Hoa Sakit Ulo

University of Batangas
Romanesque Architecture
Romanesque = Roman like
• Describes the European style of building design which flourished during the late
Medieval era (c.800-1200).
• Reached its zenith in the eleventh century hinging on the year 1095 when Urban II
proclaimed the Crusade
• Influenced mainly by classical Roman architecture, as well as elements of Byzantine
art, and Islamic art.
• Characterized by the desire to articulate, to stress or underline every structural division
in order to produce unified compositions.
• Characterized by a new massiveness of scale, expressing the increasing stability of the
age and the re-emergence of European culture after four centuries of the Dark Ages
(476AD-1456).
• Traditionally divided into three periods: (1) Pre-Romanesque: Carolingian & Ottonian
architecture (c.800-1000). (2) Early Romanesque (11th century). (3) Mature
Romanesque (c.1070-1170).
Pre-Romanesque
• The areas of Europe where buildings were constructed during this period have
little in common other than their sources of inspiration.
• Most significant Regions - Carolingan homelands in Northern France and the
Rhineland, Asturias in Northern Spain, Northern Italy and Anglo-Saxon England.
History of Architecture 2 1
Early Romanesque
• Re-used the rounded arches, wall masses and barrel-vaults of the Romans, but they also
introduced changes. • saw the overcoming of Byzantine models and the abandonment of the
formal language of classical antiquity.
• column was replaced by the pillar; spaces previously left empty were filled with thick walls,
forming compact masses
• the elevation of walls was divided into three or even four levels (arcade, gallery, triforium,
and clerestory).
• The major structural change, a result of advances in construction techniques, was the
progressive ability to cover churches with vaulted ceilings.
• creation of an articulated structure on the exterior, with varying combinations of volumes
decorated with stylistic elements from antiquity, such as pilaster strips, hanging arches, and
blind arcades.
Mature Romanesque
• late 1060s
• total adoption of the vault covering - progress made in construction techniques
• Articulation of walls - still divided in bays with an elevation on several levels. transepts,
presbytery, apses, even the exterior
• precise figural purposes: to welcome, shelter, and embrace the faithful in a setting both
stately and dignified, designed along perspective lines to give a sense of depth, all culminating
in the ambulatory apse.
• adoption of the system of bays taken as spatial units; they were no longer divisions, marked
off by transverse arches, of a unitary space, but were rather spatial bodies that were added
one to the next, an addition of cells in a rigidly symmetrical order.
• The walls was now structured as a plastic mass that could be disassembled and into which
space could enter by way of openings in its surface, sometimes creating internal galleries
along which people could move.
Romanesque Architecture Characteristics

• Semi-circular Arches
Most arches were semi-circular although a few have pointed arches. Narrow windows/doors might
be topped by a stone lintel. Larger openings were nearly always arched. • Thick Walls
These massive supporting walls had few and comparatively small openings and almost eliminated the
need for buttresses.
• Arcades
These were a particularly popular feature. Note: an arcade consists of a row of arches, supported on
either columns or piers. Columns were either drum columns (if small) or hollow core (if large). Piers
were typically built out of masonry and were either square or rectangular. Capitals on columns were
usually of the foliate Corinthian style.
• Roofs
These were made from wood, then stone. Vaulted roofs generally featured barrel-vaults and groin
vaults made of stone or brick. Eventually, these evolved into the pointed ribbed arch used in Gothic
architecture.
• Towers
These were a regular feature of Romanesque churches. Types included: square, circular and octagonal
towers.
ROMANESQUE ARCHITECTURE: North Italy

Churches
Plan: basilican plan Façade:
• arcades all over façade
• wheel window
• central projecting porch, with columns on crouching beasts
Structural: rib and panel vaulting - framework of ribs support thin stone panels Ornament:
• character was less refined due to use of stone and brick, instead of marble
• roughly-carved grotesque figures of men and beasts (shows northern European influence)
Baptisteries - used 3 times a year: Easter, Pentecost, Epiphany - large, separate buildings -
connected to cathedral by atrium
• octagonal in plan
• with projecting porch
• pilaster strips
• corbel
• arcading at façade and apse

• octagonal lantern on top
• Campaniles - straight towers shafts, generally standing alone - served as civic monuments,
symbols of power, watch towers
• square-planned, no buttresses
• facade of simple pilaster strips
• loggia on top, displaying bells
• pyramidal roof
ROMANESQUE ARCHITECTURE: South Italy

Cathedrals: basilican plan, richer in design and color
• elaborate wheel windows – made of sheets of pierced marble
• greater variety in columns and capitals
• elaborate bronze doors and bronze pilasters
Byzantine influence: mosaic decorations, no vaults, used domes
Muslim influence: use of striped marbles, stilted pointed arches, colorful,
geometric designs as predominant interior decoration
ROMANESQUE ARCHITECTURE: Central Italy

Cathedrals: concentrated on ornamental details, rather than new construction systems
Plan: resembled basilican churches Façade:
• ornamental arcades
• doors and windows are small and unimportant (even wheel window)
Inside: use of antique columns to separate nave from aisle
Ornament: classical precedent was used only to suit the fragments of old ornaments used in new buildings
Example: Pisa Cathedral

• forms one of most famous building groups in the world - Cathedral, Baptistery, Campanile, and Campo Santo
• resembles other early basilican churches in plan
• exterior of red and white marble bands
ROMANESQUE ARCHITECTURE: North France

Remains of old buildings were less abundant – they had greater freedom of developing new style Cathedrals
Plans:
• basilican type
• rib-vaults and semi-circular or pointed arches over the nave and aisles • timber-framed roofs of slate finish
and steep slope to throw off snow
• façade:
• 2 flanking square towers with pyramidal or conical roofs
• imposing doorways with sculptured tympana
• facade divided into wall arcades by string courses or horizontal mouldings • filled with ornaments of foliage,
men and animal figures sides:
• massive walls with flat buttresses
• windows with semi-circular heads, sometimes grouped together and enclosed in larger arch ornament:
• capitals and bases are rough Corinthian imitations
Examples
Abbey of St. Denis, near Paris
among the first instances of

S. Madeleine, Vezelay using the pointed arch
 ribbed vault, pointed arch
 has nave and aisles with and flying buttresses earliest pointed cross-vault in successfully combined
France
ROMANESQUE ARCHITECTURE: South France

Remarkable for richly decorated church façade and graceful cloisters, and for the use of
old Roman architectural features which seems to have acquired a fresh significance.
Cathedrals Plans:
• cruciform plan
• semi-circular east end, as an ambulatory with radiating chapels • nave and 2-
storeyed aisles Example:
St. Sernin, Toulouse
• cruciform, with nave double aisles and transepts
• round arch barrel vault on nave
ROMANESQUE ARCHITECTURE: Germany

Also known as Central Europe
Exhibits continuous combination of Carolingan tradition and Lombard influence Cathedrals
Examples:
Aix-la-Chapelle (Aachen) Cathedral
• built by emperor Charlemagne as his tomb house
• polygon of sixteen sides, 32 m in diameter
• dome on top, 14.5 m in diameter
Church of the Apostles, Cologne
• trefoil apses
Worms Cathedral
• eastern and western apses and octagons
• 2 circular towers flank each
• octagon at crossing, with pointed roof
ROMANESQUE ARCHITECTURE
Spain, Portugal and Holy Land
Spain and Portugal
Features:
• use of both basilican and Greek-
cross forms
• use of horseshoe arch Structures:
1. Religious Santiago de Compostela
Buildings 2.
Military • finest achievement of Romanesque in
Spain
Buildings
a. castles
b. city walls
The Holy Land
1. Religious Buildings 2.
Military Buildings
a. Pilgrim Forts
b. Coastal Fortifications
c. Strategic Inland Castles
ROMANESQUE ARCHITECTURE: England

