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Home , Basil Spence, Bruce Goff, Carlos Raul Villanueva, Denys Lasdun, Francine Houben, Hans Moller (painter)

arch 5124 ARCHITECTURAL HISTORY 2

Part 2B 30 April 2015 15.3 Mb, 13,751 words

22 Early 20th Century. 23 Frank . Mies van der Rohe 24

JUGENDSTIL, ,

Built from 1899. In Riga, two main styles, decorative and romantic-nationalistic. Riga is one of the largest centres of , with more than a third of the buildings of its Central District;. The main street for Riga's Art Nouveau district is Elizabetes, which crosses Brivibas Boulevard, also Alberta and Strelnieku Streets. There are 800 buildings in Riga. Most were designed and built by Latvian . The Latvian Ethnographic Exhibition in 1896 and the Industrial and Handicrafts Exhibition in 1901, which commemorated the city's 700th anniversary were dominated by pavilions designed in the new style. Within three years, Art Nouveau would become the only design style used in , adopted in the main by the new generation of architects who graduated from the Riga Polytechnic Institute. Buildings built at the beginning of the century in the city's medieval centre and on Alberta iela, most of which were designed by the Russian Eisenstein and the German architects Scheffel and Scheel. The floral, geometric and sculptural motifs decorating these buildings create rhythms that are typical of eclectic .

Refer: Latvian Museum of Architecture located in one of the Three Brothers, Old Town.

Mikhail Eisenstein, architect

In the decorative Jugendstil style, father of director .

Elizabetes 10a and 10b, and Alberta 2, 2a, 4 and 8.

Alberta 13

From 1904, now the Riga Graduate School of Law, fully restored and publicly accessible. Right around the corner:

E Laube, K Peksens and A Vanags, architects

Strelnieku Street

Romantic-nationalist Art Nouveau.

Terbatas Street 15/17

Brivibas Street 47, 58 and 62

Unidentified Art Nouveau, Riga, Latvia.1

1www.google.com.au/search?q=Riga.+art+nouveau.+images&tbm=isch&tbo=u&source=univ& sa=X&ei=G8j8Ub_SAYyTiQeHyoCwBQ&ved=0CDoQsAQ&biw=1583&bih=947 Architects: towards and since Modernism Current to 9 June 2012, for the latest version, refer separate file.

1. , Arts & Crafts

Joseph Paxton (1803-65), Chatsworth and , Engineering. Peter Ellis (1808-88), Liverpool, Engineering. Frederick Olmstead (1822-1903), New York, Picturesque public landscape. Philip Webb (1831-1915), London, Arts & Crafts, English Domestic Revival. Richard Norman Shaw (1831-1912), , London, Arts & Crafts and Queen Anne. Gustav Eiffiel (1832-1923), , Engineering. William Le Baron Jenney (1832-1907), , architect and engineer, steel- frame. William Morris (1834-96), London, designer, entrepeneur and ploitical theorist, Arts & Crafts. Frantz Jourdain (1847 -1935) Paris, architect, art critic and man of letters. Engineering and Beaux Arts, designer of great department stores and theatres. Henry Hobson Richardson (1838-86), Chicago, Romanesque Revival. (1841-1918), . , Secessionism. Camillo Sitte (1843-1903), Austro-Hungary. Odon Lechner (1845-1914), ‘Hungarian Gaudi.’ Daniel Hudson Burnham (1846-1912) of Burnham & Root (), Chicago, Engineering. Charles Harrison Townshend (1851-1928), London, anglicised Art Nouveau. Antonio Guardi (1852-1926), Barcelona, Art Nouveau, Mathematics, . (1856-1924), of Adler & Sullivan (1879-95), Louis Sullivan (1895- 1919), Chicago, proto-Art Nouveau, Engineering. (1856-1934), , Arts & Crafts.

2. Art Nouveau, Secessionism

Charles Francis Annesley Voysey (1857-1941), English Domestic Revival. Cass Gilbert (1859-1934), Engineering. (1861-1925), Expressionism. Baron (1861-1947), Brussels, Art Nouveau. (1861-1927), , London, architect, author and diplomat, Arts-and-Crafts. Henri van de Velde (1863-1957), Belgium, , , Educator, designer & architect, Art Nouveau, Modernism. Sir Raymond Unwin (1863-1940), London, engineer, architect and town planner. Jules Lavirotte (1864-1924), Paris, Art Nouveau. Richard Petersen (b 1865-), German traffic engineer. H Baillie Scott (1865-1945), Isle of Man. Arts & Crafts, English Domestic Revival. Ragnar Östberg (1866-1945) , national romanticist. (1867-1942), Paris. Art Nouveau. Joseph Olbrich (1867-1908), Vienna, Secessionist. Charles Rennie Mackintosh (1868-1928), . Art Nouveau, Secessionist. Greene & Greene (1896-1909), Charles Greene (1868-1957) and Henry Greene (1870-1954). Arts & Crafts. Sir (1869-1944), Surrey, London and . Arts-and-Crafts, Imperial Revival. Hans Poelzig (1869-1936), Berlin, Modernist and Expressionist. Albert Kahn (1869-1942) Detroit, industrial architect, stripped classical/modernist. Lars Sonck (1870-1956). Turku and , Arts-and-Crafts, neo-Romanesque and Finnish National . Joze Plecnik (1872, active: 1900-1957), Vienna, Belgrade, Prague and Ljubljana; Viennese , early in-situ-concrete, classical forms in surprising ways. Robert Maillart (1872-1940), Zurich, civil engineer, reinforced concrete. (1873-1932), Paris, active 1909-28, sometimes with Charles Sarazin, Moderne proto-Modernism and Modernism. (1873-1950), Helsinki and Ann Arbor, Michagen, Gesellius, Armas & Saarinen (1896-1907), to USA in 1923, with Eero Saarinen from 1937. Arts & Crafts, Nationalism. W Curtis Green (1875-1960), London, Classicism, Beaux Arts.

3. Modernism, ,

Peter Behrens (1868-1940), Berlin. Modernism, Expressionism. (1869-1959). Arts & Crafts, Modernism. Hans Poelzig (1869-1936). Modernism, Expressionism. Joseph Hoffmann (1870-1956), Vienna, Secessionism. Max Berg (1870-1947). Modernism, Expressionism. (1870-1933), Vienna. Modernism. Antoine Pompe (1873-1980) Belgian, Brussels, Art Nouveau, Fin de Seicle and Modernism.2 (1874-1954). Engineering. Gustave Strauven (1878-1919) Brussels, extreme Art Nouveau. Kasimir Malevich (1878-1935), , Constructivism. Eileen Gray (1879-1976), Ireland and Paris, Modernism. (1880-1938), Berlin, , Modernist, architect, theorist, utopian, urban planner and author. William van Alen (1882-1954), Jazz Moderrne. Hugo Häring (1882-1958) German architect and writer, organic expressionist and functionalist, founding CIAM member. Ginzburg, Moisei (1882-1946), Moscow, architect, founder and theorist of Constructivism. Liya Golosov (1883-1945), Constructivism, Stalinism. Pierre Chareau, 1883-1950, Paris, Modernism, building and furniture design. Willem Marinus Dudok (1884-1974), , . Arts & Crafts, Moderne, Modernism. (1883-1931) Amsterdam, painter, writer, poet and architect. Founder and leader of . Michel de Klerk (1884-1923), Amsterdam, Amsterdam School and Expressionist. Louis Herman De Koninck (1896-1984) Brussels. Modernism and Constructivism. Vladimir Tatlin (1885-1953), Moscow, Constructivism. (1885-1967). (1885-1940), Stockholm, Modernism, and the so-called Swedish Grace movement. Robert Mallet-Stevens (1886-1945) architect and designer, Paris, Modernism. (1886-1969), Modernism. (1887-1953), Expressionism. Rudolph Schindler (1887-1953), Vienna and Hollywood, Modernism. Voji Watanabe (1887-1973). Le Corbusier (1887-1966), Modernism. Antonio Sant’Elia (1888-1916), , Futurism. Hans Emil ‘Hannes’ Meyer (1889-1954), Zurich, Dessau and Mexico City. Architect, educationist and publisher. Marxist, radical functionalist, anti- aestheticist. Yakov Chernikhov (1889-1951), Moscow, constructivist architect, writer and graphic designer. Jan Duiker (also Johannes Duiker) (1890 - 1935), Amsterdam, Paris. Partner of Bernard Bijvoet, 1919-25, from 1925 with Pierre Chareau, Constructivist. (1890-1974), Moscow, maverik architect and engineer, Constructivism. Williams, Sir Owen (1890-1969), London, pioneering Modernist/Functionalist engineer, with some intrusions

2 Not in Curl. 1974 Catalogue held. 4.

Jacobus Johannes Pieter Oud (1890-1963), Amsterdam. Gio Ponti (1891-1979), Milan, Classicism, Modernism. Pier Luigi Nervi (1891-1979), Engineering. (1892-1970), Modernism. (1893-1969), Germany. Hans Scharoun (1893-1972), Expressionism. André Lurçat (1894-1970), Paris and Moscow. International modernist. Landscape architect, furniture designer and city planner, founding member of CIAM. Wells Coates (1895-1958), Canada, London, Modernism, engineer, priduct designer. Richard Buckminster Fuller (1895-1983). Engineering. Sir Ove Arup (1895-1988), Newcastle-upon-Tyne and , Ove Arup and Partners ( Limited, 1946-, reformed 1970-), Modernism, Engineering.3 Skidmore Owings & Merrill (1936-), Louis Skidmore (1897-1962), Nathaniel Owings (1903-84) and John Merrill (1896-1975), (qv). Mart Stam (1899-1986, architect, urban planner, and furniture designer. , Berlin, and founding member of CIAM, Modernism and . Aalvar Alto (1898-1976), Helsinki, Modernism and Expressionism. (1899-1987) & Dame (1911-96). Fry, Drew & Partners (1945-), from 1951 with Sir (1914-). Modernism. Serge Chermayeff (1900-96), Modernism, writing, with Christiopher Alexander. Gio Ponti (1891-1979), Milan, 1920-79, Fascist rationalism and later Modernism. Carlos Raúl Villanueva (1900-75), , , Modernist. (1901-90) and Tecton, Modernism. Alberto Sartoris (1901-98), Valais, French , (1901-74), , Modernism, New Brutaism. Berthold Lubetkin (1901-90), London, Modernism. Murayama Tomoyoshi (1901-77), Toyko, member of MAVO (1905-31), Conscious Constructivism. Jean Prouvé (1901-84), Paris, metalworker, architect and industrial design, structural design and furniture design, industrial modernism. José Luis Sert (1901-83), Barcelona and New York, CIAM member, Modernist architet and urban designer. Edward Durrell Stone (1902-78), Modernism, Regionalism, Classicism. Lucio Costa (1902-98), France, Brazil, Modernism Ivan Leonidov (1902-59), Constructivism. Luis Baragan (1902-87), Modernism. (1902-71), Modernism.. (1902-81), Modernism Albert Frey (1903-98), Zurich to , Modernism. Charlotte Perriand (1903-99), Modernism. Giuseppe Terragnini (1904-43), Rome, Fascist. (1904-82), Modernism, highly eclectic Expressionism. Raymond Erith (1904-73), Dedham, Essex, Classical Survival. Carlo Mollino (1905-73) Turin, architect and furniture designer, eclectic Regional Expressionism. (1905-81) Berlin architect and Fascist politician, utopian monumental /modernism. Carlo Scarpa (1906-78), Regionalism and Modernism. (1906-2005), International Modernism, later Post-Modernism, and arts patronage. Charles Eames (1907-78) and Ray Eames (1912–1988), Modernism. Luigi Moretti (1907-73), Rome, Modernism, and Mannerist Post-Moderrnism. (1907-) Brazil, Formalist Modernism. Walter Segal (1907-85), London (active 1936-), Walter Segal Self Build Trust (), Participation, Self-build.4

3 Over 10,000 staff based in 92 offices across 37 countries. Arup has participated in projects in over 160 countries owned wholly by trusts, the beneficiaries of which are Arup's past and present employees, who receive a share of the firm's operating profit each year. 4 www.segalselfbuild.co.uk/about Sir (1907-76), Edinburgh, Basil Spence & Partners (c1947-64), Spence, Ferguson and Glover (1964-92), Modernism/New Brutalism. Gordon Bunshaft (1909-90), with Edward Durrell Stone and SOM Partner, New York, Modernism, Eero Saarinen (1910–61), Eero Saarinen & Associates (1950-), Eclectic Modernism, Expressionism. Félix Candela Outeriño (1910-97), Spanish architect of Mexican architecture and structural engineering, thin ferro-concrete shells, Formalist modernism. John Lautner (1911-94), Formalist Modernism. (1912- 2006, active 1957-) Birmingham, Alabama. Hugh Stubbins and Associates, The Stubbins Associates, Inc, TSA merged with Kling to form KlingStubbins. Modernist, formalist.

