ASU – Ain Shams University Faculty of Engineering Department of Architectural Engineering ARC 122: History & Theory of Architecture Fall 2017 Instructor: Dr. Yasser Mahgoub
Lecture 6 – Architectural Concepts
Metaphoric Architecture
Introduction • Metaphoric architecture is an architectural movement that developed in Europe during the mid-20th century. It is considered by some to be merely an aspect of postmodernism whilst others consider it to be a school in its own right and a later development of expressionist architecture. The style is characterized by the use of analogy and metaphor as the primary inspiration and directive for design. • Well known examples of this can be found in the Palm Mosque at the King Saud University in Riyadh by Basil Al Bayati, based upon the form of a palm tree, the Lotus Temple in New Delhi, by Fariborz Sahba, based on a lotus flower, the TWA Flight Center building in New York City, by Eero Saarinen, inspired by the form of a bird’s wing, or the Sydney Opera House, in Australia, by Jørn Utzon that is derived from the sails of ships in the harbor.
The Palm Mosque at the King Saud University in Riyadh by the architect Basil Al Bayati based upon the form of a palm tree.
Lotus Temple in New Delhi, India, by Fariborz Sahba based on a lotus flower
TWA Flight Center building in New York City, by Eero Saarinen, inspired by the form of a bird’s wing
Sydney Opera House, in Australia, by Jørn Utzon that is derived from the sails of ships in the harbour
ARCHITECTURAL STYLES EVOLUTION TIMELINE
Architectural Styles Evolution Timeline “May you be condemned to live in interesting times.� A Chinese Proverb This is a brief coverage of the development of architectural styles throughout history using a timeline to provide a better visual overview.
Antiquity Architecture
Giza Pyramids
Stone Henge
Petra
Abu Simbel Temple
Islamic Architecture
Mecca
Muhamad Ali Mosque
Dome of the Rock
Al Hambra
Wikalat Al Ghuri
Sultan Hassan
Architecture of the Late 20th Century
Frank Gehry
Shtutgart Museum
Mario Botta
Peter Eisenman
Zaha Hadi
Tado Ando
Renzo Piano
Jean Nouvel
Architecture of the early 21st Century
Nano Materials
Cybertecture
Parametric Design
ARCHITECTURAL MOVEMENTS
Architectural Movements: Modern Architecture
Le Corbusier
The Modern movement was an attempt to create a nonhistorical architecture of functionalism in which a new sense of space would be created with the help of modern materials. A reaction against the stylistic pluralism of the 19th century, believing that the 20th century had given birth to "modern man," who would need a radically new kind of architecture.
F. L.. Wright
Walter Gropius
Mies Van Der Rohe
Architectural Movements: Post-Modern Architecture The postmodernist movement began in America around the 1960’s/70’s and then it spread to Europe and the rest of the world. Postmodernism or Late-modernism began as a reaction to Modernism; it tried to address the limitations of its predecessor. Its list of aims extended to include communicating ideas with the public often in a then humorous or witty way. Often, the communication was done by quoting extensively from past architectural styles, often many at once. In breaking away from modernism, it strived to produce buildings that were sensitive to the context within which they are built.
Robert Venturi
Philip Jonson
Michael Graves
Cesar Pelli
Architectural Movements: Post-Modern Architecture This trend became evident in the last quarter of the 20th century as architects started to turn away from modern Functionalism which they viewed as boring, unwelcoming and unpleasant. They turned towards the past, quoting past aspects of various buildings and melding them together to create a new means of designing buildings. For example, pillars and other elements of premodern designs were adapted from Greek and Roman examples but not simply by recreating them, as was done in neoclassical architecture. Another return was that of the “wit, ornament and referenceâ€? seen in older buildings in terra cotta decorative façades and bronze or stainless steel embellishments of the Beaux-Arts and Art Deco periods.
Robert Venturi
Philip Jonson
Michael Graves
Cesar Pelli
Architectural Movements: Post-Modern Architecture In post-modern structures this was often achieved by placing contradictory quotes of previous building styles alongside each other, and even incorporating furniture stylistic references at a huge scale. Contextualism influenced the ideologies of the postmodern movement in general. Contextualism was centered on the belief that all knowledge is “context-sensitive�. This idea was even taken further to say that knowledge cannot be understood without considering its context. This influenced Postmodern Architecture to be sensitive to context.
Robert Venturi
Philip Jonson
Michael Graves
Cesar Pelli
Architectural Movements: High-Tech Architecture The high tech style emerged in the 1980s and remains popular. It involves the use of the materials associated with high tech industries of the 1980s and 1990s, such as space frames, metal cladding and composite fabrics and materials. High tech buildings often have extensive glazing to show to the outside world the activity going on inside. Generally their overall appearance is light, typically with a combination of dramatic curves and straight lines. In many ways high tech architecture is a reaction against Brutalist architecture, without the features of post-modernism. Sir. Norman Foster
London City Hall
Millennium Dome
Hong Kong Bank
Lloyd's of London
Reichstag Dome
Renzo Piano
Richard Rogers
Jean Nouvel
Institut du Monde Arabe
Pompidou Centre
Munich Stadium
Architectural Movements: Deconstruction Deconstruction is a school of philosophy that originated in France in the late 1960s, has had an enormous impact on Anglo-American criticism. Largely the creation of its chief proponent Jacques Derrida, deconstruction upends the Western metaphysical tradition. It represents a complex response to a variety of theoretical and philosophical movements of the 20th century, most notably Husserlian phenomenology, Saussurean and French D. Libeskind structuralism, and Freudian and Lacanian psychoanalysis. In her book The Critical Difference (1981), Barbara Johnson clarifies the term: "Deconstruction is not synonymous with "destruction", however. It is in fact much closer to the original meaning of the word 'analysis' itself, which etymologically means "to undo" -- a virtual synonym for "to de-construct." In the 1980's a new tendency was born: the deconstruction, which was also called "new modern architecture" in its beginning. It was meant to replace post modern architecture. The new slogan was "form follows fantasy" analogous to the tradition formula pronounced by Sullivan "form follows function". In 1988 Philip Johnson organized an exposition called "Deconstructive Architecture" which finally brought these ideas to a larger audience. The idea was to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics. These buildings can be seen as a parallel to other modern arts, which also became more and more abstract, questioning whether a certain object is still art or not. Thanks to their significant differences to all other buildings, the deconstructive ones made clear to the observer, that architecture is an art and not just an engineering discipline.
Frank Gehry
Peter Eisenman
Zaha Hadid
Architectural Movements: Minimalism Architecture Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. The term Minimalism was coined as a means of describing the works by protagonists of the American scene in the late Fifties and Sixties. In the field of architecture, the term Minimalism was used to connote the works of architects from profoundly different origins and cultural backgrounds, who had based their own work on a reduction in expressive media, a rediscovery of the value of empty space and a radical elimination of everything that does not coincide with a programme, also with minimalistic design overtones, of extreme simplicity and formal cleanliness.