Architectural Characters
a. Roman Period – mosaic flooring, pottery and sculpture on dwelling houses and public buildings
b. Anglo-Saxon Period – domestic buildings was dependent largely upon the use of timber, pilaster
strips from the Liesenen of Carolingan Rhineland and blind arcading, use of triangular headed
openings, and turned balusters and mid-wall shafts.
c. Norman Period – features imported directly from Normandy – typical Benedictine plan having three
eastern apses such as those in Durham and Peterborough
- Stained glass are used, though sparingly, in small pieces, leaded together in mosaic-like patterns. - Timber roofs
were colored, sometimes with lozenge-shaped panels Examples:
1. Cathedral Churches
a. the old foundation - served by secular clergy
b. Monastic foundation - served by regular clergy or monks, later by secular canons
c. New foundation - to which bishops had been appointed
2. Monastic Buildings
2. Castles
a. Anglo-Saxon Period – no castles, as the Forts or burhs built at this time were community use;
privately speaking castles were private strongholds for kind of lord, and were an outcome of the feudal
system, which did not apply in England until the conquest. b. Norman Period
• there were 1,500 castles in England and 1,200 were founded in the 11th and 12th centuries
• began as motte and bailey earthworks
• later became citadels with stone curtain walls

• developed donjons or keeps
4. Manor houses – the most important house in a country or village neighborhood - the main
residential building in a manor or estate in feudal medieval Britain.
- a similar edifice for the Presbyterian Church in Scotland
ROMANESQUE ARCHITECTURE: Scandinavia

Earliest domestic building customs were based upon timber techniques allied to forms.
Romanesque characteristic appear upon both British and Continental European influences upon church
building in stone became effective toward the middle of the eleventh century Characteristics:
• Inner timber colonnade which contributes to basilican plan section with a (blind)clearstorey, and
steep scissors-trussed roof. • Uses Ramloftstuga Examples:
1. Religious Buildings – stave church – wooden church with vertical planks forming the walls
2. Secular Buildings – minor domestic architecture generally conformed to the strong tradition of
timber construction and little original work survives
- stone-built dwellings followed the continental custom, and common with the Norman manor
house in England.
Man and New Technology:

Architecture in the Industrial
Revolution
1830 - 1914
Industrial Revolution
- Started in Britain and spread throughout the
world although it was not seen as revolution Technological Innovations:
but only new ways of making things.
- drainage and sanitation
- The transition to new manufacturing
processes. This transition included going - cotton manufacturing
from hand production methods to machines, - steam-power
new chemical manufacturing and iron
production processes, improved efficiency of - coal-gas and gas lamps, later electricity
water power, the increasing use of steam - lift or elevator
power and development of machine tools.
- inventions in metallurgy - structural iron, cast-
- The “age of revivals” and “age of innovation” iron, iron and glass, steel - reinforced concrete New
- The beginning of rise of population, Building Types:
urbanization and development of transport
systems - town halls - department stores
Social Changes: - Hospitals - public banks
- growth of middle class - industrial buildings - Warehouses
- professionals and businessmen - fire and police stations - exhibition halls
- institute of British Architects, code of - art galleries - university buildings
professional conduct - transport buildings
Development in Transport System
- roads, railways and canals were built Wrought iron – forty times as resistant to
- canals began to be built in the late tension and bending as stone, only four
eighteenth century o link major times heavier. It can be form and molded
manufacturing centers into any shape.
- Rail road – construction of major railways steel
connecting the larger cities and towns Solid structures could be replaced by
Building Materials: skeleton structures, making it possible to
erect building of almost unrestricted height
Glass – can be manufactured in large sizes
Building could be constructed into any
and volumes.
shape and in short time. Curtain walls
Brick were used
Portland Cement – strong, durable, fire Large skylights were popular
resistant type of cement developed in 1824 Lacked in imagination and style
Iron – 3 types Main focus was functionality
Cast Iron – an essentially brittle material, is
approximately four times as resistant to
compression as stone
Best Examples
Influences:
- Crystal Palace, London – by sir Joseph Paxton
– one of most remarkable buildings in 19th Geographical - As an island separated from, and
century Britain – housed the great Exhibition yet close to, the European continent, England
enjoyed a geographical situation that was
– erected in Hyde park, moved to Sydenham favorable in several ways.
in
1852 to 1854 Political - Government was ready to provide
conditions in which trade, industry, banking and
- Eiffel Tower - The Entrance Pavilion, farming for profit could flourish. The best single
International Exhibition, Paris - 1878 AD - by condition it provided was laissez-faire -no
Gustav Eiffel - extensive use of glass and iron government interference with private businesses.
- The Iron Railroad Station – Central railroad Economic - internally, the purchasing power of
the people was generally greater than that of
station, new castle one Tyne, England – other peoples. Externally, the rapidly increasing
18461855 – John Dobsan trade stimulated the production of cheap
manufactured goods in England.
Technological - Before and during the Industrial
Revolution, several technological processes
converged: tool improvement, use of coal as
fuel, greatly increased use of iron, and use of
steam power.
Railroad Stations
Industrial Revolution - Central Railroad Station, New Castle on
Examples: Tyne, England – 1846-1855 – John
Iron Bridges Dobson – the National Rail station with
- Brooklyn Bridge, Brooklyn, New 12 platforms
York1869-1883 – John Augustus Roebling
– Bridge Style: Suspension bridge, tower - St. Pancreas Station, London – 1864-1868 –
structure-stone masonry- Style: Gothic William Henry Barlow – has single span roof
piers, structural expressionist cables and of 243 feet – four type AF High Friction
bridge deck Clamps fixing is used for roof.
- Clifton Suspension Bridge, Bristol, Iron Market Place
England – 1836-1864 - Covered Market, Berlin – 1865-1868 –
- Tower Bridge London – 1886-1894 – Sir Friedrich Hitzig
Horace Jones – open by Prince Edward VII - City market hall, Paris
of Wales- two piers were sunk into the river - Galleria Vittoro Emmanuel II, Milan – 1865-
bed to support the weight of the bridge – a 1867 – Guiseppe Megoni – the
massive 11,000 tons of steel used for the street is coveredover by an arching glass
walkways and towers. ans cast iron roof, a popular design for
nineteenth-century arcades – the central
octagonal space is topped with glass dome
Iron Cultural Building

Industrial Revolution - Paris Opera, Paris, France - 1857-1874 -
Iron Commercial Building Charles Garnier – building type: theater,
- Menier Factory, Noisel-sur-marne, opera house – construction system:
France – 1871-1872 – Jules Saulnier masonry, cut stone – style: Neo-Baroque
- Bradbury Building, Los Angeles, - Museum of Natural History, England –
California – 1889-1893 – George H. 1860-1880 – Alfred Waterhouse – style:
Wyman – architectural landmark in Romanesque
L.A. California – architectural style: - Corn Exchange, Leeds, West Yorkshire,
Italian Renaissance Revival, England – 1860-1863 – Cuthbert
Romanesque Revival Broderick – style: Victorian – grade I
- Commodities Exchange, Amsterdam, structure – renovated: 1990, 2008
the Netherlands– 1897-1909 – Hendrik
Petrus Berlage – building type:
commercial trading room, stock
exchange – construction system: brick
bearing masonry with iron trusses for
glazed roof
1800’s and 1900’s Architecture: Britain

- St. George’s Hall, Liverpool – by Harvey
Lonsdale Elmes – most magnificent neo-
Architectural Character classical monument in Britain
- Eclecticism – taste for exotic forms, - Westminster New Palace (Houses of combining native and
foreign styles Parliament), London – by Sir Charles Barry –
non
- Victorian and Edwardian architecture usedhistoric styles –from fire of 1834accommodates
-classical design Gothic detail by Pugin
Westminster Hall survived – Victoria tower, Clock–
Periods tower “Big Ben” – first major public building

Early Victorian – 1830-1850 of Gothic revival
High Victorian – 1850-1870 - St. Giles, Cheadle, Staffs – by Pugin
Late Victorian and Edwardian – 1870-1914 - The conservatory, Carlton Hose, Londoncast-iron for
structural and decorative purpose–
Aftermath – after World War 1 - Palm house, Royal Botanic Gardens, Kew –
Examples: by Decimus Burton and Richard Turner
Early Victorian - Crystal Palace, London – by sir Joseph Paxtonth
– one of most remarkable buildings in 19
The Clifton Suspension Bridge, Bristol

- – by century Britain – housed the great Exhibition – Isambard
Brunel – pylons of Egyptian character erected in Hyde park, moved to Sydenham in
1852 to 1854
1800’s and 1900’s Architecture: Britain

