Licenciatura en arquitectura

ASIGNATURA:
INGLES IV

TITULO DEL TRABAJO:

“PROYECTO”
ESTILOS ARQUITECTONICOS

DOCENTE:

ALUMNO:

FECHA DE ENTREGA:
31/05/2016
 Index
1- Art Nouveau…………………………………………2

2- Arts and crafts………………………………………5

3- Art Deco……………………………………………..7

4- Futurist……………………………………………....9

5- Modernista………………………………………….11

6- Internationalist style……………………………….14

7- Expressionism……………………………………...17

8- Brutalist……………………………………………...19

9- Postmodern…………………………………………22

10- Minimalist…………………………………………….25

11- Italian fascist style…………………………………..27

12- Stalinist style…....................................................30

1
 Art Nouveau
Art Nouveau was an innovative international style of modern art that became
fashionable from about 1890 to the First World War. Arising as a reaction to 19th-
century designs dominated by historicism in general and neoclassicism in
particular, it promulgated the idea of art and design as part of everyday life.
Henceforth artists should not overlook any everyday object, no matter how
functional it might be. This aesthetic was considered to be quite revolutionary and
new, hence its name - New Art - or Art Nouveau. Hence also the fact that it was
applied to a host of different forms including architecture, fine art, applied art, and
decorative art. Rooted partly in the Industrial Revolution, and the Arts and Crafts
Movement, but also influenced by Japonism (especially Ukiyo-e prints by artists
like Hokusai and his younger contemporary Hiroshige) and Celtic designs, Art
Nouveau was given a major boost by the 1900 Exposition Universelle in Paris.

Art Nouveau is usually deemed a matter of 'style' rather than a philosophy: but, in
fact, distinctive ideas and not only fanciful desires prompted its appearance.
Common to all the most consistently Art Nouveau creators were a determination to
push beyond the bounds of historicism - that exaggerated concern with the notions
of the past which characterises the greater part of 19th-century design: they
sought, in a fresh analysis of function and a close study of natural forms, a new
aesthetic. It is true that the outer reaches of Art Nouveau are full of mindless
pattern-making but there was, at and around the centre, a marvellous sequence of
works in which the decorative and the functional fuse to novel and compelling
effect. Art Nouveau means much more than a single look or mood: we are
reminded of tall grasses in light wind, or swirling lines of stormy water, or intricate
vegetation - all stemming from organic nature: an interest in which should be
understood as proceeding from a sense of life's order lost or perverted amidst
urban industrial stress.
Characteristics:
There is no single definition or meaning of Art Nouveau. But the following are
distinguishing factors. Art Nouveau philosophy was in favour of applying artistic
designs to everyday objects, in order to make beautiful things available to
everyone. No object was too utilitarian to be "beautified". Art Nouveau saw no
separation in principle between fine art (painting and sculpture) and applied or
decorative arts (ceramics, furniture, and other practical objects). In content, the
style was a reaction to a world of art which was dominated by the precise geometry
of neoclassical forms. It sought a new graphic design language, as far away as
possible from the historical and classical models employed by the arts academies.

2
History of Art Nouveau:
The term "Art Nouveau" stemmed from the name of the Parisian art gallery, called
"La Maison de l'Art Nouveau", owned by the avant-garde art-collector Siegfried
Bing (1838-1905), which showcased works created in the Art Nouveau style. The
gallery's reputation and fame was considerably boosted by its installations of
modern furniture, tapestries and objets d'art at the 1900 Exposition Universelle,
after which the gallery's name became almost synonymous with the style.

Art Nouveau Architecture:

Art Nouveau architecture was one of the great ubiquitous cultural impulses,
appearing virtually throughout Europe and Scandinavia, and in America too.
A very vigorous strain developed in Belgium, where Henri van de Velde (1863-
1937) pared away the conventions of art and architecture in favour of a rather rigid
floral style (his house at Uccle, 1895), while Victor Horta (1861-1947) seems to
have passed the rule-book through a maze of botanical fact (the Hotel Tassel,
1892-3, and the Maison du Peuple, 1896-9 in Brussels). Horta was widely admired
for his readiness to reconsider basic design problems and for the fluency of his
adaptations of organic principle. For the Tassel house he opened up the centre into
a sort of conservatory space in which the exposed cast iron supports are
themselves stylised plants. And the Maison du Peuple he constructed around a
sinuous iron frame, every decorative element of which arose from the containment
of stresses.