Tadao Ando
Luis Barrag‡n
Álvaro Siza
John Pawson
"Less is more“ Ludwig Mies van der Rohe “Clarity and comfort do not depend on quantity but on an absolute quality of space. John Pawson "Gravity builds space, light builds time, and gives reason to time. These are the central questions of architecture: control of gravity and dialogue with light." Alberto Campo Baeza Pawson- Tetsuka House - Tokyo
Mies - Barcelona Pavilion
Siza - Home
Ando - Historical Museum
Barrag‡n - Entrance
Architectural Movements: Minimalism Architecture Architect Mies van der Rohe adopted the motto "Less is More" to describe his aesthetic tactic of arranging the numerous necessary components of a building to create an impression of extreme simplicity, by enlisting every element and detail to serve multiple visual and functional purposes. In minimalism, the architectural designers pay special attention to the connection between perfect planes, elegant lighting, and careful consideration of the void spaces left by the removal of threedimensional shapes from an architectural design.
Tadao Ando
Luis Barrag‡n
Álvaro Siza
John Pawson
"Less is more“ Ludwig Mies van der Rohe “Clarity and comfort do not depend on quantity but on an absolute quality of space. John Pawson "Gravity builds space, light builds time, and gives reason to time. These are the central questions of architecture: control of gravity and dialogue with light." Alberto Campo Baeza Pawson- Tetsuka House - Tokyo
Mies - Barcelona Pavilion
Siza - Home
Ando - Historical Museum
Barrag‡n - Entrance
Architectural Movements: Critical Regionalism Critical regionalism is an approach to architecture that strives to counter the placelessness and lack of meaning in Modern Architecture by using contextual forces to give a sense of place and meaning. The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later more famously by Kenneth Frampton. Frampton put forth his views in "Towards a Critical Regionalism: Six points of an architecture of resistance." He evokes Paul Ricoeur's question of "how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual. Frampton draws from phenomenology to supplement his arguments.
Jorn Utzon
Botta -
Alvar Aalto
Mario Botta
K. Frampton
Aalto - Finlandia Hall
Utzon - Sydney Opera House
Architectural Movements: Critical Regionalism As put forth by Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways. Here the aim is to make aware of a disruption and a loss of place that is already a fait accompli through reflection and self-evaluation. Critical regionalism is different from regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal. Critical regionalism is considered a particular form of postmodern (not to be confused with postmodernism as architectural style) response in developing countries. It can be argued that the following architects have used such an approach in some of their works: Alvar Aalto, Jørn Utzon, Studio Granda, Mario Botta, B.V.Doshi, Charles Correa, Alvaro Siza, Rafael Moneo, Geoffrey Bawa, Raj Rewal, Tadao Ando, Mack Scogin / Merrill Elam, Ken Yeang, William S.W. Lim, Tay Kheng Soon, Juhani Pallasmaa, and Tan Hock Beng.
Jorn Utzon
Botta -
Alvar Aalto
Mario Botta
K. Frampton
Aalto - Finlandia Hall
Utzon - Sydney Opera House
Architectural Movements: Sustainable Architecture The 1987 Brundtland Report, defined sustainable development as development that "meets the needs of the present generation without compromising the ability of future generations to meet their needs". Sustainable Architecture describes an approach to architectural design that minimizes sustenance or resource consumption so as to prolong the availability of natural resources. The real power of the concept of sustainability lies in its integration of economic, social, and ecological systems, previously studied and dealt with separately. What is a sustainable building? • Uses key resources more efficiently – energy, water, materials and land. • Reduces ecological loading – greenhouse gases, ozone-depleting substances, wastes. • Creates healthier environments for people - to live, work and learn • Has lower overall lifecycle costs
Ballard Library & Neighborhood Service Center
Solar Umbrella House
Westcave Preserve
Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE A new paradigm in architecture will reflect changes in science, religion, and politics. one can discern the beginnings of a shift in architecture that relates to a deep transformation going on in the sciences - in time, permeate all other areas of life. The new sciences of complexity - fractals, nonlinear dynamics, the new cosmology, self-organizing systems - have brought about the change in perspective. We have moved from a mechanistic view of the universe to one that is self-organizing at all levels, from the atom to the galaxy. Illuminated by the computer, this new worldview is paralleled by changes now occurring in architecture.
Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002
Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008
LAB with Bates Smart Federation Square Melbourne 1997-2002
MVRDV Dutch Pavilion EXPO 2000 Hannover
Santiago Calatrava City of Arts and Sciences Valencia 1991–2000
Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE Several key buildings show promise - those by Americans Frank Gehry, Peter Eisenman, and Daniel Libeskind. There is also a vast amount of other work on the edge of the new paradigm by the Dutch architects Rem Koolhaas, Ben van Berkel, and MVRDV; or the Europeans Santiago Calatrava and Coop Himmelblau; or those who have moved on from high-tech in England, such as Norman Foster. These architects, as well as those that flirted with Deconstruction - Hadid, Moss, and Morphosis - look set to take on the philosophy. In Australia, ARM (Ashton Raggatt MacDougall) has been mining the territory for many years and another group, LAB, is completing a seminal work of the new movement, Melbourne's Federation Square. Soon there will be enough buildings to all this is more than a fashion, or change of style. The emergent grammar is constantly provoking. It varies from ungainly blobs to elegant waveforms, from jagged fractals to impersonal datascapes. It challenges the old languages of classicism and modernism with the idea that a new urban order is possible, one closer to the evervarying patterns of nature.
Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002
Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008
LAB with Bates Smart Federation Square Melbourne 1997-2002
MVRDV Dutch Pavilion EXPO 2000 Hannover
Santiago Calatrava City of Arts and Sciences Valencia 1991–2000
Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE A new paradigm in architecture will reflect changes in science, religion, and politics. one can discern the beginnings of a shift in architecture that relates to a deep transformation going on in the sciences - in time, permeate all other areas of life. The new sciences of complexity - fractals, nonlinear dynamics, the new cosmology, self-organizing systems - have brought about the change in perspective. We have moved from a mechanistic view of the universe to one that is self-organizing at all levels, from the atom to the galaxy. Illuminated by the computer, this new worldview is paralleled by changes now occurring in architecture.
Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002
Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008
LAB with Bates Smart Federation Square Melbourne 1997-2002
MVRDV Dutch Pavilion EXPO 2000 Hannover
Santiago Calatrava City of Arts and Sciences Valencia 1991–2000
Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE Several key buildings show promise - those by Americans Frank Gehry, Peter Eisenman, and Daniel Libeskind. There is also a vast amount of other work on the edge of the new paradigm by the Dutch architects Rem Koolhaas, Ben van Berkel, and MVRDV; or the Europeans Santiago Calatrava and Coop Himmelblau; or those who have moved on from high-tech in England, such as Norman Foster. These architects, as well as those that flirted with Deconstruction - Hadid, Moss, and Morphosis - look set to take on the philosophy. In Australia, ARM (Ashton Raggatt MacDougall) has been mining the territory for many years and another group, LAB, is completing a seminal work of the new movement, Melbourne's Federation Square. Soon there will be enough buildings to all this is more than a fashion, or change of style. The emergent grammar is constantly provoking. It varies from ungainly blobs to elegant waveforms, from jagged fractals to impersonal datascapes. It challenges the old languages of classicism and modernism with the idea that a new urban order is possible, one closer to the evervarying patterns of nature.
Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002
Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008
LAB with Bates Smart Federation Square Melbourne 1997-2002
MVRDV Dutch Pavilion EXPO 2000 Hannover
Santiago Calatrava City of Arts and Sciences Valencia 1991–2000
Architectural Movements: THE NEW PARADIGM IN ARCHITECTURE One may not like it at first, and be critical of its shortcomings, but second glance it may turn out to be more interesting, more intune with perception than the incessant repetition of colonnades and curtain walls. Daniel Libeskind Imperial War Museum North, Trafford , Manchester 1998–2002
Rem Koolhaas, [OMA] The CCTV Headquarters, to be completed for the Beijing Olympics 2008
LAB with Bates Smart Federation Square Melbourne 1997-2002
MVRDV Dutch Pavilion EXPO 2000 Hannover
Santiago Calatrava City of Arts and Sciences Valencia 1991–2000
Architecture Key Buildings
1900 - 1950
Sagrada Familia Barcelona, Spain Antoni Gaudi 1882 to date
Sagrada Familia, Barcelona, Spain, Antoni Gaudi, 1882 to date
Sagrada Familia, Barcelona, Spain, Antoni Gaudi, 1882 to date
Sagrada Familia, Barcelona, Spain, Antoni Gaudi, 1882 to date
Sagrada Familia, Barcelona, Spain, Antoni Gaudi, 1882 to date
Sagrada Familia, Barcelona, Spain, Antoni Gaudi, 1882 to date
Unity Temple Illinois USA Frank Lloyd Wright 1905-1908
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908 • Unity Temple was designed for a Unitarian congregation in 1905 when Frank Lloyd Wright was 38 years old. He described the Unity Temple as his "contribution to modern architecture." The building broke the convention for American and European religious architecture while introducing principles of modern architecture and applying the use of concrete in a daring way for its time. • Wright's intent behind his design for the Unity Temple was to create two separate spaces for two different functions common in the modern church: a place for worship and a place for the service of man. The building is thereby broken into two distinct spaces, allowing form to follow function.
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908
Unity Temple, Illinois USA, Frank Lloyd Wright 1905-1908
Robie House Chicago, Illinois Frank Lloyd Wright 1909
Robie House, Chicago, Illinois, Frank Lloyd Wright, 1909
Robie House, Chicago, Illinois, Frank Lloyd Wright, 1909
Robie House, Chicago, Illinois, Frank Lloyd Wright, 1909
Robie House, Chicago, Illinois, Frank Lloyd Wright, 1909
Robie House, Chicago, Illinois, Frank Lloyd Wright, 1909
Robie House, Chicago, Illinois, Frank Lloyd Wright, 1909
The Villa Jeanneret was commissioned by Le Corbusier's brother, Albert Jeanneret, and his fiancĂŠe Lotti Raaf. It forms part of a joint project with the connected Villa La Roche - the original scheme involved more houses and more clients, but it was only Jeanneret and La Roche that stayed the course and saw their villas built.
Villa Jeanneret, Paris, France, Le Corbusier and Pierre Jeanneret 1925
'The requirements were for a salon, dining room, bedrooms, a study, a kitchen, a maid's room and a garage. As the site faced north, and there were zoning restrictions against windows looking over the surrounding back gardens, it was necessary to get light in by carving out light courts, a terrace, and ingenious skylights. As one moves up the house, the spaces seem to expand in size. The culmination of the route is the roof terrace, not unlike the deck of a ship. Interiors are treated plainly; early photographs show Purist pictures, Thonet chairs and North African rugs.'
The Maison Planeix is a perfectly proportioned, squat terrace house that is at once grand in the symmetry of its entrance, balcony and overall facade, and modest in its scale and materials. It was built for Antonin Planeix, a sculptor of funerary monuments.
Le Corbusier 'used the formula "une maison/un palais" - "a house/a palace." He meant... the ennoblement of a basic house type through proportion to the point where it achieved monumentality... If there is a single Le Corbusier house of the 1920s that really deserves the description "une maison, un palais", it must surely be the Maison Planeix of 1924-8.
Maison Planeix 24 bis, boulevard MassĂŠna 75013 Paris France Le Corbusier and Pierre Jeanneret 1928
This stands on the avenue MassĂŠna, a wide and noisy street to the east end of Paris. It is a miniature urban palace in effect and in intention: with a formal, symmetrical facade, an entrance axis, a piano nobile, an emphasized ground level and cornice, and even, at one stage of its design, a courtyard.'
William J.R. Curtis, Le Corbusier: Ideas and Forms, 1986
Villa Savoye France Le Corbusier 1929
Villa Savoye, France, Le Corbusier and Pierre Jeanneret 1929
Villa Savoye, Poissy, France, 1929 • Le Corbusier’s statement that ―the house is a machine for living‖ demonstrates his affinity for the technological advancements of the industrial era, and this is evident in the unconventional raising of the home above the ground to give priority to the car. In fact, the curved glass shape at the home’s base is designed to correspond to the turning radius of automobiles.
Villa Savoye, Poissy, France, 1929 • Le Corbusier ―five points‖ of architecture deemed critical to any design: – slender pillars, – flat roof terrace, – open plan, – ribbon windows and – a free facade;
• All of which can be seen in Villa Savoye.