Another Example:
Late Victorian and Edwardian
The King’s Cross Station, London – by Lewis
Cubitt - Law Society, Chancery lane, London – by Charles
Holden
High Victorian
- The University Museum, Oxfort – by - Truro Cathedral, Cornwall – by JL Pearson Benjamin
Woodward – Landmark of High - Heathcote, Ilkley, Yorkshire – by Sir Edwin Lutyens
Victorian Gothic architecture - The Cottage, Bishop’s Itchington, Warwickshire –
- Red House, Bexley Heath, Kent – by Philip by CFA Voysey Webb for William Morris Other
Examples:
Other examples:
- The Deanery Garden, Sonning, Berks – by Sir
- St. Pancras Train Shed, London – by Engr. Edwin Lutyen
William H. Barlow – largest and most - St. Andrew, Roker, Sunderland – by ES Prior – spectacular
of the High Victorian Period – adapts Gothic feature slightly-pointed wrought-iron arch with a
single span of 74m, rising 30m, length of Aftermath
213m
– by sir Edward Maufe
- The Cathedral, Guilford
- All Saints, Margaret Street, Westminster – by – by sir Percy William Butterfield – turning point in
Gothic - City Hall, Swansea Thomas revival – first church to incorporate polychromy
1800’s and 1900’s Architecture: Continental

Europe
Influences Architectural Character
History: - Round arch in use – Rundbogenstil in Germany - by Jean-
Nicolas-Louis Durand:
French Revolution and Napoleonic Empire influence
Europe - repetitive use of standard bays in plan and elevation
- enriched with Classical, Medieval or Renaissance
Economic rivalry of France and Germany motifs as desired
World War I - a convenient but dull formula for the design of large complex building of that age Other Factors:
Examples:
- growth of communications Periods
- railways 1850 to 1870
- European countries acquired colonies in other - comparable to High Victorian in Britain continents - Renaissance
and Gothic revival
- ship-building - structural use of iron
1870 to 1914
- steam-power
use of metals intensified, especially in exhibitions
- Suez Canal academic architecture
- international exhibitions of science and industry antique forms instead of Renaissance
- metal and glass construction, reinforced concrete in Holland and Scandinavia, less pretentious, more
humane, rational architecture, use of brick
in Spain, creative flowering in Barcelona by Antoni
Gaudi
1800’s and 1900’s Architecture: Continental Europe

Art Noveau – 1890-1906 Religious Bildings
derived from the “Arts and Crafts - The Votivkirche, Vienna - by Heinrich von
Movement” Ferstel - neo-Gothic
an art free of any historical style - The Church of the Sagrada Familia,
Barcelona - by Gaudi - Art Noveau forms of nature
for ornamentation in the
facade - The Church of Sacre-Coeur, Paris - by floral style, freely-shaped writhing forms Paul Abadie -
neo-Byzantine
Public Buildings deliberate
simplification of structural
elements in buildings and interiors, - The Altes Museum, Berlin - by Schinkel handmade objects
and furniture Greek-revival style
versions: - Thorwaldsen Museum, Copenhagen - by
France – Le Modern Style MGBsculptorBindesbollBertil Thorwaldsen- houses works of- Greek-
Germany – Jugendstil revival
Austria – Sezessione - The National Library –by Henri Labrouste
Italy – Stile Liberty TheSchinkelSchauspielhaus- Greek-revival style, neo, Berlin - by KF von-
Spain - Modernismo classical

Commercial Buildings
- The Library of St. Genevieve, Paris - by Henri
Labrouste - neo-Renaissance - The Entrance Pavilion, International Exhibition,
Paris “Eiffel Tower”
- The Opera House, Paris - by JLC Garnier - - 1878 AD - by Gustav Eiffel neo-Baroque - extensive
use of glass and iron
- The Stock Exchange, Amsterdam - by HP - The Galerie des Machines, International

Berlage - Neo-Romanesque Exhibition, Paris - 1887 AD - by Victor
Contamin, engineer, and CLF Dutert, architect
- The Victor Emanuel II Monument, Rome - by
Giuseppe Sacconi Other Examples:
Other Examples: - The Halles Centralles, Paris - by Victor Baltard
- The Opera House, Cologne - by J Raschdorf - - Gare du Nord, Paris - by Hittorff - neo-classical
French Neo-Baroque - Gare de L'est, Paris - by FA Duquesney - Neo-
Renaissance
- The Post Savings Bank, Vienna - by Otto
Wagner - Art Noveau - Turbine Building, Menier Chocolate Works,
Noiseil-sur-Marne - by Jales Saulnier
- Metro Station, Place de la Bastille, Paris- by H Guimard - Art Noveau

Domestic Buildings
- Court Gardener's House, Chalottenhof, Potsdam - by Schinkel
- Schloss Linderhoff, near Obermmergau - by Georg von Dollman for
Ludwig II of Bavaria - German Rococo-like style
- The Palau Guell, Barcelona - by Gaudi - seems to presage Art Noveau in its
forms
- Casa Mila, Barcelona - 1905 to 1910 AD - by Gaudi
- The Casa Balto, Barcelona - 1905 to 1907 AD - important example of Gaudi's
mature work
- No. 6, Rue Paul-Emile Janson (Hotel Tassel), Brussels - by Victor Horta - first
complete Art Noveau building
Man and His Individual Creativity:

Architecture at the Beginning of the
20th Century
1900 - 1960
Architecture at the Beginning of the 20th Century

- the idea of the NEW - Architecture was affected by political and
economic events
- Parse and square
- Advance in technology cues for new artistic
- Complete break from past styles form, space and time - Industrial aesthetic triumphed Modernism
- History and ornament were gone - Emphasizes function
- After 1960 a return to the past - Attempts to provide for specific needs rather
than imitate nature
- Quest for novelty Global, multicultural society
Features of Modern Architecture
- New styles: High-Tech; Deconstructivism, Neo-Modernism,
Art Deco; Art Nouveau - Little or no ornamentation
- Modernism - Factory-made parts
Background: - Man-made materials such as metal and
concrete
- Rapid economic development
- Urbanization increased - Revelion on traditional styles
Modern
Architecture
Influences - Chapel of Notre Dame, Rochamp, Haute
History Saone - 1950 to 1955 AD – by le Corbusier
More innovations: - Einstein Tower, Potsdam - 1919 AD - by Eric
- curtain wall Mendelsohn
- steel and plate-glass - Sydney Opera House - 1957 AD -by Jorn
Utzon of Denmark
- folded slab by Eugene Freyssinet
- The Chrysler Building, NY - 1930 AD - by
- flat slab by Robert Maillart
William van Alen - Art Deco style
- laminated timber Functionalism in design
- Palazzetto dello Sport for 1960 Rome
Examples: Olympics - by Nervi and Vitellozzi
- Johnson Wax Co. Building - by Frank Lloyd
- Sports Hall for 1964 Tokyo Olympics - by
Wright
Kenzo Tange
- Falling Water, Pennsylvania - 1936 to 1937
AD - by Frank Lloyd Wright - World Trade Center - by Minoru Yamasaki –
(Sept. 11, 2001 terrorist attack)
- World Trade Center - 541 m tall - by Daniel
Libeskind
Modern
Architecture
Other examples:
- Dulles International Airport Building, near
Washington DC - by Eero Saarinen
- Parliament Buildings, Brasilia -by Lucio Costa - University of East Anglia, near Norwich in
and Oscar Niemeyer Norfolk - by Denis Lasdun
- Solomon R. Guggenheim Museum, NY - by - Barbican Housing Project, London - by Chamberlin,
Frank Lloyd Wright Powel and Bon
- The General Motors Technical Center,
Warren, Pioneers:
Michigan - by Eero Saarinen - Otto Wagner, Austria
- The Railway Terminus, Rome - by Montuori - Peter Behrens, Germany
and Associates
- August Perret, France
- The United States Pavilion at Expo 67,
- Hendrik Berlage, Holland
Montreal - by Buckminster Fuller
- Louis Sullivan, USA
- Lever House, NY - by Skidmore, Owings and
Merrill - Charles Rennie Mackintosh, UK
- Post Office Tower, London - by architects of - Antoni Gaudi, Spain
the Ministry of Public Building and Works - Victor Horta, Belgium
Jacobus Johannes Pieter Oud