5. Brutalism, Participation, Post Moderrnism

Eric Lyons (1912-80) British designer and architect. Modernism and Community Architecture. His Span Developments (with Leslie Bilsby and Geoff Townsend, who resigned from RIBA to become developers, Geoffrey Townsend. as developer and with landscape designer Ivor Cunningham) built 2,000 houses in over 73 estates (1948-69). Kenzo Tange (1913-2005), Tokyo, Brutalism, Metabolism, Late Modernism. Georges Candilis (1913-95), Candilis-Josic-Woods (1955-63), Azerbaijan, Paris. Modernism. Lina Bo Bardi (1914-92) Rome and São Paulo, (active 1943-). Ralph Erskine (1914-). and (1939-), Participation, Regional Modernism, participant inTeam X. Sir Denys Lasdun (1914-), London, New Brutalism. Jacob (Jaap) Bakema (1914-81), Rotterdam, Modernism, public housing and post- war reconstruction, member of Team X. Laurence Halprin (1916-2009). Lawrence Halprin and Associates (1949-). Landscape. , (1918-99), , Modernism, member of Team X. I M Pei (1917-), Pei Cobb & Partners (), Modernism, Regionalism Paul Rudolf (1918-97), Brutalism. Bruno Zevi (1918-2000), Rome, architect, architectural theorist and historian, organic Post-modernism. Jorn Utzon (1918-2008), Utzon Architects (), Copenhagen, Modernism, organic ‘Additive architecture’. (1919-2005), Genoa, Modernism, consensus, and context (human, physical, cultural and historical). Deshamanya Geoffrey Manning Bawa (1919-2003) Sri Lanka, ‘tropical modernism.’ Anne Tyng (1920-2011), Philadelphia. Space frame architecture, Mathematics, Landscape. Sir Philip Powell (1921-2003), London, Cambridge and Oxford, Hidalgo Moya, founded Powell & Moya. Humanist modernism Sir William Whitford (1920-), Modernism, historical context. Kevin Roche (1922-, Dublin, 1954-66 with Eero Saarinen; Kevin Roche John Dinkeloo and Associates (or KRJDA), 1966-, Hamden, , Pritzker Prize1982, massive facades, Brutalism, postmodern and historicist 1990-05, sheer glazing. Craig Ellwood (1922-92), Modernism. (1922-2001), Modernism. Yona Friedman (1923-). Shadrach Woods (1923-73), USA, Modernism, partner in Candilis-Josic-Woods, member of Team X. Alexis Josic (), Modernism, Yugoslavia, partner in Candilis-Josic-Woods. Pierre Koenig (1925-). Charles Moore (1925-93), author, architect, academic, New Haven, , Austin, Moore, Lyndon, Turnbull, Whitaker, MLTW, Centerbrook Architects, Moore Ruble Yudell, Urban Innovations Group, Charles W Moore Inc, and Moore/Andersson, Post-Modernism. Robert Venturi (1925-), Rauch (), Denise Scott-Brown (), Post-Modernism, , 1925, Stuttgart, tensile and thin skin structures, architect and engineer. Oswald Mathias Ungers (1926-2007, active 1950-), Cologne, Severe Striipped Classicism/Modernism, Rationalism. César Pelli (1926-), Argentina, USA, Dean of Yale Architecture, 1977-84. Pelli Clarke Pelli Architects (1977-), high rise towers, Modernism James (1926-92), James Gowan (1923-) and Michael Wilford (1938-). Stirling & Gowan (1955-71), Sirling & Wilford (1971-), Hi-Tech, New Brutalism, Post-Modernism Lucien Kroll (1927-), Belgium. Participation, Adhocism, Controlled Anarchy. Gae Aulenti (1927-) Friuli, Milan; architect, interior designer, and industrial designer, large-scale museum projects. Vittorio Gregotti (1927-) Novara, Calabria, Gregotti Associati studio. Atelier 5, Bern (1955-), Erwin Fritz, Samuel Gerber, Rolf Hesterberg, Hans Hostettler and Alfredo Pini. (1928-), Maki & Asociates, Tokyo Paulo Mendes Rocha (1928-) Vitoria, Brazil. Alison (1928-1993) and Peter Smithson (1923-2003), London, together as an architectural partnership from 1950, Modernism, New Brutalism, and architectural and urban theory. (1929-). New York Five Frank O Gehry (1929-), Canada, California. Post-Modernism, Expressionism. Johann Otto von Spreckelsen (1929-87), Copenhagen, Modernism, Grande Arche de la Défense (1982-89). Ron Herron (1930-94). Archigram, Hi Tech. Charles Correa (1930-), Hyderabad, Bombay, 1958-, Regionalism, Modernism adapted to a non- western culture, local land-use planning and community projects. (1931–97), Post-Modernism. Paolo Portoghesi (1931-), Post-Modernism. Arata Isozaki (1931-), Post-Modernism. Ernesto Nathan Rodgers (1909-69), Trieste & Milan, architect, writer, editor of Casabella and educator, cousin of , director of BBPR Group (1932-, with Gian Luigi Banfi, Ludovico Belgiojoso and Enrico Peressutti). (1932-), Eisenman Architects, Post-Modernism. SITE (Sculpture in the Environment, 1969-). James Wines (1932-). Post-Modernism. Raimund Abraham (1933-2010) Lienz, Tyrol, Radical Contextual Modernism. Alvaro Siza Vieria (1933-), Porto, Modernism. Ray Kappe (), Los Angeles, modest Californian Modernist timber houses, educator, founder of SCI-Arc. Richard Rodgers (1933- active 1969-) of Richard Rogers Partnership (1977-) with Marco Goldschmidt (1977-2004). Hi Tech. (1934-). New York Five, Late Modernism (1934-2003), Disposable Modernism. Kisho Kuro Kuurokawa (1934-2009), Nagoya and Aichi, Symbiosis. Richard Meir (1934-), & Partners Hans Hollein (1934-), Post-Moderrnism, Vienna.

6. Hi Tech, , Classical Survival, Narrative.

Michael Hopkins (1935-), Patti Hopkins, Hopkins and Partners (1977-2003), Hopkins Architects (2003-). Hi Tech, Contextual Modernism. Norman Foster (1935-), Foster Associates (1967-90s), with Ken Shuttleworth (1967-2004), now Foster + Partners. Hi Tech, Sustainable. Peter Rice (1935–1992), Irish structural engineer. At Ove Arup & Partners, his first job was the Opera House roof, later Centre Pompidou. Sir Peter Cook (1936 -). Archigram (1960-75). Hi Tech. Dr (1936-) Vienna; Cambridge, UK; Harvard; MIT; Berkeley, California; Arundel, Sussex, UK; The Prince of 's Summer Schools in Civil Architecture (1990-94) and The Prince of Wales's Institute of Architecture; research: transportation theory, cognition, design, religion, Wiki, Pattern Language, The Nature of Order: An Essay on the Art of Building and the Nature of the Universe, 4 vols (2003-04);5 Sustainability and Morphogenesis (unpublished). Glen Murcutt (1936-, active: 1970-), LAM (), Modernism, Regionalism.

5 www.natureoforder.com

Quinlan Terry (1937-). Classical Survival. Renzo Piano (1937-), Hi Tech. Yoshio Taniguchi (1937). MOMA (1997-2004). Minimalism. Rick Mather (1937-2013), Portland, Oregan, London, Rick Mather Architects (1973-), Modernism, Urban Design, Contextual. José Rafael Moneo Vallés (1937-) Madrid, Modernism. (1938), New York Five. (), Jan Kaplicky (1938-2009) and Amanda Levette (1955-). Blobist. Terry Farrell (1938-). Farrell & Grimshaw (1965-1986). Terry Farrell & Partners (1986-). Post-Modernism. Moshe Safdie (1938-). Montreal and Jerusalem, pre-fabrication, megastructure, later vernaculars Ricardo Bolfill (1939-), Post-Modernism, Stripped Neo-Classicism, Barcelona. Nicholas Grimshaw (1939-), Hi Tech. Charles Jencks (1939-), Post-Modernism. Eva Jiřičná (1939-), London and Prague, architect, engineer and designer, Hi Tech, steel and glass staircases and fittings. Helmut Jahn (1940-) in Nürnberg, Berlin, USA. Murphy/Jahn (1981-), Modernism, high-rise complexes. Lebbeus Woods (1940-2012), Lansing, Michigan. Systems in crisis, political intervention, but only one permenant built work. (1941-), Modernism. Tadao Ando (1941-), Osaka, Modernism, Post-Modernism. Toyo Ito (1941-), Osaka, Minimalism. Superstudio, Florence (1966-72, 1986), of Adolfo Natalini (b1941), Cristiano Toraldo di Francia (b1941), Piero Frassinelli (b1939), Roberto Magris (b1935) and Alessandro Magris (b1941), Avant Garde. Archizoom, Florence (1966-73), Andrea Branzi (b1938), Paolo Deganallo (b1940), Massimo Morozzi (b1941) and Gilbero Coretti (b1941) and from 1967: Lucia Morozzi Bartolini and Dario Bartolini, Avant Garde Ant Farm, Chip Lord (1944-, later digital media artist) and Doug Michels, later with Hudson Marquez and Curtis Schreier, San Francisco (1968-78), Avant Garde, underground, counter-cultural happenings and media events. Coop Himmelb(l)au. Wolf Prix (1942 - ) and Helmut Swiczinsky (1944-), Expressionism, Hi Tech. Peter Zumthor (1943-), Modernism, Atmosphere. Eric Owen Moss (1943-, active: 1973-), Urban Renewal, Expressionism. Cecil Balmond (c1943) Sri Lankan, British engineer, designer, artist, architect, theorist and writer. Joined Ove Arup & Partners, 1968, became deputy chairman. Engineering. Rem Koolhaus (1944-), OMA (), Modernism, Narrative. Bernard Tschumi (1944-), Modernism, Narrative. Rafael Vinoly (1944-), Rafael Vinoly Architects (1983-), Montevideo (Uruguay), Argentina and New York, Moderrnism, contextual urbanism. Gregory Burgess (1945-), Gregory Burgess Pty Ltd, (1972-), Expressionism, participatory design, indigenous community clients.

