What is modernism?
By Ugne Etneryte
CONTENTS Task 1: The Pre-Raphaelite Movement
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Task 2: The Bauhaus Movement
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Task 3: Le Corbusier: French Modernism and Urban Planning
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Task 4: Italian Modernsim
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Task 5: Avant Garde
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Task 6: Hot Modernism and Critical Regionalism
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Task 7: After Modernism UK & USA
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Task 8: Frank Lloyd Wright
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Task 9: Brazilian Modernism
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Task 1 THE
PRE-RAPHAELITE MOVEMENT
In 1848 William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti founded The Pre-Raphaelite Brotherhood. The group consisted of English painters, poets and art critics. William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner later joined the three founders to form the seven-member ’’brotherhood’’. The name Pre-Raphaelites was their way of resisting the Royal Academy’s given publicity to the Renaissance master Raphael. In addition, they were also immensely against the popular genre painting (which is a painting that shows everyday life). The secret society sought to treat serious subjects with intense realism. Most of their themes were religious, some used literature and poetry, about love and death, as their subjects of art. Furthermore, they strived to explore modern social problems.
Ophelia by Sir John Everett Millais (1851-2)
The Awakening Conscience by William Holman Hunt (1853)
Proserpine by Dante Gabriel
Rossetti (1874)
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EDWARD BURNE-JONES STAINED GLASS WINDOWS IN ST. PHILLIP’S CATHEDRAL The four windows in St. Phillip’s Cathedral show three scenes from the life and one of the death of Christ (Nativity, Crusifiction, Ascension and the Last Judgement). Burne-Jones focuses more on Christ’s humanity and other human beings that show in the images. The window sizes and colours as well as design have a big impact on the way that the theological interpretation is seen. Because the artist dismissed the judgmental and damntaion aspects of the Church there is no bleeding or beating on the stained glass windows.
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Task 2 THE
BAUHAUS MOVEMENT
DESIGNER/MAKER: Walter Gropius with Adolf Meyer. NAME OF PIECE: The Fagus Factory. WHY I LIKE IT? I like this piece of architecture because it is a different way to design a factory. Before there were only enclosed brick buildings with no windows. By creating floor to ceiling windows, Walter Gropius made better working conditions regarding natural light and vetilation. HOW DOES IT MANIFEST THE BAUHAUS ETHOS? The building represents the simplicity of the Bauhaus ethos. It is also functional and cubic in construction. Also the windows joints create the illusion of not needing support as well as the blending of interior and exterior. This piece also solves the problem of factories not having good conditions for workers by creating these type of windows that provide light and ventilation.
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DESIGNER/MAKER: Max Bill in cooperation with Hans Gugelot, built in the Ulm School of Design, 1954. NAME OF PIECE: The Ulm stool. WHY I LIKE IT? I like this piece because of it’s simplistic and lightweight design. Even though this stool does not look like much but it was designed to be as versatile as possible: it can be used as a place of seating, an occasional table, a shelf or as a serving tray. The materials, natural spruce and beech (original), give the object a minimalist feel that can be incorporated in any space as well as additional new colours that make it stand out. HOW DOES IT MANIFEST THE BAUHAUS ETHOS? The ideology behind Bauhaus was to merge fine arts and crafts together with the goal of solving problems for a modern industrial society. The founder of Bauhaus, architect Walter Gropius, wanted to bound all of the artsistic media, such as fine art, industrial design, graphic design, typography, interior design and architecture to be represented in the Bauhaus schools. This piece manifests these principles, through the structure of the design as well as making it to be versatile.
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DESIGNER/MAKER: Wassily Kandinsky. NAME OF PIECE: Yellow-Red-Blue. WHY I LIKE IT? This painting is geometric abstraction that uses the primary colorus - yellow, red and blue. The rectangles, squares, circles and lines were created to show different emotions and provoke the viewer to think. HOW DOES IT MANIFEST THE BAUHAUS ETHOS? The use of primary colorus was important for the Bauhaus period as well as using shapes, making it look abstract. Kandinskys work incorporated tone, colour and shape to invoke psychological effects and to make people think deeper.