Villa Savoye, France, Le Corbusier and Pierre Jeanneret 1929
Villa Savoye, France, Le Corbusier and Pierre Jeanneret 1929
Villa Savoye, France, Le Corbusier and Pierre Jeanneret 1929
Villa Savoye, France, Le Corbusier and Pierre Jeanneret 1929
Villa Savoye, France, Le Corbusier and Pierre Jeanneret 1929
German Pavilion at the 1929 International Exhibition, Barcelona, Spain Ludwig Mies van der Rohe 1929
German Pavilion at the 1929 International Exhibition, Spain, Ludwig Mies van der Rohe
German Pavilion at the 1929 International Exhibition, Spain, Ludwig Mies van der Rohe
German Pavilion at the 1929 International Exhibition, Spain, Ludwig Mies van der Rohe
German Pavilion at the 1929 International Exhibition, Spain, Ludwig Mies van der Rohe
German Pavilion at the 1929 International Exhibition, Spain, Ludwig Mies van der Rohe
German Pavilion at the 1929 International Exhibition, Spain, Ludwig Mies van der Rohe
Pavillon Suisse (Swiss Pavilion), Paris, France, Le Corbusier and Pierre Jeanneret 1932
CitĂŠ de Refuge, Paris, France, Le Corbusier and Pierre Jeanneret 1933
Falling water Pennsylvania Frank Lloyd Wright 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Falling water, Pennsylvania, Frank Lloyd Wright, 1934 , 1938, 1948
Penguin Pool London Zoo Regent's Park London NW1 4RY United Kingdom Berthold Lubetkin 1934 Lubetkin seems to have seen
Gropius House, Lincoln, Massachusetts, USA, Walter Gropius 1938
Museum of Modern Art, New York, Edward Durrell Stone and Philip Goodwin 1939
1950 - 1970
Unité d‘Habitation, Marseille, France, 1952 •
•
•
Le Corbusier fits within the Modernist movement, but many of his buildings demonstrate another face of Modernism – one which came to be known as Brutalism. Le Corbusier was the irrefutable master of the movement, and this apartment building is one of his golden girls. In fact, it is one of his 17 buildings inaugurated into the UNESCO World Heritage List. The destruction left in the wake of World War II, in France and elsewhere, called for an urgent accommodation response and Le Corbusier turned his hand over to the cause, believing that he could conceptualize ―vertical garden cities‖ at a low-cost. The idea was to bring the principles of his villas into the individual units, melding them with shared areas. As per his usual MO, raw concrete (or béton brut) casts an unrelenting structure. Pilotis raise the structure above the ground and a roof terrace creates another shared space above. In true Corbusian fashion, bold colors are ―harmoniously‖ combined to accompany the rough-cast concrete. Le Corbusier even created his own architectural polychromy collection from which he and others would draw their hues.
UnitĂŠ d'habitation, Marseille, France, Le Corbusier 1947-1952
UnitĂŠ d‘Habitation, Marseille, France, 1952
United Nations Secretariat, New York City, Wallace K. Harrison and others (Le Corbusier) 1950
United Nations Secretariat, New York City, Wallace K. Harrison and others (Le Corbusier) 1950
Lever House, New York City, Skidmore, Owings & Merrill (Gordon Bunshaft) 1952
Ronchamp Chapel Ronchamp, France Le Corbusier 1954
Ronchamp Chapel, Ronchamp, France, 1954 • The chapel marks a crucial move away from the strictly rational and functional forms of Modern architecture, including those evident in many of Le Corbusier‘s earlier works. • The curved masonry walls hold a dramatic, curved concrete roof in place, while a small gap allows a tiny slither of light to penetrate the interior. The weighty mass of the raw concrete contrasts with the light Ronchamp Chapel, Ronchamp, France, Le Corbusier, 1954
Ronchamp Chapel, Ronchamp, France, Le Corbusier, 1954
Ronchamp Chapel, Ronchamp, France, Le Corbusier, 1954
Ronchamp Chapel, Ronchamp, France, Le Corbusier, 1954
Ronchamp Chapel, Ronchamp, France, Le Corbusier, 1954
Ronchamp Chapel, Ronchamp, France, Le Corbusier, 1954
Ronchamp Chapel, Ronchamp, France, 1954
Haus der Kulturen der Welt John-Foster-Dulles-Allee 10 Berlin-Tiergarten Germany Hugh Stubbins, DĂźttmann and Mocken 1956-57
Ludwig Mies Van der Rohewig
The Seagram Building, New York, USA, 1958
The Seagram Building, New York, USA, 1958 • While this was Mies‘ first attempt at a high-rise office building, it set the standard for Modern skyscrapers to come. As far as overtly-phallic structures go, this 38-story building in the New York skyline is surprisingly tasteful and elegant. • Challenging the economic conventions of New York City skyscraper developments, Mies set the building back 100 feet from the site‘s boundary to create an active public space out front. Granite plaza below and ascending levels of bronze and grey topaz glass above, it epitomizes the movement‘s use of Modern materials.
Ludwig Mies Van der Rohewig
1973
1949
Jonas Salk Institute for Biological Studies, La Jolla, CA, Luis Khan, 1959
Jonas Salk Institute for Biological Studies, La Jolla, CA, Luis Khan, 1959 • In 1959, Jonas Salk, the man who had discovered the vaccine for polio, approached Louis I. Kahn with a project. The city of La Jolla, California had provided him with a picturesque site along the Pacific coast, where Salk intended to found and build a biological research center. Salk, whose vaccine had already had a profound impact on the prevention of the disease, was adamant that the design for this new facility should explore the implications of the sciences for humanity. He also had a broader, if no less profound, directive for his chosen architect: to ―create a facility worthy of a visit by Picasso.‖ The result was the Salk Institute, a facility lauded for both its functionality and its striking aesthetics – and the manner in which each supports the other.
Jonas Salk Institute for Biological Studies, La Jolla, CA, Luis Khan, 1959
Jonas Salk Institute for Biological Studies, La Jolla, CA, Luis Khan, 1959
Jonas Salk Institute for Biological Studies, La Jolla, CA, Luis Khan, 1959
Interbau Apartment House, Berlin-Tiergarten, Germany, Oscar Niemeyer and Soares Filho 1957
Seagram Building, New York, Ludwig Mies van der Rohe, with Philip Johnson (interiors) 1958
Solomon R. Guggenheim Museum New York Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959 • Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months after his death, making it one of his longest works in creation along with one of his most popular projects. Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art lovers, visitors, and pedestrians alike. Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959 • Walking inside, a visitor's first intake is a huge atrium, rising 92' in height to an expansive glass dome. Along the sides of this atrium is a continuous ramp uncoiling upwards six stories for more than onequarter of a mile, allowing for one floor to flow into another. The ramp also creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky. • The design of the museum as one continuous floor with the levels of ramps overlooking the open atrium also allowed for the interaction of people on different levels, enhancing the design in section. Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959 • Although the space within the building is undeniably majestic and the building itself monumental, it was not perfectly successful in terms of function. The curved walls of the interior were intended so that paintings had to be tilted backward, "as on the artist's easel." This was unsuccessful because the paintings were still very difficult to display because of the concavity of the walls, and because of this before its opening 21 artists signed a letter protesting about their display of work in such a space.
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959 • In 1992 the museum built an addition that was designed by Gwathmey Siegel & Associates Architects that Wright had originally intended. The architects analyzed Wright's original sketches and from his ideas they created a 10story limestone tower that had flat walls that were more appropriate for the display of art. • Despite the opinion of critics, there is no doubt that Wright's design for the Guggenheim Museum provides a spatial freedom that is unique to his style. It took Wright 700 sketches and six sets of working drawings to turn his vision into an extraordinary sculpture of a building overlooking Central Park, that in the very least should be acknowledged as one of the most spatially beautiful International-style works of architecture.