7. Digitisation.

Daniel Libeskind (1946- ) Post-Modernism, Narrative. Léon Kreir (1946-), Luxembourg. Classical Revival. Piers Gough (1946), CZWG (1975-), Expressionism, Post-Modernism. Terunobu Fujimori (1946-), Nagano, Arts & Crafts, cultrural tradition, whimsy. Denton Corker Marshall (1972-), Melbourne, John Denton (), Bill Corker () and Barrie Marshall (), Late Modernism, , materiality. Steven Holl (1947-), Steven Holl Architects (1984-), typology, phenomenology. (1947-), Alsop & Lyall (1981-91), Alsop and Stormer (1991-2000), Alsop Architects (2000-06), SMC Alsop, renamed ARCHIAL (2006-09), Will Alsop at RMJM (2009-), London, Post-Modernism, Expressionism, colour. John Outrim (c1948), John Outrim Associates (1973-). Post-Modernism, colour, pattern. Robert Adam (1948-), Classical Survival. Ken Yeang (1948-), (1971-), Penang, Sustainable. John Pawson (1949-), London, Mininmalism Phillipe Starck (1949-, active 1882-), Paris, interiors, stylism, product design. Nigel Coates (1949-), NATO (c1980-), Branson Coates, Nigel Coates Ltd, London, Expressionist, narrative. Herzog-De Meuron. Jacque Herzog (1951- ) and Pierre de Meuron (1951), Modernism. Architects (1951-), Expressionism. Santiago Calatrava (1951-), , Zurich, Paris. Diller Scofidio+Renfro (1979-), Elizabeth Diller, Ricardo Scofidio and Charles Renfro, New York. Architects (1980-), Sir David Chipperfield (1953-), London, Mininmalism. Morphosis Architects (1972-), Thom Mayne (), Culver City & New York. Ken Shuttleworth (1952-) Birmingham, with , latterly as partner, for nearly thirty years, -2003. MAKE Architects (2003-). Hi Tech. Dominique Perrault (1953-), Dominique Perrault Architecture (1989-), Paris, Moderrnism. Mecanoo Architects (1984-), Francine Houben (1955), , Blobism, Modernism, Expressionism. Ian Simpson Architects. (1987-), Ian Simpson () and Rachel Haugh (), Manchester and London. Hi Tech. John Simpson (1954-). Classical Survival. Kengo Kuma (1954-), Kanagawa. Moya (1955-2000) Catalan, Barcelona from 1978, with his first wife Carme Pinós, (- 1991) then Benedetta Tagliabue, as EMBT Architects, highly eclectic post- moderrnism. Ian Ritchie (), Ian Ritchie Architects (1981), Hi Tech. Chris Wilkinson () and Jim Eyre (), Wikinson Eyre Architects (1983-), London. Hi Tech, Expressionism. Ryue Nishizawa (M, 1966-) and Kazuyo Sejima (F, 1956-) SANAA (Sejima and Nishizawa and Associates, 1995), Serpentine Gallery Pavilion, London 2009, Minimalism. Shigeru Ban (1957-) Tokyo. Mecanoo, Delft, (1984-) by Francine Houben (director), Henk Döll, Roelf Steenhuis, and Chris de Weijer. technical, human and playful modernism. architecture, urban planning and and sensitivity for light, environment and the beauty of place. UNStudio (formerly Van Berkel en Bos Architectenbureau, 1988-) architecture, urban development and infrastructure. The practice was founded in 1988 by Ben van Berkel (1957-) and Caroline Bos (1959). Rotterdam and Amsterdam, The initials "UN" stand for United Network. Architects such as and (who helped found MVRDV) began there. MVRDV, Rotterdam (1993-) acronym for the founding members: Winy Maas (1959), Jacob van Rijs (1964) and Nathalie de Vries (1965). Maas and Van Rijs worked at OMA, De Vries at Mecanoo. Bruce Mau (1959-) Canadian designer, Bruce Mau Design (), and the founder of Institute without Boundaries (); writer of S,M,L,XL, with Rem Koolhaus. Lars Spuybroek (1959-), NOX (c1990-), Delft, digital design, beauty, art/architecture, Expressionism. Diller Scofidio + Renfro, , architecture, visual and performing arts, founded by Elizabeth Diller () and Ricardo Scofidio () in 1979, installation art, video art or electronic art. Bjarke Ingels (1974-), Copenhagen. Bjarke Ingels Group (BIG, from 2006-), KiBiSi (from 2009-), ‘pragmatic utopianism’ and housing megastructures. Atelier Bow Wow (1992-), Yoshiharu Tsukamoto () and Momoyo Kajima (), Tokyo, Typologies. Farshid Moussavi () and Alejandro Zaera Polo, Foreign Office Architects (1992-), Modernist. Winy Maas (), Jacob van Rijs & Nathalie de Vries, MVRDRV (1993-), Rotterdam, Moderrnist. Alex de Rijke (), Philip Marsh (), and Sadie Morgan (),dRMM (de RIJKE MARSH MORGAN ARCHITECTS), London (1995), in 1995. Modernism, materiality.

Some Australians not yet included, who should be:

Bill Lucas Ivan Ivanoff Richard Le Plastirer Troppo

Arch 5124 ARCHITECTURAL HISTORY 2 Week 22

EARLY TWENTIETH CENTURY, MODERNISM & DUDOK

Terms

Sezession, Expressionism, Futurism, Constructivism (Suprematism), De Stijl, Jugendstil, International Modern, Moderne, Streamlined, Dudokian.

SEZESSION, VIENNA (1897-1914)

Vienna then was a centre of high culture, creativity and modernism and a world capital of music with the composers Brahms (), Bruckner (), (), Mahler (), Berg (), (), Schoenberg (), architects Joseph Olbrich (1867-1908), Joseph Hoffmann (1870 - 1956), Adolf Loos (), Otto Wagner (1841-1918). Joze Plecnik (), the Weiner Sezession Exhibition Building (1897-8), the Jugendstil movement, artists Gustave Klimt (), (), Oskar (), philosopher Ludwig Wittgenstein (), and Sigmund Freud () and psychnanalysis.

Otto Wagner (1841-1918).

Founder of Vienna Secessionism, developed from Art Nouveau influence. Influenced Olbrich and Loos.

Majolica House, 38 & 40 Linke Wienzeile, Vienna (1898-9).

40 Linke Wienzeile.

40 Linke Wienzeile

38 & 40 Linke Wienzeile

*Post Office Bank, Vienna (1904-6). Controlled . Steel, glass.

Villa Wagner 2, Vienna (1905-12).

Villa Otto Wagner I, Penzing, 1886-88.

Villa Otto Wagner II, Hüttelbergstraße 28, Penzing, 1905.

Villa Otto Wagner II, Hüttelbergstraße 28, Penzing, 1905.

Joseph Olbrich (1867-1908).

*Sezession Exhibition Building, Vienna (1897-8). Jugendstil.

Symbol of that movement. Kolomon Moser's three serious owls on the West façade.

Gluckert House, (1901). In the artist’s colony, he designed.

Hochzetsturm (Wedding Tower), Darmstadt (1907).

Josef Hoffmann ().

Entrance Pavillion, Kunstschau,Vienna, 1908.

Peter Behrens (1868-1940).

Le Corbusier, Mies and Gropius worked in his office.

Behrens House, Darmstadt (1900). Influenced by Morris, Hoffman, Olbrich. In artists’ colony of Darmstadt. An original, vigorous design.

AEG Turbine Hall, Berlin (Turbinenhalle, 1909), spanning 25.6 m in steel.

A temple to worship work, a powerful expression of engineering, and power. First designed factory, without historicist illusions, the frame expressed, as Expressionism transitioning towards Modernism. Behrens was interested in standardised buildings and products, and designed all AEG buildings, products, industrial and graphic design.

EXPRESSIONISM, GERMANY (1910-23)

Hans Poelzig (1869-1936), German architect, painter and set designer from Berlin.

Chemical Factory, Luban, Silesia (1911-12) (1869-1948).

Film set (1920)

Grosses Schauspielhaus (date? demolished, c1989). A remodeled existing building, lower budget, its effect achieved in plaster and concealed lighting.

Grosses Schauspielhaus

Max Berg (1870-1947).

Became city architect of Wroclau (formerly Breslau, Silesia) and designed many buildings there to cope with the increased population after 1918.

*Centenial Hall (former Jahrhunderthalle), Wroclau (1910-13). (1870- 1947).

Reinforced concrete, four times the size of St Peter’s dome at less than half the load and anticipates Pier Luigi Nervi. It supplanted the Melbourne Public Library (Bates, Peebles & Smart, 1911) as the world’s largest dome.6

Centenial Hall, Breslau.

6 www.architectureinberlin.com/?cat=21 for the photographs, and which gives 1911-13 as its dates.

Peder Vilhelm Jensen-Klint (b Skelsk?r, 21 June 1853; d Copenhagen, 1 Dec 1930). Danish architect and painter. After training as a Peder Vilhelm Jensen-Klint (1853-1930).

Jensen-Klint turned from to architecture and craftwork. He grieved for the decline of craftsmanship and saw the development of academic architecture as meaningless; he wanted to give architecture back to the people by recovering 'the scarlet thread of tradition that binds generation to generation'. He thought classicism had broken the continuity he considered necessary for healthy development. He himself returned to Gothic and Baroque forms and praised the example of Paul Schultze-Naumburg. Jensen-Klint believed that young students should study regional building styles. In brick was the only natural building material. When young he had noticed that the growth pattern of sea and snail shells was so regular (logarithmic spiral) that dimension only and not form altered, reflecting the Aristotelian principle of 'unity in diversity'.

Jensen-Klint wanted to create architecture based on the same simple laws. His first house (1896), Sofievej 27, Copenhagen, was in red brick with mussel shells carved in limestone above the windows. Jensen-Klint strove for integrity in craftsmanship and materials, and simplicity and strength in the expression. His houses at S?bakken 15 (1902), Onsg?rdsvej 12 (1905) and Gardes All? 36 (1915), all in Copenhagen, and H. N. Rasmussen's Gymnastic Institute (1900), Vodroffsvej 49-51, are a continuation of the free of J. D. Herholdt (1818-1902). grundtvig memorial church 1913-1940. p.v. jensen-klint died nine years before the completion of the nave and his son kaare klint, best known as the father of modern danish furniture design, took over. his church chair became one of his most successful designs and was chosen by sigurd lewerentz for his st petri church in klippan, sweden. p.v. jensen-klint's influence extended way beyond the impact of this one building. his polemical writings and teaching resembled contemporary german debate in placing building or bauen above academic architecture (even mies van der rohe was keen on that distinction), and klint was instrumental in the forming of "bedre byggeskik", a society of architects supplying master builders and craftsmen with pattern drawings of good, "anonymous" architecture.

His brick poetics became very important for the resistance to modernism in denmark - or the alternative modernism which formed here, except for early jacobsen, the international style played little part in danish architecture until after WWII. even edward heiberg, teacher at the bauhaus, built using exposed brick when working in copenhagen.

After his death, klint's sons started producing a pleated paper lamp shade, he had designed for his own use. they since invited other architects to develop the design and the company, le klint, still exists today: www.leklint.com7

7 www.answers.com/topic/peder-vilhelm-jensen-klint#ixzz1yc4VNmU3

Grundtvig memorial church.

The Hallgrímskirkja (church of Hallgrímur),

A Lutheran (Church of Iceland) parish church in the centre of Reykjavík, Iceland, 74.5 m high, named after Icelandic poet and clergyman Hallgrímur Pétursson (1614-74).State Architect Guðjón Samúelsson's design was commissioned in 1937 and consecrated in 1986.

The Hallgrímskirkja.

Josef Frank (1885-1967).

Architect, artist, and designer. With Oskar Strnad, founded the Vienna School of Architecture, and its Modern houses, housing and interiors. He was a founding member of the Vienna Werkbund, initiator and leader of the 1932 Werkbundsiedlung project in Vienna. In 1933, he migrated to Sweden.

Promoted the notion of Accidentalism involving the quasi-accidental combination of various images both from high culture and lowbrow kitsch, to achieve a kind of vitality that naturally evolves in cities.8

House, Wittbrandtgasse 12, Vienna (1913-14) with Oskar Wlach and Oskar Strand.

Duplex, Weißenhofsiedlung, Stuttgart (1927), below:

Josef Frank Armchair 969

Werkbundsiedlung, Vienna (1932), management.

8 , Basics: Design Methods, Birkhauser, p 34 (from Graham Nguyen-Do, 5 May 2011), John Fleming, Hugh Honour and Nikolaus Pevsner, The Penguin Dictionary of Architecture, Penguin, Harmondsworth (1966) 1998, p 14. Not in Curl. Villas, southern Sweden.