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The Contemporary Piece
DESIGNER/MAKER: SWOON studio. NAME OF PIECE: Nevis bench. WHY I LIKE IT? The Nevis bench, as the Ulm stool, is versatile and simplistic in design. The mesh shelving under the mango wood body creates a place to put either shoes or books or anything else. Whereas the body provides a seating area or another storage unit. The materials give this piece a minimalist feel that looks good to the eye and it could be positioned anywhere in the living space. HOW DOES IT MANIFEST THE BAUHAUS ETHOS? As the Ulm stool, the Nevis bench represents the simplicity and the versitile side of the BAUHAUS ethos.
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Task 3
Le Corbusier French Modernism and Urban Planning CHANDIGARH In order to provide security for the Muslim population from the Hindu majority, the leaders of the colonies divided the land for their uses. Because of Sir Cyril Radcliffes ignorance of the Indian history and culture the state of Punjab was divided between India and Pakistan. That is why Punjab needed a new state capital that would provide logistical requirements for the state and also declare to the world that a new India had arrived. Prime Minister of India wanted the new city to be seen as modern and progressive. At first American architect Albert Mayer and his collaborator Matthew Nowicki started the design process but unfortunately when Nowicki died Mayer abandoned the project. The directors of Chandigarh Capital Project then went to Europe to try and find someone to complete the state capital building. They were refered to the French architect Le Corbusier who agreed to work on the project with his cousin Pierre Jeanneret as the site architect. Maxwell Fry and Jane Drew also took up the designing of the housing for this project. Le Corbusier was incharge and started to work from the primary plan made by Mayer and Nowicki. He changed the curvature of Mayer’s fan-shaped concept that fit with the terrain of the site to a grid with curves that were shallow to create right angles. The new roads were arterials that connected to pedestrian paths as well as bicycle paths. This grid had greenspaces alocated along the north-south axis. Le Corbusiers new layout created more space for living than Mayers layout did. Le Corbusier was never satisfied with the housing scheme done by Jeanneret, Fry and Drew. The architect wanted to apply his Unité d’Habitation concept to Chandigarh, building highrises for the goverment officials but his idea was shut down. Insulted, Le Corbusier altered his initial plans from a Secretariat that was on a clear line with the city and framed by the Himalayas in the background to placing artificial hills shielding the Capitol complex from the rest of the city. Now isolated, the complex had a different layout and aestetic and spatial distiction. The Governor’s Palace was placed at the front, with the High Court and Palace of the Assembly opposite each other nearby and the Secretariat off to the side. The Governor’s Palace was deemed not democratic by Nehru and removed. Whereas in its place now sits a sculpture of a hand melded with a dove.
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PRESENTATION
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5 POINTS OF ARCHITECTURE BY LE CORBUSIER Pilotis; Free design of the faรงade; Free ground plan; Horizontol strip windows; Roof garden.
Le Corbusier uses reinforced concrete collums (Pilotis) to lift the building from the ground. These are used across the Palace of the Assembly and are slighty changed to hold the large swooping concrete above the entrance. The form of the entrance also informs the second point of the list - free faรงade. The Pilotis lets the shape create a grand feeling just how Le Corbusier intended. Other faรงades of the complex also show the free faรงade with the brise-soleil formed from the golden ratio. The views from all sides were important for the architect. The offices had a framed view to the surroundind site whereas the portico had a view of the landscape and the distant Himalayas. Inside the building has an open plan structure with concrete collums. This grid helped the architect to work freely and create offices along the outside of the plan and leave a big open space in the middle for the public. The roof of the building is accesible and supported by the Pilotis. The roof provides an open space that connects to nature.
Task 4
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ITALIAN MODERNISM GIORGIO DE CHIRICO Giorgio de Chirico was an Italian artist and writer. Before the World War 1 occurred he established the scuola metafisica movement, which influenced surrealist artists. After the war he became interested in traditional painting and neoclassical style but not forgetting the metaphysical themes. The painter is mostly know for his eerie and strange depictions of cityscapes that he did in the 1910s. He treated the scenes in his painting like haunted streets that we might encounter in dreams. De Chirico had a deep appreciation for German Romanticism, which showed him how to portray scenes of tragedy, enigma and melancholy. He was influenced by philosophers Friedrich Nietzsche, Arthur Schopenhauer, and Otto Weininger and tried to relate his work to the idea that everyday life is banal and that the reality is covered. PIAZZA D’ITALIA (1913) This metaphysical painting shows a Italian plaza with two people. Seemingly deserted area is both eerie and haunting. The overpowering shadows and oppressive architecture create a dark mood and also vanquish the classical statue and the people.