3
 Palace of Fine Arts

1 3

4
2

8
6

1- Pinnacle
2- Arc

3- Dome
4- Auction
5- Windows
6- Columns
7- Access
8- Portico

4
 Arts and crafts

The Arts and Crafts movement was an international movement in the decorative
and fine arts that began in Britain and flourished in Europe and North America
between 1880 and 1910, emerging in Japan in the 1920s. It stood for traditional
craftsmanship using simple forms, and often used medieval, romantic, or folk styles
of decoration. It advocated economic and social reform and was essentially anti-
industrial. It had a strong influence on the arts in Europe until it was displaced by
Modernism in the 1930s, and its influence continued among craft makers,
designers, and town planners long afterwards.
The term was first used by T. J. Cobden-Sanderson at a meeting of the Arts and
Crafts Exhibition Society in 1887, although the principles and style on which it was
based had been developing in England for at least twenty years. It was inspired by
the writings of architect Augustus Pugin (1812–1852), writer John Ruskin (1819–
1900), and artist William Morris (1834–1896).
The movement developed earliest and most fully in the British Isles, and spread
across the British Empire and to the rest of Europe and North America. It was
largely a reaction against the perceived impoverished state of the decorative arts at
the time, and the conditions in which they were produced.
The Arts and Crafts style emerged from the attempt to reform design and
decoration in mid 19th century Britain. It was a reaction against a decline in
standards that the reformers associated with machinery and factory production,
and was in part a response to items shown in the Great Exhibition of 1851 that
were ornate, artificial and ignored the qualities of the materials used.
The Arts and Crafts Movement was associated with socialist ideas in the persons
of Morris, T. J. Cobden Sanderson, Walter Crane, Ashbee and others. In the early
1880s Morris was spending more of his time on socialist propaganda than on
designing and making. Ashbee established a community of craftsmen, the Guild of
Handicraft, in east London, later moving to Chipping Campden. Those adherents
who were not socialists, for example, Alfred Hoare Powell, advocated a more
humane and personal relationship between employer and employee. Lewis
Foreman Day, a very successful and influential Arts and Crafts designer, was not a
socialist either, despite his long friendship with Crane.

5
 Red House

1
4

2
5

3
6

1- Highlighted objects
2- Windows
3- Red brick
4- Sloping roof tile
5- Light tickets
6- Semicircular arch
7- Cone shaped cover

6
 Art Deco

Art Deco, or Deco, is an influential visual arts design style that first appeared in
France just before World War I and began flourishing internationally in the 1920s,
1930s and 1940s before its popularity waned after World War II. It took its name,
short for Arts Décoratifs, from the Exposition Internationale des Arts Décoratifs et
Industriels Modernes (International Exposition of Modern Decorative and Industrial
Arts) held in Paris in 1925. It is an eclectic style that combines traditional craft
motifs with Machine Age imagery and materials. The style is often characterized by
rich colours, bold geometric shapes and lavish ornamentation.
Deco emerged from the interwar period when rapid industrialisation was
transforming culture. One of its major attributes is an embrace of technology. This
distinguishes Deco from the organic motifs favoured by its predecessor Art
Nouveau.
Historian Bevis Hillier defined Art Deco as "an assertively modern style [that] ran to
symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear;
it responded to the demands of the machine and of new material [and] the
requirements of mass production".
During its heyday, Art Deco represented luxury, glamour, exuberance and faith in
social and technological progress..
The art deco style, which above all reflected modern technology, was
characterized by smooth lines, geometric shapes, streamlined forms and bright,
sometimes garish colours. Initially a luxury style (a reaction against the austerity
imposed by World War I) employing costly materials like silver, crystal, ivory, jade
and lacquer, after the Depression it also used cheaper and mass-produced
materials like chrome, plastics, and other industrial items catering to the growing
middle class taste for a design style that was elegant, glamorous and functional.
History:
The Art Deco style, adopted by architects and designers around the world,
spanned the "Roaring Twenties", the Great Depression of the early 1930s, and the
years leading up to the Second World War. It suffered a decline in popularity during
the late 30s and early 40s, when it began to be seen as too gaudy and ostentatious
for wartime austerity, after which it quickly fell out of fashion. The first resurgence
of interest in Art Deco occurred in the 1960s - coincident with the movement's
affect on Pop Art - and then again in the 1980s, in line with growing interest in
graphic design. The style appeared in a number of jewellery and fashion ads.

