern Asian architecture by

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making some roofs flat and others angled; he also has some exterior walls curved and detailed and others straight and simple. The interior, such as the master bedroom, has one side traditional (the archway above the bed) and one as modern (the simplistic fireplace and white, glossy built-in furniture). Furthermore, the secondfloor hallway has traditional elements, like stained glass windows and rug flooring, but it also has modern elements, such as simple, streamlined railings and floor-to-ceiling windows to overexpose light

Drawn By: Matthew Kelly

into the space. This exemplifies how Mackintosh’s concept of integrating both vastly different styles of architecture is feasible, as done in this historical and now famous building. Built in 1904, the “Willow Tea Rooms” building in Glasgow, Scotland also illuminates Mackintosh’s concept. He designs the exterior very simplistically. One can see from its neighboring buildings that Mackintosh’s design has far fewer moldings and designs around the windows; he integrates different materials and shapes for them to give a more modern exterior design. He molds his building with the neighborhood by making it out of stucco, unifying it to its surrounding neighborhood. The interior represents the same style, having traditional elements, like the detailed windowpanes, rugs and wainscoting, and incorporates modern elements, such as simplistic, straight-lined furniture and over-sized windows. The combination of these elements reflects Mackintosh’s style and narrative: someone who discovered two vastly different types of design and integrated

them into a single arrangement. Mackintosh’s style has been inspiring for many buildings throughout history. His concept of incorporating modern architecture into European style was masterful because he integrated Asian influences without totally disturbing the traditional ways of European design. His concept of combining both styles started a new perspective and vision, proving that both modern and traditional architecture can be unified into one space. Mackintosh showed intellect because his interpretation of architecture was a foreshadowing of Modernism, which is by far his most valuable legacy to architectural design. - Matthew Kelly

Work Cited: Steele, James. Charles Rennie Mackintosh- Synthesis On Form. 1. New York, NY: ST MARTIN’S PRESS, 1994. Print. Images from: “Charles Rennie Mackintosh.” greatbuildings.com. Artifice Inc., n.d. Web. 10 Nov 2012. 260

Sketch- Desert House Cliff May was a specialized designer of ranch houses in the Southwest. He claimed that a one-level house, the ranch house, provided a smoother transition from indoor to outdoor space. One could really appreciate this aspect of a building because the scenery in Southwestern America is too beautiful to not experience. On top of that, May claimed the ranch house provided better circulation. Yet, this reasoning is not why he is 1909-1989 a reknown home designer. May used many different architectural United States techniques to make his work stand out from the ordinary. Color, texture, sequencing of rooms, and temperature are concepts which May blended into his own unique style.

Cliff House Number 3

Cliff May

Featured above is the Desert House in Tuscon, Arizona. May uses a canopy of wooden slats and sticks to create a textural pattern. When the sunlight shines through the breaks in the sticks and 262

Cliff House Number 3

Another example of how May uses texture is in the Cliff May House Number 3. Here, May uses unrefined wooden slates as shingles to the roof. In this manner, the roof almost resembles tree bark and makes the building blend in with the country. Parts of the exterior are made of rough, white stucco, yet another surface with a unique texture. Meanwhile, a wide wooden pergola supported by thick columns create patterns on the ground. May uses these pergolas in almost every one of his houses. Not only are they pretty to relax under, but they ease the amount of direct sunlight coming in. May alters his pergolas in some ways as well; often times he will leave open spaces in the pergolas to allow direct sunlight to pass through.

unfilled slats, a pattern of shadow is created in the pool below. Because of the use of the canopy, the light shining through is controlled and there is a lack of electricity in the water. A sense of coolness is formed and establishes a space to relax. Another example of how May uses texture is in the Cliff May House Number 3. Here, May uses unrefined wooden slates as shingles to the roof. In this manner, the roof almost resembles tree bark and makes the building blend in with the country. Parts of the exterior are made of rough, white stucco, yet another surface with a unique texture. Meanwhile, a wide wooden pergola supported by thick columns create patterns on the ground. May uses these pergolas in almost every one of his houses. Not only are they pretty to relax under, but they ease the amount of direct sunlight coming in. May alters his pergolas in some ways as well; often times he will leave open spaces in the pergolas to allow direct sunlight to pass through.

Desert House

Cliff House Number 3

Cliff May

Featured above is the Desert House in Tuscon, Arizona. May uses a canopy of wooden slats and sticks to create a textural pattern. When the sunlight shines through the breaks in the sticks and

Cliff House Number 3 263

In May’s Thomspon House, one can see a unique variation in color on the interior and exterior. May uses many shades of brown and yellow which create warmth and depth. The warmth developed through the variation of color also gives the ranch house a “homey” effect. The dark brown of the wooden door highlights an exit point, while the rest of the space glows a mustard yellow. This aspect of the building provides the person inside with a focal point, and causes activity in any viewer’s eye. In the kitchen of the house, the interior rafters are painted a cream color, assisting the light coming in from the glass door to illuminate the room. The rafters really seem to capture this light through color and disperse it throughout the space. When looking at the house with its environment around it, one can see why May chose these colors. The posts and roof of the stucture seem to match the color of the surrounding trees. In this way, May blends the colors to capture the indoor and outdoor world as one environment. In addition, Cliff May brings the outdoors inside in that he often puts large plants inside his buildings.

Thompson House One aspect of architecture which May perfects in his structures is the “sweep of space.” Not only does May create smooth transition from indoor to outdoor and vice versa, but he creates a flowing movement from room to room, space to space. In the Santa Ynez Valley House, one can see how easily a person can transfer from kitchen to living room. The wide break in the wall is more efficient for movement and is inviting. The adjacent window serves as an outlook into the living room as well. These wide open portals “open

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Santa Ynez Valley House

Sketch- Thompson House

Santa Ynez Valley House

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elements of color, temperature, texture, and transformation of space, he created very inviting places. On top of that, May knew the connection between architecture and lifestyle. By designing intriguing and efficient structures, May provided residents with homes of great comfort and leisure.

—Matthias Arauco Shapiro Santa Ynez Valley House

Cliff May once said, “To me, when we lived on a ranch, with cross ventilation and rooms spread out around courtyards, basic old California plan, it seemed a much better way to live.” Not only did May design these efficient styles of buildings though. He had the power to make his structures into great aesthetic works. His natural approach to design made it possible for his houses to mesh with the Southwestern biosphere. The way one could see the wooden frame of the buildings; the placing of plants around and inside the buildings created an earthy feel.

Pacheco-Quirion House

Work Cited: Gregory, Daniel Platt., and Cliff May. Cliff May and the Modern Ranch House. New York: Rizzoli, 2008. Print.

Overall, it seemed like when Cliff May combined the

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All images ©Joe Fletcher Photography

up” space and create a greater visual experience. Unlike the Thompson House, May uses white walls to convey a sense of purity and elegance. The white color seems to capture the sunlight in these open spaces. In this way, May again shows how he can capture the natural light and spread radiance throughout the house. Cliff May once said, “To me, when we lived on a ranch, with cross ventilation and rooms spread out around courtyards, basic old California plan, it seemed a much better way to live.” Not only did May design these efficient styles of buildings though. He had the power to make his structures into great aesthetic works. His natural approach to design made it possible for his houses to mesh with the Southwestern biosphere. The way one could see the wooden frame of the buildings; the placing of plants around and inside the buildings created an earthy feel. Overall, it seemed like when Cliff May combined the

—Matthias Arauco Shapiro Santa Ynez Valley House

Pacheco-Quirion House

Work Cited: Gregory, Daniel Platt., and Cliff May. Cliff May and the Modern Ranch House. New York: Rizzoli, 2008. Print. Pacheco-Quirion House

All images ©Joe Fletcher Photography 267

Hearst Hall

outside view of Hearst Hall

Hearst Hall

Bernard Maybeck is one of the most acclaimed American architects of his era. He was considered one of the leaders of the Arts and Crafts movement. One could describe his architectural style as connected to nature; he always tried to be true to the material he was using within the building—whether it be wood, stone, or concrete—and true also Benard Maybeck with the natural environment in February 7, 1862-October 3, which it is built. He believed that 1957 architecture should be applied on a case-by-case basis. He also drew California influence from many different architectural styles, creating a style that, in his time, was hard to exactly pin down. Also, through out many of his projects, a sense of whimsy and cunning is present in all of his architecture. Through looking through a sampling of his creations, we can learn a lot about how Maybeck thinks about architecture, and hopefully apply that to our own understanding of it. 268

sanctuary of Church of Christ, Scientist, Berkley

Hearst Hall, built in 1899, was to host receptions and other official events for an architectural competition, and then afterward be moved to the University of California in Berkley. This condition was the partially the cause of the shape of the building, abnormal for a meeting hall. The unique shape of the building was not the end of all of the oddities. The arches of the roof partially revealed themselves on the outside of the building, supporting evergreen trees on the ends. There was a large structural tower, almost as large as the building itself, meant to hide the chimney for the building’s heating plant. Bernard’s sense of whimsy clearly comes out in the construction of the building. Finished in 1910 The First Church of Christ Scientist in Berkley, is considered one of his masterpieces. One of the things that make it so wonderful is its “use of light within the sanctuary. The light coming in from the translucent windows gives it a feeling of warmth and reverence that is needed in a sacred space. The trusses, which by themselves would be an imposing strength, are lightened by the golden

Hearst Hall

outside view of Hearst Hall

Hearst Hall

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tracery, reflecting the light that shines into the building. Here again we see Maybeck play with plants, except in a more reverent tone; the wisteria flowers that grow outside of the window bringing in hues of purple into the church during the late springtime. The Palace of Fine Arts in San Francisco was created to be a showpiece during the 1915 World Fair. … The site for the Palace rests on what was essentially a swamp. This negative was turned into a brilliant positive, making it into something like a pond, on which the rotunda, the centerpiece of the Palace, was placed upon. It was designed to be a resting place from the hustle and bustle of the fairgrounds, so that you could go to view the arts exhibits in a calmer mood. Though all the other buildings were town down after the fair was over, this building is still in existence. The Leon L. Roos House, another building located in San Francisco, is the largest house that he has built in the city; one cannot comprehend the size of the building from looking at it from the street. The entrance of the building is not visible from the street; the main focus to onlookers is asymmetric balcony that looks like

Church of Christ, Scientist, Berkeley 270

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Palace of the Fine Arts a face with raised eyebrows. If you come to the right side of the mansion, however, one could see its vastness of the structure. One of the most special parts of the building is the living hall. The two-story room was constructed of warm redwood and lit with groupings of lights, hanging from different heights, which attempted to bring it a human scale. The Wallen Maybeck House, no. 2, named by the Maybeck family as Hilltop, was Maybeck’s second-to-last design. Built over the span of 1937-38, the building was somewhat as a

Loos House balcony

Church of Christ, Scientist, Berkeley

IMAGE name of building – Make sure to credit below the image…Respect copyrights

Loos House balcony 271

experimental work for his sonâ&#x20AC;&#x2122;s family to live in, using cheap and handmade materials. Instead of building the walls out of the normal wood of his earlier work, he casted the walls out of Bubblestone, a sort of aerated concrete. This is partially because of the lack of nearby fire stations to serve the area; wood is more likely to burn in flames than concrete. Instead of shingles or tiles, metal sheeting, like that found on top of barns, was used for roofing the house. He even devised a heating system for one of the rooms that used a radiator from a Model A Ford to circulate hot water from the water heater underneath the floor of the dining room. Though it is quite different from many of his other works, especially in the materials used, his inventiveness is evident like it is throughout all of his work. Through these examples, the architecture of Bernard Maybeck becomes less of an abstraction and more of a reality. The way he played with materials--whether they be expensive and traditional or handmade and frugalâ&#x20AC;&#x201D; shows his cleverness and wit. The joy and wonder that he

Loos House, side view

constructed buildings is very clear once one goes and looks for it. -- Daniel Moss

Wallen Maybeck House, no 2

hallway, Wallen Maybeck House, no. 2

Work Cited: Woodbridge, Sally B. Bernard Maybeck: Visionary Architect. (New York: Abbeville Press, 1992). 272

Loos House, side view

constructed buildings is very clear once one goes and looks for it. -- Daniel Moss

Wallen Maybeck House, no 2

hallway, Wallen Maybeck House, no. 2

Work Cited: Woodbridge, Sally B. Bernard Maybeck: Visionary Architect. (New York: Abbeville Press, 1992). 273

The Douglas House

Drawn By: Adrianna Matyas Richard Meier’s fundamental concerns when it comes to design are space, form, light and how to create them. Meier’s work is an “effort to redefine and refine this ongoing human order, to interpret the relationship between what has been and what can be, to extract from our culture both the timeless and the topical” (8). Meier’s projects all provide Richard Meier moments of luminosity because October 12, 1934- Present of his great skill in filtering light. When speaking of his works, he New York, New York creates “white buildings” that uphold modernist principles. Each space he creates show pure geometry, open space and an emphasis on light. These “white buildings” use sleek porcelain-enameled cladding and large glass windows. In the Neugebauer House, Meier creates a linear organization of parallel layers from front to back. They move from access to service to living quarters to a sun terrace to a pool. Other designs 274

The Neugebauer House

The Getty Center

show an emphasis of letting in natural light, which has a dual purpose; it lets in natural light to brighten the space, but also shows the views that surround the site. Meier typically works in areas along the coast so the views of the water can be seen throughout the space. Each design Meier creates uses manipulative geometry to suit the space and to maximize light. Meier was greatly influenced by Le Corbusier’s work of the 1920s and 1930s because of the modernism techniques he used. He likes to manipulate volume and surfaces by moving forms of light to create changes in scale and view along with the movement and stasis of a space. Along with using light in a space, Meier connects the inside and outside though the use of landscape. Courtyards connect spaces and bring the inside out. Along with private residences, Meier has created many public buildings. The largest project for Meier was between 1985 and 1997 where the focus was put in the Getty Center in Los Angeles, California. Meier created the six principal buildings that have multiple purposes. These

The Douglas House

The Neugebauer House

The Getty Center

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purposes created a complex arena, public galleries and private study rooms, allowing Meier to play with contrasting public and private spaces. The centerâ&#x20AC;&#x2122;s placement in the hills of Los Angeles gave Meier an area where he could play with light without distraction from surrounding buildings. The clearest distinction of a Meier building in straightforward terms is that it is white and has many windows. Beyond being white with windows, the building can unite natural and man-made materials along with creating effective spaces through the use of geometry. In public buildings, Meier effectively creates open atriums that act as gathering spaces and inviting entrances. The exteriors of the buildings are like artwork; the cladding creates a tiled effect that plays off the geometry of the windows to create balance. His homes and public spaces blurred the lines of art and architecture because of his bold designs that are centered on geometry. Through the use of crisp lines and glass windows, he contrasts man and nature while also trying to bring them together.

Barcelona Museum of Contemporary Art 276

Drawn By: Adrianna Matyas

Like many architects of the past, Meier dabbled in furniture design for his spaces. In particular, Meier created chairs for the Guggenheim Museum. He has even patented designs for home furnishings. Meier focuses on creating a fully detailed space like his predecessors Frank Lloyd Wright and Le Corbusier. These spaces bring together his architectural vision through the use of custom furnishings: mostly chairs and tables that use bold materials like stainless steel and blonde wood.

Getty Center

Barcelona Museum of Contemporary Art

Drawn By: Adrianna Matyas

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Getty Center

When creating space, Meier is concerned about how the public nature of the place is defined in human terms of character. While creating spaces that are part of society’s needs, Meier thinks about designing something that is durable as well as rational to the needs while maintaining a high caliber of architectural design. Much of Meier’s work builds on the work of architects of the early to mid20th century, especially that of Le Corbusier (mostly his early designs). Meier has built more using Corbusier’s ideas than anyone, including Le Corbusier himself. Meier expanded many ideas evident in Le Corbusier’s work, particularly the geometry and use of windows of Villa Savoye and the Swiss Pavilion. His work also reflects the influences of other designers such as Mies Van der Rohe. When it comes to the design of furniture, Frank Lloyd Wright and Luis Barragán except that Meier did not use color as they did. White has been used in many architectural landmark buildings throughout history, mostly including cathedrals

and the white-washed villages of the Mediterranean region, in Spain, southern Italy and Greece. Meier’s work, recognizable and clearly defined by its whiteness, creates a distinction and dialogue between nature and man made. Architecture to Meier did not want to copy but rather provide a counterpoint to the surroundings while still maintaining a relationship. In all of Meiers designs, he put in a conscious effot to portray the interior in the best natural light along with having a simple geometric shape - Adrianna Matyas

Rachofsky House

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The Atheneum

Shenzhen Clubhouse

Work Cited: “Architectural Styles in West Los Angeles, CA.” Www.activerain. com. N.p., n.d. Web. 9 Nov. 2012. Meier, Richard, Kenneth Frampton, and Joseph Rykwert. Richard Meier, Architect: 2000/2004. New York: Rizzoli International Publications, 2004. Print. Meier, Richard: Getty Center. Photograph. Encyclopædia Britannica Online. Web. 12 Nov. 2012. Perez, Adelyn. “AD Classics: Douglas House / Richard Meier.” ArchDaily. ArchDaily, 28 May 2010. Web. 9 Nov. 2012. “Richard Meier: A Retrospective.” Esquire. N.p., n.d. Web. 9 Nov. 2012. Rosenfield, Karissa. “In Progress: Shenzhen Clubhouse / Richard Meier.” ArchDaily. ArchDaily, 1 Dec. 2011. Web. 12 Nov. 2012. Sveiven, Megan. “AD Classics: Getty Center / Richard Meier & Partners Architects.” ArchDaily. ArchDaily, 15 Jan. 2011. Web. 9 Nov. 2012. Sveiven, Megan. “AD Classics: Neugebauer House / Richard Meier & Partners Architects.” ArchDaily. ArchDaily, 17 Jan. 2011. Web. 9 Nov. 2012. Sveiven, Megan. “AD Classics: The Atheneum / Richard Meier & Partners Architects.” ArchDaily. ArchDaily, 24 Jan. 2011. Web. 9 Nov. 2012.

Rachofsky House

The Atheneum

Shenzhen Clubhouse

When one thinks of Michelangelo, the first thought that comes to mind may be of his renowned sculptures like David or his incredible paintings found in the Sistine Chapel. Something that many do not know is that Michelangelo was also a practicing architect as well, designing buildings like the Laurentian Library and the Piazza del Campidoglio, as well as helping Michelangelo Buonarroti design the Medici Chapel and St March 6, 1475- February 18, Peterâ&#x20AC;&#x2122;s Basilica. He was born in 1564 Caprese, Italy, although, much of his architectural work is found in Florence, Italy Florence. Michelangelo constantly denied being taught by anyone, even though he was influenced greatly by his contemporaries and classical architecture. During Michelangeloâ&#x20AC;&#x2122;s time it was common, if not highly recommended, for architects to visit the ruins of what once were the great buildings of ancient Rome. Once there, they would fill sketchbooks with drawings of orders, cornices and bases, as well as imagined sketches of what the rubble may 280

IMAGE name of building â&#x20AC;&#x201C; Make sure to credit below the imageâ&#x20AC;ŚRespect copyrights

Sketches have looked like in its prime. http://www.arttrav.com/ Instead of this, Michelangelo worldexhibitions/michelan- decided to study a book called gelo-anatomy-aarchitecture- the Codex Conor, filled with williamsburg/ similar classical drawings by http://www.3quarksdaily. Bernardo della Volpaia. The com/3quarksdaily/2008/12/ discrepancy here was that page/2/ Michelangelo completely omitted certain drawings like sections of the Pantheon or Coliseum, and instead only copying and altering images he knew he could incorporate into his own designs. This is where Michelangelo began to create his own style of morphing classical architecture into something new, an abstraction of the normal geometric architecture during his time. 281

Images from the Codex Conor were measured and drawn precisely in pen, while Michelangelo free handed all of his sketches with red chalk and without measuring. It is obvious how these preliminary sketches are incorporated into the vestibule of the Laurentian Library, as well as all of his other designs. Michelangelo designed with the mind of a sculpture, taking geometric drawings and incorporating the human form. The Basilica of San Lorenzo, found in Florence, Italy is a culmination of many famous architectural spaces, many of which Michelangelo was apart of. The Laurentian Library as well as the Medici Chapel are included in this structure. Michelangelo is also credited with designing one of the facades of the Basilica. It’s dome is the raised ceiling of The Medici Chapel, an extension that was added to the Basilica of San Lorenzo. was added to the Basilica of San Lorenzo. The Laurentian Library was Michelangelo’s first project that didn’t incorporate the human form in some way. His work on

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IMAGE name of building â&#x20AC;&#x201C; Make sure to credit below the imageâ&#x20AC;ŚRespect copyrights

the Medici Chapel was to encase and memorialize past Medici Chapel family members, as well as his http://www.tumblr.com/tagged/ other designs undoubtedly medici-chapel had statues or sculptures http://www.caftours.com/mediciincorporated into their designs. chapels-guided-visit-monday.html But The Laurentian Library had no underlying meaning, filling in the void of sculptural works with architecture. The portion of the Medici Chapel Michelangelo designed is called the Sagrestia Nuova. Michelangeloâ&#x20AC;&#x2122;s style of architecture is once again seen here, with abstract curling forms and sculptures intended to commemorate the members of the Medici family. Michelangelo is know for taking simple elements of a design and making them extremely complex. In the Medici Chapel, the walls are decorated with 283

ornate sculptures and columns St Peters Basilica not meant for support or http://en.wikipedia.org/wiki/ structure but for aesthetics File:Tobu_World_Square_St_ alone. Peters_Basilica_1.jpg Michelangelo’s biggest an most impressive achievement must be his work on St. Peters Basilica. Being one of the most well know pieces of architecture from the Renaissance, it was Michelangelo’s last project. Michelangelo redescigned the Basilica’s dome Although, he did not live to see its completion, Piazza del Campidoglio Michelangelo’s dome would http://www.in-roma.com/ place/musei-capitolini/ be completed after his death in 1564 by Giacomo della Porta and Fontana in 1590.