MYSTERY AND MELANCHOLY OF A STREET (1914) This painting shows a deserted street with a girl running toward the light. There is also a statue that is represented by its shadow. The perspective and lighting of this piece creates a mysterious and ominous mood. This helped Chirico to make a scene were the girl will never reach the statue the same way the spaces will never converge.
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ALDO ROSSI Aldo Rossi was an Italian architect and theoretician. He encouraged the idea to use limited type of buildings as well as of the concern for the context of the building site. Besides his buildings, Rossi is also known for his writing, drawings, paintings, furniture and object design. L’architettura della città (The Architecture of the City) was published in 1966. This seminal publication established Rossi as a international theoretician. This book is about how the urban modernism became traditional in regards of the European city. Rossi argued that architecture has to maintain the past and bring it back to the cities context. This position is called neorationalist because it updates the ideas of rationalist Italian architects. Also Rossi was also considered a post-modernist because he did reject modernism and fuctionalism and brought back aspects of historical styles. All of his work was influenced by architect and theorist Adolf Loos, early Italian Modernism and painter Giorgio de Chirico. The influence of Giorgio de Chirico is seen in Aldo Rossi drawings. They both use distorted spaces and conflicting fragments. Also their themes surround images of death, fear, melancholy. They both introduce a ambiguous and ere world of imagination by overpowering with shadows and distorted perspective.
Task 5
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AVANT GARDE ‘MARCH FOR OUR LIVES’ MANIFESTO: Better counselling for student in schools; Improved gun laws; Bullet proof windows in schools; Public statues to commemorate the people who lost their lives in shootings.
BULLETS ARE NOT SCHOOL SUPPLIES Link to video: https://www.youtube.com/watch?v=GMYmot5dj5o
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HOT
Task 6
MODERNISM AND CRITICAL REGIONALISM
REGIONAL MODERNISM - a way of using regional forms and materials in architecture, it includes ethnic influences; there is a mixture of traditional and modern styles or a hybrid of other several styles. CRITICAL REGIONALISM - the idea is to utilise the particularity of the place (local light, local construction methods, local topography); it seeks to mediate between the global and local aspects.
WESTERN EUROPEAN ARCHITECTURE Barcelona Pavilion by Ludwig Mies van der Rohe Built in 1928, the Barcelona Pavilion was a staple of the Modern Movement. Built from glass, steel and different types of marbles, it was supposed to restore Germany’s loss of prestige after the First World War by allowing the framework to used for democratic activities and social acts. The design expressed the differences between structural and non-structural elements as well as had a free and open plan. HOT MODERNISM ARCHITECTURE Fuente de los Amantes by Luis Barragan Built in 1968, the bright colours of the building and green spaces round it creates a fantasy-like atmosphere. Because Barragan was his own client, he had the ability to enforce a character in the residential subdivision that he wanted. His design included a big fountain for the horses as well as a pink wall that assumes the role of an abstract frieze against the approaching horsemen. There is also a significant play in shadows and reflection against solid materials and liquids - mostly water. Both of these building have a composition that achieves a superior sense of balance. They do counterbalance visual elements rather than coming back to formal symmetries. For both architects it was important to use water as one of those elements. For Mies van der Rohe the court pool with Kolbe’s sculpture created a noble calm and sublime tranquillity. Whereas for Luis Barragan it was a way to generate a rhythm with the water’s gushing continuous bass and also when the sun hits the water it achieves a play on reflection creating a lyric ideal.
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Inside of the Barcelona Pavillion with a free-standing onyx wall
Court with pool and sculpture in the Barcelona Pavillion
View of the pool in Fuente de los Amantes
Red-earth stuccoed wall that carries water via an aqueduct in Fuente de los Amantes
The biggest difference of the two buildings is the colour scheme. In the Barcelona Pavilion we only see earth colours - browns, blues, greens, whereas in the Fuente de los Amantes there are pinks, blues and greens and they are more vibrant. Also there is a difference in materials: Rohe used mostly steel, glass and marbles to accentuate the richness of the build, Barragan utilised mostly stucco for the walls. Furthermore, the Barcelona Pavilion was created to become a place where democratic activities and social acts could take place to better Germany’s reputation. However, Luis Barragan never confronted problems that were going on in the cities, he made more of a utopia style places and that is exactly what the Fuente de los Amantes represents. Can you identify any of the themes from the lecture, or the term Critical Regionalism in the thinking about the buildings? Luis Barragan’s design does remind of the ideas of Critical Regionalism, it brings local colours in, the usage of water, however it does not confront any problems happening in the city of Mexico.
