RISE OF THE MODERN CITY TALL BUILDINGS IN MoMA’S COLLECTION A Guide for Educators

Department of Education at The Museum of Modern Art TABLE OF CONTENTS

1. A NOTE TO EDUCATORS

2. USING THE EDUCATORS GUIDE

3. SETTING THE SCENE

5. LESSONS Lesson One: A New Way of Looking

Lesson Two: Rise of the Modern City

Lesson Three: Vertical Thinking

Lesson Four: Exploring the Design Process

Lesson Five: Designing for the Future

27. FOR FURTHER CONSIDERATION

29. GLOSSARY

32. SELECTED BIBLIOGRAPHY AND RESOURCES

36. MoMA SCHOOL PROGRAMS

No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art. Design © 2006 The Museum of Modern Art, New York A NOTE TO EDUCATORS

It is our pleasure to present this new guide for educators, which explores the development of 1 the skyscraper in urban environments through The Museum of Modern Art’s rich collection. A

This guide is informed by issues posed by the selected works in a variety of mediums N O

(architecture and design, drawing, photography, and prints), but its organization and lesson T E

topics are created with the school curriculum in mind, with particular application to social T O

studies, visual art, history, and language arts. Lessons are accompanied by writing, research, E D

and hands-on, art-based activities that encourage students to make connections between the U C A

works discussed and their environment. T O

The goal of this guide is to introduce students to the design and construction of sky- R scrapers and to demonstrate to teachers the variety of ways in which architecture can be S used in the classroom. The guide’s purpose is not just to explicate works of art, but also to demonstrate how images and historical information can be integrated into different subject areas as well as project-based learning in the classroom. The works featured in this guide were selected for their innovative design and their influence on the development of modern urban life. The guide has been organized chrono- logically, so that students can reflect on the stylistic and technological changes that took place during the twentieth century. Students will be introduced to significant ideas in art and culture from this period, and by comparing a variety of mediums and artistic styles, they will be able to practice observation, articulation, and discussion skills, and will further develop their visual literacy. USING THE EDUCATORS GUIDE

The five lessons that comprise this guide—A New Way of Looking, Rise of the Modern 2 City, Vertical Thinking, Exploring the Design Process, and Designing for the Future— U S

I may be used sequentially or as independent units. The lessons include an introduction to N

G key principles followed by a close examination of each work, including formal analysis and T

H historical context. Discussion questions lead students through their own formal analysis of E

E the artwork and help them create connections between information and visual evidence. D

U The activities that conclude each lesson encourage students to synthesize what they have C A

T learned about the work and carries the lesson into the broader curriculum or relates it to O

R skills students are practicing in the classroom. S G U I D E IMAGES All of the questions, discussions, and activities in this guide are based on the images on the accompanying CD-ROM. Carefully examine each image prior to showing it to your students. Your classroom should be equipped with a computer and LCD projector.

ACTIVITIES The Activities section is intended to help students make connections between their own experiences and the concepts presented in the lesson. Through these activities, students will begin to develop a language for discussing and looking at architecture and art. Feel free to tailor the activities to the skill level of your students.

The materials in this guide provide suggestions for in-depth research projects on specific artists or artistic movements. We encourage you to add your own topics to those we have included.

FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES Additional discussion questions, research projects, and ideas for field trips are included in this section. A Bibliography and Resources section has been included for teachers and students to use in conducting research. The recommended resources provide further infor- mation for classroom activities, as well as on the artists, artworks, and historical topics in this guide.

GLOSSARY A glossary of architectural and art historical terms (in bold upon first mention in each lesson) is included at the end of the guide. 3 SETTING THE SCENE might need s chitects and engineer . the years, Over in engineering advances skyscrapers tall buildings dates back hundreds, back tall buildings dates thousands, even of years, during which f o addition to the architect and the engineer, the architect addition to people, other many are there as such f to her or him and invite community in your an architect locate to Architects y n r o Web site for teenagers, for site Web video footage of which features interviewing teens artist I erials have enabled architects to design and create different types different of design and create to architects enabled erials have tall buildings o . e s ’ t y u follow-up to your discussion, your to follow-up of local chapter your contacting consider American the ilit it a to do their work. Have them imagine the steps involved in designing and constructing a building.imagine the them Ask them Have what choices need to be made at each step. materials ar Ask your students what kinds of tools and Ask your students to describe an experience they have had as part of a team of people. Ask your students to describe an experience oMA ETTING THE SCENE ETTING s he hist our classroom to speak students. with to your our classroom Studio (www.moma.org/redstudio), Red Visit nst architects and engineers have attempted to build ever-taller structures, ever-taller build to attempted and engineers have architects pyra- ancient from mids and cathedrals modern-day to THINKING ABOUT TALL BUILDINGS THINKING ABOUT TALL T occupants, many accommodating offices used for commonly housing hotels, also but apart- ments, hospitals, museums. or time, Structures over change the environment to responding the needs ofas well as to who them. the people inhabit A I y M and mat • • Acconci. Vito and architect • Architecture is the science behind of the design and construction is the science Architecture and structures. buildings “architect” The word is of Latin derivation, builder.” “master that means a word from design live, the buildings and structures we in which Architects work, and play. archi- The not be possible would without every the vision experience of day we tecture the architect with the structuralcombined expertise of the engineer. the overall creates The architect vision of will the building it will look the way and how be used. is the job of It the engi- neer, specifically a structural engineer, stand up, the building make to ensuring its safety and stab and draftspeople,model makers beginning end. to from part who take in the design process UNDERSTANDING ARCHITECTURE UNDERSTANDING S ? al rur or , suburban , urban Ask students how they would identify their neighborhood: Ask students how they would identify their in their neighborhood and describe them. Ask students to name the types of buildings Have them name some characteristics of the neighborhood to support their responses. Have them name some characteristics • • The term “skyscraper” The term constructed the first tall buildings were after in the 1880s was coined in Chicago, Illinois, boom population forced the thriving where urban environment’s was space: there where direction design the only buildings in to architects there, up! From suit. followed York New the first half For of the twentieth century, and York New only had skyscrapers;Chicago half in the second of the century, in cities built skyscrapers were the world. all be found over and can now States the United outside sky- features This guide and abroad. States both in the United scrapers urban designed environments for

4 SETTING THE SCENE LESSONS

LESSON ONE: A New Way of Looking

5 L E S S O N S

IMAGE ONE: Berenice Abbott. American, 1898–1991. South and DePeyster Streets, Manhattan, November 26, 1935. 1935. 1 9 Gelatin silver print, 9 ⁄8 x 7 ⁄16" (23.2 x 19.2 cm). The Museum of Modern Art, New York. Gift of the Robert and Joyce Menschel Foundation