Modern Architecture - The Netherlands
Le Corbusier
- “De Stijl" group of geometric-abstract
- Switzerland and France, dominated artists of Theo van Doesburg
European scene for nearly half-a-century Walter Gropius
- "the house is a machine to live in" - the - created prototype of modern architecture:
program for building a house should be free-standing glass sheath suspended on a
set out with the same precision as that for structural framework, curtain wall Hallidie
building a machine Building, San Francisco in 1918
- structural frame should be separately AD
identified from the space-enclosing walls - established Bauhaus, a form of training
- house should be lifted on pilotises so the intended to relate art and architecture to
garden may spread under it technology and the practical needs of
- roofs should be flat, capable of being used modern life
as a garden
- interior accommodation should be
freelyplanned
Modern Architecture
Other personalities:
Eric Mendelsohn, Germany - dynamic, sculptural Stylistic Ideas of Modernism
quality - Structuralism
Marcel Breuer - Constructivism
Richard Neutra, Austria - Formalism
Rudolf Schindler, Austria - Bauhaus
Frank Lloyd Wright, USA - The International Style
CFA Voysey, UK - De Stijl
Adolf Meyer - Brutalism
Tony Garnier - Minimalism
Max Berg - Deconstructivism
Mies van der Rohe Structuralism
- Based on the idea that all things are built from a
system of signs (these are made up of opposites:
male/female, hot/cold, old/young, etc.
- A process of searching for the relationship between
elements
- Structure is more important than function

Examples of Structuralism Examples:
- European Space Center ESTEC, Noordwijk, Tatlins Tower - designed by Russian architect restaurant
conference-hall library – Aldo van Vladimir Tatlin – a proposed futuristic, glass-
Eyck and Hannie van Eyck and-steel
- Nakagin Capsule Tower, Tokyo – Kisho Constructivist Architects Kurokawa
- Vladimir Tatlin
- Peter Eisenman – known for being a - Konstantin Melnikov
Structuralist with his designs – designed an
innovative façade for the University of - Nikolai Milyutin Phoenix Stadium in Arizona
- Aleksandr Vesnin
Constructivism
- Leonid Vesnin - combined engineering and technology with
political ideology - Viktor Vesnin
- most famous work of constructivist - El Lissitzky architecture was never actually built - Vladimir
Krinsky
- Most features include: glass and steel, abstract - Iakov Chernikhov geometric shapes, technological
details such as antennae, signs, and projection screens

Features of Bauhaus Buildings
Formalism
- flat roofs
- emphasizes form
- smooth facades - interested in visual relationships between the
building parts and the work as a whole - cubic shapes
- Shape often on monumental scale, is the focus of - Common colors used are white, gray, beige, or
attention black.
- Lines and rigid geometric shapes dominate - Floor plans are open and furniture is functional.
formalism Example:
Example:
Bauhaus Gropius House in Lincoln, Massachusetts –
Bank of China – architect Ieoh Ming Pei – has been architect Walter Gropius – monochrome hose in praised for
the elegant formalism Lincoln, Massachusetts
Bauhaus The International Style
- German expression meaning house for building - term often used to describe Bauhaus architecture in the
United States.
- based on functionalism and simplicity
- became a symbolism of Capitalism - rejected "bourgeois" details such as cornices, eaves,
and decorative details - favored architecture for office buildings, and is also
found in upscale homes built for the rich - use
principles of Classical architecture in their most pure form: without ornamentation of any kind - adapted
the International Style to the warm climate
and dry terrain, creating an elegant yet informal
style known as Desert Modernism.

De Stijl
- William Tower – Formerly the
- Transco Tower – one of the world’s tallest building - movementNeoplasticismstarted in Netherlands; also
known as not in a central business district – Philip Johnson

and John Burgee - it is a response to World War I destruction and the
loss of individualism
- The United Nations Secretariat – originally designed by an international team
of architects - abstraction, precision, geometry, striving towards including Le Corbusier, Oscar Niemeyer,
and artistic purity and austerity, studying the laws of
Wallace Harrison – the smooth glass-sided slab, one
nature of the first uses of curtain-wall cladding on a tall
building - advocate materialism and functionalism
Architects Inspired by the Bauhaus and - using only straight horizontal and vertical lines and
rectangular forms
International Movement
Example:
- Walter Gropius
- Le Corbusier Rietveld Schröder House – by architect– 2005 Gerrit
Thomas Rietveld, Netherlands
- Richard Neutra
Desert Modernism or Midcentury Modern
- Philip Johnson
- a mid-twentieth century approach to modernism
- Mies van der Rohe
- capitalized on the sunny skies and warm climate of
- Marcel Breuer southern California and American Southwest
- Rocks, trees, and other landscape features were often incorporated into the design.

Characteristics of Desert Modernism: Example:
- Expansive glass walls and windows Kaufmann House in
Palm Springs, California by Richard Neutra
- Dramatic rooflines
Brutalism
- Wide overhangs
- rugged reinforced concrete construction or - Steel and
plastic combined with wood and Béton Brut meaning raw concrete stone
- heavy and angular; can be constructed quickly
- Open floor plans and economically
- Outdoor living spaces incorporated into the - Common
features:
overall design
- Precast concrete slabs Architects Associated With
Desert Modernism:
- Rough, unfinished surfaces
- William F. Cody
- Exposed steel beams
- Albert Frey
- Massive, sculptural shapes
- John Lautner
Example:
- Richard Neutra
The Paulo Mendes da Rocha Residence, São
Donald Wexler
- Paulo, Brazil - by Paulo Mendes da
Rocha
- E. Stewart Williams

Minimalism Architects Known for Minimalist Designs
- also known as reductivist design meaning - Ludwig Mies van der Rohe tending to reduce to a minimum
or to simplify in
an extreme way - Tadao Ando
- Luis Barragan
- Buildings are stripped of all but the most
essential elements - Yoshio Taniguchi
- Emphasis is placed on the outline, or frame, of - Richard Gluckman the structure
Famous Modern Architects:
- Interior walls are eliminated; floor plans are
open. - Louis Henry Sullivan - an American architect,
- Lighting is used to dramatize lines and planes. and has been called the “father of skyscrapers”and
“prophet of modern architecture” -
- The negative spaces around the structure are part conceived the most famous phrase ever to of the
overall design. come out of his profession, “form follows
function” - his architecture is a mixture of
Example: plain geometry and undisguised massing
punctuated with elaborate pockets of
The Minimalist Luis Barragan House, or Casa de Luis
Barragán - home and studio of Mexican ornamentation in stone, wood and terra cotta. architect
Luis Barragán - a classic example of the - Wainwright Building - among the first Pritzker Prize
Laureates use of texture, bright skyscrapers in the world - 10-story red
colors, and diffused light. brick office building

- Frank Lloyd Wright - never Ludwig Mies van der Rohe -
attended architecture school; Wright Along with Le Corbusier, Alvar
studied engineering Aalto, and Frank Lloyd Wright, he
- apprenticed with J.L. Silsbee and is widely regarded as one of the
Louis Sullivan pioneering masters of modern
- designed more than 1,000 structures architecture and completed 532 works - called
his buildings "skin and
- believed in designing structures bones" architecture which were in harmony with -
associated with the aphorisms,
humanity and its environment, a
"less is more" and "God is in the philosophy
he called organic details“ architecture
- Seagram Building Constructed
- Fallingwater - Considered by some with travertine, marble, and 1,500 as the most
famous private house tons of bronze, - the most ever built - epitomizes man living in
expensive skyscraper of its time. harmony with nature.