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Task 7 AFTER
MODERNISM UK & USA
BIRMINGHAM CENTRAL LIBRARY The old Birmingham Central Library was completed in 1973 and demolished in 2016. It was designed by architect John Madin in the brutalist style and the structure was concrete with the famous inverted ziggurat. The purpose for this library was to create a civic centre on the new Birmingham Inner Ring Road system. The library was intented to be along side of a School of Music, Drama Centre, Athletic Institute as well as shops, offices, public house, parking spaces and a bus interchange. Everything was supposed to be connected by high level walkways and galleries that would bridge the road. But only the School of Music and a public house were in the master plan and all of the walkways were not completed. The Library was demolished because of the Birmingham City Council wanting to redevelop Paradise Circus to reposition Birmingham as a desirable centre for international business. There was also an increase in the need to hold more books and archives and Central Library could not fulfil contemporary requirements. Because in the 1990s there was a lack of materials, a few extensions were made that were not be sustainable. Even though the Library was demolished, a lot of people protested against it. Groups were established to save this historical building, such as Friends of Central Library, the Twentieth Century Society, English Heritage and World Monuments Fund. World Monuments Fund tried to convince the Council that the library brought a sense of monumental to the urban landscape as well as said that it is an architectural icon, meaning the brutalist style of it and the use of concrete structure. Friend of Central Library argued that after 40 years the Birmingham City Council will regret the decision and that there are alternative ways to utilise the library. The demolishing of an iconic brutalist style architecture piece was a tragedy not only for the architect but for the people. Birmingham lost a part of their history that would have been appreciated by later generations.
Task 8
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FRANK LLOYD WRIGHT Frank Lloyd Wright had a life long passion for nature and landscape. Some of the architects greatest works consist of a large composition of buildings and gardens, roads and waterways, fields and groves. Wright started to understand nature and landscape from an early age - his family discussed Emerson’s philosophy. But most of that knowledge came from experience, he observed and took in the nature surrounding him. Most of the writing that Frank Lloyd Wright did about landscape and how he implements it to his designs, has been deemed to be contradictory or confusing. But the key to understanding his thought process is to look at the works he had done. These answers lie in the landscapes where he made his home as well as the continuous influences for decades - the Jones Valley of southern Wisconsin and the desert of central Arizona.
Home of Frank Lloyd Wright Taliesin
A desert retreat for the architec and his students Taliesin West
For the architect the most important part of any home was to frame a scenery that was surrounding the sites. He wanted to erase the indoor-outdoor boundaries to create a feeling of being outside.
Graycliff sketch by Frank Lloyd Wright
Frank Lloyd Wright’s 1928 design for a Rosenwald School
Wright’s plan for Greater Baghdad
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Dorothy G.Turkel House was built in 1955 in Detriot. The home is said to be like an oasis from the city. For the architect the garden was the most important part of the home. Tucked away in a corner, the home provides a big space for a lawn, a garden and long vistas. The windows overlooking the landscape frame the views and also give a sense of being outdoors.
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The Gordon House built in 1964 south of Portland. The floor to ceiling windows in the living room creates no boundaries between inside and outside, meaning those windows frame the landscape, which consist of the Willamette River on one side, and Mount Hood on the other.
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SAO PAULO
Task 9
BRAZILIAN MODERNISM
Transcultural space - a space where lots of cultures come together, either seen in buildings or the culinary area.
Sao Paulo is one of the most multi-cultured cities in the world. There are many cultures represented throughout the city’s culinary scene, religious buildings as well as neighbourhoods. The main cultures that surround Sao Paulo are Italian, Japanesse, Jewish, German, Spanish and Lithuanian.