7
The Chrysler Building in Manhattan, E.U

1- Vertex
2- Dome
3- Eagles
4- Lifts
5- Góndolas

8
 Futurist

The Futurist movement existed as a distinct entity from 1909 - 1944; however the
movement began to loose momentum after the death of Umberto Boccioni in 1916.
The Futurists were interested in anything new and anything having to do with
technology. In addition to their obsession with new things they were equally
interested in a complete disposal of the past. This combination of interests drew
the Futurists heavily to the hustle and bustle of city life. As such it would make
sense that some of the Futurists had ideas for improving upon their choice living
area.
Antonio Sant’Elia was the primary driving force behind Futurist architecture. He
was born in 1888 in Italy where he trained and qualified as a builder. After his
training he moved to Milan where he worked as a building and continued his
education in architecture. Prior to 1912 he was still not involved with the Futurists
and was instead a part of the Italian Secessionist movement. However by 1914 he
was fully under the influence of Futurist ideas. Antonio Sant'Elia wrote the official
Manifesto of Futurist Architecture in 1914. The published manifesto was primarily a
consolidation and editing of ideas previously developed in Messaggio, a document
that was also written by Sant'Elia.
The Manifesto of Futurist Architecture was written in a similar style to other Futurist
manifestoes this one was overall quite inflammatory with an intense desire to
depart as completely from the past as possible. With this decoupling from the past
the Futurists fully embraced any new technologies they could get their hands on.
Not only did they want new materials to be used in their new designs they did not
want the new materials to go anywhere near design themes from the past The
manifesto states that usage of new materials in the construction of buildings with
historical designs desecrates the materials.
In order to perpetuate their desire to leave the past behind to future generations
the manifesto went so far as to recommend that architecture be constructed of
degradable materials ensuring that nothing would endure past a single generation.
This degrading architecture effectively makes each generation responsible for the
construction of their own towns and cities. To a limited extent this kind of
construction is happening today, with budgetary concerns prompting the
construction of limited use, temporary buildings as well as buildings with expected
occupancy spans of 40 years or less.

9
Uturistic building organizational structure of Santiago
Calatrava, located at Lakeland, EE.UU.

3
1

4
2

1- Windows
2- Picture window
3- Aluminum
4- Ramp
5- Access

10
 Modernista

The earliest example of Modernista architecture is the café Castell dels tres
Dragons designed by Lluís Domènech i Montaner in the Parc de la Ciutadella for
the 1888 Universal Exhibition. It is a search for a particular style for Catalonia
drawing on Medieval and Arab styles. Like the currents known in other countries as
Art Nouveau, Jugendstil, Stile Liberty, Modern Style or Sezessionstil, Modernisme
was closely related to the English Arts and Crafts movement and the Gothic
revival. As well as combining a rich variety of historically-derived elements, it is
characterized by the predominance of the curve over the straight line, by rich
decoration and detail, by the frequent use of vegetal and other organic motifs, the
taste for asymmetry, a refined aestheticism and dynamic shapes. While Barcelona
was the centre of Modernista construction, the Catalan industrial bourgeoisie built
industrial buildings and summer residences - cases d'estiueig - in many Catalan
towns, notably Terrassa and Reus. The textile factory which is now home to the
Catalan national technical museum MNACTEC is an outstanding example.

Early 20th century architecture in Valencia was strongly influenced by Modernisme.

The Central Market (Mercado Central) in Valencia, one of the largest in Europe,
covers more than 8,000 square metres, over two floors, with a predominantly
eclectic pre-Modernist style. Its unusual roof comprises original domes and sloping
sections at different heights, while the interior seems to be lined in a range of
materials such as iron, wood, ceramics and polychromed tiles. The beauty of the
building stands out especially on account of the light that enters through the roof at
various points, and through coloured window panels. The North Station (Spanish:
Estación del Norte, Valencian: Estació del Nord) is the main railway station in
Valencia, Spain located in the city centre next to the Plaza de Toros de Valencia. It
was declared Good of Cultural Heritage in 1987. The Mercado de Colón
(Columbus Market) is an old market located in the center of the city of Valencia,
Spain. Its building was designed by architect Francisco Mora Berenguer between
1914 and 1916. This is a clear example of Modernist architecture of the early
century. It was declared a national monument. It impresses with its extraordinary
facade and lavish decor.
Antoni Gaudí is the best-known architect of this movement. Other influential
architects were Lluís Domènech i Montaner and Josep Puig i Cadafalch, and later
Josep Maria Jujol, Rafael Guastavino and Enrique Nieto.