Charles-Édouard Jeanerette - better known as Le Hugo Alvar Henrik Aalto - Famous for both his
Corbusier buildings and his furniture designs
- laid the foundation for what became the Bauhaus - passion for painting led to the development of his
Movement or the International Style unique architectural style, cubism and collage
- innovative urban planner; best known for his low - used color, texture, and light to create collageincome
housing ; dedicated to providing better like architectural landscapes. living conditions for the residents of
crowded cities - Baker House - overlooks a busy street, but the
- quoted "By law, all buildings should be white.“ rooms remain relatively quiet because the because he
believed stark, unornamented buildings windows face the traffic at a diagonal. he designed would contribute
to clean, bright,
healthy cities Oscar Neimeyer – Brasilia – 1951
- Villa Savoye - representative of the bases of modern Ero Saarinen – TWA Flight Center JFK
architecture, and is one of the most easily
International Airport, New York – 1956 – 1962
recognizable and renowned examples of the
International style.
- Read and study - http://www.visual-arts-
cork.com/architecture/twentieth-century.htm
You can also visit and study
https://www.thoughtco.com/modernism-
picturedictionary-4065245
Man and Uncertainty: Contemporary

Architecture
Contemporary Architecture
- Contemporary architecture is definable - “Contemporary" is not limited to a single broadly
as the building style of the present stylistic thread.
day.
- “Modern" recalls the early- and mid-
- Contemporary homes typically include an 20th-century architecture embodying the irregular
or unusually shaped frame, an ideals of the machine age: an absence of open floor plan, oversized
windows, and ornament, structures of steel or concrete, the use of "green" and repurposed
large expanses of glass, a whitewash
components. (usually stucco over brick) or another
minimal exterior expression, and open - Such
homes also often have an organic floor plans. design, fitting into the surrounding space
and meeting an immediate need in the - Simple layouts area.
- Form is based on the function of the space
- Contemporary buildings tend to be highly - Asymmetrical plans functional and may push the
limits of
what can be defined as contemporary - Large and more number of openings of
architecture. distinct shape
- Ample of natural light plan
Contemporary Architecture Characteristics

Roof - Exposed beams, sanded floors and large expanses of
lightly colored ceilings (and walls) are three more
- Flat overhanging roofs are a common way to add characteristics that often add to the airy feeling of eye-
catching design elements contemporary architecture.
- Providing additional shady regions adjacent to - Clerestory windows let in light but leave valuable the
structure and still protect the overall structure wall space free.
from the elements.
- Different size and shape of windows enhances the - Addition of trees to the top of the building to quality of
space. facilitate natural cooling and also to create a
building that is more harmonious with the natural - Exposed work add to the airy feeling giving a
surroundings simple look
Interior Space Outdoor Relationships
- The use of natural light to illuminate the interior - One area where contemporary designers have
of the building. excelled is by thoroughly incorporating their newly
created buildings into the existing landscape. -
Achieved through the presence of skylights on a flat or low-pitched roof and the prevalence of - Besides
adding to the visual appearance, these large glass areas along the exterior walls. modifications can provide
temperature moderation during particularly hot or cold periods of weather. - To further distinguish the interior
of the building, large continual spaces may be achieved by the - In particular, building berms, which are large
modification or elimination of many interior mounds of earth that rest against the exterior, can
walls. protect low-lying buildings against the extremes of
temperature.
Contemporary Architecture Characteristics

Exterior Materials
Contemporary Architects and their Works visit:
- Indoor spaces blends with the outdoor spaces
https://architecturequote.com/blog/amazing-
Transparency of indoor- outdoor spaces in contemporary-architects/ maintained by materials like
glass.
- Use of natural looking material with less
maintenance and more durability.
- Exterior walls have sometimes become
experimental canvases for the application of
simple natural elements and newly developed
state-of-the-art synthetic materials.
- In some of these creations, it is not unusual to
see the outside covered with large windows or
plates of glass cut in irregular or unusual
shapes.
- In nearly all situations, decorative trim and
molding has been kept to a minimum and
landscaping may be added as an external design
element.
Gothic Architecture
12th Century – mid 16th Century
Examples of Popular Gothic Structures

St. Stephen’s
Cathedral in Vienna
- built with local

limestone and best
known for its blend of
late Romanesque in the
west front and Gothic
extensions
- most notable
attribute, is its colorful
roof. Covered with over
200,000 glazed tiles,
Church of St. Anne –

Vilnius Lithuania
Local brick was used which also
adds to the church’s distinct charm
and makes it a living example of
Brick Gothic.
St. Vitus Cathedral –

Prague, Czech Republic
- beautifully pronounced flying

buttresses
- net-vaults
Malbork Castle – Poland
The most complete and elaborate

example of a Gothic brick-built
castle complex in the characteristic
and unique style of the Teutonic
Order.
Prague Castle - Czech

Republic
The largest ancient castle in the

world. It is perhaps the most
important landmark in the
magnificent city of Prague and it
absolutely dominates the city’s
skyline.
Windsor Castle
Berkshire, England
• Much more than a castle and a palace, the
complex includes Saint George’s Chapel, the
tombs of eleven British monarchs, and a
magnificent library and art collection.
• The largest inhabited castle in the world and
the official residence of
Queen Elizabeth II
Elements of Gothic Church
Parts of Gothic Cathedral
Characteristics
Pointed arches rather than rounded Taller ceilings with more slender
internal supports
arches
Characteristics
Overall increase in architectural sculpture
More sophisticated architectural

structures that featured intricate
ornamentation
Characteristics
Vast interiors and soaring roofs, with external flying buttresses
Tall towers
Characteristics
Pinnacles
Characteristics
Cavernous spaces with the expanse of walls

broken up by overlaid tracery Rose windows
Gothic Ornament
A finial
B crocket
C pinnacle
D Gothic ornate gable
E blind tracery, blank tracery
F geometric tracery
G trefoil
H quatrefoil
K cinquefoil
L angel light
Parts of Tracery
PARTS OF TRACERY
A Mullion
B Bransom
C Dagger
D Mouchette
E Hood-mould
F Round trifoliated arch
G Cinquefoil head
Types of Tracery
TRACERY
1 plate tracery
2 round window, roundel, oculus
3 quatrefoil
4 sexfoil, multifoil
BAR TRACERY
5 Y tracery
6 trifoliated arch
7 loop tracery
8 intersecting tracery, flowing tracery
9 geometric tracery, geometrical tracery
10 reticulated tracery
11 curvilinear tracery
12 flamboyant tracery
13 decorated tracery
14 panel tracery, panelled tracery
15 perpendicular tracery, rectilinear tracery
History
• Style originating in France
• Originated in the area around Paris called the Île-de-France called “Gothic” due to the mistaken
and prejudicial notion that it was introduced by the Germanic Visigoths, who were traditionally
credited with the fall of the Roman Empire and therefore derided in subsequent centuries.
• Grew out of the Romanesque style to include even more sophisticated architectural structures •
Towns became centers of trade – Paris, Milan, Florence, Venice, Naples
• More aristocratic and “modern” outgrowth of the older Romanesque.
• Transitional – features that lie somewhere between Romanesque and Gothic.
• Capomaestri - The stonemasons in charge of construction
Periods:
1. Primarie (12th Century AD) - also called "a lancettes“; distinguished by pointed arches and
geometric traceried windows
2. Secondaire (13th Century AD) - also called "Rayonnant“; characterized by circular windows with
wheel tracery
3. Tertiare (14th to 16th Century AD) - also called "Flamboyant“’; flame-like window tracery or
freeflowing tracery
Gothic Architecture in France

Examples: • successive tiers of niches with statues: Christ and
French kings
Cathedrals • central wheel window
Features: • two western towers with high pointed louvred openings
• use of pointed arch
• use of flying buttresses weighted by
pinnacles
• walls released from load-bearing
function
• Invention of colored, stained glass
windows to adorn window-walls
• tracery windows provided a
framework for Bible stories to be told
in pictures
• cathedrals as a library for illiterate
townspeople - Biblical stories were
told with stained-glass and statuary
Example:
Notre Dame, Paris
• one of oldest French cathedrals •
begun by Bishop Maurice de
Sully Plan:
• wide nave and double aisles •
transepts of small projections
Façade:
Country Homes
Fortification • with the development of gunpowder and
new social order, country houses took
Carcassone the place of fortified castles
• built in 13th Century AD Town Houses
• double wall, inner one made in 600 AD • planned around a court
• 50 towers and moat • elaborate street facade
• two gateways guarded by machicolations,
drawbridge and portcullis
Palais De Justice
• great halls in which kings and nobles
dispensed justice to their vassals
Castles
• built on mounds above rivers
• thick walls and small windows to resist
attack
• many were adapted to make convenient
residences in later periods
Tudor (1495
Gothic Architecture in England to 1558 AD)
Periods: • increasing application of Renaissance detail
Norman (1066 to 1154 AD) Elizabethan (1558 to 1603 AD)
• includes the raising of most of • Renaissance ideas take strong hold
major Romanesque churches and
castles
Transitional (1154 to 1189 AD)
Gothic Vaults in England
Early English Vault