IMAGE THREE: László Moholy-Nagy. American, IMAGE TWO: Berenice Abbott. born Hungary, 1895–1946. From the Radio American, 1898–1991. Exchange 11 Tower, Berlin. 1928. Gelatin silver print, 13 ⁄16 x Place, New York. 1933. Gelatin sil- 1 5 1 10 ⁄4" (34.8 x 26 cm). The Museum of Modern ver print, 9 ⁄16 x 2 ⁄2" (23.7 x 6.4 Art. Anonymous gift cm). The Museum of Modern Art, New York. Anonymous gift . and middle , tenement , as well as terms foreground ent. . background pattern . , and and , ound and that the scene might look pattern form , and South and DePeyster Streets, Manhattan , of photography,ques- viewers to they invited s middle ground shape , , form , Abbott’ ound to backgr medium color . egr , ecent changes that have been made in their neighborhoods ecent changes that have been made in their shape and a skyscraper in the background.and a skyscraper out that the size Point , line foreground efully at om for color : is a vendor and his cart in the foreground, There a ound, , viewpoint line background ate on the board. Have them look out the window again, this time covering one and Ask them to discuss how and why the same objects look differ Ask them to discuss how and why the same oduce the terms . for describing objects such as ground To help students explain what they are seeing, help students explain what they are To the terms introduce building in the middle gr Have your students look car eye Ask students to think about any r describe what they see, using the vocabulary they have learned. of the buildings changes fr Intr window and describe what they see.Have students look out the classroom List the words they gener Students will learn observational techniques. in their community. Students will become familiar with buildings Students will learn the terms Students will compare and contrast works of art. and contrast Students will compare Ask them what impact these projects have had on the neighborhood. Ask them what impact these projects different from another from different bbott spent several years documenting scenes in New York City.York in New comes This photograph scenes documenting years several bbott spent from one of one from series of her the subject. on works • IMAGE-BASED DISCUSSION • A • INTRODUCTORY DISCUSSION INTRODUCTORY • • • • • LESSON OBJECTIVES • tion what they saw in images oftion what they saw environment. the built this, do to order In they to needed of a new way create looking at this environment, highlighting thingsthat people might not see.ordinarily ofreplacement was the that helped in this endeavor One advance early cam- eras, objects, large and bulky which were with lighter, hand-held versions. INTRODUCTION During early part the of century, the twentieth and science in advances many were there of lives the everyday influenced technology that greatly ordinary people. started Cities to and change,grow of as the development such advances technological to responding the railroad, of the introduction machinery in agricultural practices, in demand the decrease labor, manual for the rise of urban industries, of and the placement in suburbs factories the city.outside these dramatic to changes, response In of artists new ways developed observing their environments. and documenting and László Moholy-Nagy Abbott Berenice artists. such two were the Through

6 LESSONS 7 LESSONS st . spective From the Radio Tower, Berlin. Exchange Place, New York. aph is similar to the viewpoint in the fir . she saw in the streets of in the streets she saw York, New the contrasts also by and perspective y efully at Moholy-Nagy’s efully at Moholy-Nagy’s t r e v o eaking p r b t by advances in technology and construction. advances by cars, She saw trains, on and trolleys d e ler, buildings. dilapidated more sk students to consider where the photographer was standing when she took this was the photographer where sk students to consider hotograph.of one of Abbott was standing on the top floor Have them imagine that he tall buildings. might look like. Discuss what that photograph l. every- The viewpoint a position above used—looking from the photographer down photograph they looked at. they looked photograph Discuss why or why not. Ask students whether the photograph conveys a sense of height.Ask students whether the photograph Discuss why or why not. Ask them why they think the artist chose an aerial per Ask them to imagine where Moholy-Nagy was when he took this photograph.Ask them to imagine where Have them their findings. discuss the possibilities with a classmate and report Have your students look car Ask them to describe in detail the lines, shapes, and patterns they see. Ask students if the viewpoint in this photogr Ask students to describe the view in the image.Ask students to describe be Have them imagine what it would be in this place. to like Ask them to describe what they would see and hear. Abbott was standing when she took the photograph. they think Ask them where A p t Have students and the background. in the foreground sizes of the buildings the compare be the same size. to its left appear to the taller building in the tenement and The windows life. size in real the same those windows are Ask them if or why not. Discuss why Next, Abbott’s at your students look carefully have eat roject,pro- to in the 1930s Roosevelt Franklin President that was established by a program • • • of at the top stood Moholy-Nagy in Berlin, a radio tower Germany, this photograph take to in 1928, was built. meters) the tower after years 493 feet (150 two is approximately The tower tal thing else—is called an aerial • • • part ofThese photographs were Arts the Federal by Abbott from a series commissioned P art public to expose the artists and to and its importance for vide work during Depression the society. City. to York New moving to before in Paris as a photographer worked Abbott States, in the United she first arrived When the unbelievable she was surprised by wealth and the hear cr • • milk carts. horse-drawn among the streets over new skyscrapers towering were There smal • this photograph,In sky- when the visual focus on effect that is created to chose Abbott together. close scrapers built are deep, extremely buildings create The that spaces narrow canyons,resemble a structure in natural found environments. • • hy or why not? W espond with its use? om the windows? record students’record experiences. and individual personal Encourage o the buildings? nal e nal is meant t , an art and design school in Germany. hat views do they offer fr ave students hold their right hands over their right eyes and look straight ahead.look straight right hands over their right eyes and ave students hold their Have hape of the objects they see change as their hands change position.hape of the objects they Ask them if the actual hem move their hands farther away from their eyes and describe how the size and the their eyes and describe how farther away from hem move their hands Does the design of each building corr Do their designs make them stand out from or blend in with the rest of the neighborhood? of the or blend in with the rest them stand out from Do their designs make W buildings made of? the different are materials What How tall ar H t s illusion. changing and what else might explain the size of their hands is Moholy-Nagy stood. to stand where it would be like Have them imagine what Ask them he saw,what else they think in the photograph. what is recorded beyond his jour them to make sketches, make to them magazines and newspapers, from out images cut attach and person- own. her it as his or identifies that clearly the journalalize in a way These journals can be verymade with paper and a stapler, easily sturdy notebooks can be decorated. regular or • T • • • ACTIVITIES Design Jour week, one For of their experiences record a journal to create students your have the buildings of the course they over use day. each the following: consider them Have • In addition to being a photographer, addition to In at the and a teacher was also a painter Moholy-Nagy Bauhaus • • With this approach,With view has focused our in a very specific way. Moholy-Nagy Unlike photographs,Abbott’s above. illustrates a view this one from expe- us to The viewpoint forces the heightrience as if when was Moholy-Nagy actually in the same place standing were we the photograph.he took of a sense is not only result The height, view also a but of what the above. from look like surroundings tower’s

8 LESSONS LESSON TWO: Rise of the Modern City

IMAGE FOUR: Hugh Ferriss. American, 1889–1962. Buildings in the Modeling. Aerial perspective. 1924. Conté crayon 9 1 on board, 12 ⁄2 x 32" (31.8 x 81.3 cm). L E S

The Museum of Modern Art, New York. S Gift of Mrs. Hugh Ferriss, 1966 O N S

IMAGE FIVE: Heinz Schulz-Neudamm. German, 1899–1969. Metropolis. 1926. 1 Lithograph, 36 ⁄2 x 81" (92.7 x 205.7 cm). The Museum of Modern Art, New York. Gift of UFA (Universum-Film- Aktiengesellschaft)

IMAGE SIX: E. McKnight Kauffer. American, 1890–1954. Metropolis. 1 1926. Gouache on paper, 29 ⁄2 x 17" (74.9 x 43.2 cm). The Museum of Modern Art, New York. Given anonymously further establish o T , such as a computer program alive then. e Ask students to consider the . evious lessons, give your students some om pr fr , while continuing to discuss what they see. ) conceptual society; worried that, others time, over human Buildings in the Modeling. form and awing dr and s erriss’s erriss’s utopian , ound information about the industrial developments of the ound information about the industrial developments utopian erriss’ shape , line . drawings of cities might what look these future like. ound information on F

backgr Ask students whether they think it is a real or imagined place. Ask students whether they think it is a real and why they think this drawing Ask them what material they think the artist used to make he chose it. Ask your students to describe what they see in this drawing. It may be helpful for them to to someone who cannot see it. describing the drawing imagine that they are Using the vocabulary ( Have students imagine a world without elevators, refrigerators, or cars. Discuss what their lives would be like, whether they would be different, and why or why not. Begin by showing your students F Have students describe any new technology they can think of Have students describe any new technology and e-mail. or communication systems such as cell phones and whether it is a positive or negative effect. effect these inventions have on their lives Give your students some backgr people who wer twentieth century and their impact on the Students will compare and contrast graphics and drawings. graphics and contrast Students will compare their own works of art that document their neighborhoods from Students will create perspectives. Students will learn the terms Students will become familiar with the industrial developments of the twentieth century familiar with the industrial developments Students will become and society. architecture and how they affected the development of urban environments. Students will explore the idea, visit the Skyscraper Museum’s Web site (www.skyscraper.org) for a visual timeline the idea, site (www.skyscraper.org) Web Museum’s visit the Skyscraper of tall buildings

