NOVEMBER 7, 2022
LARKIN ADMINISTRATION BUILDING,
NY (1904)
- reflects Wright’s individual feeling for house as
a shelter and as a self-sufficient unit
- first entirely air-conditioned modern office
building
- also has the first metal-bound plate glass doors
and windows and first built-in furnishings and
filing cabinets
- Wright was influenced by a lot of people; he
read John Ruskin’s work arts and craft,
mentored by Sullivan, exposed to Japanese art
- combining all the influences around him, he
was able to harmoniously integrate it all to come
up with his own architecture
- when we recall arts and craft, integrated design
comes into our mind (conscious with the
designing, planning, hardware etc., fully
involved with the whole process)
- the building plan dimension: 61x41 meters
- a 23 meter high light court provide natural light
into the central open space
- the interior espoused non-hierarchical,
democratic office planning
- very solid-looking, & rectangular, just
articulated by protrusions that make it not appear
flat
- central core of the building is left unobstructed
by walls and staircases
- transitory spaces are placed on the side
- Wright’s intention when he came up with a
conducive workspace was to not segregate the
people by their rank; they share the same space
so that they can socialize and interact with one
another (led to a dynamic work environment)
- windows are limited to a certain height so it
blocks views that might distract the workers; just
enough for light to come in
- between support piers were 14 sets of three
inspiration words (e.g Generosity, Altruism,
Sacrifice)
- reflects Wright’s individual feeling for house as
a shelter and as a self-sufficient spatial unit
- it is the first entirely air conditioned modern
office
- it also has the first metal-bound plate glass
doors and windows and first built-in furnishings
and filing cabinets
- not much ornamentation in the exterior, its
articulated through placement of statues
- Wright’s trademark: articulated pilasters that
appear geometric, linear
UNITY CHURCH, OAK PARK, ILLINOIS
(1905-1908)
- designed for the Unitarian Universalist Church
and considered as a climax of Wright’s work up
to 1914
- located on a corner lot
- in two sides, there were adjacent roads
- one of the first public buildings in the U.S in
poured concrete used as an exposed building
material
- layout consisted of two blocks (representing
two different functions) separated by an entrance
link; Wright’s first use of the bi-partite design;
temple layout ade sure that no one was more
than 40 feet from the pulpit
- forms of geometric ornamentation organically
united with its architecture
- its interior design based on rectangles, squares
and planes coinciding and reacting with each
other
ARCHITECTURE OF THE
INTERNATIONAL STYLE AND
EXPRESSIONISM
INTERNATIONAL STYLE
- an architectural style that rose in the 1920’s
and the 30’s, served as the early beginnings of
what we call today as Modernist architecture
- term was coined by Henry Russel-Hitchcock
and Philip Johnson on the International
Exhibition of Modern Architecture at the
Museum of Modern Art in 1932
- 3 Principles:
1. Expression of volume rather than mass
2. Balance than pre-conceived symmetry
3. Elimination of applied ornamentation
CHARACTERISTICS OF
INTERNATIONAL STYLE:
- use of free plan and free facade
- spirit of functionalism through the honest use
of materials in protest to conventional
architecture
- showed concern for the emotional and physical
well-being of man especially in new industrial
cities through urban planning
- important predecessors of the Bauhaus:
a. Deutcher Werkbund in Germany:
advocated intelligent design and mass
production of goods for the general
populace
 b. De Stijl Movement in Netherlands: a
group of Dutch architects founded by
Theo Von Doesburg, advocated pure
abstraction, which was also related to
Cubism of Pablo Picasso, by reduction
of essentials to form and color
BAUHAUS SCHOOL
- art college formed when
Walter Gropius took over
Henry Van De Velde as
director of the Weimar
Schools for Arts in 1919
- moved to Dessau in 1925
after the heavy attack from
conservatives
- the combination of arts and
crafts schools reflects Gropius’ belief that the
architect and artist must also be a craftsman
NOVEMBER 16, 2022
ARCHITECTURE FROM 1910-1950 AND
BEYOND
THE PERIOD (30’S - 50’S)
- This 20-year “interlude” in
architectural development
stands between two climaxes
of the international style in
architecture
- Important architectural
highlights during this period:
a. Adherents and
sympathizers remained in