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-Kyle Moran

Work Cited: Brothers, Cammy. Michelangelo, Drawing, and the Invention of Architecture. New Haven: Yale University Press, 2008. Print. 285

Fig 1-2 Wolf House http://arch329lain.blogspot.com/2011/11.html

Fig 1-1 Wolf House Traced From “Mies Van Der Rohe: The Villas and Country Houses”

Mies van der Rohe is known for his simplistic and spacious creations. His design philosophy centered on being organized and clear. Rohe believed in making space meaningful for those who would enter. He despised the cluttered styles that had come before him, and therefore went to great extremes to avoid this. Rohe lived by his own rule, ‘Less is more.’ He created Mies van der Rohe distinctive design proportions of March 27, 1886-August 17, 1969 low and wide buildings; which Berlin ,Germany 1907-1937 helped to develop striking places. Chicago, Illinois 1938-1969 He used materials, such as steel, glass, and stone, which defined the structure while creating a flow between the inside and outside of the place. Rohe believed in making art rather than fulfilling someone else’s desires. He was insipired by the imagination of others and of the era of production and invention. He was determined to help create a distinctive style for this era, just as the times before had their own style. Mies van der Rohe never attended formal architectural school. 286

Fig 1-3 Urbig House http://www.miessociety.org/legacy/projects/

Fig 1-4 Riehl House http://www.plataformaarquitectura.cl/

Rohe went to the Craft Day School for two years and then began working as a stonemason for his father. It was this job that gave Rohe the desire to become involved with architecture, for he was impressed by the difficulty and precision of construction detailing. After discovering his passion, Rohe apprenticed at several small firms but eventually moved to Berlin. He first worked under Bruno Paul, an architect and furniture designer. Through this job, Rohe saw the necessity of complimenting furniture with space. Continuing to build his own design concepts from each job he undertook, Rohe moved on to work under Peter Behrens. Rohe was greatly influenced by the neo-classical, traditional designs of Behrens, especially in Rohe’s first independently designed home. Behrens had another significant impact on Rohe by introducing him to the work of Karl Friedrich Schinkel. Rohe identified with the harmony and rhythm created by the geometric forms in the work of Schinkel. The Riehl house was Rohe’s first big leap into architecture. He displayed his spacious ideals and simple geometries that were developed

Fig 1-2 Wolf House http://arch329lain.blogspot.com/2011/11.html

Fig 1-1 Wolf House Traced From “Mies Van Der Rohe: The Villas and Country Houses”

Fig 1-3 Urbig House http://www.miessociety.org/legacy/projects/

Fig 1-4 Riehl House http://www.plataformaarquitectura.cl/

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from the influences of Behren and Schinkel. Rohe created a house that was incredibly impressive for a young architect. As a result, it did not take long for Rohe to become completely immersed in the world of architecture and begin his own firm. Rohe’s time in Berlin signifies his time of discovery and change. He was developing his own style, while also trying to develop a style that would define his era. Rohe was determined to give meaning to his work, and so he invested a great amount of time into learning about philosophy. He was never satisified with his own understanding and so he continued to study in order to create his own sense of meaning. After several years of designing upper-class homes and apartments, Rohe’s style began to arise and become distinct. The Barcelona Pavilion is one of the first of Rohe’s work that shows a demanding simplicity. Rohe created an empty yet definitive space; a space that created a flowing path between indoor and nature, through the use of untraditional materials. The most significant being glass, steel, and concrete. We can also see this developing theme in the Villa of Tugendhats that mimics the Barcelona Pavilion in several aspects. Although more

residentially luxurious, the villa contained similar elements of open space and connection to the outdoors. It was through these two works that the elements Rohe revolved around appeared were all combined. The result of which was meaningful and defining of the new time period. However, Rohe would not be able to continue to develop this theme in Europe any longer. In order to escape from the Nazi regime, Rohe was forced to leave Germany for America. With this move came another change in Rohe’s

Fig 1-5 Barcelona Pavilion http://www.miessociety.org/

Fig 1-6 The Villa Tugendhat Traced from “ Mies Van Der Rohe: Architecture and Design”

288

Fig 1-7 The Villa Tugendhat

http://www.designboom.com/architecture/mies-vander-rohe-villa-tugendhat/

Fig 1-5 Barcelona Pavilion http://www.miessociety.org/

Fig 1-6 The Villa Tugendhat Traced from “ Mies Van Der Rohe: Architecture and Design”

Fig 1-7 The Villa Tugendhat

http://www.designboom.com/architecture/mies-vander-rohe-villa-tugendhat/

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design concept. He would no longer focus on just the proportions of wide and short, but rtather expand his career by also designing skyscrapers that now characterize the Chicago skyline. Through these buildings, Rohe was able to test his concept of designing with steel and glass. He was enthralled of making structures of which the frame of the building was its facade and detailing. His roots of meticulous precision are evident in the appearance of these dominating structures. This presence is apparent in the Lake Shore Apartments, which stand out because of the materials used. Rohe, still obsessed with defining the era, was succeeding in both the commercial and residential markets. The Farnsworth House brings back that which Rohe created in Germany and Spain. The building is again defined by its uncluttered, open spaces, and also uses the steel support beams rather than walls for support. However, the Farnsworth house would be his last residential project because of the conflicts Rohe encountered with his clients. Rohe had been able to develop

Fig 1-8 Lake Shore Apartments http://www.miessociety.org

Fig 1-9 Farnsworth House http://www.miessociety.org

Fig 1-10 The Neue Nationalgalarie 290

http://www.miessociety.org

his own concept and ultimately created meaning and art. Yet, as the Farnsworth clients complained to Rohe about, it is not easy being constantly surrounded by art. For this reason many of his residential projects are now being used as art galleries. Mies van der Rohe has a distinct style of which he developed over several decades and through incredible times. He began learning the very basics of design; yet, they are what led him to developing his own precise concepts. He held onto the goal to develop a style that represented the industrial era; based on the signifigance of his work today, he was able to achieve this. Mies van der Rohe evolved from a neo-classical architect into a newage architect. He became an architect that defied the normal and created magnificent works of art. However, Mies van der Rohe never quit remaking his own design concept. Rohe will forever be known for his definition of space, yet he played with many solutions that allowed for wide-open areas. Towards the end of Rohe’s life, he returned to Germany to design the Neue Nationalgalerie. In this project he again explored the possibilities of supports; choosing to not use any internal supports. In this project he revisited his past design that had not been able to be produced because of Nazi Germany. Rohe used the plans and re-evolved them. Mies van der Rohe was forever changing and developing. He was aware of that which surrounded him, and used all of it to inspire and create meaningful work. He never quit because he was always discovering new solutions. Mies van der Rohe was a pure and continuous innovator. - Regan Weber

Work Cited: -Cohen, Jean-Louis. Ludwig Mies Van Der Rohe. Basel: Birkhäuser, 2007. Print. -Tegethoff, Wolf, and William Dyckes. Mies Van Der Rohe: The Villas and Country Houses. New York: Museum of Modern Art, 1985. Print. Images: “Mies Van Der Rohe Society.” Mies Van Der Rohe Society. Illinois Institute of Technology, 2012. Web. 13 Nov. 2012. <http://miessociety.org/>. “Plataforma Arquitectura.” Plataforma Arquitectura. N.p., n.d. Web. 13 Nov. 2012. <http://www.plataformaarquitectura.cl/>. “Mies Van Der Rohe: Villa Tugendhat | Designboom.” Designboom. N.p., n.d. Web. 13 Nov. 2012. <http://www.designboom.com/architecture/mies-van-derrohe-villa-tugendhat/>. “ARCH 329 Lain.” : Le Corbusier, Mies Van Der Rohe, and Alvar Aalto- Modern Residential House. N.p., n.d. Web. 13 Nov. 2012. <http://arch329lain.blogspot. com/2011/11/le-corbusier-mies-van-der-rohe-and.html>.

Fig 1-8 Lake Shore Apartments http://www.miessociety.org

Fig 1-9 Farnsworth House http://www.miessociety.org

Fig 1-10 The Neue Nationalgalarie http://www.miessociety.org

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PA Capitol - http://www. booktown.com/stcroixprints/ harrisburgpa.php

Washington Monument - From Book Robert Mills was one of the most influential architects to ever set foot into Washington, DC. However, his work starts much earlier in Philadelphia, Baltimore, and Columbia before he changed this nationâ&#x20AC;&#x2122;s capitol. Mills, a freemason, worked on the design of many churches and government related buildings throughout his career and had famous mentors including Robert Mills James Hoban, the designer of August 12,1781-March 3, 1855 the White House, and Thomas Philadelphia, Baltimore, Jefferson, the President that was Columbia, Washington also an architect of many spaces. Mills started his professional work in Philadelphia. He designed many churches as well as important government buildings. One of the most famous is the Pennsylvania State Capitol that is located in Harrisburg, PA. In 1810, this buildings design was coming to a close. Mills followed the Greek styles of architecture with the tall columns, yet still used some innovation with the V shape that formed around an arc in the path to create an enclosed space 292

Unitarian Church - http://www. phillyhistory.org/blog/index. php/page/4/

Baltimore Washington Monument - http://www.route40. com

for the building. The landscape layout was essential to Mills due to the fact that these buildings were going to be built on such a large scale and every piece needed to have a purpose to stay within budget. In 1812, another great building came about for Mills: the Unitarian Church in Philadelphia. Mills uses geometry here when he selected the octagonal shape for the floor plan of this space. This space can seat 300 people to worship something in the center, possibly why Mills chose to do the building in this shape. He also has a strong hold on materials with this project. The previous building was heavy marble causing the cost of the building to increase. This building, however, was made of brick and put into a more public location, since the public will be using it more than the other building. Mills also made this building have a central focal point to get away from the cross shape of the orthodox Christian style of church. While in Philadelphia, Mills worked out the plans for a few other churches including the Dr. Staughton Baptist church and the monumental church meant

PA Capitol - http://www. booktown.com/stcroixprints/ harrisburgpa.php

Unitarian Church - http://www. phillyhistory.org/blog/index. php/page/4/

Baltimore Washington Monument - http://www.route40. com 293

for Richmond, VA. All of these spaces focused on symmetry and a focal point in the center of the building. Baltimore was next on Millsâ&#x20AC;&#x2122; agenda, having won a competition to design a Baltimore Washington Monument. This monument has a similar structure to the Washington Monument, yet it is a precursor. Mills utilizes the Greek styles yet again and focuses on columns. He has a square building underneath the large centered column that is topped with a sort of watch post. Washington stands atop the pillar and watches over the city. This was one of the first memorials that are to come from Mills. Baltimore also has a few churches designed by Mills. He mad a Baptist church here as well, this time in the shape of a circle with a rectangle intersecting one side. Mills focused on the acoustics inside the dome and gave it certain dimensions in order to preserve the ability to hear while still keeping his design in tact. The First Baptist Church meant for Charleston was one of the first to stray away from the round assembly space. This does however introduce a balcony into the stage of the church that is unapparent

First Baptist Church of Charleston - Hand Drawn - Based off of http://www.nps.gov/nr/travel/charleston/bap.htm

Library Company - http://historiccolumbia.org/blog/preservationmatters-columbia-south-carolina-historic-sites-associated-withthe-legacy-of-slavery/

in his other works. Mills designed a city hall and courthouse for Richmond while in Baltimore. Mills again sticks to his circular design for the auditorium, though gives a space on one edge to speak. His plans have started to evolve into buildings starting as circles and having rectangles intersected to the edges of the shape. This shows up again in the Baltimore Library Company building. Government buildings became more popular in Millsâ&#x20AC;&#x2122; designs with the creation of the House of Industry in Baltimore. This is a trend that will happen

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Robert Mills Courthouse http://www.panoramio.com/ photo/66851661

First Baptist Church of Charleston - Hand Drawn - Based off of http://www.nps.gov/nr/travel/charleston/bap.htm

Library Company - http://historiccolumbia.org/blog/preservationmatters-columbia-south-carolina-historic-sites-associated-withthe-legacy-of-slavery/

Robert Mills Courthouse http://www.panoramio.com/ photo/66851661 295

much more in Washington. Another space that Mills practiced in before his leap to Washington was Columbia, South Carolina. He designed a jail for the government in 1821. In the same year a district courthouse also was designed. These are only some of his buildings. Each of these buildings had a different purpose, so they each had a different design, yet still coordinated with each other. The jail used archways to create enclosed entrances while the courthouse stuck with columns that came about in the previous buildings. The jails that Mills designed were meant to hold the criminals above while the office spaces would be put downstairs instead. One of the most brilliant buildings that Mills designed was the Fireproof Building in Charleston in 1821. Mills was thought of as a genius for the designs he applied to this building. He took into account measures that repelled fire while in designing the space, and it paid off after a fire occurred in that building. The records on the first floor were safe due to these precautions. This step in design set a

Fireproof Building - http:// www.bu.edu/av/ah/fall2008/ ah382/lecture10/

Treasury - http://www.bc.edu/ bc_org/avp/cas/fnart/fa267/ greekrev.html

Capitol - http://www.visitthecapitol.gov/exhibitions 296

precedent for future designs. Washington DC gave Mills the title of All American Architect. Mills continued his work in designing prisons, now adding hospitals for our servicemen into his abilities. A marine hospital in Charleston was designed in 1832. He also continued his work in the courthouses of the country. The United States Treasury building was designed in 1836, following the Greek and Roman styles used often by Mills. This building was of much larger scale than many of the other buildings he has designed before. The other building to come in this year was the Patent building. He also had a plan to revise the Presidents house, which he helped his mentor James Hoban complete at the beginning of his career. The post office came in 1839. Mills designed a strip of the national mall that would go to his most well known project to date: the Washington Monument. On this mall he designed buildings for the Smithsonian Institute, though they were not what finally got built. He also came up with a design for enlarging the War and Navy departments so that they could be physically linked to each other. Sticking to the government style buildings, Mills also planned to improve the Hall of Representatives. This plan had a library room in the rotunda of the great hall. Robert Mills redesigned the Capitol building in the Greek and Roman styles, similar to all of the other building he has designed in this city. The Washington Monument in the nationâ&#x20AC;&#x2122;s capitol was Millsâ&#x20AC;&#x2122; most known building and has been set as a landmark for the city. It has set a precedent for the rest of the buildings added to Washington. Robert Mills brought old Greek and Roman styles into a developing country and made them the focal point of the nation. His styles brought elegance and respect to the city, as well as a feeling of power.

Work Cited: Liscombe, Rhodri Windsor. Altogether American: Robert Mills, Architect and Engineer. New York: Oxford University Press, 1994.

Fireproof Building - http:// www.bu.edu/av/ah/fall2008/ ah382/lecture10/

Treasury - http://www.bc.edu/ bc_org/avp/cas/fnart/fa267/ greekrev.html

Capitol - http://www.visitthecapitol.gov/exhibitions

Work Cited: Liscombe, Rhodri Windsor. Altogether American: Robert Mills, Architect and Engineer. New York: Oxford University Press, 1994. 297

As an architect Charles Moore based his designs off of life. He found that the ways that humans live could be translated into a metaphor for the way we build. Charles Moore designed to this metaphor. A part of our lives are emotions and feelings, Moore’s most prevalent concept in his buildings was this aspect of life. He believed that not only was Charles Moore architecture about feeling, but Oct. 31, 1925-Dec. 16, 1993 that it was also the function of building to create emotion within United States a sense of place. The emotion that Charles Moore emphasized or focused his designs around was joy. According to Moore architecture had the ability to reflect and enhance joy in an individual’s life through a building. Like many artists, Charles Moore’s architectural designs were influenced by something specific, and important in the artists’ life. For him, it was travel. Moore enjoyed seeing different parts of the world, and would take every opportunity to travel. 298

The enjoyment of getting the opportunity to see different styles and ideas of architecture fascinated him. Within a majority of his buildings, design aspects and styles from different countries can be identified, based on where he recently traveled, assumable from buildings in that area which he visited. Because of his love for travel, he did most of his work on airplanes. Charles Moore never had one specific place of residence, but instead lived in several different cites thought out his lifetime. He created a pattern of building and than moving on to build again. In every city where he lived there is a home built by Charles Moore where he lived while, not traveling, and before he moved on to a different city to start over. The constant moving gave Moore the opportunity to open several small architectural offices. He employed young students to assist him with the architectural projects. When Charles Moore deiced to move, he left behind a well-established firm, along with his peronally designed home. A pattern which he repeated several times through out his lifetime. 299

Some of the aspects of design that can be noticeable in many of Charles Mooreâ&#x20AC;&#x2122;s buildings is the use of materials. Most of the buildings studied that were designed by Charles Moore, it is noticeable that he likes to incorporate woodwork as part of the interior and exterior designs. This is most noticeable in some of his similar more laid back architectural designs such as his Sea Ranch Condominium, Swan House, Budge House and the Johnson House. Each of these buildings mentioned either includes materials entirely of wood, or the majority of the building is interiorly and exteriorly finished with unpainted wood. Another identifying feature that Charles Moore includes in his designs are slanted, differently, simple, geometrical roofs. His designs do not include the average slanted roof for purpose of water drainage, but mainly for design. Along with the identifiable roofing of a building designed by Charles Moore, he also gives many of his buildings boxy forms. This aspect gives off a more simple design and look to the buildings. According to Charles Moore this allows buildings to give others, the feeling of familiarity while still surprising them.

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One of Charles Mooreâ&#x20AC;&#x2122;s most notable pieces of architecture may be the Sea Ranch Condominiums. Many marked the completion of this building as the first major phase that Charles Moore went through in his career as an architect. The design concept for this building was used and copied by many other architects. There are countless beach houses in California that have been modeled after this one. There were future plans to expand the empty landscape around the Sea Ranch, but this was never achieved. 301

One of the homes that Charles Moore designed and built for him to live in was the Moore house in Orinda. This small-scaled house exemplifies how Moore was influenced by travel and includes his phase of creating forms in a building. The idea for this home was based off of primitive huts and Mayan or Hindu temples. The two freestanding temple shaped forms within the home exemplify this. Another piece of architecture that Charles Moore is recognized for is Piazza dâ&#x20AC;&#x2122;Italia. Again the concept and idea for this building was derived from his love for travel. It is meant to represent Italian architecture, specifically from Sicily. What sets this building apart from all the ones in Sicily is he added a modern translation to the architecture showing his creativity. The Swan House is one of Chares Mooreâ&#x20AC;&#x2122;s more simple and realistic buildings. Moore was ahead of his time with the concept of preserving energy. The orientation of the home takes advantage of the amount of sunlight as does the pitch of the roof. Wood for the exterior, a common material he uses. 302

Charles Moore went through two major, noticeable phases in his architectural designs. The buildings that he made during the first half of his life, while he was younger, were much simpler and poetic. As he aged his buildings became much busier, and chaotic in plans, interior design, and decoration. In some of the last buildings completed before he died, Charles Moore was more flamboyant and eccentric with his designs. He went through a stage of colorfully whimsical designs that became almost fantasy like. His buildings, and houses did not have the natural, or common walls as basic separations of a room. Instead he found that creating a few boxes or focal points to one large room, set out the other negative spaces as rooms, without the need for walls. This created forms within the building and left all other spaces open. Buildings such as the homes he built himself in New Haven, and Orinda, that include this type of design, can be described as eclectic historicism of postmodernism. In the stages of design before Charles Moore reached his fantasy design phase, his buildings were much more simplistic and related with the landscape. He commonly chose wide-open natural pieces of property on which to build. A good example is the Sea Ranch Condominium property. The original architecture of Charles Moore consisted mainly of smaller buildings, on large areas of land, with open spaces inside to reflect the open spaces outside. Calm and natural compared to busy and chaotic architecture, are two completely different phases of design for an architect to go though. Charles Mooreâ&#x20AC;&#x2122;s style of architecture was based off of simplicity. As an architect his goal was to surprise and to be different. He did this by planning large environments and built his buildings at a small scale with monumental aspecs of design. - Masie Carr

Work Cited: All Images Allen, Gerald. Charles Moore. New York: Whitney Library of Design, 1980. Print. 303

Lido di Ostia

Luigi Moretti was born in 1907 in Rome and died in 1973. Moretti was a passionate art collector for most of his life, making this the main influence for his designs in architecture. Art and architecture are woven together in all of his designs. Moretti had a desire to “connect the examples of the past with the problems of the present” (8). Many of his works are Luigi Moretti also influenced by older pieces of 1907 to 1973 art and architecture. For example, Rome/ Italy Moretti makes a Michelangelo reference in his entrance arch of his building on Viale della Pineta, Lido di Ostia. Along with his designs, Moretti published many writings throughout his career, which lend to different aspects to his designs. The body of Moretti’s work shows a culmination of form and art, which connect the past to the present, through his clean lines and simple designs. He used a rationalist approach in designing his buildings. Moretti’s abstract and ambiguity is an essential part in his architecture. 304

Casa delle Armi in Foro Mussolini

Casa del Balilla, Trastevere

During the 1930s, Moretti’s work focused on form and “temporal structures”. At that time, he was one of the few architects that explored the use of curves and non-geometric forms. This period was known as his “figural adventures” (15). The Casa delle Armi in the Foro Mussolini, is Moretti’s “form [that] ignores the bearing structure” (12). Moretti uses straight clean lines throughout the space, giving the building a very minimalist feeling. The building has a subtractive quality to it, as if the volume had been taken away from the space and the building is what you are left with. The façade of the building is made out of white plaster, which creates a seamless look. Moretti described this building as having “classical” qualities. Moretti claimed that the building would never go out of date because the jagged profile of the mountain in background contrasted the white rectangular volumes of the building. This is an example of how Moretti relates all of his designs back to the past. He wanted each of his buildings to connect to the architecture of the past, since the past is where architecture originated. History

Lido di Ostia

Casa delle Armi in Foro Mussolini

Casa del Balilla, Trastevere

305

is what drives his designs throughout his work. In 1942, Moretti was arrested for his collaboration with fascism. This point of his life directed him to a different aspect of his career. During the post war period in the 1950’s, Moretti studied the “scientific instrumentation in urban planning”. This was a major influence in how he designed some of his next projects. Upon researching several theories, Moretti came up with a definition of the structure of a form stating that is was a “grouping of pure relationships”. This concept is shown through his La Saracena. La Saracena exhibits many qualities, which Moretti uses throughout his other works. The façade of the building is made out of white plaster. Moretti wanted the surface to be smooth and consistent. This similar quality is seen in his Caca delle Armi as stated earlier. Moretti had a desire to make a building “of a moldable, monolithic material”. This use of material can be seen in most of his designs. La Saracena’ design allows one to be open to the sky and sea, while also allowing for privacy (23). When describing this building, Moretti uses an example of a Baroque architect saying that the building is

La Sarcena an “explosion constrained, in its final form, by the opposing forces of the world” (23). Again, Moretti references an older form of architecture to describe his work. Moretti’s well-known projects in the 1960s have similar styles. He began working with EUR in 1961, where he designed buildings for Esso and Sgi. The buildings have a vertical aspect to them. There is a repetition in the building, which is broken by the bottom half of the building. Moretti’s friend, Agnoldomenico Pica recognized a double

306 Buildings

for Esso and Sgi

Casa-Albergo

Buildings for Esso and Sgi

307 Casa-Albergo

character in the building, which resembled Greek and Baroque styles (23). This is seen in the tapered pilasters of the portico. The building is similar to Morettiâ&#x20AC;&#x2122;s Watergate Residential Complex in Washington, DC in its structure and classical details. The building has representations of classical features its cornices. Even though they are not representational they still represent classical ideals. Moretti uses classical concepts but simplifies them through simple lines. Luigi Moretti uses classical concepts from the past to influence his designs. He is able to use representations of the past through his simple and clean lines of his buildings. The body of Morettiâ&#x20AC;&#x2122;s work shows a culmination of different forms, which connect the past to the present. He used a rationalist approach in designing his buildings, making him influential in the way he connects his designs to previous forms of architecture.