• • • • • IMAGE-BASED DISCUSSION • • INTRODUCTORY DISCUSSION INTRODUCTORY • • • • LESSON OBJECTIVES • • conceptual INTRODUCTION the turn ofAt the century, at a rapid pace. engineering technology and mechanical advanced production. machine-based objects toward and handmade from away Society moved quickly everything the way This changed was produced, buildings. including the accommodate To population,growing started house more designing taller structures could that architects activities.and more people be tall the ideal that these buildings would people believed Some a structures with create to which beings would be replaced by machines and buildings. machines by beings be replaced would and artists to responded Architects what documenting they by these hopes and anxieties saw, not only rendering by also but

LESSONS 10 This is a conceptual drawing of a city scene—a hypothetical view of a city. Ferriss used Conté crayon, a kind of pastel that is rich in pigment and very smooth, to create this draw- ing. The richness of the Conté crayon helped him capture a particular mood or feeling.

• Ask students to imagine what it would be like to step into this place. Ask them what they would see and hear and how they would feel—excited, scared, or bored.

• Have them write a first-person narrative of their imagined experiences.

Ferriss often drew images of an endless series of skyscrapers hovering and surrounding a city’s inhabitants. In some cases he was drawing what he actually saw; in others, he was creating imaginary cities of the future. 11 L E

• Before you show your students Neudamm’s Metropolis, have them think about what life might S S be like one hundred years from now. Have them consider whether it would it be different and O N how. Ask them what the people and the cities would look like. After they look at Neudamm’s S poster, have them compare their answers to what they see.

• Have them describe what they see in the poster’s foreground, middle ground, and background.

This is a poster advertising Metropolis, a 1926 film directed by Fritz Lang. The movie takes place in 2026, one hundred years from when it was made.

Like Ferriss, Lang created art that reflected what people feared would happen to the world. He chose the medium of film to imagine the year 2026. In Metropolis, machines have taken over the world. The setting is a futuristic cityscape in which things appear distorted. This was a choice the director made; by creating a place that seems familiar but isn’t, he creates a foreboding mood.

• Next, have your students look at Kauffer’s Metropolis poster.

Edward McKnight Kauffer was a painter and designer living and working in England during the early part of the twentieth century. He eventually gave up painting to focus exclusively on commercial art and design. He created graphic posters for many companies and organiza- tions, including the London Underground and the Film Society, an organization that he founded in 1925.

• Have your students describe in detail what they see in the poster’s foreground, middle ground, and background.

In 1926, Kauffer created posters based on the film Metropolis. In this preparatory study, he was interested in exploring the relationship between man and machine, as were Lang and Ferriss, and chose to illustrate this through the medium of graphic design.

• Ask students to describe how Kauffer uses form, color, and type design (the specific shapes of the letters) to convey his ideas.

• Have your students compare Kauffer’s poster to Neudamm’s Metropolis poster.

• Have your students choose and write down five words that best describe each image, con- centrating on the stylistic choices the artists made. Older students should be encouraged to use adjectives instead of nouns. and show it to your students. your it to and show Metropolis , other materials? ete in the neighborhood? Row houses, skyscrapers, concr e steel, nal presentation based on their observations from the walk. their observations based on from nal presentation This can ent activities that take place there? Working, place there? ent activities that take shopping, playing? nsio ent types of buildings ar they made of? Brick, the differ o-dime e e tw a e hat ar hat ar hat differ

W W the community? from is missing What W Next, image. mood conveyed in each best describe the that write down five words have them single-family homes? eat CTIVITIES

f about a participatory information for can do this guide that the students design project take the form of the form take maps, writing, collages, drawings. or of the rest and invite the classroom around post their work the students Have come to members the school and community see it. If this project, extend to like would you section Further Consideration the For consult o as a group. their study: for research when compiling the following consider students your Have • • • • After viewingAfter film, the again. posters two the compare them have discuss to them Ask of the mood feeling or conveys most effectively which image the film. support them Have withtheir claims visual evidence. A Neighborhood Study of a walking tour on students your Lead the neighborhood. worm’s from perspectives Include eye—trying and heights to places look at the neighborhood different to from bird’s to eye viewing multiple for allow perspectives. in their experiences observe and record them Have their design journals. the sights, document to them Ask sounds, and smells of the neighbor- hood, as well as the buildings, with drawing, writing, (Polaroid, and photography disposableor cameras be can used). digital, height building to attention close should pay Students and size. their studies, primary for material provide source To interview may people students and which the years the neighborhood about how over has changed the community from most important.buildings they are feel the classroom, return to you When student each have cr • the lesson, extend To of obtain a copy the film

LESSONS 12 LESSON THREE: Vertical Thinking

13 L

IMAGE SEVEN: H. Blancard. Untitled IMAGE EIGHT: H. Blancard. Untitled E S

(construction of the Eiffel Tower). February (construction of the Eiffel Tower). April S

1 11 1 11 O 8 16 8 16 10, 1888. Platinum print, 6 ⁄ x 8 ⁄ " (15.6 x 1888. Platinum print, 6 ⁄ x 8 ⁄ " (15.6 x N

22.1 cm). The Museum of Modern Art, 22.1 cm). The Museum of Modern Art, S New York. Purchase New York. Purchase

IMAGE NINE: H. Blancard. Untitled IMAGE TEN: H. Blancard. Untitled (construction of the Eiffel Tower). June (construction of the Eiffel Tower). August 15 1 15 1 1888. Platinum print, 8 ⁄16 x 6 ⁄8" (22.4 x 1888. Platinum print, 8 ⁄16 x 6 ⁄8" (22.4 x 16 cm). The Museum of Modern Art, 15.6 cm). The Museum of Modern Art, New York. Purchase New York. Purchase

IMAGE ELEVEN: Fairchild Aerial Surveys, Inc. The Mount Everest of Manhattan: The Silvered Peak of the Chrysler Building. 3 13 1930. Gelatin silver print, 8 ⁄4 x 6 ⁄16" (22.2 x 17.3 cm). The Museum of Modern Art, New York. The New York Times Collection Building Big Ask them how they if elevators had never been invented. if elevators e Discuss why or why not. . ent. cladding and aphs of the Eiffel Tower being constructed. Tower aphs of the Eiffel at ziggur DISCUSSION Y

think people traveled up and down it. think people traveled Have them consider whether life would be differ Have them consider whether life would be Ask students to imagine what it would have been like to be a citizen of Paris while the to be a citizen of Paris Ask students to imagine what it would have been like tower was being constructed. when it the tower Ask them if they think everyone liked built. was first Have students imagine what purpose the tower might have served. Have students turn their ideas into a piece of creative writing. Have students turn their ideas into a piece of creative Show your students the four photogr Have students imagine what everyday life would be lik Have students imagine what everyday life tall buildings would be like. Ask students to imagine what a world without Students will become familiar with the roles of architects and engineers. of architects Students will become familiar with the roles and history. connections between architecture Students will make Students will learn the terms Students will explore the inventions and material innovations that made the construction the inventions and material innovations that made the construction Students will explore possible. of skyscrapers