Solomon R. Guggenheim Museum, New York, Frank Lloyd Wright 1959
Dulles International Airport (for Washington D.C.) Chantilly Virginia Eero Saarinen 1962
TWA Terminal John F. Kennedy International Airport (formerly Idlewild) New York NY Eero Saarinen 1962
Saint-Pierre Church, Firminy, France, 1963
Saint-Pierre Church, Firminy, France, 1963 • You‘re probably starting to wonder if Brutalism was really a movement or just the personal taste of one lone architect, but don‘t worry, we promise this is the last Corbusian structure we‘ll show you today! It happens to be his last building, too; left unfinished upon his death. • The solid concrete armor has a series of perforations on one of the sloped faces. Arranged according to the constellation of Orion, they flood light into the interior.
The Palace of Assembly, Chandigarh, India, 1963
The Palace of Assembly, Chandigarh, India, 1963 • Le Corbusier was commissioned to lead the design of India‘s first Modernist planned city, Chandigarh, and to this day it serves as an unrivalled example of Modernist planning and Brutalist architecture. The Palace of Assembly is one of the most prominent works of the collection. • The building features the angular, concrete brisessoleil that became a key tool in his repertoire during his work in India. Le Corbusier sneaks some swooping curves into the brutality of the utilitarian structure. Looming overhead, they dwarf any human-scaled element in their shadow.
Venturi House, Philadelphia, USA, 1964
Venturi House, Philadelphia, USA, 1964 • This home, designed by two of the movements‘ trailblazers, Robert Venturi and Denise Scott Brown, is widely considered to be the first Postmodern building, paving the way for the movement that would gain traction in the ‘70s. • Challenging the status quo and veering off the beaten path, this home became a testing ground for the architects to explore their ideas about complexity and contradiction. • From the very first approach, there is something unusual about the home: the prominent gable roof appears almost like a classical pediment, combined with the weighty chimney poking out behind the slit in the facade. Contradiction emerges in the sense of scale. Inside, even more so than on the exterior, some things appear too big, while others are unexpectedly small.
Habitat '67 Montreal, Canada Moshe Safdie 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967 • Habitat 67, designed by architect Moshe Safdie as the Canadian Pavilion for the World Exposition of 1967, was originally intended as an experimental solution for high-quality housing in dense urban environments. Safdie explored the possibilities of prefabricated modular units to reduce housing costs and allow for a new housing typology that could integrate the qualities of a suburban home into an urban high-rise. • ―Habitat ‗67 is really two ideas in one. One is about prefabrication, and the other is about rethinking apartment-building design in the new paradigm.‖
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967 • Habitat 67 was constructed from 354 identical and completely prefabricated modules (referred to as “boxes”) stacked in various combinations and connected by steel cables. The apartments vary in shape and size, since they are formed by a group of one to four of the 600 square-foot “boxes” in different configurations. Each apartment is reached through a series of pedestrian streets and bridges, along with three vertical cores of elevators for the top floors. Service and parking facilities are separated from the tenant‘s circulation routes, located on the ground floor.
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Habitat '67, Montreal, Canada, Moshe Safdie, 1967
Mellon Hall of Science 100 Mellon Hall Pittsburgh Pennsylvania 15282 USA Ludwig Mies van der Rohe 1968
Neue Nationalgalerie, Berlin-Tiergarten, Germany, Ludwig Mies van der Rohe,
Farnsworth House, Plano, Illinois, Ludwig Mies van der Rohe, 1945 and 1951
S.R. Crown Hall, Illinois Institute of Technology (IIT), Chicago, Illinois, Ludwig Mies van der Rohe, 1956
1970 - 1990
Sydney Opera House Sydney, Australia Jorn Utzon 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973 • There are few buildings as famous as the Sydney Opera House in Sydney, Australia. The story behind this magnificent structure began in 1956 when the New South Wales Government called an open competition for the design of two performance halls, for opera and for symphony concerts, that would put Sydney on the map. • The Danish architect Jørn Utzon was unknown for his work at the time, yet his entry for the competition which consisted of a few simple sketches intrigued the famous Eero Saarinen who was part of the jury. The drawings submitted for this scheme are simple to the point of being diagrammatic," observed the jury. Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Sydney Opera House, Sydney, Australia, Jorn Utzon, 1957 to 1973
Centre Pompidou Renzo Piano and Richard Rogers Paris 1971-79
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris 1971-79 • The design for the Centre Nationale d'Art et de Culture Georges Pompidou was selected after a competition in 1971. The winners were the young practice of, and then unknown Richard Rogers and Renzo Piano, along with engineers Ove Arup. The building had many critics upon completion but is now universally hailed as one of the masterworks of "high tech" architecture. The building has its services and structure on the exterior to allow for larger exhibition spaces. The rising escalators along the exterior have some of the best views in Paris.
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris 1971-79 • Renzo Piano and Richard Rogers developed these ideas even further. For the "Centre Pompidou" in Paris (1971-79) they decided to put all the technology needed by the building outside of the actual glass facade. Thus the building equipment became the real visual facade. They placed the stairways, cables and all kinds of tubes mounted in a complex steel skeleton right before the eye of the visitor. To make this appearance even stronger they even colored the pipes in very intense colors. This way they created a new and unique style that breaks with all old traditions of facade design. This marks the absolute opposition to the tendency to hide steel constructions by classic facades like 19th century architects did for their gigantic trains stations and skyscrapers. Even though the "Centre Pompidou" was built quite early in the high-tech period it marked a peek and also a turning point in high-tech architecture. The maximal dependency between form and function was reached. Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
Centre Pompidou, Renzo Piano and Richard Rogers, Paris , 1971-1979
The Portland Building, Portland, USA, 1982
The Portland Building, Portland, USA, 1982 • While the Venturi house is considered to be the first Postmodern building, the Portland Building by Michael Graves is the key player that put Postmodernism on the map as a movement to be reckoned with. • Compared to its glassy modernist counterparts, this was a low-cost design that won the competition bid and four grand in cash. Colorful facades donning symbolic decorations and historical references ensued. • Classical elements have been appropriated left, right and center: keystones, pilasters, pedestals; the works. They all assume a unique and sometimes oddly over-scaled interpretation. In the words of Graves, architecture is ―a symbolic gesture, an attempt to re-establish a language of architecture and values that are not a part of modernist homogeneity,‖ and that‘s apparent right here.