Many furniture designs.

Erich Mendelsohn (1887-1953).

Sketches

Einstein Tower, Potsdam (1921)9

9 Photographs from Graham Ngyuen, 23 April 2013.

Einstein Tower.

*Schocken Department Store, Stuttgart (1926-7, demolished). Very influential. Streamlined, and influenced the Moderne style. One of many stores for the Schocken family, of which only Wroclau survives.

The only surviving Schocken department store by Erich Mendelsohn, Wroclau.

Moderne

Hoover Factory, Perivale, London.

Hoover Factory, Perivale, London, 1933, Wallis, Gilbert and Partners. Built for The Hoover Company in 1933. described it as, ‘...a sort of Art Deco Wentworth Woodhouse - with whizzing window curves derived from Erich Mendelsohn's work in Germany, and splashes of primary colour from the Aztec and Mayan fashions at the 1925 Paris Exhibition.’

Firestone Tyre Factory, London, Wallis, Gilbert and Partners.

Rudolf Steiner (1861-1925).

Austrian philosopher, social reformer, architect, and esotericist, who founded child-centred schools and the philosophical movement of Anthroposophism.

Goetheaneum 2, Dornach (1925), an expression of Anthroposophical theory of forms. Elephantine forms.

FUTURISM, (1913-14)

Began in painting in 1900. Architectural design for a year 1914. Still influential. Nothing built. Drawings. Ended by war. Comparable to Mendelsohn.

Antonio Sant’Elia (1888-1916).

Stepped building,

Study for the New City,

Study for Electric Power Station* Futurist City,

Terminal for Aeroplanes and Trains.

All were 1914. His design and drafting style remains influential today.

CONSTRUCTIVISM & SUPREMATISM, (1920-32)

Logic of forceful structure and materials in space. No ornament. Yet anti-utilitarian. Eliminates solid object. Extremely influential today.

Kasimir Malevich (1878-1935).

Suprematist Composition, 1916.

Vladimir Tatlin (1885-1953).

*Monument to the Third International, 1920.

Gigantic, spanning river. Symbol of revolutionary Modernism. Answer to Eiffel Tower.

Design for a Chemical Factory

Vladimir Shukhov (1853-1939), Tower in Krasnodar, Russia.

Russian engineer-polymath, scientist and architect, new methods of analysis for structural engineering that led to world's first hyperboloid structures, diagrid shell structures, tensile structures, gridshell structures, oil reservoirs, pipelines, boilers, ships and barges.

Konstantin Melnikov (1890–1974).

Architect, painter and academic, a leader of the avant-garde movement in Moscow. Moscow School of Painting, Sculpture and Architecture for 12 years, completing Architecture in 1917. In 1925 he designed the Soviet pavilion at the Paris Exposition of Modern Decorative and Industrial Art. His graduation thesis and first independent works were in the Neoclassical tradition, including his project of the Automobile Factory AMO. By c1921, Melnikov began to look for new ways in his art, denying eclecticism and stylization. At that time the new architecture was formed in Moscow. Melnikov’s projects as Pila apartments, Makhorka Pavilion and the Labor Palace and attracted attention. Since than, every Melnikov work was innovative.

The competition project of the Moscow office of the newspaper Leningrad Pravda (1924) was a small five-storey building with a high-rise construction, and four upper floors spin around the common vertical axis independently of each other. In 1924 Melnikov also won the competition for the sarcophagus of the Lenin Mausoleum, consisted in a four-faceted extended pyramid cut with two surfaces inclined inside in opposite directions which formed by intersection a dead level diagonal. The upper glass surface turned out naturally strong against any impact. The developed construction idea eliminated the necessity for framing the joints of the sarcophagus with metal. We got the crystal with starlight play of the inner color sphere. The sarcophagus designed according to slightly changed Melnikov’s project was constructed in the wooden Mausoleum, and later on it was preserved and used in the stone Mausoleum until WWII.

It was in 1925 that the Soviet architecture was first represented on the international arena, when at the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes the Soviet pavilion designed by Melnikov made a great stir. Since than it has been considered an important milestone in the development of the modern exhibition architecture. Melnikov himself supervised the process of his project implementation. As the world recognized master he at that time was commissioned 2 projects: first - to make a project for locating parking lots for the growing number of vehicles in Paris, and second – to design a garage according to the specifications. Melnikov proposed to place parking lots above the bridges over the Seine in the densely built-up district in the center of Paris. This was one of the first world projects of the vertical zoning of the city space in the world architecture. The second project, the garage, was designed as a many-storeyed building, almost cubic, with a complex system of inner ramps. After his return to Moscow, Melnikov continues to develop projects for garages. In 1926 he built a bus garage using his “direct-flow system” of cars placement. Afterwards he built four more garages for trucks and cars.

The house constructed by Melnikov for his family forms another milestone of his life. For more than eighty years now this building has attracted to Krivoarbatsky Lane in Moscow many of those who are interested in . In 1927 – 1929 Konstantin was experiencing upsurge of creative effort and made seven design projects for workmen’s clubs. All of them were very different in shape, size, and artistic representation. Six of them were implemented - one in Likino-Dulyovo and five in Moscow: Rusakov Workers' Club, Kauchuk Factory Club, the Frunze Factory Club, Burevestnik Factory Club and Svoboda Factory Club. The early 1920-s witnessed great popularity of romantic , a new architectural trend. Its followers experimented with dynamic compositions. Melnikov also got involved into the style. However, he was not simply interested in the methods of vivid expression of dynamic features, but also in the opportunity of real movement of the construction elements.

He first practiced it on the project of the Leningrad Pravda. His second project was a lighthouse devoted to Christopher Columbus, for the Competition held in 1929. Melnikov’s monument design represented the lighthouse as an enormous construction consisting of two cones connected at the top. The cones were intersected by almost one third of their height, and the upper one was rotated by the wind with the help of huge triangular wings. The wings were painted different colors (red and black) and their movement changed the color characteristics of the whole monument. “My dear Sir, - a member of the expert team at the competition for Columbus monument wrote to Melnikov, - I would like to tell you that your modern and inspirational project attracted more attention than any other at the Exhibition in Madrid. But the jury believed it would be too risky to award it with the first price. The third Melnikov’s project created with the idea of real volume movement in the general architectural composition was the competition project of the Moscow theatre MOSPS. “For dynamic change of scenes of theatrical performances – commented Melnikov on his project in 1931 in his explanatory notes, - as well as for greater variety of those scenes I designed stages with horizontal rotation, a stage with the water devices and the swimming pool… Thus, we get a great variety of theatrical acts, dynamic scene change, substitute of one scene with others which creates impressing effect bordering on the unreal…”

In 1933 Mossovet founded Architectural Workshops – there were ten designing workshops and ten planning workshops. Almost all important Soviet architects were involved into managing of these workshops. Melnikov was the leader of the seventh Mossovet Architecture Planning Workshop. In 1938 the workshop was closed but they implemented several projects worth mentioning. These are the project for the development of Kotelnicheskaya and Goncharnaya embankments, Inturist car garage and Gosplan car garage (both were realized), the apartment house for the Izvestia newspaper employees, the Labor and Culture Palace in Tashkent, the Soviet Pavilion at the 1937 World Exposition in Paris and the famous Narkomtyazhprom building. In 1933 an exhibition devoted to Meknikov was held in Milano within the framework of the famous Triennale of Decorative Arts and Architecture. There were only 11 world famous architects, participating in this exhibition and Melnikov was the only Russian one to be invited. At this time he was highly estimated in Western countries and in the he sank into oblivion. He wasn’t allowed to go to his own exhibition in Italy, and in the USSR he was suffering from misunderstanding.

The most important quality of any architectural work for Melnikov consisted in its artistic originality. It was natural for him to think that if an architect was working on a new project that meant that he was creating a new work of art, and only in this case he could be considered the author of this work. He simply didn’t understand how it was possible to create a new project by using ideas that had been suggested before by somebody else. His artistic method wasn’t understood by his colleagues and critics. During these years Melnikov didn’t received any commissions, neither had he an opportunity to teach. After WWII he practically didn’t participate in the actual architectural life, at this time he lectured at “non-architectural” colleges – Moscow Engineering Institute, Saratov Road Transport Institute, the All-Soviet External Education Engineering Institute. In 1954 he took part in two competitions for the Pantheon of the prominent Soviet figures and the monument to the 300th anniversary of the Russian- Ukrainian Unity. By this time he had already lost any hope that his artistic concept would be appreciated by his contemporaries.

When he decided to participate in these competitions he tried to remember for these projects what he had learned at the School of Painting, Sculpture and Architecture and to resort to his skills to work and create in different styles. Though Melnikov’s works were not mere stylization, in general the did not stand out of other works submitted for the competition. Strickly speaking, the true Melnikov didn’t take part in these competitions: even though made by Melnikov these projects didn’t belong to him. But already in 1958 the next competition for the Palace of Soviets saw the real Melnikov participating in it. Based on the same architectural concept as his Palace of Soviets of 1932, the design was characterized by even greater radicality. It was really a brilliant work but it wasn’t received very warmly and when it became known who the architect was, the project was criticized even more. In 1962, Melnikov took his own initiative to participate, without being commissioned, in the close competition for the USSR Pavilion for the World Exposition in New York. He designed the monument which seemed to soar “taking- off” from the big pedestal.

It was the “swan-song” of one of the greatest architects of the XXth century, who after decades of oblivion demonstrated that his talent was still fresh as many years before. In 1967 Melnikov took part in the open competition for the children’s cinema on Arbat Street. He got involved into this project because the site for the building was located close to his own house. Melnikov knew this district very well and wanted to put one more original work of art to the old vicinity. Many people admitted that Melnikov’s project was the most interesting at the competition but the architect was only rewarded with an honorable mention. The architect was very offended and never again participated in any competition. He spent last years of his life working on his autobiography trying to trace and undersatnd his development as an artist and his own place in the modern architecture. Melnikov died on November, 28, 1974. He lived to be 84. The great architect was buried in Vvedenskoye Cemetery in Moscow. (Selim.O. Khan- Magomedov “Konstantin Melnikov”)10

10 http://www.melnikovhouse.org/about-melnikov.php and www.avangard- ru.org/pages/masters-of-avantgarde.php

DE STIJL, NETHERLANDS (1917-31)

Theo van Doesburg (, 1883-1931). (Dutch, 1883–1931), Cornelis van Eesteren (Dutch, 1897–1988) Contra-Construction Project, axonometric, 1923.

Maison particuliere, model, 1923.

Piet Mondrian.

Composition of Red, Yellow, Blue and Black, 1921.

His painting influenced De Stijl. Volume is reduced to planes of pure colour.

The group was founded by Theo van Doesburg in 1917.

Jacobus Johannes Pieter Oud (1890-1963)

Kiefhoek Estate, Amsterdam, 1925-30.

Gerrit Rietveld Kiefhoek (1888-1964)

*Schroeder House, Utrecht, 1924.

At the end of an earlier terrace, isolated by a freeway. It had an iconic influence.

Flats.

Chair, desk and sideboard.

MODERNISM

Adolf Loos (b1870, active: 1903-32, d1933), Vienna.

Influenced by Otto Wagner, cubic shapes, initially no ornament, or curves, though later relented. Architecture was spatial arrangement, as Raumplan (spatial plan), cubic masses, engineering, fine craftsmanship, split-levels. Built few buildings, but subsequently these were very influential. His famous article: (1908), was opposed to Josef Hoffman and the Weiner Werkstätten. He visited the USA in 1893-6, and knew Sullivan and Wright.

Loos Apartment, Vienna 1903.

Villa Karma, Clarens, near Montreaux, 1904-06.

Kärntner Bar (or American Bar), Vienna, 1907.