BIBLIOGRAPHY / REFERENCE LIST Task 1 Wikipedia (2018) Pre-Raphaelite Brotherhood. Available at: https://en.wikipedia.org/wiki/Pre-Raphaelite_Brotherhood [Accessed 6 October 2018]. Tate galleries. Art term Pre-Raphaelite. Available at: https://www.tate.org.uk/art/art-terms/p/pre-raphaelite [Accessed 6 October 2018]. William Holman Hunt (1853) The Awakening Conscience. [oil on canvas] 762 x 559 mm. Tate Gallery, London. Sir John Everett Millais (1851-2) Ophelia. [oil on canvas] 762 x 1118 mm. Tate Gallery, London. Dante Gabriel Rossetti (1874) Proserpine. [oil on canvas] 1251 x 610 mm. Tate Gallery, London. Revolutionary Players. Edward Burne-Jones: Painter, Designer of Stained Glass. Availbale at: https://www.revolutionaryplayers.org.uk/edward-burne-jones-painter-and-designer-of-stained-glass/ [Accessed 18 October 2018]. Flickr (2014) Birmingham Cathedral (St. Philip’s) - Edward Burne-Jones Stained Glass. Available at: https://www.flickr.com/photos/47859152@ N05/14632242569 [Accessed 14 January 2019]. Cool Places (2018) St Philip’s Cathedral. Available at: https://www.coolplaces.co.uk/places/uk/england/west-midlands-county/birmingham/7068-st-philips-cathedral [Accessed 14 January 2019]. Task 2 Wikipedia (2019) Fagus Factory. Available at: https://en.wikipedia.org/wiki/Fagus_Factory [Accessed 12 January 2019]. Jorge Fernandez (2018) Fagus Werk, 1911-25, Alfed, Germany Walter Gropius and Adolf Meyer. Twitter, 13 July. Available at: https://twitter. com/jfgrupo/status/1017802128126038016 [Accessed 12 January 2019]. The art story: Modern art insight. Walter Gropius. Available at: https://www.theartstory.org/artist-gropius-walter.htm [Accessed 12 January 2019]. The art story: Modern art insight. Bauhaus. Available at: https://www.theartstory.org/movement-bauhaus.htm [Accessed 18 October 2018]. WBForm Ulm stool. Available at: http://www.wbform.com/en/kollektion/products/ulmer-hocker-original.php [Accessed 1 October 2018]. Max Bill (1954). The Ulm Stool. Available at: https://www.bauhaus100.de/en/the-bauhaus/people/students/max-bill/ [Accessed 1 October 2018]. Max Bill (1955) The Ulm Stool. Available at: http://www.hfg-archiv.ulm.de/english/the_collections/hfg_collection/objects_photos.html [Accessed 1 October 2018]. Wassily Kandinsky (1925) Yellow-Red-Blue. [oil on canvas] 127 × 200 cm. Musée National d’Art Moderne, Centre Pompidou, Paris, France. Wassily Kandinsky Biography, Paintings, and Quotes (2011) Yellow-Red-Blue, 1925 by Wassily Kandinsky. Available at: http://www.wassily-kandinsky.org/Yellow-Red-Blue.jsp [Accessed 12 January 2019]. Swoon editions Nevis. Available at: https://www.swooneditions.com/nevis-mango-wood-and-charcoal-contemporary-large-bench?utm_term=nevisbenchlargemangocharc&gclid=CjwKCAjwgabeBRBuEiwACD4R5vO2me8G5-etKH4HUbAB5wngdNjEe_QQb-vQ3IaZ3G3FFjZUYXsfVRoCZQoQAvD_BwE#fo_c=2428&fo_k=f88d54b6851ba170959c0212295dd501&fo_s=gplauk&utm_source=GOOGLE&utm_medium=sem&utm_campaign=K%20-%20Ottomans%20-%20Generic. [Accessed 