Casa del Balilla, Trastevere

Watergate

Work Cited: Photos From: Moretti, Luigi, Federico Bucci, and Marco Mulazzani. Luigi Moretti: Works and Writings. Trans. Marina DeConciliis. New York: Princeton Architectural, 2002. Print. 308 La

Sarcena

Casa del Balilla, Trastevere

Watergate

Work Cited: Photos From: Moretti, Luigi, Federico Bucci, and Marco Mulazzani. Luigi Moretti: Works and Writings. Trans. Marina DeConciliis. New York: Princeton Architectural, 2002. Print. La Sarcena

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Julia Morgan is a famous architect who changed the architectural world for woman today. Her architectural designs varied from private bungalows in the suburbs to glamorously detailed castles in the hills. Julia grew up the early 1900s, that time period shows us building with extreme detail and very few simple modern buildings. So Julia’s ultimate style was Julia Morgan non-existent because she used 1872-1957 numerous. Each of her buildings Practiced in San Francisco, CA she showed different kinds of styles. Her styles varied from European architecture to a BeauxArts background to American craftsmanship. Although all these styles are very different the one thing in common all of her buildings had was attention to detail and some sort of craftsmanship. With these various styles Julia also made many different kinds of buildings. Varying from homes, churches, hospitals, stores, educational buildings, and office spaces. Some of the things she was most famous for other than her beautiful 310

attention to detail were exposed beams, horizontal lines that accentuate the landscape, wooden shingles, and natural materials. All of Julia’s work was based out of San Francisco and after the earthquake of 1906 she rebuilt half of the city due to her talent in engineering. One of Morgan’s famous works is Saint John’s Presbyterian Church. She was asked to finish the church’s auditorium in 1906 just before the earthquake. After the earthquake the church was left in ruins, its four tours had feel to the ground, now Julia was asked to rebuild the whole structure. Julia’s style in this project was Romanesque Revival. She uses natural materials like redwood trees as beams that are exposed in the main space, creating lofted ceilings. To ensure no more damage would be done from future earthquakes, Morgan supported the hipped roof by an enormous octagonal woodframed ceiling; she also used the redwood beams to come out of that octagonal structure to connect to a central ring of beams. Doing this supports the roof and keeps the building balanced and strong. She also deigned a semi circle balcony,

which creates an elevated path and another way to view the church. Julia also uses natural light as she created new stain glass windows, bringing in colors of purples and reds that made the space more sacred. These windows also brought warmth as the glowed onto the redwood beams and pews. Morgan’s most famous building of all is The Hearst Castle located on a hilltop facing the ocean in San Simeon California. This 68,500 square foot 165 room mansion was of a style unlike Morgan has ever done before. People describe the style as a Moorish design or some sort of Spanish Renaissance décor. This expansive compound is made of eight buildings with extreme detail. Julia wanted this space to be grand and impressive. Morgan had to adapt her spaces to the steep terrain of the hill this mansion would sit on; she also had to create a reservoir on top of this hill because there was no existing water supply. Rain and spring water were then pumped down from the peak where the body of water was to these structures. Meanwhile as Julia was constructing this massive space, she made every room have a view of the ocean; she was an architect who liked to stick to natural materials. The materials included mostly marble and stone, but also concrete, brick a lot of mosaic tile. Julia designed a part of the compound called “The Roman temple” where she incorporated parts of different ancient Roman temples. Morgan used columns and statues of Roman gods to complete this atmosphere. In the center of this Roman Temple Morgan designed a 104 foot pool named “The Neptune Pool.” She put this pool in the middle of this temple to create peace and to compliment that amazing views surrounding 312

it. Morgan also designed an indoor pool that was inspired by fourth-century Roman mosaics that her client had seen in Italy. The whole space is covered in mosaic tile to create the European feel. This compound is magnificent in everything that it is. Morgan created it to stand the test of time and to show her clients power. The ceilings consisted of gilded beams, coffered panels lined with depictions of birds and nature. Morgan used natural light in every way she could by creating six-foot tall windows in most rooms. She wanted to lighten up these dark detailed rooms by also having most bedrooms have a glass door which lead to a balcony looking over the ocean. The fine detail in every ceiling, door, and landscape accentuates the views of the ocean and the mountainous terrain that surrounds this hilltop. Julia Morgan changed the world of architecture for everyone. She created spaces no one else had even thought of in that time period. Her skill in engineering enabled her to make sure buildings stood the test of time, weather, and earthquakes. She designed

over 700 buildings in her career and every building is an expression of light, extreme detail and all different kinds of styles. Her buildings speak for themselves and every building an architect designs should.-Michael Charpentier

Work Cited: Wilson, Mark A. Julia Morgan: Architect of Beauty. Salt Lake City, UT: Gibbs Smith, 2007. Print.dex.htm 314

Work Cited: Wilson, Mark A. Julia Morgan: Architect of Beauty. Salt Lake City, UT: Gibbs Smith, 2007. Print.dex.htm 315

Morphosis Architects consist of several great architects, including founder, Thom Mayne, who are the masterminds behind these incredible designs and style of designs. The buildings that this firm designs are very different than what most people are use too, and their style makes their buildings stand no ma er how complex or simple they are. In the Morphosis Architect Firm book, “Morphosis”, Mayne states, Founded in 1972 “We view are projects as radically Santa Monica, California different: each new, each taken on its own terms.” This firm seems to focus their designs on what the values of the area are and then they incorporate it in the designs. Every building seems to influence the design of the next building . Every building is influenced by the space that it will be located, and it influences the design. It can make the building either stand out by it’s complexity or it blends in by it’s simplicity. Every culture is different so every building will be different based on what that culture values and prac ces in order 316

to incorporate the designs that Morphosis have done. The University of Toronto Graduate Student Housing, is a prime example of how the style of the building influenced by the firm’s desire to combine public and private and make it a metro space at the same me. The loca on also was put in considera on because the massing of the building had to correspond to the adjacent neighborhood. Also, one block is city like and the other is residen al, which is why the building splits in to two different designs star ng with the O on the sign as well as the sign in general. The residen al side has many openings that help access different parts of the housing. Although this building is extraordinary, when it was first design it faced many cri cism because it is not a tradi onal school environment and displays some ques onable features of it. All of Morphosis designs are so unique that they some mes cause some controversy. Every material used in the firm’s designs serve a specific purpose. The glass brings a light effect at night and during the day. Other materials

like stone or brick, can make the design appear either too big or too small. Almost every building they design they use some kind of steel and they always manipulate light to collaborate their own style. A er twenty-five years, the firm has not changed the way they design because according to thom Mayne, the way they originally designed was so different that it con nues to work so many years later. There is some changes to the firm’s design, but not enough to completely change the way they design, which makes them so good. They have a style that defines them and they have stuck with it for twenty-five years. The style works for them because they are able to manipulate the light from the outside and collaborate it in the inside. The exterior always fits with the design of the interior. In architecture, light and color are very important when it come to the design of a building. The architects in this firm know how important it is and they always know how to make the right colors fit their designs. In the inside of 72 Market Street in Venice, California, it appears that there are so many colors, but in reality it is just different oranges and blues that are manipulated from the light that is coming from the glass ceiling. This is not one of their most complicated buildings, which makes it s ck. Since it is so simple the color does not get lost in the structure of the building, which can be easy to do some mes. Another incredible use of color and light is the Vecta No. 2 building in New York, New York. The walls look like stain glass windows, but again the majority of the colors used are blue and orange. They are again manipulated by the light making the whole building light up in different colors, which is what the glass 318

walls provide. This building also has many shades of green which make it stand out from the other building but in the same me they are similar because of the style Morphosis uses to manipulate light and color in every design. The building structures in every design is so unique that it represents the firm. When people see a school that has so much structure to it they know it’s the style of Morphosis. They have designed numerous diﬀerent schools that diﬀeren ate from colleges, high schools, and elementary schools. Diamond Ranch High School in Pomona, California, is like no other high school. Its structure is so unique and it has so many shapes and features just to the exterior, it is incredible. Mayne says, that “the high school speaks to its students experien ally through a symbolic, physically kine c architectural language.” The landscape of the building also influences the design because it is on a hillside view from the high school. The roofscapes fold and bend like shi ing geologic plates. The walls provide a pedestrian highway for the students to get from

class to class. The Interna onal Elementary School in Long Beach, California, is similar in the sense that it is unique, but the structure is very diﬀerent. The loca on is also key to this school because it is in a popular downtown site that a racts many people to it gaining business. “The design illustrates how the firm loathes to adhere to any one design strategy, instead le ng each new project direct its own theore cal approach,” said Mayne. They manipulate the space by pu ng a playground on the roof and pu ng their style in it as well. The metal folds and bends in just like the Diamond Ranch School. The common use of metal is what makes the style of their designs so diﬀerent from any other architecture firm. The common thing all of the school designs have is that they go beyond the boundaries and the firm thinks outside the box to create a space that seems impossible. Since the firm has such great architectures working together the ideas and possibili es are endless and that is why their style and building structures are the way they are, because they go beyond the impossible. Why not,? With the brain power of those architects its illogical not to do the impossible . Every building they design catches my eye and makes me remember why I want to be an architect, and they made me appreciate a space and how to manipulate color, light, material, and texture to work in your favor in order make the designs that you imagine but think are impossible. -Lucas Milone

Work Cited: Mayne, Thom. Morphosis. (New York: Phaidon Press, 2003). 320

Work Cited: Mayne, Thom. Morphosis. (New York: Phaidon Press, 2003). 321

Nash worked with a principle of free planning where buildings were unrestricted by four walls. Furthermore, Nash manipulated the exterior of buildings to enclose any number of rooms of many shapes and sizes as well. His style looked like a medieval castle from the outside but contained elegant, classical rooms on the inside. In other words, â&#x20AC;&#x153;Its picturesque John Nash silhouette belied its sophisticated interiorâ&#x20AC;? (Davis 13). He is Born 1752, Died1835 responsible for much of the layout Practiced primarily in of regency London. He also helped London to establish the technique of using the picturesque in the design and layout of buildings. Nash mainly designed country houses and townscapes. He rooted his work with a romantic idiom. Nash developed his structures with a specific process. The method for designing a country house contained four ingredients: a round tower, a long entrance-hall gallery, a spectacular staircase, and a controversy. 322

His houses were usually built of brick, which were faced with stucco paint to resemble stone. Some of his finest country houses were designed as picturesque castles. Some of the elements used in his works, such as cottages, include leaded lights, elaborate chimneys, asymmetry, and â&#x20AC;&#x2DC;rusticâ&#x20AC;&#x2122; architecture. Furthermore, he designed townscapes by disguising blocks of residential or commercial premises as classical palaces to produce a sense of variety. Nash also designed with a lack of respect for detail. Instead, he focused on the overall effect of his work. Unlike anything of his time, Nash combined the Gothic style with classical elements in houses of immense charm. One of his first works that dealt with these concepts was to improve the Market Place of the small Welsh town of Abergavenny. Through this work, he discovered his appetite for town planning with a common theme where his works involve more than designing a mere building. Nash held the belief that buildings and their surroundings should show movement and irregularity. Buildings could now

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be made part of nature and nature could be encouraged to suit buildings. His first experience of relating a house to its surroundings is known as Castle House. This building had a triangular plan with Gothic style in keeping with the rugged landscape. Sitting at the very edge of the sea, this triangular plan had an octagonal tower at each corner. This also helped to develop his style of Gothic house design. Nash designed and built his home as well as his cousins both located in lower Regent Street. Together, an open courtyard was formed through a single design. He continued to develop his architectural style by designing asymmetrical and picturesque buildings. Nash was all about his connection with picturesque, romantic outlines, which became his obsession. Nonetheless, as long as he was working, Nash could build in any style, most of which were classic, Gothic, ‘Tudor’ or all three combined. For example, one of the revolutionary works of Nash was his planning of Regent’s Park, which allowed for picturesque country scenery to be enjoyed by detached villas and great terraces. The street provided a boundary

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and separation between the streets and squares. Nash was broke away from the formal street architecture by using formal facades in an informal manner. He created the first picturesque street in London by uniting the classical with the romantic. The Park included a mixture of detached villas and semi-detached houses with private gardens and looping roads. He used a unique concept where no two buildings, both symmetrical and asymmetrical, were the same nor were the neighboring houses aligned with each other. In some cases, 325 29A-B

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Nash did not complete all of the details, which were finished in the hands of other designers. This is an example of how the method of Nash was concerned not so much with the details of a project, but rather the overall effect that it had on the inhabitants. Nash was also responsible for designing a canal that linked from west London to the River Thames in the east. Nash ultimately came up with the plan for the canal to run along the northern edge of Regent’s Park. This is just one example of how Nash connected buildings with their surroundings. In all, Regent’s Park is comprised of a canal, lake, wooded area, botanical garden, and many picturesque groupings of residences. Nash primarily practiced regency style of architecture, adding an elegance and lightness of touch. Many of his works had painted stucco façade with columns, usually built as terraces or crescents. His most famous works are the Royal Pavilion, Brighton, and Buckingham Palace. The Royal Pavilion, also known as the Brighton Pavilion, was not built but redesigned

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by Nash. This building is very striking because it has an Indian appearance on the outside with a heavy influence of Chinese and Indian fashion on the inside. This is an example of the exoticism in the regency style. Buckingham Palace, originally known as Buckingham House, is another great example of renovations and redesigns by Nash. The existing Buckingham Palace was to be transformed by Nash into a new royal palace. Nash mad Buckingham House much larger and imposed it to be a U-shaped building. This is an example of his free planning where buildings were unrestricted by four walls. He extended the central block of the building and entirely rebuilt the two wings, which enclosed a grand forecourt. He also create an arch in the center of the forecourt which formed part of a ceremonial processional approach to the Palace as well as celebrating Britain’s recent victories. John Nash’s style of the early nineteenth century architecture is exemplified through his impressive works. Nash was able to transform London from the graceful curve of Regent Street to the grand terraces and vistas in Regent’s Park. He built castles, houses, and cottages all around England with Gothic style. Nash always emphasized his picturesque qualities through his works. Nash was not afraid to create a movement where a building was not defined by four walls, but rather an enclosure of spaces in many different shapes and sizes. He typically designed with a medieval looking exterior contrasting an elegant interior. Furthermore, he conquered the difficulty of connecting his buildings with their surroundings. He will always be remembered for his amazing designs of country houses and townscapes throughout London. More specifically, inhabitants will always take away the style and techniques of Nash through Regent’s Park, the canal, the Royal Pavilion, and Buckingham Palace. –Nick Yager Work Cited: Davis, Terence. John Nash: The Prince Regent’s Architect. London: Country Life, 1966. Print. Summerson, John. The Life and Work of John Nash Architect. Cambridge, MA: MIT, 1980. Print. 327

Von Sternberg House

Richard Neutra was a modernistic architect ahead of his time. He designed his buildings in a very geometrical fashion. There were alot of straight edges, many squares and rectangles, but what set him apart was how these different shapes were put together, how they intruded and extruded one another accumulating into one great work of art. Thatâ&#x20AC;&#x2122;s one basis for how I view his architecture, the other Richard Neutra is how he basis his work around April 8, 1892 â&#x20AC;&#x201C; April 16, 1970 nature and the surroundings. The California space of the site and the nature seems to compliment his work, and almost influence it. In all of the works, the Architecture almost seems to either fully contrast the nature or compliment it, and neither is bad, they both seem to be purposeful and deliberate, and while the natural aspect of his work seems to be more prominent in his residential architecture the spatial effects are seen in his commercial work. You see alot more curved edges. In the end though his work stays pretty consistant 328

throughout his life. One of his first works was the Lovell House which has a bunch of rectangular shapes put together, some seem to be missing, some extruding and they all come together masterfully. When they come together all of the windows are different, light pierces through this building in so many different ways, and you almost experience the light in a new manner every time. In the interior as well, every room has a purpose and has a feel linked to that purpose. The library inside of it almost has no windows, making it more of a peaceful place where you are away from the world and can get lost in the book. Later, in the 1930s Neutra seemed to design many houses in California overlooking the water. These were built very similarly, but instead were focused on enlongating the design so that you could view the beach from most of the house. Also bringing in light was once again an importance in these houses. One building from the 30s that stands out, that wasnâ&#x20AC;&#x2122;t a beach front property, was the Von Sternberg House which seems to focus on the drive-way. This drive-way wraps around the entire house

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into the garage. While this building is obviously designed by Neutra, you see a part of the hosue being highlighted, almost as a basis. Even the water, nature aspect, follows the driveway traveling by itâ&#x20AC;&#x2122;s side. In Neutras Kaufmann House the same idea of different shaped rectangles, protruding and intruding walls, and roofs that overhang is still prominent. In this site they are almost mastered and much like the ocean for the beach houses, the pool at this building seems to be the centerpiece. The termaine house built soon after was a very open house, with many windows, and although it seems very open, it is designed in a way that makes it so that every room is a new sight, every room is hidden in the open almost because of the way that the shapes of his rooms are put together. Later in his life you see Richard Neutra design more commercial buildings and one that stands out to me is the chapel Mirar Naval Station. While the exterior looks very similar to the past buildings and looks similar to alot of his future work, his interior is very different. His cieling starts high and then regresses until both sides meet. The walls have curved columns that curve into the

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Lincoln Museum and Visitors Center regression almost as a contrast to the cieling, and once again the building designed is effecting the experience of the light. The only difference is that before in his work it seemed to be exterior walls that changed the light. In the building it is excess interior. The two things that I find common in the rest of Neutras work is different for both commercial and residential. In the rest of his commercial work you see long vertical rectangular columns, covering the windows to distort the light. It is seen in almost

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every building, whether short or tall. It is seen in the chappel, here each starts at the sloped stairs and ends at the cieling. Then at the Amalgamated Clothing Workers of America Building it is seen again in a smaller space, the columns more compact, and while the rest of the building seems to be black these columns are white. The contrast seems to be highlighting this detail that he has begun to add in his work. It is seen again in the Lincoln Museum and Visitors Center, this time it is the only black part of the building, and its material contrasts the rest of the site. Other parts of the building are built with stone slabs or cement, while this is built with steel. It is once again seen in the United States Embassy, and the Medical clinic he designed, but it is perfected in the County Hall of Records where these columns, while not really standing out, are huge. Residentially his work changes in one aspect. He adds this design in which a slender part of the roof sticks out a couple of the feet, and then drops, forming a hollow square. This seems to not really posses a purpose physically,

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but psychologially it opens up the pupose of almost all of his work. Almost every aspect of his work was so that his buildings seemed open. You were to experience the openess of the site and get connected with the nature surrounding it. His homes were almost translucient with the amount of windows each possessed, and now the addition of this made it so that you could litterally walk though it and experience the house, you could see through it. At the same time the end point of this hollow square led you to a natural aspect, it directed you to a pool or a garden, or some natural element. You see it in the Moore and Hinds house, colored brown to seem like a natural element. At the Moore House it ends at the edge of the hill that the house is perched on, almost solidifying the end of the house.At the Perkins House it ends in the pool connecting the house to the natural aspects, it also starts as a beam from the inside of the house, conecting the interior and exterior. It is seen in the Cheuey house where it almost highlights the pool, going along side it. It is seen in the Singleton House, almost forming an exterior hallway, and it is shown in many more homes, highlighting different aspects of homes, forming bridges from the interior to exterior. Throughout Richard Neutras life his work is constant, and while the accumulation of boxes and how they are formed and put together seem to be his style, what is different about each sight is truely what he should be known for. In some buildings such as the Chappel, lighting seemed to be his influence. In others a drive-way, some a beach, a pool, and so on. His style seemed to stay constant. I think the purpose of his style seemed to shout out a little louder though in his later work. Commerically, his highlighting of what the building did to the surounding space was prominent. He highlighted that the buildings raised the area by putting long column like blinds over the windows. He also highlighted the translucents of his residential work, through hollowed squares later on. His work becomes more modern. -Nikola Sabic Work Cited: Hines, Thomas S. Richard Neutra and the Search for Modern Architecture: A Biography and History. New York: Oxford UP, 1982. Print. 333

Cite Justiciaire, Morgan pg. 46

Holiday Hones in Cap d’Ail, Morgan pg. 198

The thing Jean Nouvel, a Pritzker-Prize winning architect from France, strives to do above all else in his architecture is to combine the purpose of a project with the project’s site logically and rationally. Each building he designs integrates its environment in very specific ways, while also becoming a connection between the function of the building and Jean Nouvel physical space. In this way, B.August 12 1945 Nouvel tries to relay to visitors France the meaning of the building, and emphasize this meaning in almost every way. An example of this is the Cité Justiciaire, which holds courtrooms in Nantes, France. The building is a made up of variations on an 8 meter by 8 meter grid, from the square shape of the building, to the tiles of the floor, and the varying size and shapes of the rooms. The consistency of this pattern is a metaphor for the equity and uniformity of justice, and is a present reminder in the materials and structure throughout the building. The way he 334

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manipulates natural light in the courtrooms (shown on page 2) is meant to reflect that the proceedings take place in public, out in the open, like justice should be. Nouvelâ&#x20AC;&#x2122;s style is contemporary, with the simplicity and rationality of modern architecture being very important, but also integrating new technology rigorously. Another divergence from modern architecture it that he is not reserved with ornamentation, such as screen-printed walls or unique lights or patterned materials. Screen-printed walls especially, such as in the Schmikov Quarter and Euralille Development, integrate the building with its backdrop with actual images from the surroundings. In many cases Nouvelâ&#x20AC;&#x2122;s projects seek to connect with the past by using old building facades joined with his own unique contemporary style. What Nouvel is very particular about in all his buildings is that the inner structure of the building is not visible. Nouvel experiments with many different materials, but they Galleries Lafayette, Morgan pg. 145

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always must act as a link between the building’s purpose and its environment. A clear example of this is the Nemausus Housing in Nimés, France, where Nouvel takes a close look at the purposes of public housing, one of which is affordability. He uses recycled materials, like balconies made of garage doors, to contribute to the affordability- but the industrial materials still compliment their environment. Nouvel often uses glass because of his enthusiasm for manipulating light, and connecting a building with its site. More important than using certain individual materials all the time, is that the materials for each building specifically relate to the building’s environment, and are unique to the project in order to execute Nouvel’s vision. He often chooses materials for their color, as he employs the colors to help set the tone of the visitor’s experience, as well as the light and organization of space. The Institut du Monde Arabe is one of Nouvel’s most important projects because it epitomizes what he values of architecture and shows his mastery over many different elements. It is a museum of Arab culture in Paris, and as such, Nouvel strives to create a link

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between the city, and the culture. The side of the building that faces the Seine represents the Western culture of the building by literally reflecting the city in front of it, the opposite side represents Oriental culture with its pattern. Inside, Nouvel displays his capabilities with light, as shown in the picture above. The successful integration of the multiple cultures is in the overall contemporary design and its modern technology. In his monograph on Jean Nouvel, Conway Lloyd Morgan quotes Nouvel saying, “’the task of architecture is precisely to create the cultural definition of the built environment’” (Morgan pg. 89). Nouvel merges the culture of the environment of each project seamlessly, while also staying to true his own contemporary technological ideas and the purpose of the project. -Jaclyn Nagy Work Cited:

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Morgan, Conway Lloyd. Jean Nouvel: The Elements of Architecture. New York: Universe, 1998. Print.