A modular, minimalist space and materials, expresses its materials, and has been very influential, eg: on Harry's Bar, Venice, and Pelligrini's, Rue Bebélons and Three Below, Melbourne.The interior is: 3,470 x 7,240 x 3,470 mm, in marble, onyx, leather, wood (dark mahogany), brass and mirror. The floor is black and white marble, with a coffin-shaped freestanding table and three banquette booths. The horizontal top of the dado aligns with the doorhead. The coffered ceiling is honey-yellow marble. The fascia was a projecting glass mozaic of the USA flag and the bar’s name (now removed), above four equally-spaced Skyros marble vertical strips.

Steiner House, St Veit-Gasse 10, Vienna, 1910.

For the painter Lilly Steiner and her husband Hugo. Regulations only allowed a single-storied street front with a dormer, that brings light the painter's atelier. The garden facade is three- storied, and the semi-cylindrical metal articulates the transition between elevations. The exterior, the public face, is radical rationalist modernist, but the interior is classical, reflecting the owner’s personal taste, similar to Loos’ own apartment: rich wood, marble and applied timber beams. The height was determined by the regulations: to be only one storey above street level, though the garden façade reveals its three stories. A large multi-function living space fronts the garden, as at the Tzara House (Paris), Möller House (Vienna) and Müller House (Prague).

Michaelerplatz Building (or Loos Haus), Michaelerplatz 3, 1010 Vienna, 1910-11.

Office and shops for the master tailors Goldmann & Salatsch, prominent site opposite the Hofburg gates, Emperor Franz Josef, saw it as a monstrosity. Refined, complex volumes and some Classical references, eg: Tuscan columns. The brass flower baskets were a compromise with objectors to the starkness of the upper façades, defended by Otto Wagner. The windows may be derived from Loos visiting the Reliance Building, Chicago, 1894, Burnham & Root. The proportional Raumplan interior was destroyed in 1938.

Scheu House, Larochegasse 3, Vienna, 1912.

In the wealthy Hietzing district, purely modernist, clashing with its surroundings, stepped form, enabling each of the east-facing bedrooms a generous balcony, for fashionable outdoors sleeping. The house has four floors, the terraces recede 4 m, and the building is 16 m long, the differently sized windows on a module. The interiors are Richardsonian, walls in dark unpolished oak with applied timber beams in the social areas and white bedrooms. This distinction of spaces between public or private interiors reflects the Loos' notion of spatial domesticity.The second floor bedrooms are white-painted wood. It influenced Rudolph Schindler's house (1922). Schindler was a student of Loos before immigrating to Los Angeles. What appears as the main entrance, at far right of stret façade is actually entrance for a separate apartment unit on the top floor. The entrance is actually at the east side, indicated by a stair.

Kniže & Company Shop, Vienna, 1912.

The façade is black Swedish granite and cherrywood. A small GF and larger 1 & 2 Fs. The full-height helical stairwell is partially mirrored, with a brass handrail. All internal linings are oak, or cherrywood. All products are housed in flush cabinets.

Manz Bookshop, Kohlmarkt (near the Michaelerplatz Building), Vienna, 1912.

Characteristic of Loos’ retail designs: (black/grey veined) marble façade, accentuated with fine woods or brass, and pannelled wood interiors. The is trimmed in mahogany. The only surviving interior is the manager’s office, taller than it is wide, so panelled to doorhead height, recessed bookshelves, with herringbone panel floor. The office has a small classical circular table Loos designed, with fluted legs and triangular marble base.

Horner House, Vienna, 1912.

A suburban setting, as it is near an intesectrion, two sides had to comply with height restrictions. An additional floor reads as an attic, with a quarter cylinder roof, with the bedrooms. It is almost square in plan and section, as in the later Rufer house (1922). The window configuration has been altered, but was once identical to that of the Scheu House.

Zentralsparkasse Bank (former Anglo-Österreichische Bank), Mariahilferstrasse, Vienna, 1914.

The present signage is not original. The narrow 2-storied façade is flanked by black granite fluted pilasters, the entrance is thrown into shadow. But the interior is light and austere, with white marble, darker marble columns, dark oak, brass luminaires (replicas) and copper lacunar ceiling at the entrance vestibule, with a dado of dark oak benches and desks (original), which have auxiliary lighting. The ceiling is illuminated through opaque glass, as in the Michaelerplatz Building. In the , the interior was restored.

Willibald Duschnitz House, Weimarerstrasse, Vienna, altered by Loos in 1915 and 1916.

A house for a collector. Loos added the tower and projecting roof-plane. The grand foyer has white marble squares with black marble outlining a grid. Stairs are clad in wite marble. All have gridded frames, with inset glass panels. The hall has a cozy fireplace, the heart of the house, facing the entrance door, with very formal s=rooms leading off. The flat roof provided a balcony for the 2nd floor bedrooms. The 1st floor music room runs the full width of the garden façade, with marble pilaasters and coffered ceiling.

Hrušovany Sugar Refinery, Rohrbach, near Brno, Czech Republic, 1919.

A rare large monolithic building by Loos, of a 4-storied block and a tower with a chimney. Its sense of civic grandeur looms over the village. The façade is symmetrical, with a central face of half-round pilasters, carrying a stone lintel. Loos designed a 2-storied manager’s house, on the N side, also symmetrical.

Strasser House, Kupelwiesergasse, Vienna, 1919.

An alteration, with a new stairwell, an intermediate floor, of library, music podium, and an attic with a curved roof. Each space is articulated with different materials. It is one of the first Raumplan interiors.

Heuberg Estate, Vienna, 1922.

Loos most successful model working-class housing estate.

Chicago Tribune Competition entry, 1922-23.

An enormous giant Doric column.

Chicago Tribune Competition entries, Loos at far R.

Otto Haas-hof apartment block, Wohnhof, Vienna, 1924.

A superblock around an enclosed courtyard, with pharnmacy, nursery and school. The street façade is austere, with a grid of recessed fenestration externally and to the courtyard. Loos was cheiief architect then head in the Public Housing Office from 1921-24. He resigned to oppose new housing policies.

Maison , 15, avenue Junot, Paris 18e, 1926.

Purely modernist, and rational. Loos lived in Paris from 1924-8, but this his only house there, for the Dadaist (founded 1916) poet. A symmetrical façade, with deep recesses, natural stone to first 2 floors relates to its neighbours, upper levels smooth white. GF garage, with 1F as a separate apartment, Tzara's apartment was on upper 2 floors. It has a functional Raumplan layout.

Josephine Baker's black/white striped house, Paris, 1927-28, unbuilt.

Hans Moller House, Starkfriedgasse 18, Vienna, 1928.

Load-bearing perimeter walls with internal columns, with a symmetrical street façade as at the Tzara house, though the garden front here is assymetrical. The interior is equally austere, although the rd ceptionspaces have rich woods and travertine, or brightly painted plaster. The interior is Raumplan, especially the 1st floor, the main living spaces, carefully articulated, and never axial. The living room has avery tall ceiling. All servants and services are at GL.

Würfelhaus (or Cube House), c1929, architectural model, Albertina, Vienna.

Hans Brummel Apartment, Pilsen, Czech Republic, 1929.

One of Loos’ most opulent interiors: reconfiguring a bedroom and one long living space with visually unfolding mirrored niches. Wallks piers and pilasters are clad in exotic poplar root, with cheerywood in the bedroom.

Dr František Müller Villa, Nad Hradním vodojemem 14, CZ 162 00 Prague 6, Stresovice (or Stresovicka), Czech Republic, 1929-30.

Completed in the same year as Le Corbusier’s , Paris and Mies van der Rohe’s Villa Tugendhat, Brno, this is Loos’s defining purely modernist house when rich, progressive industrialists were the source of modernist commissions. Contrasting to Frank Lloyd Wright's seamless transition from exterior to interior, Loos deliberately kept the public outside and the private interior as separate as possible. 'The building should be dumb outside and only reveal wealth inside.' It’s hillside overlooks Prague Castle. It was to accommodate Dr & Mrs Müller, their daughter and 6 servants. It took 11 appeals to the planning commission to get the austere acontextual design approved.

Outside, the Villa Müller has a austere clean, white cubic shape, flat roof and terraces, with irregular windows. The entry is in a recessed porch. Internally it is the most developed Raumplan, with an intricate spatial sequence in a variety of opulent materials. A narrow vestibule leads up to the main floor with a full-width living room, with a dado of green Cipolin marble. The dining room table designed by Loos is granite.The Library has rich mahogeny, the split-level boudoir has lemonwood panelling, above are 6 bedrooms and 2 rooms at roof terrace-level.

Paul Khuner House, Semmering forest mountains, Payerbach, Lower , 1930.

Loos had already renovated Khuner’s apartment in Vienna. This is a 2-storied timber-clad rustic chalet, on a stone plinth, with a zinc low-pitched roof, sliding window-shutters. The encircling balcony leads to the bedrooms above, with brightly painted sleeping alcoves. The living room has a large fireplace with built-in seating under the balcony.

Willy Kraus Apartment, Pilsen, Czech Reppublic, 1930.

Altered to be physically and visually enlarged, especially the dining/living, sepereated only by two Cipolin clad columns, visually enlarged further with mirrors, with a built-in mahogent server. The dining ceiling is polished to a mirrored finish, doulbling it also vertically. The bedroom has maple cabinetry and dado.

Seidlung Babi, Czech Republic, 1931.

A model working-class housing estate in concrete block and stucco, on a low podium. Linear, 2-storied, flat-roofed, framed by 2 units at either end projectingout from the horizontal volumewith a slightly higher roofline. Each entry is marked by a cantilevered roof.

Winternitz House, Na Cihlarce, Prague, 1932.

Both its interlocking L-shaped façades express structure and enclosure, visually enclosing the roof terrace. The entrance façade is 3½ stories. The full-width 2-storied living room opens onto the garden, projecting out from the building mass containingbedrooms and service areas.

Paul Engelmann () and Ludgig Wittgenstein (), Gretl’s Haus, Kundmanngasse 19, III District, Vienna.

Walter Gropius (1893-1969), Germany.

Influenced by the Behrens office (1907-10), William Morris and Frank Lloyd Wright. He was succeeded de Velde as head of the Bauhaus until 1928.

Fagus Werke (or factory), Alfeld/Leine, 1911.

The first International Modern style, with a glass curtain wall, cubic blocks, and no supports at corners.

Model Factory, Werkbund Exhibition, Cologne (1914). Staircase

Bauhaus Building, Dessau, (1925-6).

Bauhaus (Weimar, Dessau and Berlin, 1906-33)

Its directors were: Van de Velde, Gropius, Hannes Meyer, Mies van der Rohe. Trade workshop-based design school (not studios, as with the Ecole des Beaux Arts). Artists, craftsman, designers to work together. Became industrial design. Department of architecture (1926). The most important school of art of the C20, (with AA, in London). Many famous artists taught there.

Pierre Chareau (1883-1950, furniture and interior designer).

Maison de Verre (House of Glass; actually: Maison Dalsace), 31 Rue St-Guillaume, Paris, (1928-32), with Bernard Bijvoet (1889-1979), a Dutch architect.

It is the first house in France made of steel and glass, and expresses an honesty of materials, variable transparency of forms, industrial materials and fixtures. Its materials are steel, glass, and glass block. Industrial elements included include exposed steel beams, perforated sheet metal, rubberized floor tiles, heavy industrial light fixtures, and mechanical fixtures. Its double- height salle de séjour was transformed into a salon frequented by Marxist intellectuals like Walter Benjamin, as well as by Surrealist poets and artists like , Paul Éluard, , , Joan Miró and . https-//www.youtube.com#16571B8

Beauvallon Golf Course Clubhouse, Sainte-Maxime,1926-27.

Beauvallon Golf Course Clubhouse

Casa Malaparte (or Villa Malaparte) Capri, (1937-38).

Punta Massullo, eastern Capri, overlooking the Gulf of Salerno. Built by former Fascist, soon- to-be Communist, writer and journalist Curzio Malaparte. Designed in 1937-38 by Italian Rationalist architect Adalberto Libera (1903-63), designer of the Congress Building, EUR, Rome (1937-38). Malaparte rejected the design and built it himself with Ciro Amitrano, a local stonemason. It is a red masonry box with reverse pyramidal stairs leading to the roof patio, which has a freestanding rising curved white wall, sitting on a dangerous cliff 32 m above the sea. It is private property and access is either on foot from Capri town or by boat and stair cut in the cliff.