Germany and produced relevant works
b. Wright’s final climax of work was
reached
c. The rise of Alvar Aalto
ALVAR AALTO
- his early works borrowed from the
Neoclassical style but eventually adapted the
symbolism and function of the modern
movement to generate his forms and plans
- used color, texture, and structure in creative
ways
- design responded well to site, material and
form
- born 18998 in Kuortane, Finland
- Finnish Architect and Professor of MIT
- his work demonstrates an expression of an
enhanced use of organic shapes, natural
materials and functionalism
- his architectural style transitioned from
classicism to functionalism
- he had a modernist approach to the Baker
House with its curvilinear form of the riverfront
dormitory building
- it reimagines residential living and
incorporates it within the urban campus of MIT
PAIMIO SANITORIUM (1929 - 1933)
- Among Aalto’s earlier works that reflects a
special kind of humanism, “a concern for the
physical and emotional needs of man” (Klassen)
BAKER HOUSE
HISTORICAL BACKGROUND
- built from 1946 to 1949
- first referred to as “the New Senior House”
- it was named “Baker House” in 1950 due to an
airplane crash in India that killed the school’s
Dean of Students, Everett Moore Baker
- it has undergone 4 major renovations since its
completion which included:
● Window replacements
● Making the building wheelchair
accessible
● Renovation of Mechanical System
● Restoration of Birch Furnishings
- sinuous form of the building prevents the
views of the rooms from being oriented at right
angles to the busy street
THE SITE
- located in a complex of buildings housing the
Massachusetts Institute of Technology in
Cambridge, Massachusetts
- MIT is a private, coeducational research
university
- During World War 1, the new campus became
a military training ground
- stimulated in a long, narrow lot along the
Charles River that is adjacent to the busy street
of 362 Memorial Drive
- situated on the north side of the MIT campus
- the dormitory is a reconceptualization of
residential life that is constructed into urban
campus of MIT
THE BUILDING
- FOCUSES: intellectual and social activities
and routes of campus life, enhancement of
appeal and logical simplicity, and expression of
landscape
- DESIGN SOLUTION: wave form
● Expressed fluidity of water (blending
with water)
● Majority of rooms face east or west
(adjacent to traffic from road and
oriented to receive light)
● Single-loaded halls open areas to
cross-breezes
● DOWNSIDES: construction expenses
and spatial limitation
- North elevation contrasts the fluidity of the
main facades through the use of straight volumes
● MAIN FEATURE: cascade staircase,
stairs that wrap around a corner of a
volume
- the design forms a poetic and purposeful
response to the Charles River, the MIT campus
and its students
● Character is shown in its exterior
through materiality
- the dormitory slab is clad in a rough,
waterstruck New England brick
● Highlights variety
● Created a living creature that symbolizes
the social character of the dormitory
- in contrast, the pavilions are articulated in
stone, natural wood, glass and steel material that
impart collective monumental identity to these
spaces
- the dining commons, a two-story terraced
pavilion clad in limestone, with wood framed
ribbon windows and a bank of Aalto’s signature
circular skylights, embodies the communal
essence of the building
● Disconnects from the chaos of the
dorms
- FOCUSES: intellectual and social activities
and routes of campus life, enhancement of
appeal and logical simplicity, and expression of
landscape
- common areas foster a sense of community and
connecting dual staircases allow horizontal and
vertical circulation
● Public spaces direct to the heart of the
campus
- single entrance to the campus proper creates a
dynamic public space for interaction
● Lobby features a fireplace, symbolic of
both the dorm’s domestic and
intellectual character
- the dining area is regarded by Aalto as the
heart of the dormitory
● Chief gathering space between radiating
wings
- LAYOUT: A curved plan from was chosen in
order to minimize the unsettling view out onto
this roadway
- no road was facing the street and its traffic at a
right angle
- the shape of the structure causes the windows
to face diagonally to the passing cars, providing
a quieter environment for the person inside the
room
- CIRCULATION: with just one corridor, all
- the dormitory has 5 different types of rooms:
rooms and exits can be accessed
1. Couch :
- largest single room type
- 140 to 185 square feet
2. Pie:
- Mid sized single room type
- Pie-like form
3. Coffin:
- Smallest room type
- 105 to 120 square feet
4. Quad:
- Double room with two sets of
bunk beds
- 395 to 445 square feet
5. Front Double:
- the form established a wide range of room - Double room type
shapes, resulting in 43 rooms and 22 various - 300 to 330 square feet
room shapes per floor, despite being similar, it
required unique designs for the positioning of
built-in furniture
NOVEMBER 23, 2022 JOHNSON WAX BUILDING

KAUFMANN HOUSE PENNSYLVANIA - H.F Johnson, Jr. commissioned Frank Lloyd

(1939)
- design is based on organically interpreted open
plan; combines design principles that he used in
his previous projects
- exhibits outstanding fusion of the house and its
natural setting (e.g. use of natural stones in
exterior vertical blocks and in the living room)
Wright, at 70 years old, in 1936 to be the
architect if the Johnson Wax Building in Racine,
Wisconsin, USA
- H.F Johnson, Wright wanted for the new office
to take on an innovative and modern approach
- built in an industrial park and served as the
main office of a manufacturer of cleaning
supplies, SC Johnson & Son
- officially opened in April 1939 and still
remains operational
- Wright referenced natural forms evident in the
“forest-like” and open-plan main office space
- columns : plans were unapproved by the
Wisconsin Industrial Commission for being
unrealistic
: Wright conducted a structural
integrity experiment that proved these columns
to be strong enough by withstanding a load of
sixty tons
- he added a 15-storey research tower
- example for the art modern style which was
characterized by streamlined curving forms
- top 25 buildings and National Historic
Landmark
- located in Racine, Wisconsin, USA in the
middle of an industrial area
- built on the rubble part of Herbert “Hib”
Johnson’s old factory
- due to an unpleasant setting, he designed the
building similar to a fortress; sealed
environment to cut off the building from its
surroundings
- the only entrance is a garage entrance located
on the west side of the building so pedestrians
have to go through the parking area to enter the
building
- users had to move around the building in order
to gain entrance
- in contrast to FLW’s previous Prairie School
structures, the building has a number of
curvilinear features. Therefore, to achieve the
sweeping curves of the interior and exterior,
over 200 different curved “Cherokee red” bricks
had to be employed
- the warm, reddish tint of the polished concrete
floor slab contrasts quietly yet dramatically with
the white stone trim and the white dendriform
columns
- the Great Workroom of the Johnson Wax
Building: biggest room and only one without
interior walls, first constructed with the
secretaries and administrators of the Johnson
Wax firm on a mezzanine in mind
: its ceiling is supported by
steel-reinforced dendriform (tree-like) concrete
columns, which also serves as the carport’s
structural structure, the small area created by the
low garage ceiling eventually becomes more NOVEMBER 28, 2022
spacious as one approaches the main building
where the dendriform columns soar over two SOLOMON GUGGENHEIM MUSEUM, NY
storeys tall
- Wright later added to the Johnson Wax
Complex, one of two high-rise buildings still
standing today that he designed, a 15-storey
research tower with glass bands positioned
between floors of brickwork
- inside, circular mezzanine floors that are - FLW’s second phase of career started: 1930’s,
cantilevered from the central core alternate with after the world war II
full-sized floors - completed in 1959, 6 months after Wright’s
- tower includes a central elevator and a spiral death; it was on the drawing board since 1943
staircase that is 29 inches (73cm) wide - asserts its individuality as an inward-looking
building by going against the regularity and
formality of manhattan’s street grid
- commissioned by the director of the solomon
guggenheim museum (Hilla von Rebay)
- Hilla von Rebay: gave the design brief to
Wright (he wanted a museum that would serve
as a monument)
- display mid-19th century works (realist &
post-modern paintings)
- posed a challenge: NYC was dictated by rigid
city planning regulations
: city was divided into blocks,
very rigid divisions, rectangular/squarish in
shape, usually designers barely had any options
so they opted for tall buildings
- FLW tried to come up with a so-called
monument that was an aspiration of the director
- there features in the building that went against
what was customary in New York City at that
time
- guggenheim form: several theories