• • • IMAGE-BASED DISCUSSION • INTRODUCTOR • • • • • LESSON OBJECTIVES • (www.pbs.org/wgbh/buildingbig) to learn more about this building. learn more to (www.pbs.org/wgbh/buildingbig) These designinno- of also used in the construction vations were the Tower, as the Eiffel famous structures such Statue of Liberty, Bridge. and the Brooklyn INTRODUCTION at the turn of quickly growing were Cities century, the twentieth architects as a result and began design with buildings to a vertical orientation. 1853, In Otis introduced Elisha Graves York. the shape of changed Yonkers, invention This New first safety in elevator the world’s the world.modern then, Before six stories, or than five taller not be built could buildings because transport to higher the was no way objects floors; and people to there of the invention the ele- those limitations. rise buildings to beyond allowed vator is still Company The Otis Elevator in existence, of many for elevators providing use every we the buildings day. century, the late-nineteenth In engineers began of experimenting with new ways using iron and steel. transportation used for as were structures these materials such Traditionally bridges, train tracks, stations. and railway trial Through and error, engineers developed of made skeletons steel support beams to tall buildings. and horizontal vertical columns (1884 Building Insurance The Home –85) with be a constructed was the first to in Chicago the television program for structure. steel-frame site complete Web the PBS Visit

LESSONS 14 LESSONS 15 , shape , line and why or why not. it, e ounding buildings in the neighborhood. whether they lik , e or “wedding cake”“wedding or form. This style of com- building vely receding stories and was used as far back as the as far back and was used stories receding vely essi c ziggurat uc ith s . w e the style of the building to surr e ound it frivolous compared with the more sedate-looking buildings being with sedate-looking the more compared ound it frivolous . f in 1930, its construction tallest struc- the Chrysler was the world’s Building ple f from previous lessons. previous from o amid shap ) e lest structure in the world at 1,046 feet (319 meters) high. meters) at 1,046 feet (319 lest structure in the world features The building r y owers ofowers Assyrians and Babylonians. the ancient have your students examine the surrounding structures and compare their size to that their size and compare structures have your students examine the surrounding ime o form me p cityscape the Chrysler Building so the t Ask them what their opinions of the design ar Have your students find the spire in the photograph. Have your students find the spire Have them compar of Next, Next, top of the building. have them look at the reminds if the shape they see there Ask them seen. them of other forms or buildings they have Have them describe what they see using the vocabulary and concepts (such as what they see using the vocabulary and concepts Have them describe that describe what they see in the photograph. Ask them to write down five words Next, of the Chrysler Building. Aerial Surveys photograph show your students the Fairchild and steel skeleton covered with skin of cladding—a covered skeleton steel our own like brick and metal—much mple t t uilding, until the very it hidden last moment. keeping was myth is that the spire Another ines a p e The Chrysler Building was not the world’s tallest long. structure for The Chrysler world’s was not the Building was soon surpassed It Building, State the Empire by the following year. which was completed t • • • A tall anywhere. building and the most-decorated ture with was adorned The building large car parts and designs that recalled and mudguards. gargoyles as hubcaps such steel P. the technological that reflected in a building Walter Chrysler was interested Automaker ofadvances modern times. the general pub- from response a strong The design provoked lic; at the time.constructed the create to architects among has it that competition Legend the inside spire (56-meter) the 185-foot construct to Alen Van tallest structure led world’s b blimps. designed for as a dock • The Chrysler Building, Company, the Chrysler served as the headquarters for which Motor Alen. Van William the time of architect was designed by At its construction, the building was the tal a bodies, them. protect support and skin to them to skeletons which have section The upper of was styled the building in a b • • • At the time ofAt its construction, Tower, feet (324 meters), at 1,063 the Eiffel was the tallest structure world. in the Eiffel, Gustave after was named It of the founder spe- a company designing structuralcializing in the Statue of known for (he is also metalwork Liberty’s structural support). primary structural building focus was supports for The company’s stations.bridges and railway of became which an icon Tower, The Eiffel modernity, not was surpassed in height City. until 1929,York in New when the Chrysler was erected Building The tower, with equipped of an Otis Fair elevator,World’s the for was built was and 1889 the fair; after be demolished originally to going instead, of feature it became a defining the Paris ). tension -x-11-inch copies of-x-11-inch the 2 ⁄ 1 and pulling them apart (to create and pulling apart them create (to compression)

image of a new skin and design and create students your the Chrysler and have Building with the building collage; for ornamentation paper in a variety provide of and tex- colors a range of explore to them allow to tures possibilities. with their work a share them Have New the high over towering and discuss what look like their new designs would classmate City skyline. York structural-engineeringhands-on a students using toothpicks, experience your Give string, and gumdrops. pushing their structures stable by make to with experiment them ways Have create (to the materials together materials,Some as bricks, such when compressed, strong are and others, cables, as steel such tension,provide falling down. from elements the building’s which keeps ACTIVITIES landmark structures of Chrysler and the were Building Tower Both the Eiffel their time. the past, significant from other constructions research students your Have those of as such the Egyptians, structures as well as modern of twentieth and twenty-first the centuries. section of resources the online Consult of images more research to this guide the Chrysler Building. sculptural the that was ornamentation to attention close pay students your Have was finished. construction after the building to added 8 out Print

LESSONS 16 LESSON FOUR: Exploring the Design Process

17 L E S S O

IMAGE TWELVE: Ludwig Mies van der Rohe. IMAGE THIRTEEN: Ludwig Mies van der N American, born Germany. 1886–1969. Rohe. American, born Germany. 1886–1969. S Seagram Building, New York. 1954–58. Seagram Building, New York. 1954–58. Site View of north side. Photo: Hedrich Blessing. and floor plans. Ink on illustration board, 1 The Museum of Modern Art, New York 27 ⁄2 x 20" (69.9 x 50.8 cm). The Mies van der Rohe Archive

IMAGE FOURTEEN: Ludwig Mies van der IMAGE FIFTEEN: Ludwig Mies van der Rohe. Rohe. American, born Germany. 1886–1969. American, born Germany. 1886–1969. Seagram Building, New York. 1954–58. Seagram Building, New York. 1954–58. North and west elevations. Pencil on ozalid, Model, aerial view of plaza and lower floors. 1 37 ⁄4" x 52" (94.6 x 132.1 cm). Revised Photo: Louis Checkman. The Museum of February 18, 1957. The Mies van der Rohe Modern Art, New York Archive

IMAGE SIXTEEN: Ludwig Mies van der Rohe. IMAGE SEVENTEEN: Ludwig Mies van der American, born Germany. 1886–1969. Rohe. American, born Germany. 1886–1969. Seagram Building, New York. 1954–58. Seagram Building, New York. 1954–58. Construction photograph showing steel View, office interior. Photo: Ezra Stoller. frame. Photo: House of Patria. The Mies van Esto Photographics der Rohe Archive. Gift of the architect . scale , and ornamentation Ludwig Mies van der Rohe. van der Mies Ludwig , 23 x 24" (80 x 58.4 x 61 cm). 23 x 24" (80 x 2 ⁄ 1 f construction, modern setting the style for cantilever o , n o ift of International, Knoll Inc., USA he Museum ofhe Museum Art, Modern York. New eather, 31 MAGE EIGHTEEN: T G I American, born Germany. 1886–1969. Brno Chair. 1929–30. and steel Chrome-plated l elevation , . came an ic e plan n) b w States, Canada, and Europe. of The youngest Aachen, in children five the design process through photographic documentation and photographic through the design process movement. d e kno ould build a corporate office building in New York City to house its house City to York in New building office a corporate ould build e l w il nit y al plans and elevations rolific architect,rolific designing homes, buildings, office banks, museums, and school mpan o in the U s apers in New York for years to come. to years for York apers in New the c chitectur scr y