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The Beyeler Foundation Museum

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Process: Renzo Piano is from a family of ship builders. Because of this, for him design and construction go hand in hand. Thus his design process usually starts with prototypes, moving on to models of fullscale sections of building in order to research how a building is to be made. Finally he and his team find Renzo Piano solutions to making his buildings green. His design process and 14 September 1937 building process are inseparable, Genoa, Italy thus he always makes beautifully made sustainable buildings, full of poetry. Piano’s buildings are commonly compared to a well made ship because they are susceptible to changes in their surroundings. Buildings like the California Academy of Science will sway like a ship at sea when there is an earthquake. The windows of the Cultural Center Jean-Marie Tjibaou in Noumea, New Caledonia will open and close based on the strength of the ocean breezes; taking advantage 340

The Art Institute of Chicago, Modern Wing

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Nasher Sculture Center

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of the elements - light, wind, earth, and water. He is able to achieve impacting sustainable buildings by exploring the use of light, greenery and materials. Light: In many of his works (especially art galleries) Piano elegantly uses natural light to create a sense of lightness. Many of these works include The Nasher Sculpture Center, The High Museum of Art Expanshion,The Art Institute of Chicago, and The Beyeler Foundation Museum in Riehen, Basel, Switzerland. With the Beyeler Foundation Museum, Piano elegantly manipulates natural light to illuminate the space and control temperature. He uses zenithal light to display art so that buildings use as little artificial light as possible. He also uses light to capture the mood of the changing weather and time. Capturing natural light in its two layer glass roof, the roof manipulates light in order to control the buildings temperature depending on the weather outside. Located in a city built on the north- south, east- west axes, The Art Institute of Chicago happens to be built in alignment with the sun’s cycle. Piano’s

The Beyeler Foundation Museum

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The Art Institute of Chicago, Modern Wing

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job is simply to take advantage of this area, and design an energy efficient Modern Wing. He does this by designing the wing with a glass and steel façade. All three floors of the gallery (the first floor is a dalit court containing educational facilities, public amenities, galleries and a garden, and the second floor and third floor are dedicated to art) are illuminated by natural light. Also above the pavilion is a shelter made out of aluminum leaves that works as a sort of tree canopy, filtering light nd creating natural shade for viewing art. Greenery: One may observe in Piano’s works a sort of love affair between the building and the surrounding landscape. Many of his works such as Parco Della Musica, Zentrum Paul Klee and California Academy of Science, are integrated into the surrounding land. California Academy of Science utilizes a green roof which captures storm water, insulates by keeping what is inside cooler than the temperature outside, and allows warm air to escape during the day through vents. The roof also provides energy for the building while

California Academy of Sciences

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Inside the California Academy of Sciences

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its skylights provide natural light for the indoor rain forest and aquarium inside. Over all this building is built like an ecosystem, each exhibit being part of the cobweb, never overpowering or unnoticeable but functioning like the world around it. Indeed this is a dominant feature in Piano’s work. The building tends to exist as an essential function in the natural environment creating something subtle and poetic. One may observe however, that Piano does not use light if it defeats the purpose of

Zentrum Paul Klee Sculpture Gallery

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California Academy of Sciences

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Inside the California Academy of Sciences

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Zentrum Paul Klee Sculpture Gallery

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the building. Intertwined into the Switzerland Alps, Zentrum Paul Klee a sculpture gallery is sculpted into artificial hills. Sheltered inside are sculptures as well as various wings connected by a shop, café and study spaces. Unlike his many other art gallery designs, Zentrum Paul Klee does not use zenithal light, because these works of art must be protected from direct light. Instead Piano uses a series of translucent screens to spread soft light. Climate: Piano always takes climate and weather into consideration. Most of the buildings that he designs take advantage of the weather and create a green space. Dedicated to the Kanaks Culture, The Cultural Center Jean- Marie Tjibaou in Noumea, New Caledonia basically takes the concept of traditional Kanak huts to best make use of the climate and pay homage to the Kanak culture and traditions. A set of ten buildings draw in wind, light and vegetation. Each building 20-28 meters high, is interconnected by foot paths, and sit along the sea shore. Currents of ocean breezes are regulated by the windows, which open and

The Cultural Center JeanMarie Tjibaou

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Padre Pio Pilgrimage Church

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close depending on the strength of the breeze. Spread out between each building is an auditorium, amphitheater, administrative departments, research areas, a conference room, and studios for traditional activities. Materials: Piano always experiments with different material. He is always trying to figure out what works best for a particular building and location. He works out solutions to building with different materials through prototypes and material samples. Located in San Giovanni Rotondo, Foggia Italy, the Padre Pio Pilgrimage Church is the most visited Church in Italy. This might be because the primary focus of the design was to make this building inviting. Unlike most monasteries and churches this structure would incite followers to come in because the church has a low- lying spiral shaped dome. Also the Church can be seen from afar because of the 25 meter wall that lies along the road leading to the Church. This structure’s primary material is limestone. Used in a new way Piano and his colleges use new technology to experiment with the way in which limestone may be used. Other materials involved in the building are stainless steel for the props, laminated larch timber, and pre oxidized copper. Renovation: Renovation is another great aspect in Piano’s body of work. This is because he is able to bring new life to an abandoned building, injecting it back into the city in which it once played an active part. Such building as the Niccolo Paganini Auditorium in Parma Italy, which was once an abandoned sugar factory is now a lively auditorium located in a now functioning park. This he accomplishes by replacing the main body’s transversal walls with glass walls. Reflector panels hang from trusses above the stage and in the back. This allows the auditorium to be visible from afar. On the north end there is a 250m2 stage and 780 seat stalls that slightly slope and spread over 590m2. - Alexandra Paintsil Work Cited:

Niccolo Paganini Auditorium

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Glancey, Jonathan. AU, Renzo Piano Building Workshop. May 2010. (Tokyo: A+U Publishing CO., Ltd, 2010).

The Cultural Center JeanMarie Tjibaou

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Padre Pio Pilgrimage Church

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Niccolo Paganini Auditorium

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Glancey, Jonathan. AU, Renzo Piano Building Workshop. May 2010. (Tokyo: A+U Publishing CO., Ltd, 2010). 345

Rockpool Housing

Alex Popov is an Australian 20th century modernist architect who worksd mainly on domestic proects predominantly in Sydney, Australia. Popovâ&#x20AC;&#x2122;s specialty is designing residential free-standing houses that overlook either Sydney harbor or the Pacific Ocean and have a lush, subtropical bush land. Popov is a specialist when it comes to these particular kinds of Alex Popov sites, as he has done many of them and knows what kinds of things 1942-present to expect. The interactions of Sydney, Australia three key aspects of architectural character that Popov generally focuses on when designing are the natural, the human, and the spiritual. This is very important to keep in mind when designing. The natural element would most likely be the site itself and the environment around it. The human element is what the client is looking for and how the client will use this space created for them. The spiritual element is more difficult to define however, because it is more about how you feel when 346

Bryson House

you enter the space, and this is extremely important. Affecting the people who are interacting with your space. Popov also keeps another two major aspects in mind when creating his structures. The first aspect is enclosure, and providing a refuge from the outside world. The second aspect is place, and finding place for every part of the building that he will design. The way that Popov sites the building and frames the views of the buildings are simply excellent. A concept that Popov uses from Louis Kahn is the concept of creating a world within a world when designing a building. Kahn was excellent at this through many of his works. This deals with the special arrangements created and the serene modern houses that Popov creates, inside and out. Popovâ&#x20AC;&#x2122;s design process is partly dialectic in which he resolves problems at hand with the aim of achieving meaning through integrity of the structures that he designs. Popov will survey his site presented at hand and use the aspects mentioned to come up with sketches and a vision of the building that he will construct. Popov has a specific way that he makes lays out

Rockpool Housing

Bryson House

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designs. For his floor plans, he uses a fluent assembly of separate pavillion spaces to retain the freedom and aesthetical interest of the plan and focus more on the plan itself. In his elevation, Popov provides an intimate relationship between the site and the building. Popov has designed many buildings, but one that i found to be particularly interesting was his Blanket Building. This building essentially has two faces, one facing the dense commercial center of Bondi Junction and the other facing a rear alley. These faces symbolize connection between the historical building, and the function of the building. Popov was instructed to rebuild a 19th century terrance house to provide commercial, and office spaces. Popov did this by extending the building as a long shaped rectangular building. Popov mainly does sketches before any plans are drawn up at all. He must have a full understanding of the space that he will be creating, and then he draws up more detailed floorplan type sketches . Another building that is very interesting by Popov is the Can Lin House. This building took Popov six years to come up with a general concept through sketches before he knew exactly what

Hotel in Cairns (project)

his purpose was in designing the space. The buildingâ&#x20AC;&#x2122;s site is situated with many almond treeâ&#x20AC;&#x2122;s all over. The plan of the building was to be determined by these trees. Popov came up with the idea to have three pavillions that would be linked by internal pathways which connects different parts of the house. The house was created to be a very serene and peaceful area. This was not a traditional house. Popov created this space with the idea that outside and inside are all one continuous space. Another project that has not been built yet, although 348

Adams House

Hotel in Cairns (project)

Adams House

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i decided to sketch, before of the very interesting form that Popov uses. Popov has worked on this Hotel in Cairns, Queensland with his team for some time, and I think that the design is excellent. This was a very difficult problem for Popov to solve, because this site is set in a lush tropical Northearn Queensland in a highly populated tourist location. Because Queensland is essentially a rainforest, there is a lot of precipitation all of the time. It is set on top of a mountain . Popov designed a very light and low-rised main building. The roofing was designed specifically for water runoff and this building is basically a platau that hugs the mountainside and each step down is a groupiong of guest rooms. Popov has done a lot of research and designed many models for this design to be built, however I believe that money is an issue in this area and the design will more likely than not, go to waste. Although Alex Popov is not an extremely well known, and distinguished architect I respect him for having his own way of designing, and sticking to something that he is good

Can Lin House

at, which is modern, hillside residential housing, and buildings. Typically, in Austrailia, is where Popov has designed most of his work but i find it interesting that he has gone outside of this comfort zone and designed many other buildings. One especially, famous building that intruged Popov was the Sydney Opera House, as Sydney is a huge part of his life. Popov designed an information center for the Opera House and has some very interesting concepts behind it. The site that the Opera House is set on is one of two separate platforms, the Information Centre would not only provide function but also as a structure it provides pedetrians with an obvious choice of path, to go down the lower level by the water, or to progess on the upper level path. The center of this building is that of a blade and this represents this separation. I would love to see this design be built because Popov has a really great concept, and Sydney is a place where Alex Popov knows very farmiliarly. -Stephen Pryor

McGillick, Paul. Alex Popov Building and Projects. London: Edition Axel Menges, 2002. Print.

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Can Lin House

McGillick, Paul. Alex Popov Building and Projects. London: Edition Axel Menges, 2002. Print.

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Calif. State Polytechnic U

Antoine Predock likes arid lands. His architectural works usually are in areas of high temperatures and low humidity, which then compliments his abstract style with an arid environment and surrounding that draws attention to his very visually intriguing projects. None of his projects are ordinary in the least bit, and all seem to be geometrically odd but Antoine Predock this element is what makes them so arousing to those who view 1936-Present them. Albuquerque, New Mexico Predock enjoys placing structures where one would not exactly expect them to be, for example the random assortment of windows in Administration Building at California State Polytechnic University and the Ventana Vista Elementary School in Arizona (PIC). This aspect of his work presents an element of surprise and people who view architecture often appeal to such an element. His style seems to always take away a random chunk of a building, to 352

Ventana Vista Elemantary School, Arizona

Thousand Oaks Civic Arts Plaze

Sometimes those random holes present an element of lighting. The Thousand Oaks Civic Arts Plaza in California is a beautiful example of how Predock uses this unique ability, as it’s very obvious lighting scheme in the tower of beams is extremely complimented by the random assortment of lights that appear on exterior walls of the building (2PIC). The appearances of the random, circular lights on the walls appear as if the viewer is looking into the sky at night at the endless amount of stars. Predock’s style is also heavily dependent on his genius use of materials. Whether it is stone that blends into the rocky, hot environment or reflective glass that limits the viewer to only seeing themselves when looking into the windows, (2PIC)

be a window or just a hole as seen in the Rosenthal House (PIC). Even if he does not take away any random pieces and leaves it as a whole, Predock’s design process is a very unique way of building a building and a this ability to take away parts of the exterior is a key element to Predock’s style of design. Sometimes those random holes present an element of lighting. The Thousand Oaks Civic Arts Plaza in California is a beautiful example of how Predock uses this unique ability, as it’s very obvious lighting scheme in the tower of beams is extremely complimented by the random assortment of lights that appear on exterior walls of the building (2PIC). The appearances of the random, circular lights on the walls appear as if the viewer is looking into the sky at night at the endless amount of stars.

Calif. State Polytechnic U

Ventana Vista Elemantary School, Arizona

Thousand Oaks Civic Arts Plaze 353

Predock’s style is also heavily dependent on his genius use of materials. Whether it is stone that blends into the rocky, hot environment or reflective glass that limits the viewer to only seeing themselves when looking into the windows, (2PIC)

Predock is heavily dependent on his materials. It’s extraordinary how he uses his materials to project the exact meaning that he was aiming for. He is extremely diverse and can use stone, metal, glass and sometimes a combination of all three to form magnificent works of art. However, although Predock’s abstract design style is unique, it does lack details somewhat. He heavily relies on the plainness of the materials with the randomness described earlier. His projects often appear to have a smooth, simple exterior, and although there is not much detail, the smoothness combined with the holes is a special way to form a façade and the exterior. Predock’s art is really unique in its structure alone, but then also how it relates to the surroundings. Sometimes he blends it as one, others he uses it to compliment building that may not exactly fit the environment. His use of materials, light and structure creates abstract buildings that may not be the most normal looking

Rosenthal House

buildings, but buildings that never fail to draw the viewers eye, and keep the viewers in awe. Predock uses his envirorment better than any other architect around. He makes some buildings that wouldn’t look good in one setting, look absolutely brilliant in the other. This is what makes him so special. His style is to focus on the envirorment and then use his creativity to create works of art. If you take the Turtle Creek House and put it in the desert, it is not going 354

Turtle Creek House

Rosenthal House

Turtle Creek House

to have the same affect on the people who view it. Just as if you put the Rosenthal House in a climate with more precipitation, the house just would not function because the rain would eventually begin to degrade it. Predock focus on the surrounding elements first, then decides what would work in that particular envirorment. Not only is his style just this, but his buildings are simply gorgeous!

style of work: to create abstract buildings that invite people to come in and see just how interesting this building is, espeically on the inside. The envirorment, the abstractness, the materials, the randomness, and the creativity that Predock uses in his style all come together to form visually intriguing buildings.-A.PIERCE WASSELL

Museum of Science and Industry

Social Sciences and Humanities American Heritage Center And building Art Museum

Each one of his buidlings seems to have its own personality, and each one is unique in itself. They are not interchangable and they were specifically designed and made for that exact spot. Predock really trys to incorporate that in his style of design. Each one of his buildings also does a well job as preforming as its function. Since they are visually apealing they entice viewers to come inside and explore and Predock takes this into account when he designs. His buildings are so abstract it is hard not to just walk on in. Predock aspires to do this in all of his work. This is truely his 356

Work Cited: Baker, Geoffrey H., and Antoine Predock. Antoine Predock. Chichester: Academy Editions, 1997. Print.

Each one of his buildings also does a well job as preforming as its function. Since they are visually apealing they entice viewers to come inside and explore and Predock takes this into account when he designs. His buildings are so abstract it is hard not to just walk on in. Predock aspires to do this in all of his work. This is truely his

Museum of Science and Industry

Social Sciences and Humanities American Heritage Center And building Art Museum

Work Cited: Baker, Geoffrey H., and Antoine Predock. Antoine Predock. Chichester: Academy Editions, 1997. Print. 357

cultures throughout the world.

The Kolkata International Convention Centre

The Kolkata International Convention Centre RMJM is a large architecture partnership that was created by Robert Matthew and Stirrat Johnson-Marshall. The company specializes in sustainable design, urban planning, master planning, interior design, and research and development. RMJM believes that their work speaks for itself due to their unique designs. The partnership has always been concerned with RMJMthe concept of “connectivity”. They express “connectivity” Founded in 1960s between architecture, Europe, Middle East, Asia , engineering, and art, and the built United States and green environment. RMJM’s role is developing buildings that support the combination of “social, environmental, and economic forces.” In order to accomplish this role, their main focus is working with the concepts of “light, space, proportion, and density.” RMJM does business in over twenty countries and has studios in Europe, The Middle East, Asia, and The United States. Because of this, they make sure to create a deep understanding in 358

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The Kolkata International Convention Centre, located in Kolkata, India, was designed by RMJM as a place that can be used for international events. Their primary focus on the Convention Centre was making it a place where many people from around the world, with different cultural backgrounds, can come together. The building was built using the primary concepts of light and space. The Kolkata International Convention Centre is made up of translucent windows and glass that allows light to shine through and illuminate the entire building. The water that surrounds the Centre reflects the light from the building which adds to the concept of incorporating light. Along with the concept of light, a second primary concept is space. Space is expressed throughout the building; the entrance alone is a huge platform of open space. The rooms inside of the Convention Centre are large, open spaces. Another famous piece of work created by RMJM is the Glasgow Harbour Residential Development in Scotland. The

cultures throughout the world. The Kolkata International Convention Centre, located in Kolkata, India, was designed by RMJM as a place that can be used for international events. Their primary focus on the Convention Centre was making it a place where many people from around the world, with different cultural backgrounds, can come together. The building was built using the primary concepts of light and space. The Kolkata International Convention Centre is made up of translucent windows and glass that allows light to shine through and illuminate the entire building. The water that surrounds the Centre reflects the light from the building which adds to the concept of incorporating light. Along with the concept of light, a second primary concept is space. Space is expressed throughout the building; the entrance alone is a huge platform of open space. The rooms inside of the Convention Centre are large, open spaces. Another famous piece of work created by RMJM is the Glasgow Harbour Residential Development in Scotland. The

The Kolkata International Convention Centre

The Glasgow Harbour

The Glasgow Harbour 359

primary focus of the Development is the environmental aspect. An environmental aspect applies to both climate and culture. The Glasgow Harbour Residential Development was designed to incorporate many things such as environmental shields, sun terraces, balconies, wrapped space, windbreakers, and protective walls. Each apartment contains a private terrace that is shielded from the wind and allows more access to the sun. The Slighthill Community One Stop Shop in Glasgow, UK was built focusing on a social aspect. The surrounding area is composed of high unemployment along with violence and drug problems. RMJMâ&#x20AC;&#x2122;s new building will offer advice and support to residents on housing and more. The primary focus of the building is the visualization that is given off due to the lively colors it contains. Incorporating color in the space allows visitors to feel welcomed. This feeling of being welcomed is essential in order for the building to be successful in what it specializes in. RMJM won a design competition with the Metropol Istanbul in Turkey. The development is composed of three towers which are all composed of a startling design compared to the surrouding city. The primary focus of the project was making the city unique. In order to accomplish this RMJM put a big emphasis on the landscape, cultural diversity, and tradition into the design. The designs ability to encapsulate the unique characteristics of the city shows a strong sense of connectivity with art, architecture and engineering. The Sighthill Community One Stop Shop 360

The sculpture by Auguste Rodin The Kiss was used as

The City Palace Tower

The sculpture by Auguste Rodin The Kiss was used as

The City Palace Tower 361

the inspiration for the City Palace Tower in Moscow. This project incorporates mixed feelings of passion and drama. The original form of the building is made by two figurative parts, male and female, as they intertwine up the building. The City Palace Tower is designed to have the same form as the sculpture, The Kiss. RMJM succeeded in creating the building to interpret the sculpture and give off the similar feelings of intensity and compassion. The Kent History Centre, UK was built using the inspiration of the topography of the site. The Centre is focused on the scenery, the landscape and the geography. The roof was designed to hover over the glass enclosure which results in the responding to the nature of the landscape that surrounds the Centre. The Centre is surrounded by beautiful landscaping that adds to the flow of the landscape theme that RMJM accpomplished in desingning the building. The Brighton Tower in Brighton, UK was designed by RMJM with the intentions of having both a knowledgeable and simple subjective level. The building

was formed specializing in proportion, geometry, and structure. The building is composed of a unique style due to the geometrical characteristics. It also encorporates the aspect of light because of the glass material that makes up the building. The glass allows light to shine through which illuminates the entire tower.