*according to Klassen*
Perhaps Wright wanted a building from
history to serve as a concept:
● Minaret - Great of the Mosque in
Samarra
● The Ziggurat
● The Step Pyramid
● The Cenotaph of Isaac Newton by
Boullee (Cylindrical volume)
- dominated by streamlined form which is
characteristic in FLW’s forms in his later career
- design can be compared to Gaudi’s Casa Mila
which was constructed in Barcelona’s rigid city
planning; curvilinear in a corner whereas its
neighbors were rectilinear
- user experience should be enhanced in
designing museums; the whole journey of
viewing art and traveling from one spot to
another should contribute to that experience
- form considerations:
a. Slow decent help visitors avoid
“museum fatigue”
- Circulation for viewing: start from the
top before gradually descending the
ramp
- Structure: considered how the paintings
will be displayed
- Ramp: designed in such a way that the
paintings were framed individually to
give more emphasis to the painting
- Framing: vertical supports that connect
to the structural ribs supporting the
oculus
b. Outward slanted walls of spiral ramp
resembled as easels for more faithful
representation of works
c. Rectilinear frame of reference for
paintings
FARNSWORTH HOUSE, ILLINOIS (1946 -
1950) BY LUDWIG MIES VAN DER ROHE
- designed for a doctor
- supposed to be a rest house
- demonstrated his minimalist principles
- located more than 60 miles away from city
proper
- environment : tranquil, close to nature
- Mies van der rohe considered the connection to
the natural environment outside
- rectangular volume dominated by glass clear
glass surface
- people inside can see the people outside and
vice versa
- issue: with the structure being mostly glass
where people outside can see what the people
are doing inside, it compromised the privacy of
the building (main negative issue that was
thrown against modern architecture)
- another issue issue: client found the storage
space as to few
- van der rohe’s intention was to make a stripped
down design showcasing the basic forms of a
building (it may have been too stripped down
that some issues were disregarded)
- contains : raised platform that serves as porch,
entryway to the house and the main volume
itself, elevated a bit further the porch
- hints at some Barcelona features
- structure: flat, static, cubic, well-defined edges
- tried to exhibit some dynamism by having a
cantilevered portion at the open area (a
Barcelona feature)
- composed of 8 white steel l-beams which
support the roof and floor slab dividing the
volume into 3 equal bays
*insert more pics of farnsworth house*
- it’s composed of pre-cast concrete flooring and
roof slab supported by a steel frame of columns,
beams and girders
- steel mullions secure single panes of glass
which cover the whole height of interior space
GLASS HOUSE, CONNECTICUT (1947 -
1949)
- often compared to Farnsworth House
- by Philip Johnson
- climax of the so-called “stripping down a
building to its most basic elements”
- vertical supports represented by steel frame
- glass wall is present
- only one solid partition : cylindrical masonry
volume that encloses the toilet and fire place
- vertical framing is thinner than Fransworth’s, +
in some angles the framing blends to the trees’
bark appearing more integrated to nature
- private areas like bedrooms are subtly
separated from active areas through furnitures
otherwise, it’s open plan
SEAGRAM BUILDING
- designed by Ludwig Mies van der Rohe
together with Philip Johnson, Ely Jacques Kahn,
and Robert Allan Jacob
- 1957: the building was set to be finished by the
year 1957 as a celebration of the company’s
100th anniversary
- completed in April 1957
- standing 39 stories tall
- November 1954: Mies van der Rohe was
selected to design the building since his
buildings were said to be “sublimely urban”
- located: eastern side of the park avenue
between 52nd and 53rd street, manhattan, NYC
- 50, 950 square feet (4,733 m2)
- open plaza: Mies’ response to the city with the
Seagram Building was the grand gesture of
setting back the building 100 feet from the street
edge, which created a highly active open plaza
: also created a procession to the
entry of the building, providing the threshold
that linked the city with the skyscraper
- 19th century: included the original Steinway &
Sons piano factory, as well as tenements made of
brick or brownstone
: with its use of modern materials
and setback from the city grid, it became a
prototype for future office buildings designed by
Mies as well as a model for many buildings
erected in its surroundings.