2 November 2018]. Task 3 ArchDaily (2018). AD Classics: Master Plan for Chandigarh / Le Corbusier. Available at: https://www.archdaily.com/806115/ad-classics-master-plan-for-chandigarh-le-corbusier [Accessed 12 January 2019]. Wikipedia (2018) Le Corbusier’s Five Points of Architecture. Available at: https://en.wikipedia.org/wiki/Le_Corbusier%27s_Five_Points_of_Architecture [Accessed 12 January 2019]. ArchDaily (2011). AD Classics: Palace of the Assembly / Le Corbusier. Available at: https://www.archdaily.com/155922/ad-classics-ad-classicspalace-of-the-assembly-le-corbusier [Accessed 12 January 2019]. Faena Aleph (2017) CHANDIGARH, A CITY IN INDIA DESIGNED BY LE CORBUSIER. Available at: http://www.faena.com/aleph/articles/chandigarha-city-in-india-designed-by-le-corbusier/ [Accessed 12 January 2019]. Task 4 ArchDaily (2016) AD Classics: Bonnefantenmuseum / Aldo Rossi. Available at: https://www.archdaily.com/786401/ad-classics-bonnefantenmuseum-maastricht-the-netherlands-holland-aldo-rossi [Accessed 12 January 2019]. Tate. Giorgio de Chirico. Available at: https://www.tate.org.uk/art/artists/giorgio-de-chirico-902 [Accessed 12 January 2019]. The art story: Modern art insight. Giorgio De Chirico. Available at: https://www.theartstory.org/artist-de-chirico-giorgio.htm [Accessed 12 January 2019]. GalleryIntel. Mystery and Melancholy of a Street by Giorgio de Chirico. Available at: http://www.galleryintell.com/artex/mystery-melancholy-street-giorgio-de-chirico/ [Accessed 12 January 2019]. Giorgio De Chirico (1913) Piazza d’Italia [oil on canvas] 35.2 x 25 cm. Art Gallery of Ontario (AGO), Toronto, Canada. Giorgio De Chirico (1914) Mystery and Melancholy of a Street [oil on canvas] 85 x 69 cm. Private Collection. Encyclopaedia Britannica. Aldo Rossi. Available at: https://www.britannica.com/biography/Aldo-Rossi [Accessed 12 January 2019]. Wikipedia (2015) The Architecture of the City. Available at: https://en.wikipedia.org/wiki/The_Architecture_of_the_City [Accessed 12 January 2019]. ArchDaily (2018) Spotlight: Aldo Rossi. Available at: https://www.archdaily.com/367400/happy-birthday-aldo-rossi [Accessed 12 January 2019]. Koo, Young-min, Kim, Kwang-ho and Sul, Heung-jin (2002) A Study on the Correlation between Aldo Rossi’s Drawing and De Chirico’s Painting on the Basis of Metaphysics. Journal of Asian Architecture and Building Engineering. 1(1) pp. 303-308. Pinterest Aldo Rossi Composition Perspective, Theatre of the Monde, Venezia, 1982. Available at: https://www.pinterest.com/ pin/152066924889022261/ [Accessed 12 January 2019]. WCDF France Aldo Rossi Drawings And Paintings Drawings Aldo Rossi Archivitamins. Available at: http://wcdf-france.com/aldo-rossi-drawings-and-paintings/aldo-rossi-drawings-and-paintings-drawings-aldo-rossi-archivitamins/ [Accessed 12 January 2019].