“The Kiss” Sculpture

RMJM focuses on many different aspects when designing buildings. The partnership stays loyal to its main focus of “social, environmental, and economical forces.” RMJM incorporates a large variety of styles in their designs as a result of the many different aspects of architecture that the partnership specializes in. RMJM is very successful in incorporating many different aspects in their designs. Karina Rodriguez

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Work Cited: Matthew, Robert, and Stirrat Johnson-Marshall. RMJM inside out outside In. London: Black Dog, 2006. Print. “RMJM.” Global Architects and Design Firm. N.p., n.d. Web. 12 Nov. 2012. <http://www.rmjm.com/>.

“The Kiss” Sculpture

The Kent History Centre

The Brighton Tower, UK

Aetna Life and Casualty Building - Miller

View of entry from Dupont Circle - Miller New Haven Veterans Memorial Coloseum Knights of Columbus - Miller

Kevin Roche has been in the architecture business for quite a long time, and has accomplished much as a result. He has designed buildings such as the Aetna Life and Casualty Building, and the Power Center for the Performing Arts at the University of Michigan. If one looked at all of these accomplishments, a pattern could be seen. Roche, it seemed, Kevin Roche had a liking for modern architecJune 14, 1922 ture, and frequently mixed heavy United States of America materials such as concrete with glass. However, at the same time it was clear that Roche did not aspire to create anything “futuristic.” (Miller 1977, 17) When one looked at the Aetna Life and Casualty building, it clearly resonated a feeling of importance. This was because of its materials. Aside from the windows, the outside of the building was made almost entirely out of concrete. Furthermore, it was designed with very sharp corners, which provided it with a strong 364

Cut away perspective - Miller

sense of establishment – the building was grounded into the earth. Another interesting building designed by Roche’s firm was the National Center for Higher Education in DuPont Circle. The structure for this building was reinforced concrete, and the building made use of much glass to provide for a more aesthetic look. (Miller 1977, 80) The very design of this building was meant to compliment the nature of the park it was placed next to. While the National Center for Higher Education was a significant achievement, it was small when compared to New Haven Veterans Memorial Coliseum and Knights of Columbus building. Interestingly, both the tower and the stadium were built at different times and had different owners. However, that did not change the fact that they were intimately tied to one another. For example: they shared an automotive parking garage. Both buildings were also made out of heavy materials like brick and concrete, which gave it a grounded feeling. (Miller 1977, 96) The 23-story tower had its entire base rooted in concrete.

Aetna Life and Casualty Building - Miller

View of entry from Dupont Circle - Miller New Haven Veterans Memorial Coloseum Knights of Columbus - Miller

Cut away perspective - Miller

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The cut-away picture revealed the internal structure of the central tower, as well as where the elevator shafts were located. (Miller 1977, 117) Moving on from tall office buildings, Roche was also responsible for the Power Center for the Performing Arts at the University of Michigan. Placed directly next to a small park, this theater could seat more than 1400 people. Not only that, but Roche had designed its stage for a variety of theatrical productions. This building was also a prime example of how Roche frequently combined concrete and glass. The heavy concrete weighed down on the light-weight glass, which gave it a feeling of weightlessness. The glass also wrapped itself around two spiral staircases, both of which were made of concrete. The glass also had another effect; because of its reflective nature, it makes the small park it was adjacent to feel bigger. (Miller 1977, 133) Roche also designed an addition to the Irwin Union Bank and Trust Company Building. This addition was designed to serve as the location for the banks computer operation and banking facilPower Center for the Performing Arts, University of Michigan Miller

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Irwin Union Bank and Trust Company - Miller

ities. It was, in essence, a large steel structure that was supported by exterior wall columns. Roche took advantage of this steel structure and strung air vents throughout the building, and increased air ventilation. Interestingly, this part of the structure was exposed to the interior â&#x20AC;&#x201C; no noticeable effort was made to hide it. Because this building was an addition, it was necessary to connect it to the original. Roche was able to do this by creating a long glasshouse arcade was placed in front of the new structure, and in-between the two build-

Worcester County National Bank - Miller

Irwin Union Bank and Trust Company - Miller

Worcester County National Bank - Miller

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ings of the existing structure. (Roche 1977, 141) The glass used generates shadows that distort the outside world to cause people look at it as if it was rendered in two dimensions, and not three. (Roche 1977, 141) In addition to the Irwin Union Bank and Trust Company Building, Kevin Roche also had his firm design the Worcester County National Bank. This buildingâ&#x20AC;&#x2122;s original design was actually much different than its design when it was finally completed. Originally, it was supposed to be a 60-story skyscraper made of concrete. However, for unknown reasons it was scaled down to a 24-story building that was made almost entirely of glass (on the outside.) The first two floors served as a bank, while the upper floors were a mix of offices and restaurants. The glass that made up its exterior was completely transparent up close, but faded to a light blue as one backed away. This gave the building a polished, modern appearance. (Miller 1977, 206) Kevin Roche has accomplished a great many things throughout his long

Irwin Union Bank and Trust Company - Miller

career as an architect. From designing banks, to auditoriums, and even skyscrapers, that fact was not refutable. More than that, Kevin Roche had designed buildings that have been able to alter our perceptions of space, and project specific emotions through architecture.

Power Center for the Performing Arts, University of Michigan - Miller

Power Center for the Performing Arts, University of Michigan (Spiral Staircase) - Miller Work Cited: Miller, J. Irwin, Hitchcook, Henry-Russell. Kevin Roche, John Dinkeldoo and Associates, 1962-1975. New York, New York: Architecture Book Publishing Co., Inc., 1977. Print. 368

Irwin Union Bank and Trust Company - Miller

Power Center for the Performing Arts, University of Michigan - Miller

Creak veans - http://www. mimoa.eu/projects/United%20 Kingdom/Feock/Creek%20 Vean%20House

Thames Wharf Studios - From Book Richard Rogers has a very unique style to his designs. Many of his buildings are large public spaces, though he also has designed some smaller residential spaces as well. Creak Vean in Feock, Cornwall, England was Rogers’ first major work as an architect, built in 1966. Rogers’ philosophy of architecture is one that includes the ability to be flexible and adaptable Richard Rogers to the surroundings, as well as in July 23, 1933 the space itself. This is a smaller England, France, Italy, Wales, type of project for Rogers. His later buildings take on a much larger USA, Japan, Germany, China scale. Rogers also attempts to use materials that are cheap and simple, yet bring elegance and power to the building. His work on the Reliance Controls Factory proves this. Among the smaller buildings that Rogers has designed are houses for himself, as well as his parents, a house for his family members, a house for his partner, and smaller office spaces and studios for use by himself and his team. Rogers designed these 370

Reliance - http://srt251lvb. blogspot.com

Zip-up House- http://www. arcspace.com/books/Richard_ Rogers/rodgers_book.html

spaces with the idea that growth would take place in them; children would grow and develop in these homes, and their parents would grow old in the same space. His offices needed to be able to deal with the growth of the company and the changing needs of the design styles, as well as the scale of the projects being produced here. He still wished to incorporate the materials that he would use in a large building to these smaller projects. A very notable small project of Rogers is the ZipUp house. Built in 1968, it was meant to contain the ideas of adaptable and affordable housing that Rogers has tried to create. The main ideas behind this house were that it could be assembled in a different place than the construction site and put into the site after the fact. These pieces were ninemeter rectangular sections that were put together through Neoprene fastening “zips”, hence the name Zip-Up house. The building could easily be rearranged and if it needed to be larger, another section could easily be added on. This gave a very practical and simple way to expand spaces without the

Creak veans - http://www. mimoa.eu/projects/United%20 Kingdom/Feock/Creek%20 Vean%20House

Reliance - http://srt251lvb. blogspot.com

Zip-up House- http://www. arcspace.com/books/Richard_ Rogers/rodgers_book.html 371

large costs of an addition. Also, the foundation of the site was not conventional; it was suspended on some sort of legs that raised the building a few feet from the ground. This made the idea of moving simpler as well since the building could easily be taken apart and moved to a different location if the situation required it to be. Richard Rogers gained international fame and credit with the design of the Centre Georges Pompidou in 1971. This space is much larger than some of his offer projects, needing to accommodate 1,000,000 square feet. This building has the structure of any ordinary building, but with the “guts” on the outside. The systems of movement throughout the building are suspended outside of the structure and then connect to a platform leading them back into the space. The look shows heavy steel structures and a reinforced concrete floor at every level. Having the escalators and stairs on the outside of the building has created a large open space without a defined path that one should follow. This space is a large representation of technology available to the designers and the builders at the time. Technology has made these buildings

PA Technology Laboratory - Hand Drawn - Based off of http:// www.columbia.edu/cu/gsapp/BT/PATCENT/PA.html

Pompidou Centre - http://www.britannica.com/EBchecked/media/15416/Centre-Georges-Pompidou-Paris-by-Renzo-Piano-andRichard-Rogers

have a much more detailed and complex structure, which was much harder for Rogers to develop in his earlier projects. This project set a precedent for the buildings that come later in Frances architecture. The use of technology and space is something that many architects that will design in France are influenced by. This space is also famous for its enjoyable aspect as well. It is said that people come to the building only for the excitement of riding up and down the escalators. Rogers need a building to consider him one of the

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Lloyd’s – http://www.travelimages.com/photo/photo-england795.html

PA Technology Laboratory - Hand Drawn - Based off of http:// www.columbia.edu/cu/gsapp/BT/PATCENT/PA.html

Pompidou Centre - http://www.britannica.com/EBchecked/media/15416/Centre-Georges-Pompidou-Paris-by-Renzo-Piano-andRichard-Rogers

Lloyd’s – http://www.travelimages.com/photo/photo-england795.html 373

greatest British architects of all time, and this came with the redesign on the Lloyd’s insurance building. This project uses strong materials, namely concrete, as the foundation and opaque glass and steel for the rest of the structure. This building needed to be able to accommodate many people, reduce excess noise throughout, and control the climate due to the many people in the space. Rogers takes the futurist styles of Frank Lloyd Wright and Louis Kahn and applies them to this space. His focuses are on the materials and the adaptability of the people working in and around the space. This building needed to be able to last throughout a century since the firm has had to move in the past due to insufficient spaces. This building created a modernistic feel in Britain. Rogers was put onto a pedestal as one of the greatest architects in the country for this building and given the title of a modern architect. Rogers has a prominent piece in his architecture that isn’t really connected to the building at all: the views. All of Rogers’ buildings

Marsielles - http://www.maparchitecture

Heathrow - http://www.visualremodeling.com

London City Plan from Book

have immaculate views and glorious locations. Rogers uses glass throughout his works to show these views as well as to give a natural light source or the space. The views can be essential aspects of the buildings, since their locations are key to the style that is put there as well. Rogers also has some projects that are the scale of full city blocks. He takes these same aspects of the buildings into account when creating these spaces as well: strength, power, elegance, adaptability, and affordability. Rogers has also worked on the additions to the Airport Marseilles and Heathrow Airport. The addition at Marseilles was meant to reflect the style of the surrounding nature and to get away from the clunky style of many airports of the time. He chose to incorporate natural light, large open spaces, and economic structure to lure people to this space, as it was already being put in due to the high volume of people going through the airport anyway. Rogers put lightweight parasols into the space to reflect the Mediterranean surroundings. At Heathrow, the fifth terminal was added to deal with the increasing volume. The roof of this building is said to take on the shape of a “magic carpet”. This is one of the first buildings that we see Rogers deviate from strictly geometric shapes and use a sort of spline type line. Rogers also takes energy efficiency into account with this building. He uses an air displacement system and canopies to shade from all of the solar pieces coming in through the building. This is a way to utilize the natural light and still keep the spaces climate controlled. Rogers styles develop throughout his works, adding curves and much more complex pieces to the sites. Rogers has developed the worlds of both the private and public sectors into a modern type of design. His use of materials has given other architects a more in depth pursuit of the right material for the job.

Work Cited: Powell, Kenneth. Richard Rogers. London: Artemis London Limited, 1994.

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Marsielles - http://www.maparchitecture

Heathrow - http://www.visualremodeling.com

London City Plan from Book

Work Cited: Powell, Kenneth. Richard Rogers. London: Artemis London Limited, 1994. 375

Dulles International Airport

Eero Saarinen describes architecture as a man’s total physical surroundings, outdoors and indoors. Saarinen believes that the purpose of architecture is to shelter and enhance man’s life on earth and to fulfill his belief in the nobility of existence. Saarinen described himself as sort of a modernist architect, as he strongly believed that modern architecture Eero Saarinen was falling into a strict mold, much 1910-1961 too quickly. Saarinen compares Practiced Internationally his work to that of Le Corbusier who was a very famous architect, in the early 1900’s. Le Corbusier was extremely into standards and the perefection of modern architecture. Saarinen was often criticized in the architectural world. One of his biggest criticizers was Vincent Skully who would often criticize him for having an identifiable style; one reason for this is that Saarinen adapted his modernist vision to each individual cluent and project, which were never exactly the same. Eero Saarinen had three common 376

Jefferson National Expansion Memorial

aspects of modern architecture that he focused specifically on. These three aspects involved function, structure and being part of our time. These are three really important things to focus on when designing and we see this in Saarien’s work. Although function becomes a very overwhelming thing in design process, sometimes a new functional approach is appropriate to the problem and the time. We see this is Saarinen’s Dulles International Airport. Structure is also something that is very important. Structute must be able to enhance the overall building and the other principles . Saarinen also makes it very clear that one must be aware of the thinking and technology of the time that the building is being constructed, this was we can constantly improve in the architectural world rather than repeating the same buildings. Saarinen approaches an architectural problem by thinking about the real significance of the building and the problem at hand. He would ask himself several questions such as “What is the essence and how can the total structure capture that essence?” “How

Dulles International Airport

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can the whole building convey emotionally the purpose and meaning of the building?” He believed that conveying significance is a fundemental part of our work as architects. Saarinen believed that a building is not to be placed on a site, rather is should grow from a site. The building must directly relate to everything around it, from the surrounding buildings to the elements of the entire site. He states “the envoronment is more important than the single building.” Saarinen is correct in his architectural process, because it is true that you must first understand the site and the purpose of the building, before you do anything. And then you must completely understand the entire site and the elements around it, because you cannot just simply stick a random building on a site. There must be purpose for everything we do as architects. “Sometimes architecture is like a marvelous three-dimensional chess game.” I found this quote by Eero Saarinen to be very interesting because it is an excellent comparison. Every decision in the design process affects the building, and one must think about every move because this will affects the entire process as a whole. This is similar to moving a King or a pawn in a game of chess; it affects your entire game, not just one move. Saarinen was not only an architect, but he was in love with industrial design, mainly, furniture making. Many of Saarinen’s buildings reflect his love for sculpture and industrial design. The work that brought Saarinen into the eyes of the famous architecture world was his Jefferson National Expansion Memorial, which is basically a huge concrete arch covered with stainless steel. This is essentially not a building and rather a work of 378

M.I.T. Chapel

moving a King or a pawn in a game of chess; it affects your entire game, not just one move. Saarinen was not only an architect, but he was in love with industrial design, mainly, furniture making. Many of Saarinen’s buildings reflect his love for sculpture and industrial design. The work that brought Saarinen into the eyes of the famous architecture world was his Jefferson National Expansion Memorial, which is basically a huge concrete arch covered with stainless steel. This is essentially not a building and rather a work of 379

industrial design. The simple arch, right on the Mississippi River in in St. Louis, Missouri just seems right. The site is in a tree covered park along the river and the triumphal arch. This work is one of structure and material for sure and is a simple structure that makes a huge impact. One of Saarinenâ&#x20AC;&#x2122;s most famous works is, The Dulles International Airport, in Virginia. In this particular work of architecture we see the incredible use of form and rhythm and it also is a very aesthetically pleasing, modern structure. The airport terminal was designed by Saarinen, and even emulates the wing of an airport taking off into the sky. The concrete columns curve and seem to be weightless and floating. Another work of Eero Saarinen that i found to be very interesting were the Ezra Stiles College and Morse College at Yale University in New Haven, Connecticut. The architectural problem that presented itself was that the architecture had to declare these buildings as colleges, not as dormitories. Saarinen and his team came up with the fact that colleges were distiguished as individual buildings not as groups of

buildings as the dormatories generally are on campus. These colleges were to stand out as their own buildings, rather than as poor resemblances of the surrounding colleges. Saarinen and his team solved these problems by making the buildings polygonal. Their shapes are made to provide the special and diverse student rooms. The skin of the building is carried out by the use of material, namely, stone, oak, and plaster which carry out the strength and simplicity of the beautiful colleges. After months and months of trial and error, Saarinen and his team came up with a beautiful sollution and the colleges work beautifully with the surrounding campus. Ezra Stiles and Morse College

-Stephen Pryor

Saarinen, Eero. Eero Saarinen On His Work. New Haven and London: Yale University Press, 1962. Print.

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-Stephen Pryor

Saarinen, Eero. Eero Saarinen On His Work. New Haven and London: Yale University Press, 1962. Print.

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By: Amber Summerour The architect David Salmela creates architecture with a very unique and original style. He has designed and made additions to houses, factories, cabins, trailers, pavilions and ranches. Designing for a variety of clients that have a variety of needs, Salmela’s designs vary but have a consistent style and appearance. He has added style and space to trailers, while increasing David Salmela its comfort, made modern, large Born in 1945 and intriguing cabins, along with creating additions to improve Practiced in Minnesota yet blend and fit dated buildings. Salmela creates a balance between meeting his client’s needs, achieving what they want to see and spend time in, while satisfying his defined style and meeting standard living and functional requirements. He creates structures with a modern feel using the basic shapes of boxes, squares and rectangles. The Streeter House that he designed in Deephaven Minnesota is a simple shape of two 382

square boxes on top of a long rectangle. Salmela uses such simple geometry in his designs to create functional spaces by producing simple square and rectangular rooms, which have been found most functional. Variety is created within his designs by the angles and placement of the box shaped structures; some are layered which create different floors and levels, angled which is still functional but visually appealing or detached which forms privacy. The Hyytinen Cabin in Cook Minnesota combines several geometric shapes placed on top of one another which face in different directions to form the structure of the building. This effects the flow and movement through the buildings as he strategically places the box shaped rooms to create smooth circulation throughout the structure and to develop the intended feel of the site. The elements of Salmela’s style influences the audiences perception, mood and feelings while experiencing his architecture. David Salmela’s choice in colors are a strong influence to the feel produced by his buildings. Common

colors he uses such as pure white or solid black are a distinctive characteristic to his style as they are bold and very noticeable from afar. His use of browns and other earth tones influence comfort. Most colors that David Salmea uses are a shade of black, grey, brown or white. All of these colors can be found in nature. This is apart of his style, buildings that connect with the outside environment. In Davidâ&#x20AC;&#x2122;s style the use of walkways and stairways is common throughout his work. These walkways and stairways serve several purposes, to connect the parts of the buildings and allow for easy flow and movement throughout. They also add to the style of the house and guide the audience. Salmela often incorporates walkways to connect detached rooms such as garages or workrooms, like in the Deloia house where he designed additions (workroom and garage), and used walkways to connect them. These detached rooms can be found when a client has a specialty or craft that needs an individual space, Salmela commonly styles a small scale building that fits the personal needs of a clients activity. These walkways are not only important because they add a visual aspect as a part of his style, but because they are a method of connecting divided parts of the building to become one. The detailing of Salmelaâ&#x20AC;&#x2122;s style lays within the structures while the outside remains fairly plain or somewhat simple. The outside of his designs appear simple, having solid colors and earthy materials that are used to blend with the surrounding environment. The interior of his structures are more vibrant and detail oriented. He often adds geometric ceiling grids, attractive and open stairways, and skylights. Salmela uses a variety 384

outside before we enter. With David Salmela’s style, his building create a influencing impression from first glance as his distinctive style is apparent. In an area with many buildings, Salmela’s work stands out as he purposely uses bold materials and proportions to create a feel of intensity. This intensity is created by expanding the size of main outside structural features, such as entrance steps or the roof to achieve his goal of creating an overwhelming or intensive feeling produced by his work and attracting the outsiders. As an architect it is important to have structures that vary in appearance, but it is also important to develop a style that distinguishes your work. All of David Salmela’s work can be defined as individual pieces yet still can be strung together as a large group with common factors.-Amber Summerour

of methods to add light to the interior spaces of his designs. Large windows and skylights allow natural light to shine in and to connect the inside of the house to the surround environment as it creates an open feel. The materials he uses have a variety of textures, from smooth wood to ridged and rough stone, but when Incorporated together they make a reasonable, comfortable balance. Paneled wood is used in several different ways in his design. Paneled wood can be seen on several of his structures as a archway, a wall or a railing either inside or outside on his structures. On the Arvold house he designed in Duluth Minnesota, paneled wood is used on the outside as a covering to the side porch. The purpose behind Salmels’s style is to detail the house to fit the client’s needs, producing an accurate amount of useful space, as his structures are not massive and do not leave an unnecessary amount of not useable space. This is important to extend the surrounding ground of a building that could be used for outside activity. We often analyze buildings from the

Work Cited: pictures and sourceSalmela, David. The Invisible Element of Place: The Architecture of David Salmela. Minnesota: University of Minnesota Press, 2011. Print. 386

Work Cited: pictures and sourceSalmela, David. The Invisible Element of Place: The Architecture of David Salmela. Minnesota: University of Minnesota Press, 2011. Print. 387

Carlo Scarpa was an Italian architect that was around in the beginning and middle of the 20th century. He blends nicely fundamental Italian styles and modern day styles that work together fluidly. He buildings all have a similar style. Carlo utilizes modern day design as well as implementing old styles from renaissance architecture. Carlo Scarpa In his buildings his uses a lot of 1906-1978 square and block like structures Italy that are very boxy. This style is very prominent in architecture today. He used mostly concrete as his primary material, his buildings would be very boxy and massive but they would have high ceilings and long hallways that guided you throughout the buildings he created he would add in stone pillars and arched hallways and doors. He designs his buildings blending the large and boldness 388

of Italian architecture with the boxy and space oriented style of the modern day with old style techniques like arches and pillars. His buildings are strong and sharp and these features grab someoneâ&#x20AC;&#x2122;s attention and guide them through the building very firmly. The paths in Carloâ&#x20AC;&#x2122;s building are obvious and clear and highlighted by the way he designed his buildings. His approach was making his space give a strong and powerful feel to the people inside. The huge hallways large ceilings and concrete structure adds to how Carlo wanted his buildings to be. His building were building to be strong and powerful that stand the test of time and instead of gently guide someone through them they firmly bring a person through the building while the buildings shows off how magnificent they are. His buildings did have a sense of elegance to them. His buildings had strong features. He would design huge arches and pillars with high ceilings. So when a visitor entered they would stop take in the magnificence of the space that he built.