Decorated Vault
(lierne ribs)
• pointed arches in Romanesque

structures
Early English (1189 to 1307 AD)
• equivalent to High Gothic in
France
• also called "Lancet" or "First
Pointed" style, from long narrow
pointed windows Decorated (1307
to 1377 AD)
• window tracery is "Geometrical" in
form, and later, flowing tracery
patterns and curvilinear surface
pattern
• also called "Second Pointed",
equivalent to French
"Flamboyant" style
Perpendicular (1377 to 1485 AD)
• also called "Rectilinear“ or "Third
Pointed“
Perpendicular Vault (fan, palm or Tudor Vault (four-centered arch) conoidal

vault)
Timber Roofs in England
2. Tie-beam Roof 3. Collar-Braced Roof

. Trussed-Rafter Roof
1
4. Hammer-Beam Roof 5. Aisle Roof
Gothic Architecture in England
Cathedrals
• may be cathedrals attached to monasteries or to collegiate institutions
• found in precincts with dormitories, infirmary, guest houses, cloisters, refrectory, other buildings
Examples:
Westminster Abbey
• complex of church, royal palace and burial grounds
• most important medieval building in Britain
Gothic Architecture in England

Manor Houses • quadrangular court
erected by new and wealthy trading • battlement parapets and gateways
families • chimneys
Parts: • buttery - butters pantry
• oven
great hall
• • pantry - serving area and storage
• room with solar room • larder - food storage
• chapel • wardrobe – storage of garment
• oratory-study - private chapel with altar and crucifix
• latrine chamber • scullery - annex
• service rooms • brew house – preparation of food
• kitchens Some examples:
central hearth
• Little Wenham Hall, SuffolkCharney Bassett House, Berkshire Later, in
Tudor Manor Houses Athelhampton Hall, Dorset
7
• increased rooms Hampton Court Palace

Penshurst Place, Kent
• largest in area and width (32 m)

• highest vault in England (102 ft)
• by William and Robert Vertue
• master mason: Henry Yevele
• master carpenter: Hugh Herland
• western towers by John James
Wells Cathedral
York Cathedral
• largest medieval cathedral in England
and in Northern Europe
Winchester Cathedral
• longest medieval cathedral in England
8
Gothic Architecture in Central Gothic Architecture in Central

Europe (Germany)
• chief influence came from France
• style came from France, not from German Romanesque • brick as building material
Cathedrals
- called Hall Churches (Dreischiffige Kirchen) in the north and had different look:
- nave and aisle of same height
- one or two western tower or
western apse, in place of sculptured doorway Examples:
Ulm Cathedral
St. Elizabeth, Marburg - 1257 to 1283 AD, typical hall church
Europe (Germany)
• based on French Gothic, developed Brabantine style
• based on German influence, hall churches
Cathedrals
• brick-work and simplified ornamentation
• absence of vaults, timber-vaults
• immense and ornate tower in place of sculptured doorway Examples:
• St. Gudule, Brussels
- earliest example of Gothic in Netherlands
• Antwerp Cathedral
- mature Belgian style with outside influences
Gothic Architecture in Spain

- strong Moorish influence
Cathedrals Seville Cathedral (1402 to 1520 AD)
• largest Medieval church in Europe
• horseshoe arch, pierced stone tracery • second largest church in the
world, next
• rich surface decoration of intricate to St. Peter's, Rome geometrical and flowing
patterns
Gerona Cathedral
• churches had flat exterior appearance, due Granada Cathedral to chapels inserted
between buttresses Toledo Cathedral
• excessive ornament, without regard to Salamanca Cathedral constructive
character Avila Cathedral
Examples: Segovia CathedralBarcelona Cathedral
Burgos Cathedral (1221 - 1457 AD) College of Sto. Gregorio, Villadolid • irregular in plan
• most beautiful of all Spanish cathedrals
9
- remarkable for great width, nave flanked by triple aisles Secular Architecture
- Town Halls and Cloth Halls
10
• led the
Gothic Architecture in Italy way in
Europe, in
terms of art, learning and commerce
• cultural revival was taking place in Italy in advance of northern Europe
• this arrested the development of Gothic architecture in Italy
Cathedrals
• Roman tradition remained strong
• verticality of Gothic is generally neutralized by horizontal cornices and string courses
• combination of Greek inspiration, Roman construction and Byzantine decoration
• absence of pinnacles and flying buttresses
11
Gothic Architecture in Italy

Siena Cathedral
• one of most stupendous undertakings Milan Cathedral since the building of the Pisa cathedral
• outcome of civic pride • largest Medieval cathedral in Italy
• all artists in Siena contributed their • 3rd largest in Europe works to its building and adornment
• cruciform plan Palermo Cathedral
• basilican in plan
• zebra marble striping on wall and pier • Other cathedrals:
Man and the New Nation:

Architecture in Colonial and PostColonial
America
12
1600’s to 1960’s
Colonial Architecture - 1620 – 1820 C.E.

Architectural Character:
Most important buildings were churches – Indian Chapels – an open atrium with small closed shrines in huge
churches
Closely reflected to that of Spain and Portugal where early examples show derivation from Spanish Gothic
prototypes but Classicism made headways after 1550.
In Quebec, buildings were close in technique in Northern France.
In Latin America, Baroque and Rococo styles in Spain were mimicked during the eighteenth century
In New England, building followed the pattern of English heavy timber-framed prototypes with weather
boarding or shingling.
In Delaware and Pennsylvania, log-cabin construction were first introduced by Swedes and Germans
In North American South, building was often in brick.
Deep balconies or porches to allow the ventilation and protection from the sun.
Examples
Domestic Buildings – colonial mansions of the rich in successful Spanish settlements consisted of courtyard
houses on two main floors, with shops facing the street and the family rooms above, sometimes with an
entresol for the slaves in between.
Examples:
House of Diego Colon, Santo Domingo – earliest survivor
House of Engombe, Santo Domingo – model for Caribbean mansions
House of Cortes, Cuernavaca, Mexico – fortress-like mansion
13
Capen House, Topsfield, Massachusetts – example of seventeenth century New England architecture
- heavy timber-frame construction, with first floor and gables being carried forward
as ‘jetties’, and a central, clustered brick chimney.
Paul Revere House, Boston, Massachusetts - 1680s
Parson Capen House, Topsfield, Massachusetts - 1683
Turner-Ingersoll House, Salem, Massachusetts - 1700s
Bacon’s Castle, Surry Country, Virginia – 1655 – cruciform in plan. Built in brick, with its curved Flemish gables,
high clustered chimneys and classical details in the brickwork over its entrance, the house has more in common
with Jacobean examples in England.
Dutch influence – roof is of gambrel or mansard type wide widely projecting eaves and is covered in wood shingles, as also are the gables an
dormer cheeks.
Abraham Ackerman House, Hackensack, New Jersey.
Dyckman House, New York
Georgian Style (1690–1790)
Westover, Chares City Country, Virginia
Mount Pleasant, Philadelphia
Miles Brewton House, Charleston, South Carolina.
The Ecala Palace, Queretaro. Mexico – fine example of Spanish Colonial palace in a rich late Baroque style, with lacey wrought-iron balconie
overhanging a deep, arcaded loggia; under the cornice is a frieze of blue and white tiles.
Fortifications:
Castillo de la real Fuerza, Havana, Cuba – Bartolome Sanchez – basic square
Castillo de San Marcos, S. Augustine, Florida Religious Building:
Sto. Domingo Cathedral, Dominican Republic
Monastery of Tepeaca, Mexico
Educational, Civic and Public Buildings:
Hospital de Santa Ana, Lima, Peru
Governmental Palace, Guadalajara, Mexico
Harvard University, Cambridge, Massachusettes
Post Colonial Phases:

Post Colonial – 1790 to 1820 C.E. – Neoclassical Elements
14
Neoclassical - revival of Classical architecture during the 18th and early 19th centuries. It is characterized by
grandeur of scale, simplicity of geometric forms, Greek - especially Doric or Roman detail, dramatic use of
columns, and a preference for blank walls.
First Eclectic Phase – 1820 to 1860 C.E. – Greek Revival Style, Gothic and Egyptian Style, Balloon Frame System
Second Eclectic Phase - 1860 to 1930 C.E. – with 2 main streams:
1. Romanesque and Gothic inspiration. - influence by Arts and Crafts movement in England HH Richardson,
Louis Sullivan and Frank Lloyd Wright
2. Italian and French Renaissance, ancient Greek and Roman, late Gothic inspiration influence by Ecole des
Beaux-Artes structural experiment and achievement: metal frame construction, non-load-bearing curtain
wall, elevators produced the skyscraper, as America's single greatest contribution to architecture
Examples
Domestic Buildings:
The White House, Washington DC begun 1803- President’s official residence by James Hoban,
Irish architect - English Palladian style Stoughton House, Cambridge, Massachusetts - by
McKim, Mead and White shingle-style
Monticello, near Charlottesville, Virginia - 1770s - by Thomas Jefferson, 3rd American
president - Palladian style
Biltmore, Ashville, North Carolina - by RM Hunt, first American architect trained at Ecole des
Beaux-Artes - early French Renaissance chateau Winslow House, River Forest, Illinois (aka
Prairie House) - first important work of Frank Lloyd Wright
Taliesin East, Spring Green, Wisconsin - by Frank Lloyd Wright
Robie House, Chicago - by Frank Lloyd Wright
Religious Buildings:
The First Church of Christ Scientist, Berkeley, California - by Bernard Maybeck
Trinity Church, Boston - by HH Richardson - one monument of American architecture - neoRomanesque
Unity Temple, Oak Park, Illinois - by Frank Lloyd Wright Educational, Civic, and Public
Buildings:
15
The National Academy of Design, New York - by PB Wight - Venetian Gothic in style - polychrome masonry
The United States Capitol, Washington DC - One of the world's best known buildings - crowning dome - first designed by Dr.
William Thorton, Palladian lines - numerous modifications after the war
The State Capitol, Richmond, Virginia - by Thomas Jefferson - first neo-classical monument in America - based on Maison
Caree, Nimes - ionic order
The Public Library, Boston - by McKim, Mead and White - similar in elevation to St. Genevieve,
Paris
Lincoln Memorial, Washington DC - by Henry Bacon - Greek Doric style
The Chapel and Post Headquarters, West Point, NY - by Cram, Goodhue and Ferguson
The Temple of Scottish Rite, Washington DC - masonic temple - by John Russel Pope - similar to
Mausoleum, Halicarnassos
Commercial and Industrial Building
- Merchants Exchange, Philadelphia - by William Strickland - Greek-revival - based on Choragic Monument of

Lysicrates,Athens
- The Marshall Field Wholesale Warehouse, Chicago, Illinois - by HH Richardson - 7 storeys - load-bearing wall
construction
- The Auditorium Building, Chicago, Illinois - by Dankmar Adler and Louis Sullivan - 10 storeys - neo-Byzantine
interior
- The Reliance Building, Chicago - 1890 AD - by Burnham and Root - from 4 to 16 storeys
- The Monadnock Building, Chicago - by Daniel Burnham - 16 storeys
- The Second Leiter Building, Chicago - 8 storeys - metal-framed building
- The Gace Building, Chicago - by Louis Sullivan and Holabird and Roche - 8 storey
- The Schlesinger-Mayer Store - by Louis Sullivan - suggestion of Art Noveau style
- The Larkin Soap Co. Building, Buffalo, NY - by Frank Lloyd Wright
- The Woolwoth Building, NY - by Cass Gilbert - 241 m high withy 52 storeys - Gothic style
- The Wainwright Building, St. Louis - 1890 to 1891 AD - by Adler and Sullivan -10 storey
- Empire State Building - 1930 to 1932 AD - by Shreve, Lamb and Harmon - 85 storeys
American Structures and their Architectural Styles

Structure Year Constructed Architect
16
Neo-Classical Architecture (1720s–1860s)
United States Capitol, Washington, D.C begun 1803
Monticello, Charlottesville, Virginia 1770s Jefferson, Thomas
Old State House, Hartford, Connecticut 1796 Bulfinch, Charles
Bank of Pennsylvania 1801 Latrobe, Benjamin Henry
Gothic Revival Architecture (1760s–1840s)
Trinity Church, New York 1840s Upjohn, Richard
Federal Style (1783–1830)
Old State House, Hartford, Connecticut 1796 Bulfinch, Charles
Massachusetts State House, Boston begun1798 Bulfinch, Charles
Greek Revival Style (1820–1870) /Romantic Architecture (1830s–

1870s)
Vanderbilt Mansion, Newport, Rhode Island 1890s Hunt, Richard Morris
Victorian Architecture (1860–1900)
Stoughton House, Cambridge, Massachusetts 1880s Richardson, Henry Hobson

Richardsonian Romanesque (1870s–1900)
Trinity Church, Boston 1870s

Richardson, Henry Hobson
Marshall Field Warehouse, Chicago 1885–1887
Beaux-Arts Architecture (1890s–1920s)
Biltmore Estate, Asheville, North Carolina 1890s

Vanderbilt Mansion, “The Breakers,” Newport, 1890s
Rhode Island Hunt, Richard Morris
World’s Columbian Exposition, Chicago 1893
Metropolitan Museum of Art, New York 1895
Boston Public Library 1887–1895
Rhode Island State Capitol, Providence 1895–1903 McKim, Charles Follen, William
Rutherford Mead, and Stanford
Morgan Library, New York 1906
White
Pennsylvania Station, New York 1910

New York Public Library, New York 1897–1911 Carrère, John and Thomas Hastings
17
Grand Central Station, New York 1903 Wetmore, Charles and Whitney
Warren
Arts and Crafts (Bungalow, Craftsman) (1890s–1930s)
Gamble House, Pasadena, California 1908 Greene, Charles Sumner and Henry
Mather Greene
Prairie Style (1900–1920s)
Frederick C. Robie House, Chicago 1906–1909 Wright, Frank Lloyd and Marion
Mahony Griffin
Expressionism (and Blobitecture) (1910s–1950s)
Baker House, MIT, Boston 1947–1949 Aalto, Alvar

Ledbetter House, Norman, Oklahoma 1947
Goff, Bruce
Bavinger House, Norman, Oklahoma 1950s
Solomon Guggenheim Museum, New York 1940s–1950s Wright, Frank Lloyd

Trans World Airport Terminal, New York 1956–1962 Saarinen, Eero
Art Deco (1920s–1930s)
Chicago Tribune Tower, Chicago 1924 Hood, Raymond and John Mead
Howells
New York Daily News Building, New York 1929
Radio City Music Hall, Rockefeller Center, 1930s Hood, Raymond

NewvYork
Chrysler Building, New York 1930 Alen, William Van
Empire State Building, New York 1931 Shreve, Lamb and Harmon
• stripes of colored marbles instead of mouldings

• small windows without tracery
• projecting entrance porches with columns on lion-like beasts Examples:
Florence Cathedral
• also, S. Maria del Fiore
• designed by Arnolfo di Cambio
• essentially Italian in character, without the vertical features of Gothic
• peculiar latin cross plan
• with campanile and baptistery
18
• pointed dome added by Brunelleschi