11
By 1910, Modernisme had been accepted by the bourgeoisie and had pretty much
turned into a fad. It was around this time that Noucentista artists started to ridicule
the rebel ideas of Modernisme and propelled a more bourgeois art and a more
right-of-center version of Catalan Nationalism, which eventually rose to power with
the victory of the Lliga Regionalista in 1912. Until Miguel Primo de Rivera's
dictatorship suppressed all substantial public use of Catalan, Noucentisme was
immensely popular in Catalonia. However, Modernisme did have a revival of sorts
during the Second Spanish Republic, with avant-garde writers such as Futurist
Joan-Salvat Papasseit earning comparisons to Joan Maragall, and the spirit of
Surrealists such as Josep Vicent Foix or Salvador Dalí being clearly similar to the
rebellion of the Modernistes, what with Dalí proclaiming that Catalan Romanticist
Àngel Guimerà was a putrefact pervert. However, the ties between Catalan art
from the 1930s and Modernisme are not that clear, as said artists were not
consciously attempting to continue any tradition.
Modernista architecture survived longer. The Spanish city of Melilla in Northern
Africa experienced an economic boom at the turn of the 20th century, and its new
bourgeoisie showed its riches by massively ordering Modernista buildings. The
workshops established there by Catalan architect Enrique Nieto continued
producing decorations in this style even when it was out of fashion in Barcelona,
which results in Melilla having, oddly enough, the second largest concentration of
Modernista works after Barcelona.
Architects:

 Antoni Gaudí, who went beyond mainstream Modernisme, creating a personal

style based on observation of the nature and exploitation of traditional Catalan
construction traditions. He was using regulated geometric shapes as
the hyperbolic paraboloid, the hyperboloid, the helicoid and the conoide.
 Lluís Domènech i Montaner created a genuine alternative architecture. Along
with Josep Vilaseca i Casanovas he worked towards a modern and
international style. Domènech continued on from Viollet-le-Duc, his work
characterized by a mix of constructive rationalism and ornaments inspired in
the Hispano-Arab architecture as seen in the Palau de la Música Catalana, in
the Hospital de Sant Pau or in the Institut Pere Mata of Reus. His Hotel
Internacional at Passeig de Colom in Barcelona (demolished after the 1888
World Fair) was an early example of industrial building techniques.
 Josep Puig i Cadafalch was a Catalan architect, politician and historian who
was involved in many projects to retore older buildings.

12
 Longoria palace of Madrid

1
5

6
3

7
4

1- Banister
2-Light input
3- Balcony
4- Access
5- Carved figures
6- Windows
7- Round arch

13
 Internationalist style

Le Style international est un courant architectural qui s'est épanoui entre les
années 1920 et la fin des années 1980 dans le monde entier. Ce style, qui marque
l'arrivée des idées du Mouvement moderne aux États-Unis, notamment par
l'intermédiaire de Philip Johnson au MoMA à New York et de Ludwig Mies van der
Rohe à Chicago, résulte du mariage des idées de l'école du Bauhaus et des
techniques de construction en acier et en verre des États-Unis. Caractérise une
grande partie de l'architecture des Trente Glorieuses. Sa caractéristique principale
est de construire des bâtiments en rupture totale avec les traditions du passé. Ses
architectes décident de mettre en valeur les volumes par des surfaces extérieures
lisses et sans ornementation. Ils souhaitent appliquer le principe de régularité et
utiliser pour cela toutes les possibilités offertes par le béton, l'acier et le verre. Le
Style international se présente donc comme une tendance résolument moderniste
et recherche le dépouillement dans la décoration. Sa critique aboutit au
Postmodernisme.
Le Style international est issu du Mouvement moderne, animé par les pionniers
des années 1920-1940: l'école du Bauhaus en Allemagne, Le Corbusier et l'Esprit
nouveau en France (les « Cinq points de l'architecture moderne » de Le Corbusier
- 1926) caractérise les débuts de l'architecture moderne en rupture radicale avec le
style Beaux-Arts du xixe siècle, mais dans le prolongement des idées
fonctionnalistes d'Eugène Viollet-le-Duc et de l'Art nouveau. La transformation du
Mouvement moderne en Style international se fera après la diffusion des idées du
Bauhaus aux États-Unis, notamment par l'intermédiaire de Philip Johnson qui
organisa une exposition sur l'architecture moderne en 1932 au MoMA à New York,
puis de l'arrivée des architectes du Bauhaus, chassés d'Allemagne par les nazis et
notamment de l'enseignement de Ludwig Mies van der Rohe à l'Institut de
technologie de l'Illinois à Chicago.
L'expression « Style international » apparaît pour la première fois en 1932 dans un
ouvrage de l'historien de l'art Henry-Russell Hitchcock et Philip Johnson, rédigé à
la suite d'une exposition du MoMA de New York intitulée Modern Architecture. Elle
a désigné alors aux États-Unis l'architecture du mouvement moderne européen
des années 1930, le terme « modern style » y étant déjà utilisé pour l'Art nouveau,
mais en Europe, on a tendance à distinguer en général le Mouvement moderne,
qui caractérise le renouvellement stylistique de l'architecture, mais aussi des arts
appliqués et de l'esthétique industrielle à partir de 1910 sous l'influence de Peter
Behrens puis du Bauhaus, et le style international, qui caractérise plus
l'épanouissement du Mouvement moderne dans sa seule expression