AT&T Building 560 Madison Avenue (at 56th Street) New York NY Philip Johnson 1984
PPG Place One PPG Place Pittsburgh Pennsylvania 15272 USA Philip Johnson and John Burgee 1981-1984
Schlumberger Cambridge Research High Cross Madingley Road Cambridge CB3 0EL United Kingdom Michael Hopkins and Partners 1985
Lloyd's of London Lime Street London EC3 United Kingdom Richard Rogers Partnership 1986
Los Angeles Museum of Contemporary Art (MOCA), Los Angeles, California, Arata IsozakiArata Isozaki/Gruen Associates 1986
L'Institut du Monde Arabe Paris, France Jean Nouvel 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, 1988 • Architecture-Studio won the competition to design what would become the Institut du Monde Arabe. It was conceived during the Grands Projets, a major development initiative headed by the French government. • Located at the threshold of the historical peripheries of Paris along the River Seine, it responds to its immediate context both in plan and elevation. In plan it follows the curvature of the road, whose form is dictated by the river. Its 2 main volumes encompass an inner courtyard with the north mass rising 9 stories and the southern portion rising to 11 stories. L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, 1988 • Designed in 1987 by noted French architect Jean Nouvel, L'Institut du Monde Arabe (the Institute of the Arab World) is a modern jewel beside the bank of the Seine river in the heart of Paris, a short walk over the bridge from Notre Dame Cathedral and the nearby Centre Pompidou. Assembled in an elegant high-tech style with an expressionist flair, the building is expressed in two parallel masses separated by a long narrow slot, one mass with a long curve following the sweep of the river-edge boulevard, the other wing, rectangular in plan, enfronting a broad courtyard. These are connected by underground space, which also extends beneath the plaza. L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, 1988 • The Institute complex includes a museum, library, auditorium, restaurant, offices, and parking. Glass and steel stairs and elevator provide an elegant internal orienting feature. Its unique courtyard-facing south facade is ornamented by the regular patterns of hundreds of solar-activated mechanical diaphragms. The collective effect of these high-tech stainless steel irises is a rich optical brocade, strongly but abstractly evoking the beautiful patterns of traditional Arabian weaving. This metal sunscreen integral to the curtain wall provides active sun screening.
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, 1988 • As one of the Grand Projets for Paris championed by former French President Francois Mitterrand, the Arab Institute commission was won by competition. The completed building won a prestigious Aga Kahn award for architectural contributions to Islamic culture.
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, 1988 • A paved plaza provides an element of separation from the adjacent Universite de Jussieu and the main volume of the building. Further enhancing the outdoors spaces is the paving that mimics the patterning of the façade. Recessed ground lights complement the light play that emanates from the interior of the structure at night. The interior spaces house numerous typologies including a restaurant, museum, library, offices, and auditorium. A multi storey glass atrium is wrapped with a steel staircase featuring exposed elevator lifts on the interior. The library and northern portion of the 4th floor feature increased floor to ceiling heights as well as incorporating numerous terraces and a mezzanine. L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, 1988 • Typical of Jean Nouvel‘s work is his attention to façade detailing. A main feature and innovative element of the IMA is the advanced responsive metallic brise soleil on the south façade. Nouvel‘s proposal for this system was well received for its originality and its reinforcement of an archetypal element of Arabic architecture – the mashrabiyya. He drew inspiration from the traditional lattice work that has been used for centuries in the Middle East to protect the occupants from the sun and provide privacy.
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
L'Institut du Monde Arabe, Paris, France, Jean Nouvel, 1988
Le Grand Louvre Paris, France I. M. Pei 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Le Grand Louvre, Paris, France, I. M. Pei, 1989
Banca del Gotardo Viale Stefano Franscini Lugano Canton of Ticino Switzerland Mario Botta 1982-1988
Wexner Center for the Arts 1989 Ohio State University North High Street Columbus, Ohio
Vitra Design Museum Charles-Eames-Straكe 1 D-79576 Weil am Rhein Germany Frank Gehry 1989
1990 - 2000
SchĂźtzenquartier, Berlin-Mitte, Germany, 1990
Church of the Light, Osaka, Japan, 1999
Church of the Light, Osaka, Japan, 1999 • Japanese architect Tadao Ando is undoubtedly one of the Minimalist masters when it comes to the architectural realm. His work is often described as a haiku; juxtaposing two different ideas or qualities he emphasizes the duality of existence, such as solid and void; dark and light; stark and subtle. • The light pierces the concrete, emitting a glow from the cross-shaped incision into the dark and serene space. The space attains a purity, too: there‘s no adornment and the concrete remains in its raw state.
The Guggenheim Museum Bilbao, Spain Frank Gehry 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, 1997 • Frank Gehry is one of the most well-known living architects and the Guggenheim Museum in Bilbao amongst his most well-known buildings. His designs demonstrate a contemporary evolution of Postmodernism, branching off to form a submovement known as Deconstructivism. • The unusual fabricated shapes defy the rational of Modernism in a new way, deforming the skin of the building with seemingly unintentional, nonrectilinear planes and forms.
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
The Guggenheim Museum, Bilbao, Spain, 1997 • Set on the edge of the Nervión River in Bilbao, Spain, the Guggenheim Museum is a fusion of complex, swirling forms and captivating materiality that responds to an intricate program and an industrial urban context. With over a hundred exhibitions and more than ten million visitors to its recognition, Frank Gehry‘s Guggenheim Museum Bilbao not only changed the way that architects and people think about museums, but also boosted Bilbao's economy with its astounding success. In fact, the phenomenon of a city‘s transformation following the construction of a significant piece of architecture is now referred to as the ―Bilbao Effect.‖ Twenty years on, the Museum continues to challenge assumptions about the connections between art and architecture today.
The Guggenheim Museum, Bilbao, Spain, Frank Gehry, 1997
Millennium Dome London, England United Kingdom Richard Rogers 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999
Millennium Dome, Richard Rogers, London, England, United Kingdom, 1999 • In 1994, with the third millennium fast approaching, the British announced a national festival to mark the year 2000. Amid a new sense of optimism, the year-long festival, which became known as the Millennium Experience, would take the form of an exhibition celebrating ―who we are, what we do, and where we live.‖ Under the project direction of Mike Davies, a partner of Richard Rogers‘ practice (known today as RSHP) designed the Millennium Dome to house this exhibition. • In an extraordinary feat of architecture and engineering, the vast dome, whose canopy encompasses a volume of 2.2million cubic meters, sped from initial concept design to topping out in only two years. Although the Millennium Experience closed its doors as the year 2000, the building which housed it has since been put to a variety of uses, its durability largely due to Richard Rogers‘ characteristically flexible design.