The boldness and strength that is felt in Carloâ&#x20AC;&#x2122;s buildings are partly due to the high ceilings and big box like structure but they also have to with the materials he used. The large concrete that is used in the majority of all his building shows off power and strength and endurance. That is why he used that material because it gave his buildings a certain type of character. He also implanted natural light very well through large square and modern day windows. The massive amounts of lights that poured into his buildings complimented his design very well because it made the place warm and welcoming as well as powerful but of there was a lack of light the large concrete walls and design would portray a different. The buildings are dark and looming and intimidating but instead with the element of light the structures that he builds bring on a new feel, which is strong powerful but also warm, welcoming and safe. Carlo blended to opposite styles very well and that is why is style is very unique. He took the large bold and boasting Italian style architecture and blended it right in with the square like style of large open space that blows into the next effortlessly and he also uses natural light that is used both in the old style and the modern style which is not necessarily the style of his time period. The architect makes its path very clear, he designs large hallways the flow nicely into large spacious rooms that light up with the outside light to show statues or portraits if it was one of the museums that was designed by him and 390

if it was a residential area it would open up into a large but clear living area or kitchen. His buildings moved powerfully from space to space leading a visitor clearly and distinctly through his places and this feel was especially important because he design many museums and structure that were meant to show off art. Sam Ricci

Work Cited: Scarpa, Carlos. The Complete Works. New York: Rizzoli International Publications, 1985. Print. 392

Work Cited: Scarpa, Carlos. The Complete Works. New York: Rizzoli International Publications, 1985. Print. 393

Keyence Corporation Head Office and Laboratory Building At Nikken Sekkei the main focus of the firms architecture is the engineering aspect of it. For every achitect hired, there is also an engineer. This alows for great flexibility and you see it in every site that they design. They solve every problem they come by, such as lighting, allowing great patterns in the roof such as skylights to allow natural light, or using an abundance of glass for each project; Nikken Sekkei they also solve problems such as 1900- Present wind resistance for skyscrapers, Japan which will be properly recognized later when talking about the NEC Head Office Building; yet the problem that they are most efficient in solving is the flexibility of each building, a problem based around the lack of space in Japan, a problem solved by building up, which involves their perfection of full fledged steel frame structures and concrete frames, or even making each building multipurposed. You can see the use of solving these problems in almost every site, but the focus shifts. The solving 394

of spacial problems is seen most in the athletic complexes they have designed. The most prominent being the Osaka Dome and the Saitama Super Arena. Both sites Are able to adapt, changing in the amounts of seats, the aucoustics of the event, and even which sport is played in the event itself. And while they are both able to accomplish this artistically they do it in completely different ways. The Osaka Dome is obviously focused on the dome aspect of the site. The dome being accomplished by a skeletal frame, one of the many building blocks of the Nikken Sekkei firm. It has a 202 meter diameter, it is 83 meters high, and has a 76 meter wide skylight. This is a gigantic dome that took many trial and errors not only on the architecture side, but also the engineering side. The seven ring ceiling is also able to adjust moving up and down according to the event. The Saitama super Arena is able to adjust in seating as well using a moving block to adjust seating from 19,000 to 36,500. It also alows for the moving of the floor, and rearranging of many aspects of the building. But while the Dome was more enclosed, this

Osaka Dome

Saitama Super Arena 395

building is more transparent,and alows much more natural light. At the same time though the building and structure of the roof of each building is made with this skeletal aspect and are each beautiful in their own way. The magnificents of the dome was already spoken of, but at the other site the roof is raised almost levetating over the rest of the building alowing for light to pierce through in a different way. This levetating aspect is seen in many works. There is another stadium that the firm has designed, and while this one also has an impressive dome, itâ&#x20AC;&#x2122;s focus is not on multipupose, but instead on going green. When thinking of going green many think about solar power, but while this building does have this, it is also perfecting the thinking of using all of the elements, by using natural lighting, taking the natural air and redirecting it towards the audience, and also having a green roof, something used more in the past to keep cool, but not seen as often. Many green ideas are seen in other projects as well, such as the chiminey effect in the Tokyo Gas project, in which the high parts of the South widows are open allowing natural ventalation. The use of wood in the projects is

Lake Biwa Museum and UNEP International Environmental Technology Center, Shiga 396

Osaka Municipal Central Gymnasium also prominent along with the placement of certain aspects of the sites. Based on the site, you have to use windows in ways that the light can get in yearly, but will be semi-blocked when it is overpowering in the summer. Also the placement of solar power panels is very important, so that it is used to itâ&#x20AC;&#x2122;s maximum potential. Focusing on the deisign and beauty aspect of it now, the two things that stand out to me the most within each site, other the multipurpose aspect, the abundance of nature, and its use of pressurving energy,

Fukuoka Tower 397

are probably the complex skeletal framing and also the roof of each site. This firm is almost futuristic in the look that they try to provide, and the things that they are able to accomplish are almost uncomprihensible. They create things that seem to defy the laws of physics, but engineers are able to accomplish their goals through the perfection of steal framing. Without steal framing the domes would be impossible to build. An example of the perfection is shown in the Fukuoka Tower, which is almost naked alowing you to see how the building is structured. The other is the NEC Head Office Building which has a gaping hole in the middle of it to help in wind resistance stopping the air from driving towards the base of the building allowig it to instead pass through. This is accomlished through complex steel structuring, trying to repress the load that the building applies on the open crevice. In this building there are columns and beams reinforced at every tenth floor. In some buildings there are diagonal beams, making them almost a part of the architecture. In the Keyence Corporation head

NEC Head Office Building

Kumamoto Prefectural General Sports Park Main Field Stadium

Dowa Fire and Marine Phoenix Tower, Kakegawa City hall, Educational and Cultural Center, Islamic Development Bank Headquarters 398

Office and Laboratory Building the building is litterally supported by four beams at least four storries high, that you can walk through. Three of the beams going all the way up the building supporting it by it’s side.There are also cable cords that allow for a levetational feel. This is seen in the Kumamoto Perfectural General Sports Park Main Field Stadium, which possesses Huge lights that hang over the stadium held by chords that work similarly to the cords of a bridge. Another example of this is used in the Hitachi Kansai Building, which possesses one lone brdge that conects the two sides of the builing held up without columns but instead cable chords. Without this bridge this building itself would be dull, but it opens up a whole new light to its design. It differentiates it. The perfection of this idea comes in the Japan Cylcle Sports Center, which litterally levitates because of cable like qualities that hold it up. The roof aspect of it all is something I see in almost every work. It is a part of the site that gets alot of focus, because of its power in the effects of lighting and ventilation. The designs of each also empower the building giving it emphasis on it’s purpose and beauty as well. Almost every roof in their designs is circular, and most allow lighting to pass through into the building. At the Dowa Fire and Marine Phoenix Tower a concert based room, with a window overlooking the city is accompanied by a hectigonal skylight, with walls that deflect the light in different colors. Allowing for the moods seen and felt in colors to be felt in the song of each musical piece. In the Kakegawa City hall the cieling of a room with a podium at the center starts large until it focuses itself on the podium drawing your eye towards the center piece. The roof at St. Luke’s International Hospital and St. Luke’s Garden has triangular patterns and shapes that allow certain aspects of the light to shine through. There are more worth noting such as the mosque that they built which had the star of David shaped as the roof. In the end the design at this firm is futuristic and seems to defy physics. -Nikola Sabic Work Cited: Bognár, Botond. Nikken Sekkei: Building Future Japan, 1900-2000. New York: Rizzoli, 2000. Print. 399

Hobby Center for the Performing ArtsHouston, Texas

Lawson Residence. East Quogue, NY Robert Stern is known internationally as an architect, writer, and teacher, born in New York, he has spent time in various countries practicing post-modern architecture. Stern is considered as one of the originators and key theorists of the Post-Modern movement in architecture. “In the four essays reproduced in this Monograph he urges contemporary architects Robert AM Stern to widen their vocabulary, to Born on May 23, 1939 learn from the past in order to USA, Europe, Asia, reunite current production with the traditions that a previous South America generation tried so hard to subvert.” This was said right in the beginning of the book “Robert AM Stern Selected Works” talking about the way that Stern feels about architecture and other architects. Post Modern Architecture is about combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse because people are not used to seeing that 400

Celebration HealthCelebration, Florida

Entertainment and Retail Center at Diagonal MarBarcelona, Spain

style of architecture. The post-modernist architecture was created from modernist architecture but today many of the ideas contradict the new style. His style is trying to create things that we don’t already have in our world today, he tries to create experiences that people have not felt and he wants to make it so people can enjoy his projects as they become part of the world as we know it. Robert A.M. Stern is the head of a very large firm that designs residential, commercial, and institutional spaces. The firm practices in various countries and has been recognized for their great works. The specific types of projects they do vary depending on the type whether it is residential, or office space or even retail. They try to stay with the postmodern look giving them a new interesting feel that really grabs a customer and makes them stop and look. They do many projects around the world and they always stick with their style. Stern creates houses, residential, resorts, hotels, office, cultural, courthouses, planning, academic, healthcare, libraries, and retail. He is in all

Hobby Center for the Performing ArtsHouston, Texas

Celebration HealthCelebration, Florida

Entertainment and Retail Center at Diagonal MarBarcelona, Spain

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fields of the business and he has a very, very large firm. Robert A.M. Sternâ&#x20AC;&#x2122;s concept of architecture includes not only buildings, but also the furnishings that go with them. Stern adds this to his projects because he believes that it adds another dimension to his project since the design is also an important part of a space. Because of this orientation, and because of a belief in the importance of the design integrity of each individual element of a project, the firm has been involved in product design since the start. The Robert A. M. Stern Collection offers a wide range of interior and exterior furnishings products. His products offer a very standard look that matches his projects very uniquely. The fact that Stern also makes and creates his own furnishings adds to his skills. Robert Stern is responsible for the production of Disneyâ&#x20AC;&#x2122;s Boardwalk located in Orlando, Florida. Stern constructed this, using images from the past to create a different unique intimate experience that each person feels when they arrive at the Boardwalk. He wanted to create a friendly experience that was truly amazing and that is

New York Townhouse. New York, NY exactly what he did. Stern tries to get young practicing artists to develop their own style of postmodernism trying to get them to focus on the future and learn from the past. Robert Stern is a renowned architect and I am happy I picked him because I like his style and the works and buildings that he has created in our world today. Comcast CenterPhiladelphia, Pennsylvania

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House at Seaside. Seaside, Florida, 2006 Robert A.M. Stern

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House at Seaside. Seaside, Florida, 2006 Robert A.M. Stern

Newport Bay Club HotelMarneLa-Vallée, France

Disney’s Yacht and Beach Club Resorts Lake Buena Vista, Florida

Tribeca Park Battery Park City, New York, New York Work Cited: Stern, Robert. Robert AM Stern: Selected Works (Architectural Monographs No 17). (Great Britain: Academy Editions, 1991). Pictures. Stern, Robert www.Ramsa.com (All Pictures) 404

Newport Bay Club HotelMarneLa-Vallée, France

Disney’s Yacht and Beach Club Resorts Lake Buena Vista, Florida

The Rotunda. Original image from httpwww.bluffton.ed u~sullivanmvirginiacharlottesvilleuvarotundawhole2.jpg

Virginia is considered by many to be Jefferson’s crown jewel. (Wilson 2009, vii)

University of Virginia Rotunda (Wilson 2009, 73)

Thomas Jefferson was most famous for his role in the American Revolution, and later as the third president of the United States. However, most people do not remember the fact that he was a fantastic architect. Thomas Jefferson’s education in Thomas Jefferson architecture began at the College April 13, 1743 to July 4, of William and Mary in Williams1826 burg, Virginia. Ultimately, his entire career as an architect would be defined there – including his most famous architectural contribution: the Academical Village, otherwise known as the University of Virginia. Jefferson clearly had a fondness for classical architecture – that is, architecture from the ancient Greek and Roman periods. This could be seen in the University of Virginia. The University of 406

Greek/Roman Inspire Pillars From httpwww.uvamblogs. comjeffersons_academical_villagep=240

Jefferson’s Lawn From httpwww.panoramio. comphoto37074461

As stated above, the design was heavily influenced by classical Greek and Roman architecture. More than that, it was designed for a distinct purpose; Jefferson wanted students and faculty members to be able to interact with each other as much as possible, and on a personal basis. (Wilson 2009, vii) Jefferson did not want students and faculty members to be considered separate, so he designed his university to cause as much interaction as possible. Thomas Jefferson did this by placing classrooms in the homes of instructors’. This caused students and faculty members to interact on a more personal basis. (Wilson 2009, 52) He also promoted student and faculty relations by making students live and learn in pavilions that were very closely connected to basically form a large square. At the northernmost part of this square, he placed the large Rotunda, which served as the University’s most iconic building.

Perhaps another one

The Rotunda. Original image from httpwww.bluffton.ed u~sullivanmvirginiacharlottesvilleuvarotundawhole2.jpg

Virginia is considered by many to be Jefferson’s crown jewel. (Wilson 2009, vii) As stated above, the design was heavily influenced by classical Greek and Roman architecture. More than that, it was designed for a distinct purpose; Jefferson wanted students and faculty members to be able to interact with each other as much as possible, and on a personal basis. (Wilson 2009, vii) Jefferson did not want students and faculty members to be considered separate, so he designed his university to cause as much interaction as possible. Thomas Jefferson did this by placing classrooms in the homes of instructors’. This caused students and faculty members to interact on a more personal basis. (Wilson 2009, 52) He also promoted student and faculty relations by making students live and learn in pavilions that were very closely connected to basically form a large square. At the northernmost part of this square, he placed the large Rotunda, which served as the University’s most iconic building.

University of Virginia Rotunda (Wilson 2009, 73)

Greek/Roman Inspire Pillars From httpwww.uvamblogs. comjeffersons_academical_villagep=240

Jefferson’s Lawn From httpwww.panoramio. comphoto37074461 407

Perhaps another one

of Jefferson’s great architectural achievements was the great lawn of the University of Virginia. Over the years, the name for this lawn became simply “Jefferson’s Lawn.” Almost instantaneously, Jefferson’s creation was hailed as an architectural masterpiece. (Wilson 2009, 55) Jefferson wanted his university to help preserve freedom, and he wanted the very design of the University of Virginia to show that. From the beginning, it was clear that he had accomplished his goal, especially when one looked at the lawn. The lawn was wide and open, with little to no restrictions – the essence of freedom. When on the lawn, one felt “free.” Jefferson himself wrote that he wanted the school to influence “virtue, freedom, fame and happiness.” (Wilson 2009, 57) In essence, Thomas Jefferson created a monument to what he believed in.

Thomas Jefferson worked hard to ensure that every aspect of the University of Virginia expressed his ideals. He consulted with his friends and colleagues almost constantly. He was very

Pavilion IX is commonly seen as an example of how Jefferson was able to provide a sense of freedom because it lacks what Wilson calls a “giant order.” (Wilson 2009, 83) 408

An aerial view of Jefferson’s Academical Village. From http://images.businessweek.com/ss/08/08/0807_college_grads/23.htm resistant to allow changes that would compromise what he saw as the implied meaning of the architecture. One such example was when he was forced to move one of the streets (largely because of budget problems.) Jefferson had a great liking for symmetry. And moving the street forced him to redraw almost everything else on the university – which he eventually did. In the end, it was clear that he believed it was all for the best, as he said “our university is now so far advanced as to be worth seeing. It exhibits already the appearance of a beautiful Aca-

An early sketch of Jefferson’s Lawn with the Rotunda at its north end. (Wilson 2009, 59)

Thomas Jefferson worked hard to ensure that every aspect of the University of Virginia expressed his ideals. He consulted with his friends and colleagues almost constantly. He was very

Pavilion IX is commonly seen as an example of how Jefferson was able to provide a sense of freedom because it lacks what Wilson calls a “giant order.” (Wilson 2009, 83)

An early sketch of Jefferson’s Lawn with the Rotunda at its north end. (Wilson 2009, 59)

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demical Village, of the finest models of building and of classical architecture […].” (Wilson 2009, 43)

Thomas Jefferson could be considered one of the great architectural minds of the 19th century. He carefully designed everything to have a purpose, and to present an ideal. From the great Rotunda, to the world renowned “Jefferson’s Lawn,” it is clear that he had achieved his goal. Thomas Jefferson was able to use architecture to define the American ideals in such a way that words could not.

Despite the obvious beauty of the University of Virginia, some questioned (and continue to) the effectiveness of the design. Karl Bernhard, an early critic of the university, even went so far to say the University was too “different” to have any sort of elegance. Another review from John H. B. Latrobe stated that Jefferson was “not a man of taste and [the University of Virginia] which was built under his direction proves it.” (Wilson 2009, 58) It was not until later that more positive reviews came about. One such review was from Harriet Martineau, who found that the university staff and students had a very good relationship. Indeed, she believed that Thomas Jefferson had done an effective job of designing the University of Virginia in such a way that students and faculty members were able to “[mutually] understand [each other.]” (Wilson 2009, 58)

Another sketch of Jefferson’s lawn. Daffron, John. “Training Frosh is College Tradition.” Then and Now, 1934: 1.

IA view of the gardens that Jefferson had placed. (It is important to note that there have been some newer additions) From httpwww.unigo.comarticlesthe_new_ivies

A picture of some of the pavilions lining the Lawn. From httpnarrowlarry.comphilroad6. jpg

Works Cited Wilson, Richard Guy. Thomas Jefferson’s Academical Village. Charlottesville, Virginia: University of Virginia, 2009. 410

demical Village, of the finest models of building and of classical architecture […].” (Wilson 2009, 43)

Another sketch of Jefferson’s lawn. Daffron, John. “Training Frosh is College Tradition.” Then and Now, 1934: 1.

IA view of the gardens that Jefferson had placed. (It is important to note that there have been some newer additions) From httpwww.unigo.comarticlesthe_new_ivies

A picture of some of the pavilions lining the Lawn. From httpnarrowlarry.comphilroad6. jpg

Works Cited Wilson, Richard Guy. Thomas Jefferson’s Academical Village. Charlottesville, Virginia: University of Virginia, 2009. 411

^Fg.1 - Hotel Solvay

Victor Horta had amazing versatility and stylistic evolution from Art Nouveau to his own style of modern architecture with a hit of Art deco. He saw architecture as an all-embracing art form. He worked in facades, floor Victor Horta plans, windows, furniture, January 6, 1861 doors, basically everything September 8 1947 about a space. Brussels His work began in 1893 making revolutionary designs like the Tassel House in Brussels (first significant expression of Art Nouveau). 1920’s he had come up with a version of Art Deco for the Palais dex Beaux-Arts. A guy names Hector Guimard influenced Horta strongly 412

^Fg.2 - Hotel Tassel Stair Case Foyer

^Fg.3 - Victor Horta Maison Town houses- Brussels

and further spread the “whiplash” style and abroad. Art Nouveau was introduced to Horta in 1892 when we was thoroughly inspired, He was commissioned to design the home of Emile Tassel with influenced into Hotel Tassel. Brussels was where Horta did most of his work. Maison du Peuple (house of the people) built for the progressive Belgian workers’ party until it was demolished by 700 architects and is described as one of the greatest architectural crimes during the twentieth century. Victor did his job well and always that eventually he became the director of the Academie Royale des Beaux-Arts in Brussels which he held post for four years and was later awarded the title of Baron by Albert 1 of Belgium in 1932. Architecture for Victor came natural around the age of twelve when he was working on a construction site with his father. He knew

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^Fg.2 - Hotel Tassel Stair Case Foyer

^Fg.3 - Victor Horta Maison Town houses- Brussels 413

just then that architecture was what he wanted to do and his love and facinating talent grew from there. Although Victor Horta does not just focus on building buildings persay but also the interiors and everything else that comes with it. He is among the artist form of architecture to the human eye and we cannot help but sit in awe observing places like the Hotel Tassel. When inside the Hotel Tassel there is this extravigent staircase within the foyer that is so grand, elegant, and marval that one could not simply not fall in love with it. That being said is what Victor Hortaâ&#x20AC;&#x2122;s architecture is all about it is jaw dropping and movingly ellegant. Apart from most architects Victor Horta is very different beyond the way of his subsiquent attributes and how they give you a sense of feel about the architecture it is what we as architectures like to define as beautiful. Victor did not conform to the way of moderism that most people would think of like the glass pyramid of the louve or Toyo

414

^Fg.4 - Palais dex Beaux- Arts

Itoâ&#x20AC;&#x2122;s form of extravagent magic and air within his space. Horta stuck with the original form of architecture and the way of old times but turned it slightly with his touch of Art Deco and his form of modernism. Again for example the stair case within the Hotel Tassel is nothing more than a stair case but the marble steps and the oak panaling on the walls and the iron/ gold work of the railing to the wonderful hand rail it is beautiful and flowing to

^Fg.5- Maison du Peuple

^Fg.4 - Palais dex Beaux- Arts

^Fg.5- Maison du Peuple 415

the eye, but much more seemingly complex than most architectural simplistic forms. Victor Horta focused mainly on the way that he could translate the form of Art Nouveau to a miplistic way architecture that was elegant and marval. One of Victor Horta;s earlier buildings was the Temple of Human Passions built it Brussels showing his earlier yet accomplishing way onto Art Nouveau and modernism from the very beginning. (hint: even mordern day architects used the form of Greek temples for common ideas). Victor Horta (Baron) was a very provisional architect who knew how to put mind to matter and create something create for the eye to see beauty. -Heather Imel