Task 5 Behance (2018) Avant Garde - Poster & Billboard Design. Available at: https://www.behance.net/gallery/64892199/Avant-Garde-Poster-Billboard-Design [Accessed 12 January 2019]. Task 6 The Free Dictionary by Farlex (2003) Vernacular architecture. Available at: https://encyclopedia2.thefreedictionary.com/Regional+modernism [Accessed 12 January 2019]. Wikipedia (2019) Critical regionalism. Available at: https://en.wikipedia.org/wiki/Critical_regionalism [Accessed 12 January 2019]. Wikipedia (2018) Barcelona Pavilion. Available at: https://en.wikipedia.org/wiki/Barcelona_Pavilion [Accessed 12 January 2019]. Fundacio Mies van der Rohe Barcelona The Barcelona Pavilion was designed by Ludwig Mies van der Rohe and Lilly Reich as the German Pavilion for the Barcelona International Exhibition, held on Montjuïc. Available at: https://miesbcn.com/the-pavilion/ [Accessed 12 January 2019]. WordPress A Beginning Designer’s Inspiration: Luis Barragán on Color. Available at: https://blogs.lt.vt.edu/charldesign/design-thinking/barragan-on-color/ [Accessed 12 January 2019]. Emilio Ambasz (1976) The Architecture of Luis Barragan. 5th edn. New York: Colorcraft Lithographers, Inc. Aurora Cuito (2002) Mies van der Rohe. 1st edn. Spain: teNeues Publishing Group. Peter Carter (1974) Mies van der Rohe at Work. 1st edn. New York: Praeger Publishers. Oskar Mielczarek (2016) “Los Clubes” – San Cristobál Stables And The Fountain Of Lovers 1964, by Luis Barragan. Available at: http:// oskarmielczarek-architect.com/los-clubes-luis-barragan-by-oskar-mielczarek/ [Accessed 13 January 2019]. Pics for you evety day (2018) Luis Barragn 39Beauty inspiration magic39 Architecture t. Available at: http://picmoonco.pw/Luis-Barragn-39Beauty-inspiration-magic39-Architecture-t.html [Accessed 13 January 2019]. VisualHouse (2017) MIES VAN DER ROHE’S BARCELONA PAVILION. Available at: https://visualhouse.co/journalpost/mies-van-der-rohes-barcelona-pavilion/ [Accessed 13 January 2019]. Damian Brenninkmeyer Architecture (2015) The Barcelona Pavilion of 1928/29. Available at: http://damian-brenninkmeyer-architecture. com/?p=641 [Accessed 13 January 2019]. Behance (2014) Barcelona Pavillon by Ludwig Mies van der Rohe. Available at: https://www.behance.net/gallery/21048819/Barcelona-Pavillon-by-Ludwig-Mies-van-der-Rohe [Accessed 14 January 2019]. Plataforma Arquitecture (2012) Lo mejor de Flickr en Plataforma Arquitectura / Marzo 2012 Available at: https://www.plataformaarquitectura.cl/cl/02-143744/lo-mejor-de-flickr-en-plataforma-arquitectura-marzo-2012 [Accessed 14 January 2019]. Task 7 BirminghamLive (2016) ‘Public will regret’ demolition of Central Library in 40 years. Available at: https://www.birminghammail.co.uk/news/midlands-news/heritage-expert-claims-public-regret-12118279 [Accessed 13 January 2019]. Birmingham Post (2018) Comment: Gone but not forgotten - but will Birmingham ever learn? Available at: https://www.birminghampost.co.uk/ business/commercial-property/comment-gone-not-forgotten-birmingham-14102208 [Accessed 13 January 2019]. Wikipedia (2019) Birmingham Central Library. Available at: https://en.wikipedia.org/wiki/Birmingham_Central_Library [Accessed 13 January 2019]. WordPress (2013) So Long, Farewell, Auf weidersehen, Adieu… The Iron Room. [blog] 27 June. Available at: https://theironroom.wordpress. com/2013/06/27/so-long-farewell-auf-weidersehen-adieu/ [Accessed 13 January 2019]. WikimediaCommons (2011) File:Interior Birmingham Central Library.jpg. Available at: https://commons.wikimedia.org/wiki/File:Interior_Birmingham_Central_Library.jpg [Accessed 13 January 2019]. ITV (2015) Birmingham’s old Central Library demolished. 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Buffalo Niagara Gardening (2013) Graycliff sketch by Frank Lloyd Wright. Available at: https://buffalo-niagaragardening.com/2013/11/05/5tips-from-graycliffs-landscape-restoration-you-can-use-in-your-own-garden/graycliffsite/ [Accessed 14 January 2019]. Architect Magazine (2017) The Ultimate Frank Lloyd Wright Nerdfest. Available at: https://www.architectmagazine.com/design/the-ultimatefrank-lloyd-wright-nerdfest_o [Accessed 14 January 2019]. Frank Lloyd Wright Quarterly (2000) Frank Lloyd Wright: Architect of Landscape. [e-book] 1st edn. Scottsdale: The Frank Lloyd Wright Foundation. Available at: https://moodle.bcu.ac.uk/pluginfile.php/6190942/mod_resource/content/1/Architect%20of%20Landscape.pdf [Accessed 14 January 2019]. Dorothy G. Turkel House USONIAN AUTOMATIC DESIGN 1955. Available at: https://www.turkelhouse.com/ [Accessed 14 January 2019]. TBD (2018) WRIGHT HOUSE, RIGHT TIME. 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