- 50 yrs after its completion, is still admired by
many visitors
- set an example as an international style
skyscraper amidst the New York skyline
EXTERIOR FEATURES:
- designed to appear simple with its rectangular
form
- highlights its functionality as a corporate
structure
- composition strays away from the customary
brick and concrete
- utilizes non-structural bronze to hide the
structural components of steel and concrete
underneath
- lined with floor-to-ceiling gray topaz glass
windows used for sun and heat protection, and
so that users experience maximum natural
lighting
- incorporates a setback that enables Mies to
incorporate a granite plaza at the foot of the
skyscraper, juxtaposing the tall bronze structure
BUILDING MATERIAL:
- constructed using a steel frame and reinforced
concrete overlapped by non-structural bronze
l-beams
CONSTRUCTION METHODS:
- concrete core shear walls extend up to the 17th
floor of the building while diagonal core bracing
(shear trusses) extends to the 29th floor
- first skyscraper to utilize high-strength bolt
connections and combine a braced frame with a
moment frame
INTERIOR FEATURES:
- PLAZA : created a procession to the entry of
the building, providing the threshold that linked
the city with the skyscraper
- LOBBY : has a white ceiling that stretches out
over the entry doors further eroding the defined
line between interior and exterior
- : can be divided into three sections: the
rectangular (front) portion to the west, the
central portion and the t-shaped (rear) portion to
the east
- OFFICE SPACES : have flexible floor plans lit
with luminous ceiling panels
- : maximum natural lighting with exterior being
glass panes of gray topaz that provide
floor-to-ceiling windows
- : venetian blinds for window coverings
- : travertine floors and walls
PLANNING OF SPACES:
- 157m high, spread over 38 floors
- modular plan of a rectangle of 5x3 square
structural modules
- LOBBY : layout leads to banks of elevators as
well as to the monumental spaces for a bar and
restaurant located in the opposing wings
 THREE SECTIONS:
a. WESTERN PORTION - entered
through 3 revolving doors in the western
glass wall with two bronze-clad columns
dividing the space into thirds
b. CENTRAL PORTION - contains three
corridors with adjacent two or three
elevator doors that lead users to other
levels of the building
c. EASTERN PORTION: contains
rectangular space, entered at northern
and southern sides paired by revolving
doors
FUNCTIONS OF IMPORTANT ROOMS
- OPEN PLAZA : to distance NY’s urban
morphology, lot line development, and the
conventional economics of skyscraper
construction
- LOBBY : efficiently conduct people from
plaza to either the elevators or first-floor
restaurants without leading the users to a
monumental central space, as do lobbies of
traditional Beaux-Arts-style buildings
DECEMBER 5, 2022
BRUTALISM
- a style that flourished from the 1950s-1970s
hat spawned modern architecture
- term coined by Alison and Peter Smithson
from the French term “beton brut” meaning “raw
concrete”
- common characteristics:
a. Striking repetitive angular geometry
b. Textured concrete from wood forms as
exterior finish
- not intentional, resulted from
formworks used to construct the
concrete parts of the building
- practical at this time, because the years
following the war, there was an acute
need for housing and buildings that were
damaged from the war, they wanted
these buildings to be usable immediately
so lack of ornamentation contributed to
the hastening
c. Exposure of building’s functions
- showing these utilities (drainage,
downspouts) somehow articulate the
building; contribute to articulation and
treatment of the surface
- practical during these times
- Le Corbusier advocated this type of style
- he thought it was very fitting when you talk
about structure and design of building after the
war
UNITE DE HABITATION, MARSEILES,
FRANCE
- Le Corbusier’s culmination of search for a
meaningful residential architecture
- consisted of flats with double height living
spaces and wide balconies served by an internal
street integrated with shopping (upper level) and
recreational & communal facilities on the roof
- exterior is sculpturally active; used rough
textured concrete/beton brute (Brutalist)
- apartment blocks contained in a single
structure
- concrete is the main material
- it was said that some units here were made
with precast concrete; some units were precast
on ground level and were just lifted into place
into their designated places in the building
- precast concrete was already underway in this
building
- showcasing of natural texture and
characteristics of concrete is something new in
Le Corbusier’s designs post-world war 2; in
contrast with his work, Villa Savoye for
example, he had white surfaces and glass
highlighting purity of volumes at that time
- in terms of 5 points of architecture, it is still
very evident here:
a. Pilotes - lifting of the volume from the
ground to afford space underneath the
main building volume
b. Horizontal windows - horizontal
arrangement of windows is still present
but discontinued
c. Open plan - recognizable in the
individual units
d. Free facade - not so evident just by
looking at the building, but at some
angles, you will be able to recognize it
as there seems to be a continuous line of
openings at some parts of the building
where you cannot really see vertical
supports (but looking at the overall
form, the presence of the pilotes at the
ground level somehow dictates to you
the role of the vertical supports; the