Casa Malaparte was abandoned, deteriorated and seriously damaged, including the beautiful tiled stove and after the death of Malaparte in 1957. Jean-Luc Goddard shot Le Mépris (Contempt) there in 1963. It was renovated c1988-92, by Malaparte's great-nephew, Niccolò Rositani. Much of the original furniture, too large to remove, the marble sunken bath in his mistress’ bedroom, his bedroom and book-lined study are intact. Italian industrialists have donated materials and today the house is used for study and cultural events.

(Across the island is the Villa of San Michele, its antithesis, a neo-classical riot of terraces, cloisters, galleries and pergolas built c1900, from the ruins of one of Tiberius’ 12 villas by the Swedish doctor, writer, adventurer and pan-European celebrity, Axel Munthe (1857-), author of The Story of San Michele in 1929).11

11 Axel Munthe, The Story of San Michele, John Murray, London (1929) 2004.

DUDOKIAN

Willem Marinus Dudok (1884–1974), Hilversum, Netherlands.

*Town Hall, Hilversum (1928-31).

Influenced by Frank Lloyd Wright’s (1906), but much more extensive composition. Refined and stylish. Strong massing. Enormously influential. Earlier town hall elements (tower, hall) in an elegant light-hearted Modernist manner.

Hilversum. Greenwich Town Hall, Greenwich, London, 1939.

Meridian House (former Greenwich Town Hall), Greenwich High Road & Royal Hill,Clifford Culpin, 1939.

From 1930, Dudokian motifs had begun to fascinate English architects, inclding the flat bricks and the piquant angled periscope-like window high up in the tower. Also Scandinavian influences.

Brent Town Hall (former Wembly Municipal Offices), Brent, London, 1939.

In UK until 1918, the Town Hall was the Mayor’s official residence, thence his role was reduced.

Hornsey Town Hall, Hillingdon.

SWEDISH

Stockholm Town Hall, Stockholm, Sweden, Ragnar Ostberg (1923).

Concert Hall, Stockholm, Sweden, Invar Tengborn (1926).

Walthamstow Civic Centre, Walthamstow, London ().

Norwich City Hall, , London, Charles Holloway James & Stephen Rowland Pierce (1938).

Slough Town Hall, Norwich, UK, Charles Holloway James & Stephen Rowland Pierce (1937).

Hertford Town Hall, Hertford, UK, Charles Holloway James & Stephen Rowland Pierce (1939).

Swansea Civic Centre, Sir Percy Thomas (1934).

Southampton Civic Centre, 1932-39.

CALIFORNIAN MODERNIST

Rudolph Schindler (1887 Vienna - 1953 Los Angeles). His most important works were built around Los Angeles. Although he worked and trained with some of its foremost practitioners, he often is associated with the fringes of the modern movement in architecture. His inventive use of complex three-dimensional forms, warm materials, and striking colors, as well as his ability to work successfully within tight budgets, one of the Modernist mavericks.

Schindler House (1922), 835 North Kings Road, West Hollywood.

Schindler House, from North Kings Road.

Schindler House.

1922-1926 – Lovell Beach House, Newport Beach, Balboa Island, California

▪ 1923 – El Pueblo Ribera Court, La Jolla, California[5] ▪ 1925 – How House for James Eads How, Silverlake, Los Angeles, California ▪ 1926 – Manola Court apartment building for Herman Sachs, Edgecliff Drive, Los Angeles, California ▪ 1928 – Wolfe House, Avalon, Catalina Island, California (demolished in 2002) ▪ 1928-1952 – (two guest apartments and furniture), Hollywood Heights, Los Angeles, California ▪ 1930 – R. E. Elliot House, Newdale Drive, Los Angeles ▪ 1933 – W. E. Oliver House, Micheltorena Street, Los Angeles, California ▪ 1933 – The Rainbow Ballroom, Denver (see also Verne Byers) ▪ 1934 – J. J. Buck House, Genesee Street, Los Angeles, California ▪ 1934 – Bennati A-Frame house, Lake Arrowhead, California ▪ 1937 – H. Rodakiewicz House, Los Angeles, California ▪ 1938 – Bubeshko Apartments, Los Angeles, California ▪ 1938 – Wilson House, Los Angeles, California ▪ 1939 – Mackey Apartments, South Cochran Avenue, Los Angeles, California ▪ 1940 – Ellis Avenue, Inglewood, California[6][7] ▪ 1940 – S. Goodwin House, Studio City, California ▪ 1944 – Bethlehem Baptist Church, 4900 S. Compton Ave., Los Angeles ▪ 1948 – Laurelwood Apartments, Studio City, California[8] 1952 – Schlesinger House, Los Angeles

CASE STUDY HOUSES (1945-66)

Richard Neutra (1892-1970).

Craig Ellwood (1922-92).

Charles & Ray Eames ().

Pierre Koenig (1925-).

Eero Saarinen (1910-61).

Experiments in American house design sponsored by Arts & Architecture magazine, which commissioned, eg: for inexpensive and efficient model homes for the housing boom after World War II. The first six houses were built by 1948.

Ray Kappe (), Los Angeles.

Modest Californian Modernist timber houses, educator, founder of SCI-Arc. Post-and-beam construction, open plan, reverence for the landscape, attention to detail, and an interest in technology, that reflected the optimism of the period and the belief that the modern architecture of Southern California was setting the bar for the country. He was long concerned with low- and moderate-cost housing. One of the Los Angeles 12.

Phineas Kappe Residence (1956),

Dr and Mrs. Robert Hayes Residence (1959),

Barsha Residence (1961, 1974)

Handman Residence (1963)

Butnik Residence (1966)

Phineas Kappe Residence

Barsha Residence

Gio Ponti (1891, active 1920-1979), Milan.

In the late 1920s, and especially through Domus, Ponti became identified with the Novecento Italiano, favoured by rationalist for its 'hybrid .'

Montecatini headquarters, Milan.

Grand Hotel Parco dei Principi, at the top of Villa Borghese, Rome.

Denver Art Museum.

Rotunda, Italia Pavilion, Venice Bienale, 1932.

Neoclassicist, influenced by the Pantheon.

Mathematics Department Building (or Scuola di Matematica), University of Rome, 1934. Ponti's only building in Rome.

Pirelli Tower, Milan, 1950-56.

32-stories, with Pier Luigi Nervi and Arturo Danusso.

Editor, Domus.

In 1928 he founded Domus. In 1941 he resigned as editor and set up Stile magazine, which he edited until 1947. In 1948 he returned to Domus, where he remained as editor until his death.

Churches in Milan: San Francesco, 1963, the church at Ospedale San Carlo, 1967, and Taranto Cathedral, 1971.

Ponti's La Pavoni espresso machine, 1948 Pirelli Tower, Milan

Mathematics Building, Rome, 1934.

Alberto Sartoris (1901-98), Valais, French Switzerland.

Combined Modernism with rural vernacular. Most of his works are in Valais. He practised from 1923, in Turin, influenced by Futurism, then De Stijl. He was the only Italian founder member of CIAM, from 1928. Later he was ejected by Giuseppe Trerragni, as he refused to join the Fascist Party. He also designed furniture, and clothes.

Casa Minima, 6 x 6 m.

Exhibition Pavilion, Turin, 1928.

Housing Block, Lausanne, 1933.

Cercle de l’Ermitage, Epesses, Vaud, 1935. Founded the Como Group for , 1935, their first exhibition, 1942.

Church, Lourtier, 1955. Small white building.

Lesieur Industrial Complex, Dunkirk, 1982.

Carignano City Centre, 1992.

Albert Frey (1903-98).

In 1928 worked for Le Corubusier on the Villa Savoye and remained a friend. Migrated from Switzerland. Worked on the Museum of , New York. Initiated a style of ‘Desert Modernism’ around Palm Springs, California. Compared to his contemporary and fellow emigre, Richard Neutra, his designs are integrated into the landscape and their color and metaphor derive from local context.

Cree House II.

Frey House I, and Frey House II, own houses.

Loewy House, for Raymond Loewy, industrial designer.

Palm Springs City Hall, 1952.

Terra Cotta Inn, former Monkey Tree Hotel, 1960.

North Shore Beach and Yacht Club, North Shore, Salton Sea, renovated 2010.

Palm Springs Aerial Tramway, Valley Station.

Tramway Gas Station, northern Palm Springs, (1965), with a ‘flying wedge’ canopy, now a visitor centre.

Interior, Palm Springs Aerial Tramway.

Tramway Gas Station

THE INTERNATIONAL STYLE

ENGLISH MODERNISM

Powell & Moya (1946-96, insolvent).

Sir Philip Powell (1921-2003), London, Cambridge and Oxford and (John) Hidalgo (Jacko) Moya (1920-94).

Ethical humanist modernism. ‘Nice, modern and British! Was niceness ever an ingredient of great architecture?’ Reyner Banham, New Society, 1974.

Chichester Festival Theatre.

Skylon tower, , Southbank, London.

Churchill Gardens, Pimlico.

Northbrooks, Harlow.

St Paul's School, London.

The Museum of London.

Christ Church Picture Gallery, Oxford.

Wolfson College, Oxford.

Darbourne & Darke (1961-77?), Architects and landscape planners, London.

John (William Charles) Darbourne (1935-91) and Geoffrey Darke (1929-).

Chelsea Football Club, Football stand, London, 1972-4

IBM laboratories and offices, Hursley Park, Hampshire, 1979-81.

Heathrow Airport, London, landscaping of much of the site,1976-7.

Lillington Gardens housing Pimlico, London, competition, 1961; built 1964-72.

The firms significance was in humane housing broke with the then current standard units in standard blocks, achieving the required high density (543 bed spaces/ha) achieved without high-rise, using traditional materials, an ingenious and complex section and landscaping from the ground to all floors.

Marquess Road housing, Islington, London, 1966-77.

A larger scheme on an equally difficult urban site, developing from of the last phase of Lillington Gardens as family masonettes with gardens at ground level and smaller flats above, fronted by wide 'roof streets' with space for planting, and a landscaped linear canal-side park. Landscaping was integral to all the firm's work.12

NEW YORK FIVE (THE WHITES, or NEO RATIONALISTS)

Exhibited in MOMA, New York in 1969, with designs revising 1920s International Modernist white buildings and influenced by Gerrit Rietveld () and (1904-43).

Richard Meir (1934-), Richard Meier & Partners

Saltzman House, East Hampton (1967-9)

Douglas House, Harbor Springs, Michigan (1971-3)

City Hall & Central Library, (1986-95)

Museum of Contemporary Art, Barcelona (1987-95)

Getty Centre, Los Angeles (1984-97)

Ara Pacis Augustae (BC13, reconstructed 1937-8), Lungotevere in Augusta, Rome Museum (2006).13

La Chiesa del Dio Padre Misericordioso, Jubilee Church, Via F Tovaglieri, Tor Tre Teste, Rome (2003).

Peter Eisenman (1932-), Eisenman Architects

House II (Falk House), (1969-70)

New York Five (1972-)

House VI (Frank House), Cornwall, Connecticut (1972-).14

Suzanne Frank and , Peter Eisenman's House VI: The Client's Response, Watson-Guptil Publications, New York 1994.

12 www.answers.com/topic/darbourne-darke-1#ixzz2kHITEAj9 and Darbourne & Darke. An interim report on the work of Darbourne & Darke a handbook to an exhibition at the Royal Institute of British Architects Heinz Gallery,17 May-29 July 1977, RIBA Publications, London 1977 and John Gold, The Practice of Modernism: Modern Architects and Urban Transformation, 1954-72, Routledge, 2007. 13 Closed: Mon. Open: Tu-Sun 9-7 www.arapacis.it www.richardmeier.com 14 Suzanne Frank and Kenneth Frampton, Peter Eisenman's House VI: The Client's Response, Watson-Guptil Publications, New York 1994. This is a rare book written by a client about the behaviour of an architect and the performance of his design; about professional inexperience; and of the predominance of theory over function and buildability.