Santa Maria degli Angeli Chapel, Switzerland , Mario Botta 1990-1996; paintings by Enzo Cucchi
The Oriente station by Santiago Calatrava was commissioned by the city of Lisbon in 1993, after an invited competition. Its immediate goal was to serve the great number of visitors expected for the World Expo in 1998. In the future the station is set to become the main train terminal of the city, since the main growth of Lisbon is planned towards that side of the Tagus River. Moreover, the building that used to host the Portuguese Pavilion (by Alvaro Siza) is expected to house the city government, which together with other permanent buildings remaining from the Expo form part of what is nowadays known as Parque das Naçoes, a new city park. All of these initiatives are aimed at contributing to the creation of a new city center. The Oriente station is an inter-modal terminal: Its facilities serve and interconnect several forms of transport. Passengers can change between metropolitan, long- and medium-haul regional and international trains. There are connections into the underground system, national and metropolitan buses or taxis. There is also an airport link and check-in facilities. The station is made out of three self-contained parts and is divided into two levels. The raised level holds the platforms for the national train network; the lower level connects to the underground and emerges at the surface to serve as an entrance to the Expo grounds and also to connect with the third element of the project, a major bus terminal for the city. The four platforms of the train station are reached through ramps or cylindrical glass lifts. These platforms serve eight lines of tracks. The platforms are roofed by a metal structure 25 meters high. This elegant solution consists of a series of slender pillars that split on the top and connect with each other to create a continuous folding structure. Consistent with the rest of Calatrava's work the analogies from the natural world jump into people's minds: The group of pillars resemble palm trees or lilies, and in a geometric sense it is not far from the also floral fan vaults of the British perpendicular gothic. The structural elements are painted white and the nerves of these so-called palms spread out to hold a folding glass roof where geometry and organic shapes find a synthesis in abstraction. The sky of Lisbon is bright and the heat of the sun implacable; however the metal and glass palms forms a sort of floating oasis with a view to the river, where perhaps the only technical failing is its lack of protection from cross winds. Oriente Station Avenida Berlيn and Avenida Recيproca Lisbon Portugal Santiago Calatrava 1993-1998
If the raised level stands like an oasis, the ground level is a cave; a huge manmade cavern that shelters the movements of the people from one form of transport to the other. And if the train platforms lie some where within the vegetal kingdom, the ticket hall below is more animal. The concrete arches that define the spatial structure of this space resemble the rib structure of some extinct creature, yet their proportion and arc give an impression of stability and lightness. Transiting through the space there is almost no awareness of the load of trains that the columns support. The movement of the columns as they describe their arches makes an arresting setting together with the hanging bridges, connecting tunnels, lifts and elevators. The main material is concrete, the bridge parapets are made of glass, and the pavement is the typical stonework used in the streets of Lisbon. Metal appears again as the connection to the bus station and as the colossal cantilevered roof that signals the gate to the Expo grounds. The span of this roof is simply mind-blowing, even after experiencing the rest of the structural feats that make up the project.
The Bus station is rather straightforward in the structural sense, but no less expressive. Perhaps the distinction of the project elements through the use of material and structure gives to the station a strange sense of fragmentation but each of the pieces is masterfully synthetic in themselves. This project does, however, spark a question about the relation between architecture and society. Although Calatrava's design is aware of Lisbon's landscape, the station fails to address Lisbon's idiosyncrasy. The station has been criticized as inefficient, because the ticketing booths exist as scattered elements all over the place instead organized in a central office. In this respect Calatrava's vision was perhaps an ideal more fitted to the Swiss context, were the architect is based. Oriente Station Avenida Berlيn and Avenida Recيproca Lisbon Portugal Santiago Calatrava 1993-1998
Vitra Conference Pavilion Charles-Eames-Straكe D-79576 Weil am Rhein Germany Tadao Ando 1993
Fondation Cartier pour l'Art Contemporain 261 boulevard Raspail 75014 Paris France Jean Nouvel, Emanuel Cattani et AssociĂŠs, 1994
Vitra Fire Station Charles-Eames-Straكe 1 D-79576 Weil am Rhein Germany Zaha Hadid 1994
Galeries Lafayette Friedrichstrasse Berlin-Mitte Germany Jean Nouvel 1996
Nouvel is well known for his slick-sensuous glass surfaces. Here, he combined his familiar explorations of transparent and translucent surfaces with attempts to interpret the historic department store building type—of which the Paris Galeries is a commonly-cited example—and to provide a unique face to Friedrichstrasse, historically (and attempting to regain its former glory as) Berlin‘s fanciest shopping street. Nouvel‘s interpretation of the department store building type replaces the famous atrium of the Paris Galeries with a number of glass coneshaped volumes. The main cone rises several stories upwards from street level to the top of the building. A second, smaller, inverted cone drops from street level past two shopping levels and two parking levels underground. The transparent cones are are interesting as sculptural objects, but do little to make a better department store. Architecturally, they neither give quite enough of a sense of vertigo nor succeed in providing relief from what are otherwise cramped merchandise areas. Nonetheless, the cones spur curiosity in visitors, who seem to explore the building itself more than they might. One wonders, what happens to objects dropped into the inverted cone?
MacCormac's Ruskin Library stands at the entrance to the Lancaster University campus, a prominent beacon as you drive in and a contrast with the array of 1960s buildings behind it. The new library building was built to house the largest collection of material about, or owned by, John Ruskin. The simple, clean, white geometry of the outside contrasts with the warm materials and colors used within - deep red and black paints, waxed and polished Venetian plaster. The contrast is the more striking because the curved walls stop short and both front and back, allowing the warmth of the building to be felt from outside. Within, there is plenty to appreciate in the materials and the detailing: the wooden furniture designed by the architect, the extraordinarily tall and extraordinarily narrow shutters that allow library-friendly levels of natural light in through the slits that punctuate the curved walls on the outside. Peter Davey, in the Architectural Review (June 1998) asks, 'Would Ruskin have liked it? I don't that that he would have been a fan of the outside, for he did not usually welcome overall symmetry, believe that buildings should express their inner workings on their exteriors. But he would surely have approved of the clarity of the structure, in which two huge expressed reinforcedconcrete portal frames running from east to west are stabilized by the curved walls, and the roof is supported on exposed paired timber joists. He would have liked the changefulness of the interior - for instance the way in which those battered black walls just start, and stop when they are no longer needed. As one of the first people to be an environmentalist in the modern sense, he would have welcomed the way in which the internal climate is balanced by drawing in cool air at night from the little moat which follows the curve of the walls, so largely obviating the need for air conditioning. He would have enjoyed the nobility and appropriateness of the materials, the contrast between them, rough and smooth, and the craftsmanship, which in some places is appropriately savage, showing the hand of the workman. Of course, he would have welcomed the allusions. Surely, difficult thought he was, he could scarcely fail to be touched, As his star rises again, and his thoughts are profoundly relevant once more, their little storehouse, the eighth lamp, is one of the most moving buildings of the second half of the century.' The Ruskin Library is a more ambitious variation of MacCormac's earlier theme in his Fitzwilliam College Chapel in Cambridge, where a similar structure and plan is used to create a totally different type of space. Ruskin Library Lancaster University Lancaster United Kingdom MacCormac Jamieson Prichard 1998
Reichstag Dome Platz der Republik 1 Berlin Germany Norman Foster 1999
Luzern Culture and Congress Center (KKL) Rob. ZĂźndstrasse Luzern (Lucerne) Switzerland Jean Nouvel 1999
2000-Date
Heydar Aliyev Center Baku, Azerbaijan Zaha Hadid 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Heydar Aliyev Center, Zaha Hadid, Baku, Azerbaijan, 2013
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library Doha, Qatar OMA, Rem Koolhaas 2017
Qatar National Library, OMA, Rem Koolhaas, 2017 • The 45,000sqm QNL building, which is fully accessible to visitors with special needs, features numerous customdesigned innovations, including an automatic book sorting system, a people mover system, several interactive media walls, and self-check in/out machines that make borrowing books easier for visitors. • The Heritage Collection, located in the centre of the QNL building, includes rare and valuable texts and manuscripts related to Arabic and Islamic civilisation. In addition to Arabic manuscripts, historical maps and globes, scientific instruments and early photography, the collection also contains writings by travellers who explored the Arabian Gulf region over the centuries.