building envelope is not composed of a
lot massive and solid surfaces so it
somehow indicates the absence of load
bearing construction)
e. Flat roof - not essentially a roof garden
but the concept of a recreational space
as an extension at the top of the building
is maintained here through the
recreational spaces placed at the top;
pool area, gym facilities (it was a
convergence area where they can relax,
have fun with fellow dwellers)
- essentially, its design is the concretization of
Le Corbusier’s vision of a sustainable building
- Le Corbusier wasn't just dabbing his hands on
architecture, he was genuinely interested in
urban planning and city planning
- his concept of a sustainable city was somehow
encapsulated in this building where everything is
there; recreational, living spaces, commercial
spaces
- location of the commercial spaces was
carefully thought of where it’s convenient and
accessible to the residents
- dwelling units here occupied the entire floor
which is unlike condominiums, apartment
buildings nowadays (disadvantage: hallway is
not very well-lighted)
- the apartments rested on led blocks that
minimized noise coming from other apartments
(an acoustic feature incorporated into this
building)
- has 23 types of apartments, with the kitchen as
its center
- each apartment occupies a stepped layer across
its transverse section offering two different
views of the outside landscape
- corridors run through the center of the long
axis of every 3rd floor with each apartment lying
on 2 levels stretching from one side of the
building to the other, with a balcony
LA TOURETTE MONASTERY, EVEUX,
FRANCE (1957-1960)
- Le Corbusier’s concept: to provide a space for
contemplation, for silence
- a solemn refuge for the monks which is often
translated to the form of the building in which it
doesn't really call out a lot of attention but it
remains very humble and is somewhat very
grounded to the site in avery sloping area
- it was planned as a complete, self-contained
world for a community of studying, silent
Dominican monks, living a life so austere they
are sometimes known as the “begging brother”
- the design of the building was connected by the
architect to the character of the Dominican
monks; this type of monastic monks was
comparable to the cistercian monks of the
medieval period
- layout is somewhat reminiscent of the old
layouts of the churches before where there is a
courtyard at the side of the church
- rectangle: the church/chapel
- u-shaped block: composed of the living and
communal area
- abundant supply of window openings to let
natural light in and to allow monks to connect to
their natural environment
- has carefully proportioned floor-to-ceiling
glazing used in many of the public areas- the
chapter room and referectory with their
commanding west-facing views over the valley,
the library, and the approach to the church
- framing is inconsistently placed so some
mullions and frames are closer to the windows
- in Klassen’s book, it was said that Le
Corbusier relied on a certain musical
composition by a musician named Xenakis
where he based the design and spacing of the
mullions on the rhythm of the composition so
it’s not uniform all throughout
- the character of a monastic complex (where
there are have individual cells for the monks
inside these monasteries; these individual cells
can be interpreted through the openings in the
structure), are very modular; somehow signifies
the divisions of the rooms inside, and is
expressive of the function of the monastery in
this part of the structure
- massive solid volume: church, it’s very solid
all throughout minus the very few openings at
the certain parts of the volume so the church is
opposite from the u-shaped part of the La
Tourette as it is very enclosed and unadorned, no
statuaries, niches, elaborate baldachins (the
bareness of the interior allows the monks to
further reflect)
- the entry of light in the church is very
strategically placed, doesn’t blind or leave the
space too dark… just enough to give a dramatic
entrance of light in the church (which evident in
Japanese architecture where they are into the
sensibility part of the effect of their spaces)

- this tall, plain, concrete box structure is given
spiritual life through selective and careful use of
natural light and subtly strong color
- daylight is admitted through five different
types of opening around the church, several of
them sculpted outside
CHANDIGARH CAPITOL COMPLEX,
INDIA (1950-1960)
- government building designed by Le Corbusier
himself
- consists of 3 buildings
- in this project, he still incorporated a brutalist
approach and exploited on the plasticity of
concrete while still taking into consideration the
climatic conditions in this area of the world
- main approach leads us to the piazza (open
space) which allows us a good view of the three
buildings
- the high court building:
● texture of the concrete is highlighted on
the surfaces in the building
● qualities of the concrete was taken
advantage of in coming up with
swooping canopies in the front part of
the building
● Climate conditions: egg crate sun
shading devices (appears like walls that
are framing window openings) are
projecting from the main window
openings to shade the gaps from the sun
at different times of the day
● was the first building to be built in
1951-1957
● has a double roof, projecting over the
office block like a parasol or an inverted
umbrella
● its magnificent outward sweep of the
upper roof is symbolic of protection &
justice to the people.