14
Architecturale, après son arrivée et Celle des maîtres du Bauhaus aux États-Unis,
puis surtout durant les trente glorieuses.

Le Style international est le résultat de réflexions du CIAM et de la Charte

d'Athènes. Définit les quelques points qui permettent de donner une cohésion, une
force, à une nouvelle vague d'architecte moderne. Se veut apatride et libéré des
contraintes géographiques et culturelles.

15
 Albert Kahn, Edificio General Motors, Detroit,
Míchigan.

1
4

2
5

1- Flown
2- Buttress
3- Round arch
4- Beam
5-Windows

16
 Expressionism

Expressionism is the way of expressing something in and around something that

you feel emotionally, from all the things that happen phenomenally. This is one of
the movements in architecture in the 20th century, mainly in Europe, where at that
time people fought in the World War I, including the architects at that time. The
political and social problems also influence the architect, such places like
Germany, Austria, and Denmark. Many famous architects are involved in this
movement, such as, Bruno Taut, Erich Mendelsohn, Walter Gropius, Mies van der
Rohe and Hans Poelzig.
The characteristics of the expressionist architecture forms in something more
gothic rather than classic, which resulted in forms and shapes that are
individualistic from the other forms of architecture around that time, its detachment
to realism and more to a symbolic form from conceptual representation. The
representation of the forms and shapes are from the emotional feeling that the
architects feel, a more bold way of showing what they feel, a more frontal way by
showing forms in their buildings.
Materials used in this movement of architecture the representation first rather than
function, materials which have a poetic expression, and to unify the buildings into
making it a monolithic design. Bricks, steel and especially glass is used, according
to Paul Scheerbart “Coloured glass destroys hatred”,”Without a glass palace life is
a burden”,”Glass brings us a new era, building in brick only does us harm”-
inscriptions on the 1914 Werkbund Glass Pavilion.

This kind of movement inspires many others and the legacy continues until now.
Art deco and Neo Expressionism is one of the branch of expressionst architecture
from the past. Such architects like Frank Gehry, developed architecture from the
sense of expressionism, being individualistic from the other surroundings,
expressing emotional values.

17
 Einstein tower

3 6

1- Dome
2- Windows
3- Vain
4- Stone material
5- Access
6- Stairs

18
 Brutalist

Brutalist architecture is a movement in architecture that flourished from the 1950s

to the mid-1970s, descending from the modernist architectural movement of the
early 20th century. The term originates from the French word for "raw" in the term
used by Le Corbusier to describe his choice of material béton brut (raw concrete).
British architectural critic Reyner Banham adapted the term into "brutalism"
(originally "New Brutalism") to identify the emerging style.

Brutalism became popular with governmental and institutional clients, with

numerous examples in Britain, France, Germany, Japan, the United States,
Canada, Brazil, the Philippines, Israel and Australia. Examples are typically
massive in character (even when not large), fortress-like, with a predominance of
exposed concrete construction, or in the case of the "brick brutalists," ruggedly
combine detailed brickwork and concrete. There is often an emphasis on
graphically expressing in the external elevations and in the whole-site architectural
plan the main functions and people-flows of the buildings. Brutalism became
popular for educational buildings (especially university buildings), but was relatively
rare for corporate projects. Brutalism became favoured for many government
projects, high-rise housing, and shopping centres.