Students will compare and contrast works of architecture and industrial design. and works of architecture and contrast Students will compare Students will become familiar with the work of Mies van der Rohe and the International Style Students will learn the terms Students will explor the history of a building. documentation to explore Students will use primary-source ar ies was a p odern Art, odern design the building, to commissioned were in 1958. which was completed The y uilding (as it is st

uilding INTRODUCTORY DISCUSSION INTRODUCTORY M b • • • headquarters. of the east side land on purchased The company 52nd between Avenue Park the building. for streets as the site and 53rd Philip and Rohe der van Mies Ludwig Architects Johnson, of who at the time was director the Department of of at The Museum Architecture M tall and has forty-two meters) floors,Seagram stands 525 feet (160 Building and the total was $45 million. the project budget for 1983, In Lehman to sold the building the company firm,Brothers, financial investment York New $375 million. a prominent for The Seagram B sk LESSON OBJECTIVES • • In 1954,In E. Joseph of Seagram that in celebration announced & Sons anniver- its hundreth sar INTRODUCTION Germany, Mies worked in his father’s stone-cutting shop until he was thirteen years old, until shop he was thirteen years stone-cutting Germany, in his father’s worked Mies gain- as an architect. on draw later that he would experience ing valuable he was nineteen, When Behrens, with work Peter Berlin to to he moved who specialized in the design an architect of and houses. factories his first commission, was during received this time It that Mies a in Berlin. at the university a professor for residence private 1933, to 1930 From was Mies

LESSONS 18 the director of the Bauhaus, a school for art, architecture, industrial design, and crafts that was founded in 1919 in Weimar, Germany, and moved in 1928 to Dessau. Mies’s position at the school coincided with the rise of Adolf Hitler, who severely restricted many freedoms and activities, including cultural and artistic production. Under political pressure from the Nazi regime, which was staunchly opposed to modern art and architecture, Mies was forced to close the school. In 1938, he came to the United States, where he became director of the architecture department at the Armour Institute of Technology (now the Illinois Institute of Technology). He died in Chicago, Illinois, in 1969.

• As a class, discuss what the term “modern” means.

“Modern” can mean “related to current times,”but it can also indicate a particular set of ideas 19 about form and structure that, at the time of their development, were new and experimental. L E

“Modern architecture” is a term that refers to buildings designed in a style that first appeared S S in the early-twentieth century and continued through 1970. O N S

IMAGE-BASED DISCUSSION • Begin the lesson by showing your students the photograph of the Seagram Building, view of north side (Image 12).

• Have them describe the shape of the building.

Mies’s works are often referred to as belonging to the International Style of architecture. Some of the distinguishing features of the International Style are sleek, simple designs; flat surfaces and rectangular shapes; and the use of materials such as glass and steel. This term was coined for a 1932 exhibition at The Museum of Modern Art called Modern Architecture: International Exhibition. It was an exhibition that ignited the public’s interest in modern architecture.

• Share with your students the definition of the International Style. Ask students if the design of the Seagram Building reflects the characteristics of the International Style. Discuss why or why not.

• Continue the exploration of the Seagram Building by showing your students the site and floor plans and the north and west elevations of the building (Images 13 and 14).

Before construction can begin, architects and engineers create two-dimensional plans and drawings of the design and build a three-dimensional model of the building to clarify their intention for it. This elevation is a side view of the north and west sides of the Seagram Building. Both of these sides are visible in the photograph. The plan is a two-dimensional drawing from a bird’s-eye view.

Plans and elevations serve as orientation tools for architects and engineers as the building is being constructed. Once they have refined their drawings and made all the necessary revisions, they will create a master (finished) set to serve as the official record of the project.

• Show your students the photograph of the model of the building (Image 15).

The three-dimensional model of the building was constructed to scale, according to the architect’s instructions.

• Ask students to describe what they see. aph. . visible in the construction photogr and is a familiar style today, at the but e cantilever es in the plans ar in 1930 for a house, for in 1930 Mies, also designed by in Brno, Czechoslovakia d ne ity environment. the structure between and the surrounding v i t esig c ram building, was designed Building primarily as an office which was the most ple and a eag hair was d o e design before it is built. it design before ave students think about how this practice informs the final construction of the building. informs the final construction how this practice ave students think about how your students the construction photograph that displays the steel frame of the building frame that displays the steel construction photograph how your students the of be designed mass-produced, to were the objects in the office the Brno Chair. including

p Ask them if they can locate the chair in the photograph of the office interior. Ask them if they can locate the chair in the photograph Have students make a list of all the objects they see in the photograph of the office interior. a list of all the objects they see in the photograph Have students make their findings with those of other students. to compare Have them gather in small groups Now show your students the Brno Chair (Image 18). Ask them what kinds of activities they think happen in this space Ask them what kinds of activities they think Show your students the photograph of the office interior (Image 17). Show your students the photograph Ask them whether all of the featur (west) side of the building and ask them what they see. Have them look at the front Have students compare the construction photograph to the plan and elevation drawings. the construction photograph Have students compare to those in the photograph. in the plan correspond Ask them which features H S (Image 16). Have them compare the plan and elevation to the photograph. the plan and elevation compare Have them to locate in the Ask them see in the photograph. shapes that they elevation the of versions three-dimensional two- and to create necessary why they think it’s Ask students a Discuss why or why not. l l he S he c

f (now the Czech Republic), the Czech (now use. and office both residential for it was intended but The tubu- framelar steel of a is based on the chair time it was considered avant-garde.time it was considered and can be purchased is still This chair in production dealers. furniture through • A T • • • T function ofcommon skyscrapers at the time, use by the building’s expanded Mies but restaurants and an apartment two building.including Both architects, and Johnson, Mies all aspects to ofcontributed the design, of the development including signage and way- the building. finding throughout In Mies’s design, Mies’s In is set ninety the sidewalk, the building back feet from a plaza in creating offront the building. multiple viewpoints— from see the building people to This allows a flow for space right provides come up close—and it or they admire and stand back can o • • • • • • • being was built.the building as taken This photograph was photographs, Construction withalong the plans, elevations, and models, ofdocumentation serve as project the entire start finish. from to • •

LESSONS 20 LESSONS 21 and r e pap h ap r using g y b io at architecture.) Mies had wanted Mies architecture.) r sustainable . n io ntat name r o duce the concepts of concepts the duce scale and o r liography and Resources section of and Resources liography further for this guide information ib can int y io of foot. one to box one they begin Before draw, to decide, to ask students he at the B place ofplace applied T in in s. r e d by asking the students to map rooms in their homes. map rooms to asking the students by the information Consult o e o ur t n ning a r ud l uc out plans and elevations.out Ask students if they feel Mies accomplished his goal of creating an illusion of structure. his goal of creating Ask students if they feel Mies accomplished Ask your students if they can locate the I-beams in any of the images. they can locate the I-beams in any of the Ask your students if Have students itself. to the building the furniture compare common design Ask them what they see. characteristics elements or Style movement. the ideals of the International if the Brno Chair fits Ask students Discuss how. r inc as a group, what of kind in their maps. should be information included this can expand You lesso assig ACTIVITIES plan and elevation views create of students your Have the classroom. They can use simple various identify details, to (a map legend) a key develop shapes to as furniture, such windows, and d • • the outside, visibleThe beams are from of the very top running vertically from the building the bottom.to of look and see the illusion at the building hoped that people would Mies structure. ideal, with his less-is-more keeping In glass and the skeletal used colored Mies st Nonstructural glass walls were hung on the steel frame steel of the on glass hung Nonstructural walls were the SeagramBuilding. glass The stability; the building’s to contribute not does instead, a wrapping. like it is used to liked Mies use glass, light, provides which transparency, and reflection, plans for conceptual and made built. never glass skyscrapers that were many it at the time, know didn’t (He glass but is a be in developing used later that would material • • the skeleton ofthe skeleton be visible, to the building that structural dictated codes steel building but hazard. not be exposed because a fire it was could Instead, used nonstructural he bronze structure. imply I-beams to As a follow-up, Design,As You can participate students in activity on an interactive featured Studio (www.moma.org/redstudio), Red site Web the design a school in which students environment. ab LESSON FIVE: Designing for the Future