● giant wooden tapestries designed by Le
Corbusier hung on rear walls of the
courtroom
- legislative building:
● opposite from the high court building
● compliments the plastic treatment of
concrete canopy in the high court
building
● swooping of the canopy is more
emphasized here; considered the most
cultural among the three buildings in the
complex
● walls are recessed for sun shading so it
is not aligned with the canopy; evident
approach that makes one think that it is
addressing the weather climate
● at the side you can see a more
continuous uninterrupted line of
windows that are recessed where there
are horizontal light shading devices
installed above the openings
 ● most sculptural building located at the
northeastern part of the complex’s
piazza
● square in plan
● has a monumental portico standing free
from the main building
● a pyramid covers the upper chamber of
the erstwhile bicameral system and
offers an exciting counterpoint to the
cupola, leading artistic grace to the
entire complex
- the secretariat building:
● located at the same side, slightly behind
the legislative building
● largest building in the complex (254m
long and 42m high)
● is a multi-storied linear slab-like shape
structure, intended as a work place for
4000 people
● built during 1953-1959
● shaped like an eight-storey concrete
slab, with its distinctive brise-soleil of
deeply sculptured two-storey porticos in
the centre, housing the offices of the
ministers *brise-soleil - sun shading
devices, not just protects
surfaces/openings from the sun, it
allows a variation in the exterior look of
the building so it does not look very
linear when it comes to articulation*
● unfinished, unplastered but what gives it
some sort of articulation are the tropical
design elements like the light shelves,
horizontal sun shading, recessing of the
windows which allows shadows that can
be casted on different parts of the
building, making the effect of light to be
evident on the surface of the building
itself (play of light - characteristic of the
early works of Le Corbusier)
- In these buildings, we can see Le Corbusier
taking advantage of the very qualities and
characteristics of the concrete material
NOTRE DAME DU HAUT, RONCHAMP,
FRANCE
- demonstrated some of his design approaches in
the second phase of his career which started
after the second world war
- pilgrimage chapel dedicated to the Virgin Mary
which is considered as a “Gesamkuntswerk” in
church architecture
- its subtle and “naturalistic” form translates the
functional and emotional demands as a religious
building
● HISTORY
- was once the ruins of a 4th century world war 2
church
- was commissioned by the Association of Notre
Dame du Haut in the 1950s, he was asked to
erect an entirely new structure over it
- void of ornate embellishments and extravagant
elements in the facade
- Le Corbusier displayed his structural and
spatial prowess
- He further showed his distaste for classical
styles by his avoidance of elements such as
statues and stained glass, this was proven when
he visited the site and saw that the mechanized
means of construction would be difficult
- the embrace of modern art and architecture
drew in different crowds: both good & bad
- January 2014: the chapel was broken into and
vandalized (a stained glass that had Le
Corbusier’s signature was shattered)
- Xavier Delory: edited pictures of a repainted
Ronchamp, a message that spoke of a modernist
building’s inherent need to adapt the radical
change
- UNESCO added this as one of its 17 buildings
to reach the World Heritage’s list of
internationally important architectural sites
● SITE
- stands on a lush grass covered land
- built on a preexisting site that once house a 4th
century Catholic church (destroyed in the
WWII)
● BUILDING FEATURES (EXTERIOR)
- How moving on to the building features
starting with the exterior at first glance you can
notice how the notre dame du haut stairs away
from lake of uses rational and boxy functionally
style and shows a more cultural and
postmodernist style the power of the chapel is
made of concave and convex surfaces and it
really fits in the theme of postmodern
architecture which is the have a meaning or
interpretation behind the design like in this notre
dame du haut you can have different
interpretations to eat it could be two hands and a
receiving position or could be a doctor or a boat
or any other interpretation the curve shape of the
chapel was designed to give a sense of being an
honest to embrace to its visitors in addition the
curve design generates outside spaces that
extend the travels interior into the surrounding
environment since it is a pilgrimage shuffle there
are typically only a few of them but on
significant piece days tens of thousands will be
present for this reason lake of you self
constructed an outdoor author and poet so that
the enormous masses may sit or stand on a broad
field on the hilltop renowned figure of the virgin
mary retrieved from the remains of the chapel
destroyed during world war 2 is placed on a
unique glass case in the wall and can be rotated
to face the congregation indoors or outdoors the
curving roof that rises up towards the sky is the
most outstanding feature of notre dame du haut
the enormous shell-like group was apparently
inspired by an empty crab shell that link of
yourself found in long island new york the curve
group appears to float above the building
providing a 10 cm space between the roof and
the walls allowing for clear story light enter the
chapel giving under tional natural light despite
its enormous and waiting features the roof sims
weightless due to its curve the roof was also
made to slope down to a double barrel daughter
on the west was on that directs rainfall into are
receiving pool at ground level the rainfall is