The best known early Brutalist architecture is the work of the Swiss architect Le
Corbusier, in particular his 1952 Unité d'Habitation and the 1953 Secretariat
Building (Palace of Assembly) in Chandigarh, India. Brutalism gained considerable
momentum in the United Kingdom during the mid-twentieth century, as
economically depressed (and World War II-ravaged) communities sought
inexpensive construction and design methods for low-cost housing, shopping
centres, and government buildings. Nonetheless, many architects chose the
Brutalist style even when they had large budgets, as they appreciated the
'honesty', the sculptural qualities, and perhaps, the uncompromising, anti-
bourgeois, nature of the style.
Combined with the socially progressive intentions behind Brutalist streets in the sky
housings such as Corbusier's Unité, Brutalism was promoted as a positive option
for forward-moving, modern urban housing.

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Characteristics:
Brutalist buildings are usually formed with repeated modular elements forming
masses representing specific functional zones, distinctly articulated and grouped
together into a unified whole. Concrete is used for its raw and unpretentious
honesty, contrasting dramatically with the highly refined and ornamented buildings
constructed in the elite Beaux-Arts style. Surfaces of cast concrete are made to
reveal the basic nature of its construction, revealing the texture of the wooden
planks used for the in-situ casting forms. Brutalist building materials also include
brick, glass, steel, rough-hewn stone, and gabions. Conversely, not all buildings
exhibiting an exposed concrete exterior can be considered Brutalist, and may
belong to one of a range of architectural styles including Constructivism,
International Style, Expressionism, Postmodernism, and Deconstructivism.

Architects:
In the United Kingdom, Architects associated with the Brutalist style include Ernő
Goldfinger, wife-and-husband pairing Alison and Peter Smithson, some of the work
of Sir Basil Spence, the LCC/GLC Architects Department, Owen Luder, John
Bancroft, and, arguably perhaps, Sir Denys Lasdun, Sir Leslie Martin, and Sir
James Stirling and James Gowan with their early works.
In Australia, examples of the Brutalist style are Robin Gibson's Queensland Art
Gallery, Ken Woolley's Fisher Library at the University of Sydney (his State Office
Block is another), the High Court of Australia by Colin Madigan in Canberra, and
WTC Wharf (World Trade Centre in Melbourne).[6] John Andrews's government
and institutional structures in Australia also exhibit the style.
In the United States Paul Rudolph and Ralph Rapson are both noted Brutalists.
Walter Netsch is known for his Brutalist academic buildings (see above). Marcel
Breuer was known for his "soft" approach to the style, often using curves rather
than corners.
In Argentina Clorindo Testa created the Bank of London and South America
headquarters, one of the best examples of the fifties.
More recent Modernists such as I. M. Pei, Gottfried Böhm and Tadao Ando also
have designed notable Brutalist works.
In Brazil, the style is associated with the Paulista School and is evident in the
works of Pritzker Architecture Prize-winning architect Paulo Mendes da Rocha
(2006).
In the Philippines, Leandro Locsin designed massive brutalist structures, including
the Cultural Center of the Philippines and the Philippine International Convention
Center.

20
 Western City Gate, Belgrado, Serbia.

1- Cylinder
2
1
2- Tower
3- Separation
4- Windows
3

21
 Postmodern

Began as an international style the first examples of which are generally cited as
being from the 1950s, but did not become a movement until the late 1970s and
continues to influence present-day architecture. Postmodernity in architecture is
said to be heralded by the return of "wit, ornament and reference" to architecture in
response to the formalism of the International Style of modernism. As with many
cultural movements, some of Postmodernism's most pronounced and visible ideas
can be seen in architecture. The functional and formalized shapes and spaces of
the modernist style are replaced by diverse aesthetics: styles collide, form is
adopted for its own sake, and new ways of viewing familiar styles and space
abound. Perhaps most obviously, architects rediscovered past architectural
ornament and forms which had been abstracted by the Modernist architects.

Influential early large-scale examples of postmodern architecture are Michael

Graves' Portland Building in Portland, Oregon and Philip Johnson's Sony Building
(originally AT&T Building) in New York City, which borrows elements and
references from the past and reintroduces color and symbolism to architecture.