22 L E S S O N S

IMAGE NINETEEN: Ken Yeang. Elephant and IMAGE TWENTY: Ken Yeang. Elephant and Castle Eco Towers, London. Project: 2000. Castle Eco Towers, London. Project: 2000. Section plan, preliminary scheme. 2000. Model, from above. 2000. Computer- Computer-generated model, dimensions generated model, dimensions variable. variable. T. R. Hamzah & Yeang T. R. Hamzah & Yeang

IMAGE TWENTY-ONE: Rem Koohlaas and Ole IMAGE TWENTY-TWO: Rem Koohlaas and Ole Scheeren. Central Chinese Television (CCTV) Scheeren. Central Chinese Television (CCTV) Tower Beijing. Design: 2002–4. Projected Tower Beijing. Design: 2002–4. Projected completion: 2008. View of building’s facade. completion: 2008.View within Beijing. 2002–4. 2002–4. Computer-generated model, Computer-generated model, dimensions dimensions variable. Office for Metropolitan variable. Office for Metropolitan Architecture Architecture

IMAGE TWENTY-THREE: United Architects (Ben van Berkel, Caroline Bos, Peter Frankfurt, Mikon van Gastel, Kevin Kennon, Greg Lyn, Farshid Moussavi, Alejandro Zaero-Polo, Jesse Reiser, and Nanako Umemto). World Trade Center, New York. Project: 2002. Views from Dey, Cortland, Fulton, and Liberty streets. 2002. Computer-generated model, dimensions variable. United Architects LESSONS 23 . Tall Buildings Tall (www.moma.org/ and use nited Architects Architects nited , U safety , -FIVE: anako Umemto).anako Trade World ns variable.Architects United and N , r nsio ise e sustainability IMAGE TWENTY Center, York. New Project: 2002. Detail of sky lobby. 2002. model, Computer-generated dime (Ben van Berkel, Bos, Caroline Frankfurt, Peter van Gastel,Mikon Kennon, Kevin Lyn, Greg Moussavi,Farshid Zaero-Polo, Alejandro Jesse R Safe: Design Takes On Risk Safe: DesignTakes Some people believed that as structures taller believed grew people Some e. ur t c e hit c ar xplores issues of issues xplores safety design in the of and environ- products t ou United Architects Architects United e) e the design process. form,focus on The function, and beauty been has f ies o xit , they got more out of touch with theof life city the below. of attacks terrorist The ns/2005/saf r io le mple it o mputer-generated model,mputer-generated dimensions Students will explore how architects are using green technologies in today’s buildings. in today’s technologies using green are how architects Students will explore environment. affects the natural Students will investigate how the built environment affects the built environment. environment Students will investigate how the natural Students will learn about design issues including shift in thinking ab o arshid Moussavi, Zaero-Polo, Alejandro Jesse xhib friendly,nvironmentally and safe. that has project a development and 20 profile 19 Images roversy about what would replace the towers on the World Trade Center site has revealed site Center Trade World the on the towers replace about whatwould roversy empered by the need for safety. the need for by empered variable. Architects United IMAGE TWENTY-FOUR: (Ben van Berkel, Bos, Caroline Frankfurt, Peter van Gastel,Mikon Kennon, Kevin Lyn, Greg F Reiser, Umemto). Trade and Nanako World Center, York. New Project: 2002. Section. 2002. C • • • LESSON OBJECTIVES • (www.moma.org/exhibitions/2004/tallbuildings) or consult the exhibition’s accompany- the exhibition’s consult or (www.moma.org/exhibitions/2004/tallbuildings) this lesson. for content supporting publication to and provide addition, In the site exhibition the Museum’s and publication for e ments. away has moved that architecture suggest in this lesson presented The buildings programmatically complex, elaborate sculptural that are forms simplicityand toward from e been constructed.not yet construction; under currently 21 and 22 are Images images 23 site. Center of one and 24 are Trade World the for plans submitted conceptual several INTRODUCTION half the second In of the twentieth century and the beginning of the twenty-first, was there a and tal tall buildings, to impact our relationship on had a tremendous 11 September and the con- t the c Visit the Web site for The Museum of The Museum for site Web the Visit 2004 exhibition Art’s Modern t . onment , that they meaning rep- conceptual onmentally and socially sustainable envir e that is visually pleasing or exciting to them. Ask them form or ters) high. ters) d. shape (73 me t oup how the concept of sustainability can be applied to the envir e e hitect intended this to be a place where people of where be a place this to intended hitect all ages and backgrounds c for the Elephant and Castle Eco Towers are are Towers Eco and Castle the Elephant for 240 f r he ar chitect wanted to design buildings that ar T models e. sk students to consider the importance of shelter in their lives. sk students to consider c

ith the intention ofith the intention “greener” a creating earth-friendly) (more structure, was this project Have students draw a Have students draw The ar to describe the shape. Have them imagine that this shape will be turned into a new 768-foot (235-meter) building in their town. Ask students what activities they imagine taking place on the lower, middle, and upper floors. Discuss as a gr Ask students if they can locate where these conveniences and features might be. these conveniences and features Ask students if they can locate where of this building. your class into two groups,Break of the two ideas, one assigning to each group or social sustainability.environmental a discussion about to moderate one student in each group Ask design meets the criteria for sustainability. Yeang’s whether Have students describe what they see. that might be found in one city block. Ask students to come up with a list of amenities Write them on the boar Show your students the computer-generated images of Elephant and Eco Towers. and Eco images of Elephant the computer-generated Show your students A with over the they interact feel comfortable and safe in the buildings Ask students if they of the day. course cilities. the center, In the towers, between is a landscaped and weather-protected there

ould live, shop, and relax. • • • • W (heating, its own systems power designed to cooling, with etc.) passive, systems low-energy as solar energy,such when necessary with for supplemented traditional systems mechanical heating and cooling. addition, In and sun to its exposure maximize to south faces the building wind the year. throughout c • • • housing, plan includes conceptual restaurants,Yeang’s parks, playgrounds, shops, and sports fa spa IMAGE-BASED DISCUSSION • The • • been built. a structure yet that has not for idea an resent lead models never architect’s Many actual buildings.to towers, two This plan comprises high, (140 meters) 459 feet one and the othe INTRODUCTORY DISCUSSION INTRODUCTORY twenty-first in the century. exponentially increased and technology have in science Advances of the development With engineering, aerospace manufacturing, computer-aided prototyping,advance and changed, practices have architectural complex more allowing for of Hierarchy design. Maslow’s to According Needs, study, a psychological is the most shelter need, human urgent safety. by followed The towers were designed by Ken Yeang, architect. Ken designed by were a Malaysian The towers in “city calls his design a He of all the conveniences offer to structure in which he attempts the sky,”a a typical city block.