composed of three pyramids and a cylinder all
made of rough country also before whitewashing
or painting the walls the interior and exterior
walls were completed with mortar that was
sprayed over the surfaces giving the walls a
rougher texture the walls also contained on a
given arrangement of windows of various sizes
moreover the glass or the windows is position at
varying depths the gas is adorned with tiny
pieces of stained glass in the signature come you
say colors of red green blue and yellow these
little stained glass windows are situated deep
into the 10th southall the openings to the
window still to the center of the window and
very degrees does by tapering the window in the
wall the light is amplified and allowed in at
varied angles in the interior the light that passes
through the tapered windows gives the interior
of arterial feeling each wall is left by these
various windows which contrast of whitewashed
walls and provide more interesting and radiant
pictures on it the wall behind the altar also
contains small openings that give the impression
of stars and a wider opening above the cross
containing the figure of the virgin mary releases
of flood of light producing an intense religious
and emotional experience the interior of the
notre dame du haut is actually quite simple and
is a very decorative the interior space contains
three chapels the morning chapel mark by
number 7 in the floor plan their evening chapel
mark by number eight mark by number 6 and the
grand chapel mark by number four the inside of
the evening chapel discolored brilliant red while
the sacristy on the north side is violet which
reminds us of the architects other work the
dominican monastery of la tourette strong use of
color so the stone cave floor of the notre dame
du haut is gradually slanted to match natural
natural inclination of the mountaintop and the
furniture inside the chapel is also design by lake
of user handsome now let's proceed to the floor
plan elevations action and construction details of
the church next we have the floor plan and
isometric action of don church for the floor plan
floor plan shows the different spaces found at
the church so we have the altar in the middle
require beside the views and the pure and sitting
area is located in the middle with an oblique
arrangement beside the south pole and the south
pole has a unique triangular think masonry wall
with the colored windows and beside the south
wall is the main entrance at the sides we have
the cell site apple or also called as a maid chapel
the confessionals are on the west side and the
north side and trans is between the east side and
was a couple there's one more entrance behind
the altar which is the east and trans as you exit
there you can see you the exterior alter and will
be the reason for the exterior altar was because
the churches of pill grammage chat all right so
there are a few people that worship their most of
the time but on special feast days large crowds
will attend and to accommodate them liquor
bashar purpose we built and outside author and
poet so that large crowds can still sit or stand on
the fast field on top of hill so there's no Dr
categories in the two which is the central
diamond on space and secondary stanzas which
comprise the travel to emphasize it here are
three entrances going inside the church and the
illustration here shows the circulation paths vs
recirculation past for the visitors of the church
staff and teachers think it out there was able to
identify the entrance for the two types of cloud
users to enter and experiences face of a church
14 the private and public for here is the three
circulation past shows the visitors where they
could go the first one going from the main
entrance to decide chapel is happen going to the
north entrance then to the fuse and a third one
from the main entrance to the main channel here
is a human scale comparison when visitors go
through the circulation space the plan of the
church is obviously not your typical roman
catholic church with the names are out and cross
layout however the spaces seen in the floor plan
still suggest that it is an any identifiable church
with the congregation being able to have masses
and still being a place of worship here are the
exterior views and elevations of the church just
to give an overview and then next here we have
the section view of the building facing towards
the altar and the ordinary southall is the vertical
vertical triangular frames of reinforced concrete
modular space and stenting of the pancreas that
moves from the east to the west and curves to
the sound this architectural element is important
highlight of the church as the window openings
found on the walls which house the stained glass
windows for the human scale reference to the
windows here this and also in the section we
could see the small gaps between the south wall
and a curb roof which makes the roof of a flow
and give some light inside interior so the
structure is made mostly out of concrete but that
it was used the stones from the previous church
was used for the structure and we can see here
the concrete shall he cast-in-place lower bmd 3/4
be free cast of a roof beams in roof deck and
discover for the rain water drainage with was
previously mentioned by kyle so here are some
of the construction documentation of the
ronchamp church and here we can see the mesh
wire membrane and the arrangement of a
curvilinear effect of the next and here is another
documentary photo of the construction phase of
the church the action of the east and west side
this is between one of the entrances just to give
an overview and also see the thickness of the
wall of and b versus the space

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