Postmodern architecture has also been described as neo-eclectic, where reference

and ornament have returned to the facade, replacing the aggressively
unornamented modern styles. This eclecticism is often combined with the use of
non-orthogonal angles and unusual surfaces, most famously in the State Gallery of
Stuttgart by James Stirling and the Piazza d'Italia by Charles Moore. The Scottish
Parliament Building in Edinburgh has also been cited as being of postmodern
vogue.
One building form that typifies the explorations of Postmodernism is the traditional
gable roof, in place of the iconic flat roof of modernism. Shedding water away from
the center of the building, such a roof form always served a functional purpose in
climates with rain and snow, and was a logical way to achieve larger spans with
shorter structural members, but it was nevertheless relatively rare in modern
houses. (These were, after all, "machines for living," according to LeCorbusier, and
machines did not usually have gabled roofs.) However, Postmodernism's own
modernist roots appear in some of the noteworthy examples of "reclaimed" roofs.
For instance, Robert Venturi's Vanna Venturi House breaks the gable in the
middle, denying the functionality of the form, and Philip Johnson's 1001 Fifth
Avenue building in Manhattan (not to be confused with Portland's Congress

22
Center, once referred to by the same name) advertises a mansard roof form as an
obviously flat, false front. Another alternative to the flat roofs of modernism would
exaggerate a traditional roof to call even more attention to it, as when Kallmann
McKinnell & Wood's American Academy of Arts and Sciences in Cambridge,
Massachusetts, layers three tiers of low hipped roof forms one above another for
an emphatic statement of shelter.

Aims and characteristics:

The aims of Postmodernism, which include solving the problems of Modernism,
communicating meanings with ambiguity, and sensitivity for the building’s context,
are surprisingly unified for a period of buildings designed by architects who largely
never collaborated with each other. These aims do, however, leave room for
diverse implementations as can be illustrated by the variety of buildings created
during the movement.

The characteristics of postmodernism allow its aim to be expressed in diverse

ways. These characteristics include the use of sculptural forms, ornaments,
anthropomorphism and materials which perform trompe l'oeil. These physical
characteristics are combined with conceptual characteristics of meaning. These
characteristics of meaning include pluralism, double coding, flying buttresses and
high ceilings, irony and paradox, and contextualism.

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The Sony Building (formerly AT&T building) in New
York City

1 4

1- Fronton
2- Trave
3- Wall
4- Windows

24
 Minimalist

Minimalist architecture became popular in the late 1980s in London and New York,
where architects and fashion designers worked together in the boutiques to
achieve simplicity, using white elements, cold lighting, large space with minimum
objects and furniture.
Concepts and design elements:
The concept of minimalist architecture is to strip everything down to its essential
quality and achieve simplicity. The idea is not completely without ornamentation,
but that all parts, details and joinery are considered as reduced to a stage where
no one can remove anything further to improve the design.

The considerations for ‘essences’ are light, form, detail of material, space, place
and human condition. Minimalist architects not only consider the physical qualities
of the building. Moreover, they look deeply into the spiritual dimension and the
invisible, by listening to the figure and paying attention to the details, people,
space, nature and materials. Which reveals the abstract quality of something that is
invisible and search for the essence from those invisible qualities. Such as natural
light, sky, earth and air. In addition, they open up dialogue with the surrounding
environment to decide the most essential materials for the construction and create
relationships between buildings and sites.

In minimalist architecture, design elements convey the message of simplicity. The

basic geometric forms, elements without decoration, simple materials and the
repetitions of structures represent a sense of order and essential quality. The
movement of natural light in buildings reveals simple and clean spaces. In late 19th
century as the arts and crafts movement began to be popular in Britain, people
valued the attitude of ‘truth to materials’, with respect to the profound and innate
characteristics of materials. Minimalist architects humbly 'listen to figure,' seeking
essence and simplicity by rediscovering the valuable qualities in simple and
common materials.