In 1967 Peter Eisenman (b 1932-) began a series of house designs, termed cardboard architecture, which for other architects would be pejorative, due to their thin white walls and appearing model-like, through which he explored the implications of his theories, embodying what he termed deep structure, through which he attempted to explore the notion of visual syntax. Their complexity came from Eisenman's interest in language and semiotics, derived from Noam Chomsky (b1928-).

His designs consisted of a grid plan and a structure of thin round columns on which were layered planes and referred to by numbers rather than client name (House I (1967) to House X (1982)) each with an explanatory text. That an observer needed a text to understand architecture was debated. They generated two books: House X (1982) and Houses of Cards (1987), the latter dealing with House I to House VI.

House VI, Great Hollow Road, near Bird's Eye Brook, Cornwall, Connecticut (opposite Mohawk Mountain Ski Area), USA, was designed for clients Richard and Suzanne Frank in the mid 1970s, was his second built work, confounds expectations of structure and function. Suzanne Frank was initially sympathetic and patient with Eisenman's theories and demands. She even accepted sleeping apart from her husband when a grid line split their double bed into two. But after years of repairs and rebuilding to the poorly detailed, badly specified and unsupervised house. The architecture is strictly plastic, bearing no relationship either to construction techniques, or purely ornamental form. So the function of the building was intentionally ignored, not fought against. Eisenman grudgingly permitted a few compromises, such as a bathroom. The cost both broke the Franks' budget then consumed their life savings, in this book Suzanne Frank quite reasonably struck back describing both the building’s problems and virtues. She gives Eisenman right of reply and Frampton adjudicates.15

Greater Columbus Convention Center, Columbus, Ohio (1993).

Memorial to the Murdered Jews of Europe, Berlin (2005)

15 www.eisenmanarchitects.com/ Peter Eisenman, Ten Canonical Buildings 1950-2000, Rizzoli, New York, 2008, ISBN 0847830489

City of Culture of Galicia, Archive and Library (2001-11).16

USGS satellite image from Wikipedia, accessed 13 August 2011, of the Greater Columbus Convention Center.

Peter Eisenman, City of Culture, Galicia, 1999-2012.

Michael Graves ().

16 Architectural Record, June 2011, pp 62-73

Charles Gwathmey ().

John Hejduk (). arch 5124 ARCHITECTURAL HISTORY 2 Week 23

FRANK LLOYD WRIGHT (1869-1959).

Terms: Organic, Prairie House.

The greatest American architect. First worked for Louis Sullivan (). Engineering training. Building, furniture, services, site all considered together.

Charnley-Persky House, Chicago, Louis Sullivan and Frank Lloyd Wright, completed in 1892.17

Wright worked with Sullivan as a junior draftsman on houses such as this. Commissioned by James Charnley, a Chicago lumberman, the house was bought and restored by Skidmore, Owings and Merrill in 1986. In 1995, Seymour Persky purchased the house and donated it to the Society of Architectural Historians. The house displays Sullivan’s move away from C19 architectural styles to a more abstract vocabulary looking toward Modernism.

Frank Lloyd Wright House and Studio, Oak Park, Chicago (1889- 95).

Hidden entry, continuous spaces, with few doors, kitchen and fireplace as services core, octagonel studio. It includes Marion Mahoney Griffin's sculptures at the entrance.

Winslow House and stables, River Forest, Chicago (1893).

Horizontality, cantilevered deep eaves, concealed second storey.

(Dana House, 1903).

Prairie Houses, 1900-10.

Horizontality, organically relating to the site, 'dynamic' asymmetry, thin fascias, and fenestration as thin glass ribbons. Interiors: careful control of vision lines, surprise views, succession of spatial experiences, no boxy rooms, often on tight suburban sites, despite their

17 davicobbcraig.blogspot.com, from apparent isolation, Tudor and Japanese influences, lavish leadlight windows, terraces, low walls and planters extend over the site.

Ward Willets House, Highland Park, , 1900-02.

An early prairie house.

Isabel Roberts House, River Forest, Chicago, 1908.

A typical prairie house, tall central living space, low side wings, in a beautiful suburban setting.

*, Chicago, 1908.

The best-known prairie house, on a tight suburban site, with interlocking planer volumes and tremendously influential.

Public buildings

Larkin Office Building, Buffalo, New York, 1904, demolished 1950.

The first entirely air-conditioned and sealed office, but with no humidity control. Monumental, filing cabinets inbuilt to walls, modular partitions, 4-storey atrium, services control the design and massing.

*Unity Temple (Unitarian Church), Oak Park, Chicago, 1906.

An H-plan, the auditorium and parish house linked by an entrance loggia, all in reinforced concrete and integral decoration dematerialises walls and roof.

In 1909, Wright ran off to Europe with his client and neighbour Cheney and fellout with his office manager and head draftsperson Marion Mahoney Griffin. It was the cornerstone of his and her careers.

Imperial Hotel, Tokyo, 1916-20.

A Beaux Arts plan, earthquake resistant from its fragmentation into elements moving independently, heavily decorated from a Mayan influence, with polygonal, sharp-angled forms.

Taliesin, Spring Green, , 1911, 1914 and 1925-.

A Ruskin and Morris-influenced fraternity, but dominated by The Master. A prairie house set into green hillside, of local limestone.

* West, Paradise Valley, Scottsdale, near Phoenix, Arizona, 1938-.

The winter camp for the staff, redwood, 'desert concrete' and a canvas roof, intended to decay as a ruin. An exciting, influential and fantastical design.

*Johnson & Son Wax offices and carpark, Racine, Wisconsin, 1936-9.

Brick bands alternate with welded glass tubing as fenestration, no corners, so tall tapered mushroom columns on brass shoes as a complete structural unit and interiors top-lit.

Johnson Laboratory Tower, 1949.

A tree-like structure, with a vertical cantilevered ‘trunk’ core, off which floors cantilever horizontally, the outside skin as a curtain, supporting no loads except itself.

Later works

*Falling Water (Kaufman House), Bear Run, South-West , 1937-9.

Sited on rocky ledge (boulder penetrates interior, as hearth), waterfall below. Horizontal concrete planes, sweeping cantilevers, stone walls: dynamic composition. Fragments International Style. Corners glazed, all interiors extend as balconies beyond glazing, into landscape.

*Guggenheim Museum, New York, 1942-60.

A spiral ramp and curved walls that are functionally indefensible, but formally startling. Plain walls, its low scale odd in Manhattan, facing Central Park.

The Circle Gallery, 140 Maiden Lane, San Francisco, 1948-.

The , 1953.

OTHER (-1916) ARCHITECTS

William Drummond, Francis Barry Byrne, , Albert McArthur (Albert Chase McArthur), Marion Mahony, and George Willis were Wright’s draftsmen.

Also: E Fay Jones, Percy Dwight Bentley, John S. Van Bergen, Lawrence Buck, Alfred Caldwell, Henry John Klutho, Dwight Heald Perkins, Ransom Buffalow, William Gray Purcell, Isabel Roberts, Robert C. Spencer, Francis Conroy Sullivan, Claude and Starck, William LaBarthe Steele, Andrew Willatzen, Trost & Trost and Taylor Woolley.

Walter Burley Griffin & Marion Mahoney Griffin

George Grant Elmslie (1869-1952) and William Gray Purcell (1880- 1965) in Powell and Elmslie,

Minneapolis, Prairie Style with ornament, 1907-21.

George Washington Maher, 1864-1926.

Chicago architect, Prairie School, blending the traditional with the Arts & Crafts style, c1900- 25. His influence on the Midwest was certainly as great as Frank Lloyd Wright's, his work showed freedom and originality, and his interiors had open and flowing space, with interesting decorative details.

George Washington Maher, Hiram C and Irene Stewart House, Wausau, Wisconsin, 1906.

George Washington Maher, J R Watkins Medical Company administration building, Winona, Minnesota, 1911.

George Washington Maher, Winona Savings Bank, Winona, Minnesota, 1914.

(Francis) Barry Byrne, 1883-1967

After being apprenticed to Wright in Oak Park, 1902-07, moved to Seattle in1908-13 to join Andrew Willatzen, fellow Wright employee as Willatzen & Byrne for residential work. In 1913, Willatzen remained in Seattle, but Byrne moved to southern California where he lived briefly with Wright's sons Lloyd Wright and . In 1914, he returned to Chicago to take over the practice of Walter Burley Griffin who had moved to . By 1917, he was practicing under his own name. He married Annette Cremin an artist, who influenced his work, rendering and interior color and decoration. During the 1920s, some of Byrne's work contained elements of Expressionism. In the 1930s, he moved to New York, but in 1945 returned to Chicago. Roman Catholic churches included: Church of Christ the King, in Turners Cross, Cork, Ireland, 1931. Church of St. Francis Xavier in Kansas City, Missouri, 1949.

St. Benedict's Abbey in Atchison, Kansas, 1951-57.

Church of Saint Francis Xavier, Kansas City, Missouri, Barry Byrne, 1949.

Parish Office, Church of Saint Francis Xavier.

Church of Christ the King.

William Eugene Drummond, 1876-1948. Chicago Prairie School architect, University of Illinois School of Architecture in 1899, at the same time as Walter Burley Griffin was there, but financial difficulties forced Drummond leave after one year. He began working for Louis Sullivan, then for Frank Lloyd Wright. Drummond was chief draftsman for several commissions including the house in Oak Park, the Robie House in Chicago, the Dana House in Springfield, ll, and the Larkin Company

John van Bergen (1885-1969)

Chicago architect born in Oak Park, Illinois. As an apprentice draftsman in 1909 he went to work for Frank Lloyd Wright at his studio in Oak Park, where he did working drawings for and supervised the Robie House and the Mrs Thomas Gale House. He designed prairie style houses in Chicago, mostly in the suburbs of Oak Park and River Forest.18

John van Bergen, Prairie style Andrew O Anderson House, DeKalb, Illinois, c1913.

John van Bergen, Frank Wood Bungalow; Maywood, Illinois, 1914

18 www.prairiemod.com/prairiemod/2009/10/highland-park-housewalk.html

John van Bergen, ‘proposed cottage to house 16 girls.’

John Van Bergen, Charles R Erwin House and Garage, 615 Warwick Road, Kenilworth, Illinois, 1925.

LUDWIG MIES VAN DER ROHE, 1886-1969.19

Terms

Miesian, , curtain wall, pavilion.

His father was a stonemason. He worked Peter Behrens office, 1908-11. He was inspired by the Neo-classicist C F Schinkel and his early works, glass , are Expressionist. A masterly use of materials and precise design details. Two typological themes: pavilion and slab (merely a vertical pavilion?) He said: ‘I don’t want to be interesting, I want to be good.’ No interest in formalism. ‘Less is more.’ ‘God is in the details.’ Robert Venture later responded: ‘Less is a bore,’ and over time, it seems he may have been right.

19www.miessociety.org/legacy/projects/ Influence of Constructivism.

*Office project, Friedrichstrasse, Berlin, 1919.

20 stories, all glass skin clad, crystallyne prismatic form. 3 office wings off central services core. Prototype for subsequent high rise office plans.

Office project, Friedrichstrasse, Berlin.

Glass skyscraper project, 1922.

30 stories. Free-form plan of compound curves, derived from only one window module.

Office Project, 1922.

Rectangular plan, regular column grid, slabs with upstand edge as ballustrade. Particularly influential on subsequent offices.

Brick Country House Project (1922).