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library, OMA, Rem Koolhaas, 2017
Qatar National Library, OMA, Rem Koolhaas, 2017
Louvre Abu Dhabi United Arab Emirates Ateliers Jean Nouvel 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Louvre Abu Dhabi, Ateliers Jean Nouvel, 2017
Qatar National Museum Doha, Qatar Jean Nouvel Expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018 • The interlocking discs that give it a striking identity resemble the petals of the desert rose. This mineral formation of crystallized sand is found in the briny layer just beneath the desert‘s surface. Its unusual approach strongly contrasts the surrounding design vocabulary yet is so familiar to the locals who know the desert rose. The visible dynamic play of these forms add to the drama in the design. The scale, angles and interlocking of the plates make the plot unpredictable, all coming to an ultimate climax: the creation of a landmark.
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018 • The discs are made of steel trusses clad in glassreinforced concrete. This structural system allows them to have unconventional curvatures and angles. Perimeter mullions are recessed into the ceiling, floor and walls, giving the glazing a clean frameless appearance when viewed from the outside. Deep discshaped sun-breaker elements act as sun-shading. • Like the exterior, the interior is also composed of interlocking disks. Floors are sand-colored polished concrete, while the vertical disk walls are clad in ‗stucpierre,‘ a traditional gypsum- and lime-blended plaster formulated to imitate stone. The whole building encompasses 430,000 square feet of indoor space. Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Qatar National Museum, Jean Nouvel, expected 2018
Imperial War Museum North, United Kingdom, Daniel Libeskind 2000-2002
American Center 51 rue de Bercy Paris 12e France Frank Gehry
The Millennium Bridge is the first new bridge across the river Thames since Tower Bridge opened in 1894, and it is the first ever designed for pedestrians only. The bridge links the City of London near St Paul's Cathedral with the Tate Modern art gallery on Bankside. The bridge opened initially on Saturday 10th June 2001. During this day and the next two days a huge amount of people crossed the bridge producing a sway movement that was far greater than expected; in order to fully investigate and resolve the issue the decision was taken to close the bridge on 12th June 2001. It was re-opened on 27th February 2002. During that interval, extensive investigations and modifications were carried out to resolve the sway of the bridge. Research indicated that the sway had been caused by the accumulative sideways movement generated by large numbers of people crossing the bridge together. The solution involved installing dampers under the deck and between the deck and the river piers. This has provided an excellent solution as it does not detract from the aesthetic impact of the bridge as originally designed. Foster and Partners' architectural concept for the bridge was developed in close collaboration with sculptor Sir Anthony Caro and Arup engineers. The concept was to create a structure of minimum intervention; a 'ribbon of steel' across the river. This has been achieved with a very shallow suspension bridge consisting of two 'Y' frames and eight cables, four each side. The lightweight deck, four meters wide, passes between these two sets of cables and is supported by structural arms which connect onto the cables at eight-meter intervals. The cables dip below the deck level at the mid-span point, so that the bridge does not impede views of London from further up and down the river. The lighting has been incorporated into the structure and is activated by photo-cells at dusk, transforming the structure into a 'blade of light'. This bridge celebrates and encourages human movement and communication - free of traffic and accessible to everyone, it provides a key pedestrian link and a place to promenade while enjoying panoramic views of the city. The Millennium Bridge is a simple concept that has achieved a simple form via a complex and innovative design. The Millennium Bridge London EC4 (North bank) to SE1 (South bank) United Kingdom Foster and Partners 2001
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The Eden Project Bodelva St Austell Cornwall PL24 2SG United Kingdom
Museo de Arte Contemporلneo de Barcelona (MACBA) Plaza dels Angels, 1 Barcelona Spain Richard Meier & Partners
OpĂŠra de la Bastille Place de la Bastille Paris 12e France
Le Parc de la Villette Porte de la Villette avenue Jean-Jaurès Paris 19e France
La Grande Arche de La Défense Paris La Défense France
The British Library 96 Euston Road London NW1 United Kingdom
Friedrichstrasse-Passagen Friedrichstrasse 71-74 Berlin-Mitte Germany
Its facade lights up at night. Providing an underground shopping connection between the Galeries Lafayette and a third Friedrichstrasse building with retail space, this mixed-use (retail, residential, & office) building playfully announces itself on the predominantly staid Friedrichstrasse, once the most important shopping street in Berlin. Quartier 206 is one among a large number of parcels along Friedrichstrasse which have been redeveloped in a concerted effort to return the street to its former glory. Unlike the Galeries Lafayette one block to the north, (and true to mixed-use program) this building expresses no single identity. Its restlessly protruding and receding facade is supposed to recall the rhythm of many buildings on a block. This leads not so much to a sense of multiplicity, but of anonymity—which, depending on one‘s outlook, is either unfortunate or quite appropriate for a building in a sophisticated world class city. The play of pattern and geometry on the facades is continued in a lens-shaped public atrium. The atrium‘s intricately patterned floor, free-standing curved stair and escalators, and fine detailing are signature Pei Cobb Freed.
Info Box Leipziger Platz 21 Berlin-Mitte Germany
The red pavilion was designed by Schneider und Schumacher as a temporary structure to provide information about, and a viewing station for, the construction around Potsdamer Platz. It is intended that the building will remain in place until 2005. Its provisionary nature is expressed by its visual lightness (it stands eight meters above the ground on irregularly-placed steel tubes), but also by an exuberance not commonly seen in Berlin—one supposes that its bright red color was approved because it will not be around for so long. Inside the Info Box are a number of exhibition spaces, a book and gift store, and a number of large windows which frame views toward the construction site at Potsdamer Platz. The exhibits inside provide an excellent orientation to the construction being undertaken in Berlin. For a small fee, visitors can climb a scissor stair to an observation deck on the building‘s roof.
Architects • https://www.e-architect.co.uk/famousarchitects
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Bilbao Guggenheim, Spain Architect: Frank Gehry Burj Khalifa, Dubai, UAE : tallest building in world SOM Architects Burj al Arab Dubai, Dubai, UAE Architects: Atkins Sydney Opera House, Australia Architect: Jørn Utzon Barcelona Pavilion Building, Spain Mies van der Rohe, Architect Casa Mila, Barcelona, Spain Antoni Gaudi, Architect Farnsworth House, Plano, Illinois, USA Mies van der Rohe, architect Solomon R. Guggenheim Museum, New York Design: Frank Lloyd Wright Architects
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Sagrada Familia Antoni Gaudi, Architect
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Hong Kong & Shanghai Bank Building, Hong Kong Lloyds Building, London, UK
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Petronas Towers Buildings, Kuala Lumpur, Malaysia Sears Tower, Chicago The Seagram Building, New York, USA, 1958