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 El Savoy House, Poissy, Francia, Le Corbusie

1
3

1- Room garden
2- piles
3- cylinder
4- Free facade
5- free plant
6- longitudinal windows

26
 Italian fascist style

Is a style of architecture developed by architects of fascist societies in the early

20th century. The style gained popularity in the late 1920s with the rise of
modernism along with the nationalism associated with fascist governments in
western Europe. The style resembles that of ancient Rome. However, the fascist-
era buildings lack ostentatious design, and were constructed with symmetry,
simplicity, and a general lack of ornateness. Both Benito Mussolini and Adolf Hitler
utilized the new style of architecture as one of many ways to unify the citizens of
their nations and attempt to mark a new era of nationalist culture, and to exhibit the
absolute rule of the nation.
The fascist style of architecture reflects the values of Fascism as a political
ideology that developed in the early 20th century after World War I. The philosophy
is defined by a strong nationalist people governed by a totalitarian government.
The vision of a strong, unified, and economically stable nation seemed appealing
to western Europe after the physical and economic destruction after World War I,
which contributed to the rise of fascism and corporatism.
Fascist styled architecture is a branch of modernist architecture which became
popular in the early 20th century. The fascist style was also greatly influenced by
the rationalist movement in Italy in the 1920s. Rationalist architecture, with the help
of Italian government support, celebrated the new fascist age of culture and
government in Italy.
The fascist style of architecture was very similar to the ancient Roman style.
Fascist buildings were generally very large and symmetric with sharp non-rounded
edges. The buildings purposefully conveyed a sense of awe and intimidation
through their size, and were made of limestone and other durable stones in order
to last the entirety of the fascist era. The buildings were also very plain with little or
no decoration and lacked any complexity in design. These generalities of fascist
architecture contributed to the simple aesthetics the edifices display. All these
aspects helped the fascist dictatorships exhibit absolute and total rule of the
population. Hitler and Mussolini used fascist architecture as another source of
propaganda to display to the world the strength, pride, and power their regimes
had.

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The Italian architecture was actually very eclectic. Much focus has been on the
grand buildings. In the Dodecanese, and Kos in particular there is also a romantic
element evoking Juliet's balcony rather than classical Rome's glory. The 1933
earthquake resulted in a programm of re-building in Kos, of not only public
buildings but also villas and ordinary houses. Many of these buildings, made from
concrete combine the severe lines of the modernist architecture with arches,
circular windows and fussy ornamentation.

Architects:
The most prominent Italian and German fascist architects of the era were
Giuseppe Terragni, Marcello Piacentini, and Albert Speer.

 Giuseppe Terragni – Notable work of Terragni includes the Casa del Fascio

 Marcello Piacentini – Notable work of Piacentini includes the fascist
district EUR, Rome
 Albert Speer – Speer was Hitler's favorite German architect. He designed the
Zeppelinfeld Stadium and had plans of rebuilding Berlin, using fascist style
architecture, around a massive hall called the Volkshalle.

28
 The palace of Italian civilization

1
2

1- Auction
2- Arc
3- Statue
4- Stairs

29
 Stalinist style

Stalinist architecture, also referred to as Stalinist Empire style or Socialist

Classicism, is a term given to architecture of the Soviet Union under the leadership
of Joseph Stalin, between 1933, when Boris Iofan's draft for Palace of the Soviets
was officially approved, and 1955, when Nikita Khrushchev condemned "excesses"
of the past decades and disbanded the Soviet Academy of Architecture. Stalinist
architecture is associated with the socialist realism school of art and architecture.

In terms of construction methods, most of the structures, underneath the wet-

stucco walls, are simple brick masonry. Exceptions were Andrei Burov's medium-
sized concrete block panel houses (such as the Lace building, 1939–41) and large
buildings like the Seven Sisters which necessitated the use of concrete. The
masonry naturally dictated narrow windows, thus leaving a large wall area to be
decorated. Fireproof terra cotta finishes were introduced during the early 1950s,
though this was rarely used outside of Moscow. Most of the roofing was traditional
wooden trusses covered with metallic sheets.
Stalinist architecture does not equate to everything built during Stalin’s era. It relied
on labor-intensive and time-consuming masonry, and could not be scaled to the
needs of mass construction. This inefficiency largely ended Stalinist architecture
and resulted in mass construction methods which began while Stalin was still alive.
The first years of Stalinist architecture are characterized by individual buildings, or,
at most, single-block development projects. Rebuilding vast spaces of Moscow
proved much more difficult than razing historical districts.

30
 Palace of culture and science, Varsovia (Polonia)

1
4

2
6

1- Big flower
2- Columns
3- Pinnacle
4- Torrecillas
5- Windows
6- Portico

31