*Weissenhof Siedlung, Stuttgart (1927). Model housing estate developed by Deutsche Werkbund. Mies was leader. Mies designed overall layout and one block of flats. Several other known architects contributed designs (Le Corbusier, J.P. Oud, Walter Gropius, Hans Poelzig, Peter Behrens, Max Taut). Cars excluded to perimeter road. Successful with public, promoted Modernism office more effectively than anything else in 1920s. Mies flats: steel frame, rendered, roof gardens.

*Barcelona Exhibition Pavilion, (1929). Open plan, masterly spatial composition, (De Stijl influenced), precious materials (marble, travertine, onyx, polished stainless steel). Slab base, slab roof, vertical planes between. Supported on 8 cruciform columns. Demolished. Rebuilt in replica 1991

Barcelona Chair (1929)]

Tugendhat House, Brno, Former Czechoslovakia (1930). Transfer of Barcelona Pavilion approach to complex private house.

(Bauhaus (1930-33). Director, in Berlin). In 1933, Mies moved to Chicago.

Bachelor Apartment (1931).

Courtyard house with garage. Project (1934). Within walled court.

Glasshouse on Hillside (1934). Sketch. lllinois Institute of Technology, Chicago (1938-56): became Professor of Architecture. 1939: designed new campus master plan. Pavilions: multi-purpose cuboid forms, sheer walls, expressed modular structural grid. Perfect precision of details, all members clearly visible. Forms opposed to functionalism. Boiler House (1950), Chapel (1952), Crown Hall (1952-6). Trusses exposed over roof to give clear internal space: no columns. Architecture school.

Crown Hall.

*Farnsworth House, Plano, Illinois (1950). Pavilion apparently floating above ground level, approached by deck platform. 8 steel I-section columns welded to sides of fascia and floor platforms. Materials: travertine floors, silk curtains, primivera cabinets. Steel polished before painting. No walls.

Farnsworth House.

50 by 50 house, 1951.

A minimal accommodation pavilion.

860 Lake Shore Drive, Chicago, apartments, 1951.

2 tower slabs, 26 stories, at right angles. All steel and glass. I-beam section welded on as decoration, not mullions, for vertical emphasis.

Seagram Building, New York, 1958.

Later, opposite and much larger than Lever House, 1952. No podium, but set back on platform, granite paved. 38 stories. Very expensive fine hand-crafted appearance to details.

Manneheim Theatre Project, 1953.

Flexible open space. Derived from Crown Hall. Opposed to traditional image of theatre.

National Gallery, Berlin 1962-8.

Roof erected on floor platform. Most galleries are in basements, with only the ‘foyer’ exposed. With 8 massive steel columns, not at the corners in the International Style manner, with a subtle Classicism.

Mansion House Square, No 1 Poultry, London.

Model of the Mies van Der Rohe office block for Mansion House Square, London, with Mansion House (lL) and Cooper’s National Westminster Bank building (R), (© John Donat, RIBA Library Photographs Collection).

Model of the Mies-designed tower block for the Mansion House Square scheme, with Lutyens’s Midland Bank (centre) and St. Stephen Walbrook (right), (© John Donat, RIBA Library Photographs Collection). arch 5124 ARCHITECTURAL HISTORY 2 Week 24

LE CORBUSIER (1887-1966).

Terms: brises-soleil, béton brut, bin and bottle, Dom-ino, Golden Section, industrialisation, ineffable space, Le Modulor, pilotis, prefabrication, rue intérieure, radiating lines, sky garden and ville radieuse).

Background

Born Charles-Edouard Jeanneret, Chaux-de-Fonds, French Switzerland. Worked for Perret, Paris (1908-9) and Behrens, (Berlin), Hoffman, (Vienna). The most brilliant and influential C20 architect. Fertile invention. An abstract and semi-abstract painter. As an architect, he became ‘Le Corbusier’ from 1920. He was a phenominologist.

Studio.

Early

Plan for Joseph Hoffman’s Kabarett Fledermaus, 1907.

Mass-produced housing, town planning (identical high rise in park setting, lower between), private houses (white, cubist, on pilotis, open plans).

Dom-ino (1914-15): A completely pre-fabricated and industrialised housing system; it was extremely influential.

(L’Espirit Nouveau, a 1920s magazine he helped found, on arts, sciences, architecture).

(Towards a New Architecture, 1923)

Catalogue of Le Corbusier’s first UK exhibition, ICA, London 1953.

Ozenfant house, 53 Avenue Reille, Paris (1922): No decoration, no historicism, strip windows, flat roof, pilotis (but ground and roof used): shop, garden.

(L’Esprit Nouveau house, International Exhibition of Decorative Arts, Paris (1925). Living cell, built-in furniture, purist shapes. Tree penetrates roof. Now rebuilt as a replica in Bologna, Italy.

Immeuble Locatif (1922). A two-storied apartment unit, with a sky- garden to each.

Two houses, Rue Dr Blanche, Paris (1923)

Cook house, 6 Avenue Denfert-Roucheau, Boulogne, west of Paris (1926). 8m wide terraced house - prototype for small urban family house. Internal partitions separate from structure.

Five points of a New Architecture (1925):

1. Pilotis, that free the ground floor for garden, garage and utility spaces. 2. Roof garden. 3. Column-free internal plans 4. Glass strips, uniform internal day lighting, but with framed external views. 5. Non-load bearing curtain walls, columns set in.

Villa Leo Stein, Garches, south-west of Paris (1927). Detached villa, within cubic shape, free partition layout, Golden Section elevations, roof garden, open ground level. Designed so could be component of complex.

Weissenhof Seidlung, Stuttgart (1927). Two buildings: the Citrohan Unit (1922 design) and flats: with storage walls that divide rooms.

Sofa. A tubular steel frame on a flat steel cradle.

House, Carthage, North Africa coast (1928).

*Villa Savoye, Poissy, west of Paris (1928-31). Cubic shape on pilotis, unrelated to site, controlled views out, Palladian grid with radiating lines. The greatest Modernist house?

Le Corbusier (Charles-Edouard Jeanneret) with Pierre Jeanneret. Villa Savoye Poissy-sur-Seine, France. 1929–31. Wood, aluminum, and plastic, 40.6 x 86.4 x 81.3 cm, The , New York. Purchase. © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/FLC.

(Buenos Aires, sketch), (1929)

Loucheur (Night & Day) House (1929) 400 square feet. Night and day versions.

*Salvation Army Refuge City (Cité-refuge de l’Armée du Salut), Southern Paris (1929-30). Brises soleil fins were ineffective as sun control. A prototype for his later high rises.

Ministry of Education, Rio de Janeiro (1937-43). Sun-control louvres (brises soleil). Free from public spaces ground level. 17 stories.

*Unite d’Habitation, Marseilles (1946-52). 15 apartment floors, 340 apartments, 1600 people 150m length, with a rue intérieure: a two- storied shopping street. Supported on massive pilotis, le breton brut (off form concrete), primary colours. Roof sculptured forms: gymnasium, nursery school, pool, restaurant. Bin and bottle apartment section.

* Le Modular (1948). A proportional system related to the (French 1940s male) human body, derived from the Fibonacci series and the Golden Section.

Unité, Berlin (1957), uses Le Modular system.

(UN Headquarters, New York 1947-50). Wallace K Harrison administered and dominated the built design.

(Maison du Brazil, Paris 1956-9)

*Notre Dame du Haut, Ronchamp (1950-55). Based on Le Modular, plastic form, virile texture, peasant construction, steel frame roof, textured materials.

Site history

Since the middle ages, the 8th of September, day of the Nativity of the Virgin Mary, the Chapel welcomes pilgrims ; the chapel belonged to the Church as property of the parish of Ronchamp. During the French Revolution in 1789 it was sold as a property of the state to a merchant.

A few years later, about forty families and Ronchamp‟s priest decided to buy the edifice back in order to restore it to its initial function: a chapel dedicated to the cult of the Virgin Mary, and also a pilgrimage site to which the local people were still very attached.

Thus, an almost unique and exceptional, the Chapel became private property, although of all of these families. Today, the heirs form the Association based on the law 1901, with regard to ownership of the site, the buildings and the image of the Chapel, in accordance with Le Corbusier’s written will.

During the liberation of Ronchamp in October 1944, the edifice was partially destroyed by artillery. The Besançon-based Diocesian Commission for Sacred Art („Commission diocésaine d‟Art Sacré‟ – „CDAS‟) it proposes to Le Corbusier’s reconstruction; Le Corbusier hesitate then affected by the site (its landscape, its human history and the fervor of its inhabitants) it undertakes to rebuild a building with the stones of the old chapel and a cloak of white-washed reinforced-concrete. “Notre-Dame du Haut” out of the ground in 1955.

Ronchamp Tomorrow” project

Launched at the fiftieth anniversary of the Chapel in 2005, a refection on the future of the site has identified the need to support more visitors to the site

Silence, peace found again and getting back to nature are at the heart of the “Ronchamp Tomorrow” project. Three complementary construction sites have been launched with the Renzo Piano Building Workshop together with the landscape designer Michel Corajoud, to allow visitors to the chapel of Notre-Dame du Haut, both pilgrims and lovers of architecture, to find on the site the serenity they need to take in to the fullest the work of Le Corbusier

The Chapel’s Gatehouse

As a replacement to the current reception building: Renzo Piano will build a new Gatehouse for visitors that is more balanced, spacious, open to culture, architecture and the sacred. It will also be the new headquarters of AONDH.

The convent for the Community of Poor Clares

This will consist of small living and work units for a community of a dozen international Poor Clares on the backside of the site; an oratory, and a place to stay, a spiritual retreat, will be open to all. Renzo Piano will bring the ensemble to life in a discrete way.

The landscape

The hill has been taken care of for more than 50 years but the trees today need to be treated, some replanted; the landscape architect Michel Corajoud plans replanting, remodelling some of the landscape spaces and a landscaped parking area, employing the standards of sustainable development and in the respect the environment.

*Chandigarh, Punjab, (1950-57). Layout of state capital city and major buildings. Sited at foot of Himalayas, on a grid of: 1,200 x 800 m, with a promenade architecturale.

Palace of Justice. Earliest. Vaulted with huge oversailing roof, brise soleil, bright colours behind, spaces, surprise views.

(Secretariat. Next completed. 240m length, articulated to Le Modulor).

(Assembly. Cubes, free form).

(High Court (1954). Acoustic tapestry 150m length.)

La Tourette, near Lyon, France.(1953 - 60). Dominican novitiate monastery. Austere, modular windows.

(Mill-owner’s building, Ahmedabad, India), (1955).

Sarabhai House, Ahmedabad (1955).

*Centre Le Corbusier, Heidi Weber Museum, Hoeschgasse 8, Zurich (1964-6). His last building. Former house. Steel frame, panels. Influence on Norman Foster and Hi-tech.20

Centre Le Corbusier, Heidi Weber Museum.

Pierre Jeanneret (1896-1967).

Swiss architect who collaborated with his cousin Charles Edouard Jeanneret (Le Corbusier) for twenty years. Their working relationship ended when he joined the French Resistance and Le Corbusier did not. However, they collaborated once again on the plan and

20 www.lecorbusier-center.com architecture for Chandigarh, with E Maxwell Fry and Jane Drew. He stayed on in Chandigarh after its construction, advising the local government in his appointed capacity as Chief Architect of the city.

Charlotte Perriand (1903-99).

Extendable dining table, 1927.

She was in charge of Le Corbusier’s and promoted their designs through exhibitions, 1927-37.

3 chairs, 1928.

From Corbusier's principles, the B301 sling back chair for conversation, the LC2 Grand Comfort chair for relaxation, and the B306 chaise lounge for sleeping.

In 1940 she traveled to Japan as official advisor for industrial design to the Ministry for Trade and Industry.

Ski resort, Meribel.

League of Nations building, .

Remodelled Air France's offices in London, Paris, and Tokyo.

She collaborated with Jean Prouve, 1936-62.

1959, she worked with Le Corbusier and Lucio Costa on the interior of their Maison du Brésil, Cité Universitaire, Paris. 1960, collaborated with Ernő Goldfinger on the design of the French Tourist Office, Piccadilly, London.