LESSONS 24 LESSONS 25 on chart paper and post s ounding neighborhood. Write their answer . competition to determine a design for the World competition to determine a design for the juried , what was challenging, of working and what the benefits are how this building will influence the surr oom. imagine ho have offices in the United States and abroad. States in the United offices ho have together worked The architects ound the r ts w eet of high at its tallest feet (494 meters) and standing 1,620 point. space interior The . f r c e e e the design, series which is based on of million ten over containing towers linked five nd hit the list ar Ask students to imagine what it would be like to play or relax in a space 1,620 feet above to play or relax Ask students to imagine what it would be like the ground. whether they would feel safe and comfortable. Ask them Discuss why or why not. Ask them if they think that this design will have a positive or negative effect on the environment.surrounding Discuss why or why not and have them support their assertions with visual evidence. Ask students about their experiences working in teams. them consider what was Have positive about the experience in groups. Ask them if they think it will it have a positive orAsk them if they think it will it have a positive negative effect. Lead a brief discussion about the Have students Center project. Trade World images of the Show your students the computer-generated Have students the construction to live in Beijing and witness imagine what it would be like of this building. Ask students if the building’s use explains its shape.Ask students if the building’s Discuss why or why not. Show your students the computer-generated images of the Central Chinese Television Chinese of the Central images students the computer-generated Show your (CCTV) Tower. this. for a building like the possible uses discuss with a partner Have students Trade Center site.Trade site of the Lower Manhattan Development Corporation Web Consult the (www.wtcsitememorial.org),the competition. which oversaw the students look at Have see these images and then describe what they uar c o his concept for the World Trade Center site was submitted by United Architects, United by was submitted site Center of a team Trade World the for his concept n • • ar • T o sq a memorial space, be above built would towers a transportation hub, complex. and a retail park”“sky or a public space in these images) at the top (not seen includes also design The of the towers. of with designed this space the intention The architects giving building of feeling a restored visitors and occupants safety in tall buildings, of as a sense as well w • • • • • willThis building Television, Central Chinese bethe headquarters for and will house administration, news, broadcasting, facilities. and production and Ole Scheeren, Koolhaas Rem the architects, in the shape designed the building of a con- the traditional model ofcorporate counteract to tinuous loop in order hierarchy. top-down similar in a way the building into systems The loop also integrates the heating and cooling arteries through body. blood in the human flows how to move designed to are The elevators the building. through vertically people laterally and • • and other publications. and other The Times York New

What kinds of similarities and differences do they find? differences kinds of similarities and What to each design, the public respond How did the clients and and why? If a design was eventually built, have on the project what impact did the completed the other effects (environmental, were What community? surrounding political, etc.)?

• • • ACTIVITIES critics and write become to an article students ofabout one your Ask in this the buildings lesson, selected. they about the building have opinions their own consideration taking into They of can find examples reviews in Ask your students what they like best about the building they have chosen to write to about. chosen best they what about the building they have students like your Ask partAs of their responses, design, the building’s on they comment should style, materials, and features, with as well as its relationship its environment. same the design another by to chosen the design they have compare students your Have architect, the following: and consider

LESSONS 26 FOR FURTHER CONSIDERATION 27 Have them use visual . . ences they notice Discuss why . best. e hitecture in general.hitecture turns writing take them on questions Have c ar t ou ab r o e blem, information section for Resources and Bibliography the Selected consult o r chitects’ lives and work. p a uct a walking tour ofuct a walking tour school. the neighborhood your around find the students Have role in their careers. role d nd Economic factors, such as the cost of materials, construction, or land. environment. Climate or natural Historical events during the architects’ lifetimes,Historical events during the architects’ may have played and how these factors a Building materials and technologies community. History of a building’s The ar evidence to back up their assertions. Ask them which designs they lik Ask students what kinds of similarities and differ Ask students what kinds of similarities and design program outlining the features ofdesign the features outlining program and models. as sketches as well the site o OR FURTHER CONSIDERATION OR FURTHER ifie the board, categories. into the questions organize and then example: For • • • • • examples ofexamples of some buildings that incorporate learned that they the styles have features or about in this guide. their findings. document them Have a list of make to students your Ask about the buildings featured questions remaining any in this guid • • C CONCLUDING QUESTIONS the images ofPut to and ask the students side by side in this guide the buildings featured them. compare • Work with your students to identify a design project for their school. for a design identify project to students with your Work in small Working groups, of the process should follow the students identifyingproblem, a devising possible solutions, their ideas, rendering evaluating and and revising their plans. Plans should include a about the interview to residents area the community into out go to students your Encourage the neighborhood. to added or things that they think can be improved iden- they Once have t PARTICPATORY DESIGN PROJECT PARTICPATORY their project. gather data for to how on of chapters Local American societies historical the or ofInstitute documents, historical have may Architects photos, look at. to maps available or F . can view the You Changing New York Changing New rk Public Library Web site, LibraryrkWeb Public in the which is included o Y w e arde art and design school in Germany that was founded in that was founded artarde and design school in Germany the N h ant-g v oug ies thr r ents make a list of make ents in this guide. included all the architects the class Break chitect ud our st auhaus was an a y es in the se smaller groups and assign each group an architect to research.to and assign an architect smaller groups group each a develop them Have e f the class. for presentation cted Bibliography and Resources section of and Resources Bibliography cted this guide. v

o le ie a he B

r e b imag Adopt an Ar H int Berenice Abbott Berenice by during the period chronicled York in New place that took the changes Investigate series, 1935–38 photographic in her Abbott Berenice T 1919. of Many when the Nazis States in the United new homes found teachers the school’s in 1933.close the school to forced of Many in this guide the artists featured and architects the Bauhaus. to a connection have detail. in more their relationships Investigate S Contact your local chapter of local chapter your Contact of Institute American the preservation a historic or Architects area, Preservation. Historic in your group for Trust if Ask National as the such they can rec- office. field trip local a or architect’s a landmark building ommend to RESEARCH PROJECTS The Bauhaus FIELD TRIP

FOR FURTHER CONSIDERATION 28 GLOSSARY 29 own under a weight or squeezed together. a weight squeezed or own under d d e, front, of back or a structure. esse r the sid ing p f e b along its length. along f o r f the viewer. to painting closest a photograph or that appears ing o e style boxy of and favored 1960 to 1932 from that appeared architecture w a ea o A nd o e r he stat tal covering that sheathes a metal structure. tal covering he ar T The area ofThe area the from painting that appears farthest a photograph or away projecting structure,projecting as a beam, such and carries end at one that is supported T scale dr Emphasizing ideas rather ideas than objects.Emphasizing me n: twentieth-century school of art and design, the aesthetic of was influenced which A An image withAn urban scenery as its primary focus; an urban environment. lack oflack decoration, and the use of as steel, such materials concrete, and glass. A A The material or materials used in a work of used in a work materials or The material art. A substance, as a dye, such pigment, paint, or that imparts a hue. n: geometric figure formed by a point moving forward and back in a fixed direction. in a fixed a point moving and back forward by geometric formed figure es, committee, of usually experts, in a competition applicants or contestants that judges essio A The shape structure of or an object. at the othe io A ur A t d a eground: vat mpr exhibition. r uc LOSSARY lo ladding: o r o r Line: Medium: International Style:International Jury: o Ele F Form: st Color: C Conceptual: Cantilever: a Cityscape: C Bauhaus: especially in industrial fabrication employed and materials techniques from and derived by and manufacture. Background: viewer; also, is placed. scene or against a figure which area the G of damage or that does not deplete using a resource d tho ricultural, populated. that is not densely me a ag y o l al r ing t ne Decoration, adornment, embellishment. or e lat g The area ofThe area and background. the foreground a painting photograph between or urban dwelling made up ofurban made dwelling apartments. more) or (generally four several e method employed to represent three-dimensional space on a flat surface or flat surface a on space three-dimensional represent to method employed awing or diagram or awing showing the structure of object arrangement an or of objects. very stories. tall with building many R n A ea, A A Relating to or characteristic or of to Relating the outskirts on an area of a city. series of elements. repeated ar lating to or characteristic or oflating to a city. le: detailed three-dimensional representation,detailed three-dimensional scale, to built usually of another, often The condition ofThe condition tautness; to stretched a material in construction, the stretching e proportion used to determine the size relationship between an object and its relationship the size determine used to proportion he form or condition in which an object exists or appears. in which an object or exists condition or he form A n R A scale dr T A The relation in degree or number between two similar things. similar two between number in degree or The relation A A al:

ban: r ur lan:

enement: ustainab hape: epresentation. the resource. Tension: of when a load is applied. component a building U Suburban: S T r S Skyscraper: Ratio: R Scale: larger, object. Pattern: Perspective: in relief sculpture. Also, a view, vista, outlook. mental or P Model: Ornamentation: Middle ground: Middle