^Fg.6- Pump

Work Cited:

^Fg.7- Temple of Human Passions

^Fg. 8 - Victor Hortaâ&#x20AC;&#x2122;s House 416

Horta, Victor (Baron). Horta: Art Nouveau to Modernism. (New York: Ludion Press, 1996c). Print. Fg.1- Hotel Solvay - http://www.hotelsolvay.be/ Fg.2- Hotel Tassel stair case- http://www.nga.gov/feature/nouveau/teach/slide_11fs.htm Fg.3- Victor Horta Maison Townhouses brussels- http://leonardfrank.com/worldheritage/VictorHorta.html Fg.4- Palais dex Beauz-Arts- http://www.visitbelgium.com/index. php/cultural-belgium/art-nouveau-brussels Fg.5- Maison du Peuple- http://www.studyblue.com/notes/ note/n/exam-3-monuments/deck/2601831 Fg.6- Pump - http://www.panoramio.com/photo/16125767 Fg.7- Temple of Human Passion - http://en.wikipedia.org/wiki/ Temple_of_Human_Passions Fg.8-Victor Hortaâ&#x20AC;&#x2122;s House - http://www.mr-oscar-wilde.de/lifetime/horta.htm

^Fg.6- Pump

Work Cited:

^Fg.7- Temple of Human Passions

^Fg. 8 - Victor Hortaâ&#x20AC;&#x2122;s House 417

Wikipedia

Viollet-le-Duc was a French architect, and theorist. He was born on January 27th 1814 in Paris, France, he died on September 17th 1879 in Lausanne Switzerland. He was educated by his uncle who was a painter. He was a political activist by taking part in the July Revolution. During this time period the wealthy French that survived the French Revolution Viollet-le-Duc were looking around and saw that January 27 1814the nation’s historic landmarks September 17 1879 were crumbling or falling into Practised: France, Switzerland disrepair. They wanted to see their nation improve and Duc was commissioned in 1835 to restore the Abby of Vezelay. This started his lifelong work in restoring castles, churches, cathedrals, and forts. He was commissioned to repair Notre Dame de Paris Cathedral in Paris, and after completing the task he was brought to the public’s attention. He didn’t only fix Notre Dame but enhanced it. He added a third tower and changed many other 418

things. That is what he is best remembered for, enhancing old and decrepit French churches and fortifications. His work included Sainte-MarieMadeleine, Notre Dame de Paris, Sainte-Chapelle. Basilica of St. Nazaire and St. Celse, Carcassonne, Château de Roquetaillade, Fortified city of Carcassonne, and the Château de Vincennes. He had a major impact on Le Mont Saint-Michel which was a French fortified island with a church. Its original purpose was to protect Normandy from the English but during the 19th Century Duc transformed it from a crude island fortress into a beautiful ornate gothic castle. It no longer served a military purpose but the changes that he made to it helped put it on the World Heritage list. He had a more traditional means of getting his ideas completed. He would sketch a plan and pass it off to the workers. He was particularly keen on determining the structural systems of the building. Particularly the roof, he would arrange the spaces into a stable structure. He

Wikipedia

thought it was necessary to delineate the roof planes and build a nonstandard structure. He said â&#x20AC;&#x153; When you draw a horizontal or ground plan, independently of the arrangements, you have to consider how will the building will be covered. For this is the most important question in a building is that of the matter of roofing. When he talks of elevations he concludes that only after the structural systems are sorted can you look at the layout of the building, and cannot be biased on preconceived notions, but of the structural composition. He sides with todayâ&#x20AC;&#x2122;s engineers, but at the time the jobs were fused. Duc opinion on orientation was that â&#x20AC;&#x153;It is inherently desirable in architecture, but should grow out of the way a building is put together or be attuned to the shape or material qualities of a structural member. Often decorative effect can be produced though an imaginative structural solution. In any event, decorative effect should never be arbitrarily applied to surfaces and should never pretend to be something that its not. Duc was a master of materials. He said of materials that they should be employed in a manor constant with the rest of a structure. Their proper use contributes to the clarity of the buildings expression; their misuse, on the other hand, diminishes the effectiveness of a design. He knew when the wood would need to be put in so that there was no excessive rot. He knew what kind of wall was needed for whatever material would be used in the floors and celling height. He knew how thick a board would need to be to hold up a spot in the ceiling. He could do this out of trial and error, from his work 420

and the work of thousands of others before him. It was all down to a science back then, we now use computers to do all of this. When Duc talked about building a perfect mansion he is rash. He says that no needless external design be emphasized. For it provides no additional comfort, and costs more. It also makes the less wealthy hate the rich even more, so it is best to avoid external magnificence which will help hide the internal splendor of the palace within. Viollet-le-Duc was a French architect and is acknowledged to be the premier theorist of modern architecture. He worked to restore and enhance many grand estates, churches, and castles across France. The ideals of the French Revolution stuck in his head when he was designing his buildings. He designed the structure of the Statue of Liberty. He died in Switzerland in 1879. Work Cited: Viollet-le-Duc, The Architectural Theory of Viollet-le Duc (MIT, 1990) Images from Wikipedia 422

Paul Williams, the first “Negro” architect of our time provided society with classic traditional homes and buildings. His style differed with time and location but he is primarily known for his classic Hollywood style. While there is no one distinctive “look” to his buildings, he became known for designs which were stylized and elegant. Paul Williams borrowed styles used in the past PAUL WILLIAMS and added his own signature to his February 18, 1894 – designs. He designed numerous January 23, 1980 homes in the Hollywood Hills and LOS ANGELES, CALIFORNIA throughout Southern California. In addition to the many mansions William’s constructed, he also designed a variety of sports clubs. Due to the variety of Williams’ projects, he had to be extremely versatile with his designs and style. He was introduced to European architecture as well by the Beaux Arts Institute of Design at an early age. This influenced him and inadvertently added a unique touch to his designs. As times changed so did Williams’ style. In 424

the early 1920’s Paul Williams turned to Spanish colonial style. Overtime he kept this style just transformed as the years went on. He eventually took his classic Spanish colonial style and added an East Coast colonial style transforming tight knit spaces found in Spanish architecture to open spacious homes found on the East coast that are drastically spread out. His primary intention in designing his extravagant mansions was to construct picturesque homes without losing the “hominess” at the same time. He wanted to design beautiful and unique buildings while keeping them highly functional. While this task was difficult it is what made Paul Williams one of the best architects known to man. His most famous works range from custom homes to public buildings found throughout the community. One of the most recognizable projects of his was the Theme Building at the Los Angeles International Airport. The Theme Building provided an observation deck, restaurant, employee cafeteria and bank. The Theme Building became an infamous landmark in one of

the world’s most notorious airports. The airport symbolized the city’s embrace of the 20th century space age. It is important to remember that this building does not resemble any of his other designs. It is also vital to take into account how he inputs the time period and the current events that are taking place in society. His style may not be his typical approach but he still creates a space that is unique and representative of him and his name. The Beverly Hills Hotel is another one of Paul Williams famous works. He is responsible for the classic icon of The Beverly Hills Hotel sign located on the front of the building.. He is also responsible for the many different aesthetically pleasing colors. He wanted to give the hotel a warm and welcoming feel while still making it an elegant place to stay. “Many believe that Wiliams signature at the Beverly Hills Hotel was the “precursor of the California-look (Hudson 23).” They aren’t your typical hotel rooms. They have a “home-like” feel to them while still being hotel rooms, once again elegant but functional. Built in the mid 1950s, the Los Angeles Superior Court style was the opposite of the typical courtoom. It was stripped of classical legal decoration and gives off a strictly business vibe. Paul Williams designed Competition Motors, which was a car dealership in Los Angeles, California. Williams added a sleek style to the dealership making it a perfect environment for car sales. The building demonstrated the superiority of light and agility, an aspect of Volkswagen and Porsche vehicles. One of the most unique spaces that Paul Williams has ever created was the Al Jolson Memorial Shrine. It has been described as an “abstracted version of 426

an open classical temple that is oriented toward a water cascade” (126). Paul Williams uses depth to separate the rotunda from the bottom of the hill. Paul Williams doesn’t have an exact signature on his buildings but rather a motto – elegant yet functional.

Ian Walker ARCH 101 Project 3 November 13, 2012

Work Cited: Hudson, Karen E. Paul Williams, Architect. (New York: Capelli, 1993). 428

Ian Walker ARCH 101 Project 3 November 13, 2012

Work Cited: Hudson, Karen E. Paul Williams, Architect. (New York: Capelli, 1993). 429

Fig 1-2 British Embassy http://www.michaelwilford.com

Fig. 1-1 British Embassy, Berlin Trace from: “Exhibition Design: Michael Wilford & Partners” Michael Wilford and Partners is an architecture firm that has gone through a significant change. The firm might be better known as James Stirling Michael Wilford and associates; however, the death of James Stirling caused the change of name. The firm was created out of the splitting of the firm James Gowan and Stirling. Michael Wilford was the only student to Michael Wilford and stay with Stirling. Michael Wilford related to the ideas of Stirling, Associates which allowed them to create 1971excellent ideals and methodology Great Britain and Germany The firm has always held on to the concept of architecture as art. Their designs reflect movement through the combination of many different geometric shapes and vibrant colors. Although they are known for contemporary designs, they have made sure to keep in touch with the past. Michael Wilford describes his architectural values, saying, “An appropriate relationship between our sense of history, the need for stability in our surroundings and the dramatic 430

Fig 1-3 B.Braun Health Clinic http://www.michaelwilford.com

Fig 1-4 Sto AG Communications http://www.michaelwilford.com

changes urged upon us by science and technology is as critical now as it has ever been” (Michael Wilford). Michael Wilford and associates is a firm that intends to live through the past in order to create the present, and ultimately understand the future. For this reason, the firm underwent a change in name. They did not do it to dishonor Stirling, but instead to signify the evolvment of the firm. They held onto to the same ideals, yet times were changing and so they also evolved. One great example of the firm’s awarness of time is the British Embassy in Berlin. As seen in the top picture, it combines the common idea of an office building with irregular shapes and colors. The site is located near Reichstag, and therefore the original buildings were destroyed in World War II. It was important that the firm values this connection and create a space that invoked meaning. This firm does not create in order to fulfill one function, but rather designs buildings that have multiple purposes. They understand the modern age and the ideals that are relevant: function, clarity,

Fig 1-2 British Embassy http://www.michaelwilford.com

Fig 1-3 B.Braun Health Clinic http://www.michaelwilford.com

Fig 1-4 Sto AG Communications http://www.michaelwilford.com 431

integrity, and the economy. Yet, they keep the customary concepts of form and space. All of these characteristics help Michael Wilford and Associates create designs that will fulfill many needs and can be easily adapted in result of the changing times. Michael Wilford and Associates has a distinct design process; one that relies on early input from the clients in order to define needs, ideas, and to go over the basics. The firm is devout to involving their clients so early in order to evolve the design as soon as possible. They enjoy new solutions and ideas; however, they hope to develop each idea earlier rather than have to fit it in later. After this point the firm begins their preliminary designing. These designs are all hand drawn in order to evoke ideas. It is the belief of this firm that through drawing, new strategies, solutions, and inventions can be discovered. Through these drawings, they will then create models, but they avoid using perspectives that might distort the idea. Although the technology does make producing much easier, Michael Wilford and Associates are more concerned about the functionality and meaning of the work. The collaboraive designs

Fig 1-5 Staatsgalerie Trace from: â&#x20AC;&#x153;Exhibition Design: Michael Wilford & Partnersâ&#x20AC;? 432

Fig 1-6 Staatsgalerie and Music School http://www.michaelwilford.com

evolve into structurally complex undertakings. Therefore, making technology necessary. The final step of their process is to create the technical drawing using the computer. The design process of Michael Wilford and Associates is purely based on logic. They use simple form in order to create flowing space. The space must fulfill the needs of the client while being completely functional. Yet, the firm manages to use this unchanging process and create innovative works. The firm is able to achieve this innovation through the

Fig 1-7 Staatsgalarie and Music School http://www.michaelwilford.com

Fig 1-5 Staatsgalerie Trace from: â&#x20AC;&#x153;Exhibition Design: Michael Wilford & Partnersâ&#x20AC;?

Fig 1-6 Staatsgalerie and Music School http://www.michaelwilford.com

Fig 1-7 Staatsgalarie and Music School http://www.michaelwilford.com 433

continuous refinement of their own process and review of the past. It is vital to learn from everything that has been done before in order to create innovation. Yet, they evolve and work as a team, living by the philosophy, ‘more input, better output.’ The end results are abstract and colorful. They draw people to them and make people curious. Michael Wilford and Associates do no create common public buildings. They create functional art that develops public space. This space is meant to invoke one’s imagination. It intends to depict human principles by bring people together. This firm strives to uplift cities and humanity in general. Michael Wilford and Associates is not afraid of trying new things. They are not impartial to and cannot be defined by one set of materials, but rather experiment with new things. This ability to accept change has allowed them to continue evolving. After this firm lost one of its key members, many critics believed it would dissolve and not be as successful. As we can see from what the firm has produced, they never intend to

Fig 1-8 Peace Palace Visitor Centre

http://www.michaelwilford.com

Fig 1-9 British Embassy, Tisbli http://www.michaelwilford.com

be unseen. The designs are clear and expressive. They will catch one’s eye, and they will force you to take notice. The mindset of evolution and clarity allows the firm to be so successful. Yet, it also gives way to much criticism and distaste. The designs of Michael Wilford and Associates are not simple or traditional. They are developed in order to defeat the norm and make new statements. As usual, this methodology creates two opposing viewpoints. You either hate the work or you love it, there is no in between. The architecture firm, Michael Wilford and Associates evolves to fit changing times and functions. They design through a progressive process that involves a great amount of teamwork and client involvement. The goal of the firm is not to mass-produce, but rather to produce good work. The nature of the work to standout brings with it mixed reviews; you either hate it or you love it. Either way, there is no doubt that it fulfills the function that was it was intended and is based on the clients needs. In general, Michael Wilford and Associates develops ideals in order to define humanity. They create public spaces with advanced circulation and flow, in order to contain large numbers. They intend to bring many people together, and therefore make their buildings standout. This is achieved through the experimentation with new developments and materials; but also with the return to basics. The firm incorporates the past, present, and future into all of their designs. This philosophy allows them to develop functionality for the changing times. They go beyond meeting the basic needs of their clients. They go beyond meeting code requirements. They go beyond the normal in order to create something imaginative. They create functional masterpieces. - Regan Weber

Work Cited: Fig 1-10 Day-Care Centre and Gym 434

http://www.michaelwilford.com

-Michael Wilford and Associates, comp. Wilford Stirling Wilford: [published to Co-incide with the Exhibition “Wilford Stirling Wilford” at the RIBA Architecture Centre, 10 June - 3 August 1996]. London: Michael Wilford & com/>. Partners, 1996. Print. -Architectural Monographs No. 32. James Stirling + Michael Wilford. London: Academy Editions, 1993. Print. All Images: -“Michael Wilford.” Michael Wilford. Michael Wilford, n.d. Web. 12 Nov. 2012. <http://www.michaelwilford.

Fig 1-8 Peace Palace Visitor Centre

http://www.michaelwilford.com

Fig 1-9 British Embassy, Tisbli http://www.michaelwilford.com

Work Cited: Fig 1-10 Day-Care Centre and Gym http://www.michaelwilford.com

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Christopher Wren is debatably one of the most notable architects in history, and definitely one of the famous architects in English history. Wren was not only a creative thinker, but was one of the initial men to take knowledge from other sciences and use that knowledge into the concept of architecture. What made him unique was his style, which started Sir Christopher Wren as a gothic and Victorian, and continued as such but soon began 1632-1723 to take styles into consideration London, England that where not exactly around at his time. Depending on the function of the building, there was a common pattern. Religious buildings were often tall with the clocktower, while political buildings and school buildings were more of a lower, wider building, with many windows and the many rooms. The fact that he was a scientist enabled him to think better of the function of a building, and how a building should be designed under that function and around that function. He believed it as a 442

Monument of the Great Fire

balance and no matter what the building was, he always aimed to make it as beautiful work of art as possible. Wrenâ&#x20AC;&#x2122;s work often consists of large, gothic style towers. Wren considered these as an extremely powerful image, and believed that the effect that taller buildings had on their viewers was much more dramatic and influential than that of smaller buildings. During his era of living, large, gothic towers were somewhat common, however no one had quite perfected them as well as Wren. He was considered the man who basically rebuilt England, and was responsible for the building of 52 churches throughout England after the Great Fire in 1666, which burnt 13,200 houses along with 87 churches to the ground in a span of 3 days. He ended up designing a memorial for the Great fire, and that is a very powerful symbol for perseverance and the ability to rebound after a terrible tradgety. Wrenâ&#x20AC;&#x2122;s style incorporated a process of elimination, and often tried many different designs and models, much like architects do in modern times. He then could establish which

Monument of the Great Fire

443

design was best, and take action to build it. Another aspect to Wren’s style is the detail he put into his large towers. He put extreme detail in every square foot of his buildings. Even though viewers may not notice a certain statue at the top of a tower, he considered every detail of equal importance. His columns always had an intricate buttress, and although some detailing may never be seen, he would rather have it never be seen than have a viewer see a dull part of a piece of work. The detailing at the top of the tower was also extremely important, considering Wren’s religious beliefs and having the top of the tower metaphorically closest to the lord, as seen in St. Paul’s Cathedral, the Tom Tower at Christ Church, and St. Vedast Foster Lane. (PIC) Christopher Wren cared so much about his detailing, that every statue that had ever been part of any of his buildings, he selected himself. He selected who he respected, as a form of appreciation and also so that who was selected to be a statue who gain praise from those who view it. Many of his buildings incorporate carvings along the sides, or front. These are often historical events or religious symbols to put a

St. Paul’s Cathedral, London little bit more meaning into his architecture. Structurally, Wren usually used a very repetitive façade, whether that be columns, windows, or simply a pattern in the masonry. Wren used this to affirm a very obvious message he had when he was building, and felt that repetition was more visually attention grabbing, and that buildings without such repetition often go unnoticed. He did not like smooth servaces in his structures so he often would make sure that there is always a defined edge, because a defined edge is much more

St. Vedast Foster Lane 444

Tom Tower at Christ Church

St. Vedast Foster Lane

445 Tom

Tower at Christ Church

masculine.

The Royal Observatory

Wren’s materialistc style was primarily based off stone, and he used stone and its firm and strong properties to not only hold up his buildings and prevent them from falling, but also incorporated stone as a decoration and helped the building appear visually appealing, as seen encompassed in The Royal Observatory in Greenwich. (PIC).The stones built into the corner form an attractive rhythm while also adding structural strength. However, stone in his age was extremely expensive, so he would search for donators of money and often would find some because of everyone’s high level of repspect for him as a scientistc and just over a bright mind. He never used wood however, because it reminded himself of the Great Fire and he would be destroyed if any one of his masterpieces was destroyed by the lifely element that is fire. Depending on the function of the building, Wren’s style tried to incorporate a certain circulation to different parts of his buildings. He often used long hallways when he wanted guests to go

to a certain area, but also presented several different options of circulation when he felt the viewer should choose their own path. His style was always attempting to make it so the people who entered his work would not get lost, and if they ever did lose their place somehow, there would always be one major part of the building, be a statue, atrium, etc. Overall, Chirstopher Wren is one of the most renowned European architects, with his own unique style that had elements of gothic architecture, but also elements that are present in his smaller buildings. His style was one of a very distinct to its viewers depending on the function of the building and included in that style was his religious beliefs, his scientific intelligence and a creative aspect that is responsible for some of the most beautiful works of his era. It was the fact that he had so many good qualities to himself that made him such a great architect, that and an absolutely brilliant mind. Christopher Wren set the tone for religious architecture, as well as European architecture. Who would know where churches, basillicas, or catherdrals would be without his excellent job on, debatably one of the most beautiful buildings in gothic architecture history, St. Paul’s Cathedral. His style was the preliminary serge of excellence that spurred architecture in the 17th centuary, which then spurred architecture in the 18th, etc. Architecture is time and it is impossible to say that architecture would be the same without Wren, as well as the thousands of architects throughout the years. Wren was considered a genius of his time who took what he knew about everything else other than architecture, and then applied it to architecture to form functionality with a purpose. Not to mention his buildings are quite historical and quite beautiful as well. His style changed the way everyone back then view buildings, and changed how everyone now views architecture. -A.Pierce Wassell

Work Cited: Downes, Kerry. Christopher Wren. London: Allen Lane, 1971. Print. 446

masculine.

The Royal Observatory

Work Cited: Downes, Kerry. Christopher Wren. London: Allen Lane, 1971. Print. 447

W.H, Winslow House Illinois

Many things have been said and known about Frank Lloyd Wright and his architecture. Anyone remotely interested in Architecture has heard his name here and there. But what is it that makes him so famous that almost everyone has heard of him before? Frank Lloyd Wrightâ&#x20AC;&#x2122;s life can be divided into three main parts. The first part takes place from his birth in Frank Lloyd Wright 1867 to 1898. In this time Frank 1867-1959 Lloyd Wright is born and grows older in Iowa, moves to Chicago Oak Park, Ilinois and studies architecture as an apprentice to Louis H. Sullivan. After this time, Frank Lloyd Wright stops his apprenticeship and moves on to his own career. The next phase consists of Frank Lloyd Wrightâ&#x20AC;&#x2122; Prairie houses. The Prairie House concept was something that he had thought of coming from his childhood on the prairie. Frank Lloyd Wright fell in love with the large expanse of land that is the prairie. He noticed the decline in the prairie land and culture and he 448

influenced that into the designs of his houses. Thus the prairie house was born. However the Prairie House did not simply appear to Frank Lloyd Wright overnight. His first step and success in the direction of the Prairie House was the William H. Winslow House in River Forrest, Illinois. This is Frank Lloyd Wrightâ&#x20AC;&#x2122;s first experiment with a tapering roof, large eaves, and box like structure. After this house, Frank Lloyd Wright began to experiment with vertical lines before he had truly fallen in love with horizontal lines. The horizontal lines, among many things are what really define the Prairie House movement. Long rooftops were matching the long, wide buildings they were meant to accompany. Frank Lloyd Wrightâ&#x20AC;&#x2122;s intentions were to match the splendor of the dying prairie lands. Many of his houses fall into this category, but one of them stands out in particular, the Frederick C. Robie House. This house sits on a long, narrow city site that reflects the long horizontal lines that Frank Lloyd Wright wanted to use for his Prairie Houses. The challenges of this building

William H. Winslow House, Illinois http://www.panoramio. com/photo/19982396

Willetts House Highland Park, IL, http://www.bc.edu/bc_org/avp/ cas/fnart/fa267/FLW_prairie.html

Isidore Heller House, Chicago

http://www.bc.edu/bc_org/avp/cas/ fnart/fa267/flw/heller03.jpg 449

were something that the architect easily responded to, and used them to his advantage. The client, Frederick C. Robie, wanted a unique private space so that he and his family could live there with out having any intrusions of privacy, but he also wanted a lot of natural light. With these limitations of the client, and the narrow plot of land, Frank Lloyd Wright was able to create a Prairie House masterpiece. Rows upon rows of bricks emphasize the horizontal lines while the brick combines with concrete to create a sense of power and protection. Many windows protected by small walls add a rhythm of vertical lines dividing the house up, and adding interest to the eye. The floor plan is relatively wide and open, which is odd for the narrow length of the building. Most of Frank Lloyd Wright’s Prairie Houses were not as narrow as this, but they still reflected the same horizontal lines in contrast to a rhythm of vertical windows with shallow pitched roofs. The relatively plain façades set up the eye to be interested in the vertical lines and pitched roofs. The Prairie Houses were a huge success in the United States, making Frank Lloyd Wright famous almost over night.