GLOSSARY 30 GLOSSARY 31 terraced pyramid form comprising successively receding stories. receding successively pyramidterraced comprising form The position from which something is observed or considered. is observed or something which The position from A Having the characteristics ofHaving Utopia, a perfect place, theoretical; usually the word Viewpoint: Ziggurat: Utopian: place.” “no “utopia” means that term a Greek is from .New . York: New Harry N. . ed. 3rd London: Thames & . Chicago: of University Chicago . 5th ed.York: New of The Museum .York: Library Whitney New of Design, 1980. cat. York: New Harry N. Abrams, 2001. xh. E Envisioning Architecture: Drawings from The Museum Drawings from Architecture: Envisioning . . ed. 3rd Exh. cat.York: New of The Museum Modern Boston: Mifflin, Houghton 2000. merica . A New York:New Books, Pantheon 1976. Munich: Verlag, Prestel 2004. . . ies in The History of Photography Modern Architecture: A Critical History Architecture: Modern M Fine Disregard: What Makes Modern Art Modern Art Modern What Makes Disregard: Fine Building Big Mies van der van Rohe Mies A kyscrapers Mies van der Rohe: A Critical Biography der van Rohe: Mies Exh. cat.York: New of The Museum Art, Modern 2002. S hotomontage Furniture DesignedArchitects by Furniture Form Follows Finance: Skyscrapers and Skylines in New York and Chicago York Skyscrapers Finance: in New and Skylines Follows Form P t, Phyllis, ed. r e 978. 1

t, acaulay, David. r ELECTED BIBLIOGRAPHY AND RESOURCES BIBLIOGRAPHY ELECTED des, Dawn.

epik, Andres. Hudson, 1992. Lamb L M Page, Marian. Abrams, 1990. Willis, Carol. York: Architectural Press, Princeton 1995. Frampton, Kenneth. Schulze, Franz. OTHER PUBLICATIONS A McQuaid, Matilda, Riley. and Terence of Modern Art. Newhall, Beaumont. Art,Modern 1982. Johnson, Philip. A Press, 1985. Varnedoe, Kirk. MoMA PUBLICATIONS S

SELECTED BIBLIOGRAPHY & RESOURCES 32 SELECTED BIBLIOGRAPHY & RESOURCES 33 . . d. York: New e . v e R . trength of Architecture New York: New Group, Publishing Rosen 2002. Old House, Exploration A Child’s House: New . . Princeton: Publishing, Two-Can 2000. The S p: Building tand U . Chicago: Book, World 2000. Why Design? Activities and Projects from the National Design?Activities from and Projects Why S . Washington, D.C.: Press, Preservation for Trust National s ck, N.Y.: Press, Overlook 1995. of Construction: and Principles Projects Beginning for Engineers o t Buildings r Building A dst kyscrapers: and Out Inside y Joe and the Skyscraper: The Empire State Building in New York City York Building in New State and the Skyscraper:The Empire Joe o Building for Children: Making Buildings of Making Children: Building for with the Ultimate World the S o Round Buildings,Round Buildings, Square a Fish Like Wiggle and BuildingsThat The W Wh . Chicago: Press, Review Chicago 1995. . . ed. 3rd Chicago: Press, Review Chicago 1990. Toy ion t ri, Mario. uc o r d adori, Mario. a v v . W. Norton, 1990. onst al al oseph, M. Leonard Translated by Anne Heritage.Anne by Translated Munich:Verlag, Prestel 1999. S Neumann, Dietrich. C Slafer, Anna, Cahill. and Kevin Walker, Lester. Block W Building Museum S and Architects Gaughenbaugh, Michael, and Herbert Camburn. FOR YOUNGER READERS of Styles Architectural American Haslam, Andrew, Glover. and David Isaacson, Philip M. York:New Alfred A. Knopf, 1988. J Historic Preservation,Historic 1993. Grimshaw, Caroline, ed. ig online exhibition online uildingb online exhibition online gbh/b rg online exhibition online rg/w er ekc.o anhattan Development Corporation anhattan Development w o bs.o M T r .p .nyfarchitecture.org .cub l e e

w reat Buildings reat enter for Understanding the Built Environment the Built Understanding for enter merican Institute ofmerican Institute Architects

iff o Mies in America in Mies www.greatbuildings.com subscription) Art Online (requires Grove www.groveart.com L www.tour-eiffel.fr G www.moma.org/exhibitions/2004/tallbuildings A www.aia.org Big Building www www.moma.org/exhibitions/2005/safe Buildings Tall Cooper-Hewitt, Design Museum National www.ndm.si.edu E Safe: Design Takes On Risk Safe: DesignTakes Foundation Architecture for Center www C www ONLINE RESOURCES ofThe Museum Art Modern www.moma.org Studio:Red Teens for A Site www.moma.org/redstudio www.wtcsitememorial.org www.whitney.org/mies Architectural Trust National

SELECTED BIBLIOGRAPHY & RESOURCES 34 SELECTED BIBLIOGRAPHY & RESOURCES 35 ma.org. mo the public. If for set up a workshop to like would you @ o le t essib c c a m e-mail archives r the e mak oMA ARCHIVES o er Museum er ap nts with a Museum archivist to look and discuss primary through to archivist of documents nts with a Museum e and t scr y t, ud k st early directors, the Museum’s between correspondence curators, and various artists, call (212) 708-9617 o The Museum ofThe Museum Art and rich has a long history of Modern of in the careers involvement artists modern architects. and many A department of at MoMA was established Archives and modern and contemporary about the Museum documents historical preserve to in 1989 ar ABOUT M www.natarchtrust.org Museum Building National www.nbm.org Library Public York New www.nypl.org S www.skyscraper.org moma.org. @ ma.org. mo @ proach fosters an ideal environment for live, for environment an ideal fosters proach interactive hing ap c ea t d moma.org. @ y-base uir ent, a CD-ROM, worksheets, Educators, for the Guide slides, passes. and Museum inq s ud ’ st oconferencing. with Looking MoMA, classes, videoconferencing the Museum’s pro- y e r

oMA SCHOOL PROGRAMS PROGRAMS oMA SCHOOL oMA e ea. for reproductions color kit containing teaching in a Box—a MoMA include All classes

id ome programs are available in Spanish. available are programs ome rams, e-mail schoolprograms or please call (212) 333-1112 v DISTANCE LEARNING DISTANCE M Learning, about Distance information more For please call e-mail or (212) 333-6574 distancelearning PLANNING A MUSEUM VISIT classroom, in your or at MoMA Educator with discussion a guided Museum a schedule To Services at (212) 708-9685. Group please contact about School Pro- information more For g v metropolitan York the New outside and students vide multipart teachers for programming ar e S Guides for educators with CD-ROMs are available for loan throughout the year. loan throughout for available are with CD-ROMs educators for All schools Guides these resources. to access free unlimited have e-mail teacherprograms 708-9882 or information, more For please call (212) TEACHER RESOURCES and about guides information for at www.moma.org/education site Web MoMA’s Visit programs. teacher M

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AUTHOR: Lisa Mazzola EDUCATION EDITORS: Sarah Ganz Blythe and Susan McCullough EDITOR: Emily Hall DESIGNER: Bonnie Ralston PRODUCTION MANAGER: Claire Corey

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