Frank Lloyd Wright’s Frederick C. Robie House Chicago, Illinois

450

IMAGE name of building â&#x20AC;&#x201C; Make sure to credit below the imageâ&#x20AC;ŚRespect copyrights

Falling Water from the back. http://www.letow.com/wright/wright.

htm

The next phase of his career begins with the construction of the Liliane and Edgar J. Kaufmann House, more famously known as Fallingwater. This brought the recently obscure Frank Lloyd Wright out of his slump and back into the limelight again. In years before he had lost his touch, and was becoming an architect of the past. But when Edgar J. Kaufmann came to Frank Lloyd Wright to build a weekend getaway, the architect jumped up at the idea. Looking Falling Water. http://thinkorthat the site next to a waterfall, he wim.com/2008/01/17/frank-lloyddecided to make the waterfall wrights-falling-water-in-half-life-2/ 451

part of the house. In addition to that, several different aspects of nature were combined with the project to create this spectacle that seems to complement the surrounding nature so well. In the creation of Falling Water, Frank Lloyd Wright decided to make use of the surrounding rocky hillside by making a boulder stuck in the ground a part of the hearth, which Frank Lloyd Wright considers to be the center of the home. Frank Lloyd Wrightâ&#x20AC;&#x2122;s modern phase brought about many more new buildings and ways of looking at how they are used. The Guggenheim Museum in New York makes use of a large spiral ramp going up many stories high. This particular example is very different from the other buildings and homes he built. Other houses he made in this Mid-Century Modern phase, liked Taliesin West in Arizona and the Henry Neils House in Minnesota break most of what used to be typical Frank Lloyd Wright style. Although many things had changed in Frank Lloyd Wrightâ&#x20AC;&#x2122;s style, there were still the same constants that exist

Guggenheim Museum NY http:// archidialog.com/tag/guggenheimmuseum-ny/

Taliesin West. AZhttp://shuttermike.com/arizona/photo-tourfrank-lloyd-wrights-taliesin-westpart-two/

Henry Neils House

http://www.minneapolismn.gov/hpc/ landmarks/hpc_landmarks_burnham_ blvd_2801_henry_neils_house 452

in all of Frank Lloyd Wright’s works; the use of intertwined nature, horizontal lines, and open interiors. Throughout his entire career as an architect, Frank Lloyd Wright would always integrate nature into his work. From the classic planters at the entrance of both the Robie and Winslow House, to the use of nature to construct the building like in Fallingwater, Frank Lloyd Wright had a love of nature that shone through his work. Frank Lloyd Wright died in 1959 as a renown architect who shaped modern architecture today. -James Wronski

Frank Lloyd Wright Work Cited: - Hoffmann, Donald;Understanding Frank Lloyd Wright’s Architecture. © 1995 Dover Publications inc. - Weintraub, Alan. and Hess, Alan. Frank Lloyd Wright Mid-Century Modern. ©2007 Rizzoli International Publications -Weintraub, Alan. and Hess, Alan. Frank Lloyd Wright Prairie Houses. ©2007 Rizzoli International Publications 453

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Yeang focused his work on designing skyscrapers in a meaningful way. Yeang approached what he called â&#x20AC;&#x153;multi-story refrigeratorsâ&#x20AC;? with thick walls that do not have relationships between the inside and outside in a different way. At a time when skyscrapers are considered evil and architecture schools do not want to teach how to build them, Ken Yeang Yeang understands the importance of creating tall buildings with a Born 1948, Still Alive small footprint. His style is to work Practices primarily in with an ecological design with Europe and Asia the principle that every action of construction has four levels of impact on the environment. Some of his most famous works that deal with climate response and low energy design are the Menara Mesiniaga Tower, the Roof Roof House, the National Library, and the DiGi Technical Office. When Yeang designs something, he does it in a way to insure a sustainable future. He addresses pressing global issues through his designs because Yeang understands that if 454

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we do not have an environment with clean air, water, and lands, then other pressing issues become even more difficult and expensive to solve. His goal is to rethink and design the skyscraper in its configuration and planning to better respond to its intensity and the needs of its inhabitants. Yeang has three basic steps to his ecological design strategy. His method does not necessarily follow a certain order, just as long as all steps are addressed. Firstly, the design must be of efficient operations costs. He designs primarily with efficient energy and materials with low environmental impact. Secondly, the design must be for efficient first costs. He is sure that the energy, equipment, and assembly give efficient first costs also with low environmental impact. Lastly, the design should be for efficient end cost and end use. He thinks through that the means the energy, materials, and efficiency in the flow from source to recycling and reusing with again low environmental impact. Yeang follows the bioclimatic principle where he designs his buildings to be in a

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comfortable relationship with the climate of the place. One of his strategies when designing skyscrapers near the equator is to use the elevator and stair cores as solar and wind buffers. â&#x20AC;&#x153;Locating the cores on the outside of the building enables it to have natural ventilation and sunlight to the lift lobby, staircase, toilets, and escape stair while also creating a cheaper buildingâ&#x20AC;? (Scott 111). For example, the climate-responsive Mesiniaga Tower has the elevator core positioned on the hot side as a solar buffer. Furthermore, the toilets and stairwells are places to have natural ventilation with vegetative and stepped faĂ§ade sky-terraces for office users. Yeang helped to develop the method of designing the vertically landscaped skyscraper. His designs express his understanding of the importance that the landscape and the built environment should connect both in a horizontal and vertical process. Many of Yeangs works connect with the landscape vertically by extending eco-corridors upwards, with greenery from the foundation to the rooftop. Furthermore, Yeang creates a healthier building to be in by allowing natural ventilation and sunlight to let the occupants know where they are. This is one concept of how Yeang address circulation in his skyscrapers. The light gives inhabitants a view out and awareness of the place. Buildings should take into account where the sun rises and sets. For example, in Kuala Lumpur, the sunrise and sunset is in the east and west. Therefore, buildings are designed with the cores on the east and west sides. To address the sun from an environmentally sustainable point of view, the west side of 75 Yeang

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the building is covered with a sun-shade system while the north and south contain minimum solar insulation. The morning sun is kept out dues to the fact that the core is located on the east side, which also allows for natural lighting and ventilation into the core area. Yeang also used sky courts terraces and balconies as places in the sky and as a transition space for bioclimatic responses. To achieve this, he designs a floor plan with many windows, sky courts with an atrium above, and sliding doors to resemble filters that control natural ventilation. Often times, office floors are column free. Furthermore, he designs so that the shape of the floor plate adapts to inhabitants for natural ventilation and sunlight. One of his works in particular that embraces the bio-climatic principles is the Menara Mesiniaga Tower. The structure is a tri-partite that has a raised green base with ten floors of terraced gardens and louvers for shade and a sun-roof. His strategy of natural ventilation, sun screens, and air conditioning ultimately lowers energy use and reduces longterm maintenance costs as

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well. Many of his other works incorporate the same elements in their designs as well, such as the Roof Roof House, the National Library, and the DiGi Technical Office. Yeang used a common theme to recreate some of the conditions on the ground in the air. One of the ways he accomplishes this is by putting as much planting as possible into the building. For example, he tries to have continuous vegetation going up as much as possibly as seen in Kuala Lumpur where plants are located in a spiraling fashion around the facades. The natural vegetation can be intended for health, comfort, or energy conservation. Yeang believed that skyscrapers should be designed more like a city in the sky. He emphasized understanding the impact that surface materials have on the environment. He designs by reducing asphalt while increasing water and grass. He looks at materials and the way that energy is embodied in them. For example, concrete cannot be reused. Instead, the materials should be used in ways that they can easily be recycled or reused. He embrases ecodesign where he strives to make the built environment a system tithin the natural environment. Yeang said, “I believe design should offer visions of better places, and address issues that will affect the user’s future through bioclimatic design strategies” (Scott 115). He hopes that through the improvement and advances of the skyscraper, more people will be inclined to return to living in cities. He undersands that culture, convenience, and cost will determine how the new high-rise will be built and used in the future. –Nick Yager

Work Cited: Scott, Andrew. Dimensions of Sustainability. London: E & FN Spon, 1998. Print. Yeang, Ken. Reinventing the Skyscraper: A Vertical Theory of Urban Design. Chichester: Wiley-Academy, 2002. Print. Yeang, Ken. Service Cores. Chichester, West Sussex: Wiley-Academy, 2000. Print. 458 204

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Figure 1.0 Eric Howeler and J. Meejin Yoon have combined skills to create architecture that is on the top tier of modernism. They achieve this in two main ways: they blur the lines between nature and building, and they connect the architecture with the users activities. The recent “go-green” outlook on life, which hopes to preserve nature as we develop as Howeler and Yoon a country, fuels this modernistic Yoon: 1972approach to architecture. Howeler: 1972Many people support “going New York, DC, Virginia, New green”, which makes Howeler Jersey and Yoon successful in their, what many people call, “risky experimentation” with architecture. These architects also make it clear in their architecture that they want to try and have an effect with how people act when in the vicinity of their architecture, and in this way they would like to shape the format and interactions in a typical social gathering in that space. As seen in my replication of one of their buildings, these 460

architects create a space in many of their buildings that blurs the line between inside and outside. It connects the nature around the building with the entrance of the building itself. They achieve this in two ways. First they make the bottom half of the buildings smaller than the top half. (Figure 1.0) This allowes the user to see the nature around them until the very moment they walk through the doors. It also can be considered a connecting path to reach the nature on the other side, and in that way supports the appreciation of nature. On the other hand, they use this area to create a porch with a ceiling, so it allows the users to hangout, and use that space as a â&#x20AC;&#x153;halfway areaâ&#x20AC;? before they fully enter or leave the building. This aspect can be compared to the byzantine church we studied in the beginning of the year where the doors were shaded, giving the users a little relief from the hot environment prior to entering the church. Howeler and Yoon are also infamous for creating architecture that doubles as furniture for the users, and in this way supports social gatherings. This is viewed in

Figure 1.1

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Figures 1.2 and 1.3, as the users find seats in places that are part of the architecture. Also, their architecture is frequently “everconnecting”. This means that as you interact with one part of the architecture, for example making a seat out of something, you are connecting with the entire architecture as that seat physically is connected to everything. Specifically in Figure 2.1 the entire structure is connected so as you sit on one loop, you are connecting with the entire space. Also, if you look on the outside stairs on Figures 1.o and 1.1, when the stairs end, the lines continue which keeps the “flow” of the building. Howeler and Yoon have mastered, in my opinion, connecting the user with proportionate parts nature and architecture. Many of Howeler and Yoons expeditions show the outside of buildings, and prove to be their strong point although the insides of buildings don’t go un-assessed. Viewed in the pictured apartment, these architects have very few separations, like walls, or banisters. It is clear that they leave the circulation of the room up to the user. They continue the “open” feel by frequently using glass instead of

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an actual wall, this apartment is viewed in Figure 2.2. Finally, Howeler and Yoons use of glass becomes apparent. The glass not only creates the â&#x20AC;&#x153;openâ&#x20AC;? feel but also again connects in the nature surrounding the building. (Figures 1.0, 1.1, 2.0) Now, there becomes an issue, what about buildings that have a lack of nature in the surroundings, for example in a big city. Well, Howeler and Yoon have come up with a few ideas that solve that dilemma. What do you lose when you live in a city apartment as opposed to a house in suburbia? You lose

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the feeling of nature: a lawn, a patio, a porch. Howeler and Yoon have created a concept of creating a space encapsulating nature and putting it into an apartment. This is viewed in Figure 3.0. When you are outside you experience the fresh air, the sun, and have the freedom to do many more things than you can do inside. By bringing these aspects into an apartment, it makes the apartment experience much more desirable as it becomes more similar to a home. Howler and Yoon, also began to create the ideas of utilizing the vertical space we have, specifically over roads and highways. As you see in Figure 3.2, they create these very modern structures. They are very similar to pedestrian walking bridges, but they are made of grass. They also have glass barriers for safety instead of solid color ones, which makes the user more open to the surrounding nature, an idea we have clearly exhausted when speaking of Howeler and Yoons style. This concept would allow city-goers more room outdoors to enjoy nature, which is one thing that people lose if they were to move from

Figure 3.0

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a suburban town into the city. Howeler and Yoon also have no problem mixing city buildings with natureâ&#x20AC;Ś literally. Large cities are a focal point of â&#x20AC;&#x153;going-greenâ&#x20AC;?, so clearly this would be one of the most important places to portray that in their architecture, and that is literally what they have done. In Figure 3.1, you can see they thought to have sheets of grass down the side of a building, which encourages users to recognize the growing grass and its importance, as grass can be rare in some cities. This also doubles as an ecofriendly billboard, by moving a taking out certain squares of grass, they can create words, pictures, and ads. This is where Howeler and Yoon begin to take their architecture and use it to form technology. They are currently in the process of designing ideas for the outside of the Meadowlands stadium in New Jersey to represent either blue or green depending on the day of which team is playing, since both the Giants and the Jets share the stadium. These architects find a way to make their architecture affect everything in and around it. It defines the social standard of the activities held in the space, influences the users activities and uses current issues to design modern technology and modern ideas to appeal to users. To be successful in this day and age, you must be at the cutting edge, and be keeping up with the modern world of technology. Howeler and Yoon do just that, and have a great future ahead. - Ilexa Halperin

Work Cited- All Photogrpahs: Yoon, J. Meejin and Eric Howeler. Expanded Practice. New York: Princeton Architectual Press, 2009. Print 465

which is usually an altar or a pulpit from which someone would give a sermon. Another technique used to do this is the shaping of the building. The building is not given a square shape or a shape that would have been hard to design at the time. Instead, the churches have the general shape of a rectangle. While this design was also made partially out of ease, it most certainly contributes to the direction of a person’s eyes while in the church. The interior is long in one direction and narrow in the other, which directs a person’s eyes at the focal point as well. Dominikus Zimmerman, though not the most famous architect ever, has some influence on modern architecture, especially architecture pertaining to religious buildings like churches. He was a German Rococo architect, which means he worked in the Late Baroque period in the 18th-century. He didn’t have many works, but those he did mostly followed Doninikus Zimmerman the same pattern; they all were 1685-1766 very simple in design and did not Germany use many intricate geometries, but the detailing in the work as well as the color was incredible. The designs of Zimmerman’s buildings are simple, but they are to the point and accomplish the intended purpose extremely effectively. The purpose of these buildings is to convey a sense of holiness and reverence. This is done through a few specific techniques. One of these techniques is to point the seating and all aspects of the churches toward the focal point of the room, 466

The churches also feature pillars, which serve to create a type of enclosure. The pillars are located at various points within the church and create a barrier for the inner area. However, even though there is a barrier in place, the openness of the pillars allows for a flow of space and connects the areas of the churches. One of the most important things in the work of Zimmerman is the use of intricate detail and various colors to convey the ideas that

The designs of Zimmerman’s buildings are simple, but they are to the point and accomplish the intended purpose extremely effectively. The purpose of these buildings is to convey a sense of holiness and reverence. This is done through a few specific techniques. One of these techniques is to point the seating and all aspects of the churches toward the focal point of the room,

One of the most important things in the work of Zimmerman is the use of intricate detail and various colors to convey the ideas that 467

he has. He creates great detail in such small areas. He has intricate carving put on the pillars. He also put incredibly detail paintings on the ceiling and on other places. He places gold fixtures with designs on the around the churches as well to add to the already massive amounts of intricacies. He does not adorn the church blindly though; he uses these massive amounts of decoration with a purpose in mind and adorns it just the right amount. The plain white walls in his churches are the perfect backdrop for these adornments. Any other color would not make the details pop in the way that the pure white walls do. He not only uses this concept on the interior, but on the exterior as well. Not only is the decoration beautiful, but it reinforces one of the purposes of this churches creation, which is to show the immense power and detail of God’s creation. One final aspect that is important to Zimmerman’s churches is his inclusion of natural light. He doesn’t use it in the way that most churches to though. Most churches use stained glass to allow light to come in, which while beautiful, isn’t much of an incorporation of light. With Zimmerman’s use of regular glass, light is allowed to enter the space in its natural form. This brightness and power of the light provides a sense of uplifting and weightlessness that would be absent if stained glass was used. All in all, while it seems very simplistic, Zimmerman’s use of intricate design against a plain white background brings out the best in his work. He takes the idea of what a 468

church should be and tweaks it to fit his style. His churches are works of art, and are important in architectural history.

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church should be and tweaks it to fit his style. His churches are works of art, and are important in architectural history.

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Architect Interviews Deceased Architect

Alive Architect

Academia,Antonette Jane S

Max Abramovitz

Paola Antonelli

Adair,Kyle J

Louis Kahn

Wiel Arets

Al-Bader,Ayshah

Gae Aulenti

Basil Al-Bayati

Student

Almagadi,Nuf Ahmed Alrashoudi,Luluh H Arauco-Shapiro,Matthias

Cliff May

Tadao Ando

Ariza,Sebastian

Rogelio Salmona

Ron Arad

Bernier,Christian G

William Bernoudy

Antonio Citterio

Bittman,Bridget M

Max Bill

Alberto Campo Baeza

Carr,Masie R

Charles Moore

Santiago Calatrava

Casey,Colin T

L N Cottingham

Clarke and Menfee

Charpentier,Michael L

Julia Morgan

Antonio Cruz

Conaway,Zachary T

Dominikus Zimmerman

David Chipperfield

Curato,Emily A

Leopold Eidlitz

Cutler Anderson Architects

Del Rio,David J

William A. Delano

Neil Denari

Ferrufino,Amilcar N

David Adler

Fuksas Massimiliano

Friedel,Allison P

Robert Adams

Norman Foster

Gallagher,Dylan J

Theo van Doesburg

Michael Graves

Garner,Alexandra L

Alvar Aalto

Frank Gehry

Halperin,Ilexa J

Frankiln D Israel

Howeler + Yoon

Hayes,Teresa M

William Thornton

Herzog and de Meuron

Holland,Juliana E

Phillip Johnson

Steven Holl

Hovorka,Margaret M

Hannes Meyer

Zaha Hadid

Arroyo,Paola S

Giancola,Vanessa Griffin,Hayley E

Imel,Heather M Karsch,Dylan J Kelly,Matthew R

Charles Rene Mackintosh

Waro Kishi

Kennedy,Lauren M

Pierre Charles L'Enfant

Thomas Kundig

Kil,Madeline M

Luigi Moretti

Kanner Architects

Kilduff,Delia

Alexander Jackson

Atsushi Kitagawara

Kirmsse,William H

Frederick Clarke Withers

Rob Krier

Kirwan,Connor W

Pietro da Cortona

Rem Koolhaas

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Architect Interviews Deceased Architect

Alive Architect

Lonchamp,Lorie

Le Corbusier

Maya Lin

Masotti,Connar P

Mary Colter

Willam Morgan

Matyas,Adrianna

Gregory Ain

Richard Meier

Student

Medina,Rossana

Aldo Rossi

Andres Mignucci

Milone,Lucas M

Denys Lasdun

Morphosis

Moran,Kyle M

Michelangalo

Kengo Kuma

Moss,Daniel L

Bernard Maybeck

DP Architects

Nagy,Jaclyn K

Norman Jaffe

Jean Nouvel

Nnebue,Ugochukwu F

Richard Upjohn

Nicholas Grimshaw

O'Regan,Connor E

Frederick Law Olmsted

Serge Chermayeff.

Obioha,Chukwuemeka P

Sir William Chambers

Gyo Obota

Paintsil,Alexandra A

Gunnar Asplund

Renzo Piano

Palumbo,Phillip S

Andrea Palladio

Cesar Pelli

Perez,Luis M

Pierre Koenig

Lewis Tsurmaki Lewis

Pryor,Stephen T

Eero Saarinen

Alex Popov

Qubori,Reem N

H. H. Richardson

Rob Wellington Quigley

Rahill,John E

Thomas Jefferson

Kevin Roche

Ricci,Samuel E Richard,Marcus E Rivera,Edward D

Craig Ellwood

Peter Rose

Rodriguez,Karina G

Ely Jacques Kahn

RMJM

Ross,Megan E

Robert Mills

Richard Rogers

Sabic,Nikola L

Carlo Scarpa

Marmol Radziner

Stewart,Andrew T

Thomas Archer

Robert AM Stern

Sullivan,William H

McKim, Mead & White

Adrian D. Smith (SOM)

Summerour,Amber L

Ralph Allen

David Salmela

Tsimmerman,Hannah R

Wallace Harrison

Thomas Tavernia

Walker,Ian D

Paul Williams

Bjarke Ingels

Wassell,Alexander P

Chrisophter Wren

Weber,Regan L

Mies van der Rohe

Michael Wilford and Partners

Wronski,James J

Frank Lloyd Wright

Hugh Newell Jacobsen

Yager,Nicholas T

John Nash

Ken Yeang

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