• lantern in 1462 by Giuliano Majano
2. The Development of Architecture in the

Twentieth Century: A Brief Guide
What is Modern Architecture?
The main storyline of architecture in the twentieth story is that of the development of
Modernism, and various reactions to it. Most of us use the term “modern” to refer to something that is of
its time, and perhaps even up-to-the-minute and fashionable. But from the 1920s or so in avant-garde
circles, the term “Modern” came to refer to a particular approach by a group of architects who sought to
cast off historical precedent and develop something entirely new and different for their own time. The
carnage of World War I having convinced them that the ways of old Europe were a failure, Modernist
architects saw historical styles—developed in response to earlier conditions—as anachronistic, irrelevant,
and potentially decadent. They rejected ornament as frivolous and outdated, seeking instead to create an
entirely new aesthetic based on the needs and opportunities of new materials and structural approaches
such as reinforced concrete and steel frames.
Structural Innovations
The development of the steel frame, which became a crucial aspect of Modern architecture, had
its roots in the iron frames that began to make their appearance in the tall office buildings of Chicago in
the 1880s. Until that time, almost all buildings of any size—including all masonry buildings—had
depended on their walls to hold them up; the material of the walls both kept the weather out and formed
the structure of the buildings. The taller the building was, the thicker the walls had to be at the base to
support the vast weight above them (unless architectural devices such as domes and vaults were
employed in combination with buttresses, as in ecclesiastical or large public buildings). There is a limit to
how tall such a building can practically be before the lower floors begin to disappear in the thickness of
the walls; the tallest load-bearing masonry office building ever built was Chicago’s Monadnock building in
1893, at seventeen storeys high and with walls six feet thick at the base. But with the development of the
steel frame, the walls were no longer required to bear any weight; instead, the building was held up by
the interior frame, while the walls kept the weather out.
Initially, such buildings were clad in brick, stone or terracotta. They continued to appear nearly as
massive as their masonry predecessors, partly as a visual reassurance to the public that this radical new
type of structure would not collapse. But as time went on, windows became larger and cladding thinner.
The non-load-bearing walls came to be known as curtain walls because they hung on their frames. Steel
frames also allowed for considerable flexibility of plan, with steel beams and girders allowing for the
19
creation of wide interior spaces. Increasingly, architects began to think about the implications for a new
aesthetic.
The Aesthetics of Function

Louis Sullivan, an architect who was highly influential in the development of the Chicago School,
and who had a profound effect on Modernist architects, coined the phrase “form ever follows function”
in 1896. His idea was that the design of a building should be based on the needs of its function, not on
historical ideas or precedent. By the 1930s, “form follows function” had become a rallying cry of
Modernist architects who believed that they were approaching design from a functionalist approach that
resulted in buildings perfectly suited for their intended use, without unnecessary detail or extraneous
decoration. In 1932, the architect Philip Johnson and the architectural historian and critic Henry-Russell
Hitchcock co-curated an exhibition at New York’s Museum of Modern Art (MOMA). They identified the new
style, which they dubbed “International Modernism”, with three main characteristics:
• Emphasis on architectural volume over mass. Thin outer walls, often with windows placed flush
with or very near the outer surface, could create the impression of a shell stretched taut over the
frame—very different from the massive appearance of a load-bearing wall pierced with openings.
• The rejection of symmetry, which had particularly characterized architecture in the classical
tradition. Hitchcock and Johnson argued that the Modernists replaced symmetry with a sense of
regularity, created by a feeling for rhythm and balance.
• Finally, the Modernists largely rejected applied decoration, with visual gratification instead being
created through the use of intrinsically beautiful materials, elegant proportions, and the elements
of structure itself.
The MOMA show greatly underplayed the social mission of the pioneering European modernists, many of
whom were convinced that they could make a better society through architecture and urban design. They
hoped the “light and air” of their mass housing schemes would improve the lives of the working classes
living in crowded, down-at-heel tenements. They believed that their new style would make the world a
better place.
The 1932 exhibition’s three-part definition of the new architecture became a self-fulfilling
prophesy as aspiring Modernists took it as a prescription for progressive design. Hitchcock and Johnson
had also argued that International Modernism was equally at home in any social, cultural or climatic
situation, and buildings in the new style sprang up from New York to Moscow, from Rome to Winnipeg,
and, eventually, also from Seoul to Rio de Janeiro.
considerable influence to flow between the two

Three Giants of main wellsprings of modernism in the early
twentieth century. In turn-of-thecentury Chicago,
Modernism Frank Lloyd Wright had developed the Prairie
Advances in photography, Style of architecture, associated with low,
inexpensive printing and the relative ease and horizontal silhouettes, deep eaves, open plans
speed of transatlantic travel allowed and a highly integrated ornamental program
20
based, not on historical forms, but on geometry also demonstrates another common feature of
and nature. Wright’s work was published in Modernism; placed at the end of an older
Europe in 1910 and was highly influential among terrace, it makes no visual reference to its
the architectural avant-garde there. By the neighbours.
1920s, several startlingly innovative buildings,
now recognized as Modernist icons, had been
Walter Gropius
completed in Europe. Although the most radical,
Not surprisingly, schools of design act as
like Gerrit Rietveld’s Schröder House in Utrecht
crucibles for new ideas, just as publications are
or Le Corbusier’s Villa Savoye at Poissy, were too
vectors for their dissemination. The Staatliches
extreme to have an immediate effect on
Bauhaus, founded in Weimar, Germany in 1919,
mainstream architecture, their lessons were
was one such highly-influential school. When it
noted and eventually absorbed. Standard
was forced by the Nazi regime to close down in
features of suburban mid-century tract housing,
1933 its founder, the Berlin-born Walter Gropius
such as open plans and deep overhanging
(1883-1969), was among the many European
canopies, find their roots in these early
avant-garde architects who took their ideas and
Modernist experiments. The three names most
abilities to schools of architecture in the United
often associated with the development of High
States, galvanizing the development of
Modernism are Walter Gropius, Ludwig Mies van
modernism on this continent.
der Rohe, and Le Corbusier.
Gropius, who had begun his
architectural career in the studio of Peter

Behrens—considered to have been the firstever
industrial designer—was among the Europeans
struck by the lessons of Frank
Lloyd Wright. Together with Adolf Meyer,

Gropius designed the facades for the Faguswerk,
a shoe last factory in Alfeld-ander-Leine (1911-
13). The building was remarkable for the large
expanses of glass that blurred the lines between
the interior and exterior, and for its reliance on
pure cubic forms with no ornament.
Gropius was director of the Bauhaus

Gerrit Rietveld, Schröder from 1919 to 1928. The school was founded on
House, Utrecht, 1924 the idea that all the arts and crafts were of equal
value and status, and that they should work in
The upper floor has no permanent walls, but harmony to create a total work of art. Unlike
sliding panels can partition it in different
some earlier movements (such as the Arts and
configurations. Such open planning— familiar
Crafts Movement) that also preached a unity of
now—was a radical departure from tradition.
art and handwork, the Bauhaus celebrated
The asymmetrical exterior shows a total
technology and the possibilities of mass
avoidance of traditional ornament. This building
21
production in creating high-quality, well- the office of Peter Behrens with two others who
designed functional products. Although the were to become perhaps the best-known
teaching of architecture did not become part of Modernist architects in the world: Ludwig Mies
the curriculum until the late 1920s, the school van der Rohe (1886-1969) and Charles-Édouard
had a profound effect on architectural practice. Jeanneret-Gris, who later chose to be known as
Gropius eventually moved to the Le Corbusier (1887-1965). Although they
originally worked from a similar set of ideas, they
came eventually to rather different conclusions.
Most architects of the midcentury period can be
broadly classified as having been generally
Miesian or Corbusian in approach. For all of
them, though, the driving mechanism of
twentieth century building was the development
of an architecture based on structure and
materials rather than on style and ornament.
This rejection of everything historical changed
the face of modern cities.
Walter Gropius and Adolf

Meyer (facade), Fagus shoe
last factory, Alfeld‐an‐der‐
Leine, Germany, 1911‐13
Prior to the development of the steel frame, it
was impossible for windows to wrap around a
corner in this way, and the architects have used Walter Gropius, Bauhaus, Dessau, 1925‐26 The
this device to emphasize and celebrate the Bauhaus School emphasized the harmonization
structural innovation. Practically, the large of the crafts and the fine arts to create a total
amount of glazing provided extensive natural work of art. It had a profound influence on
light. The façade is devoid of ornament, with Modernist architecture, graphic design, furniture
visual interest being provided instead by the and other interior design, typography and
balance and rhythm of the materials laid out in industrial design. Here, the lettering has an
bands and grids aesthetic as well as a practical function.
United States and brought his ideas to this
continent, teaching at Harvard and the
Massachusetts Institute of Technology (MIT).
Several prominent Winnipeg architects took their
training at MIT, bringing the Bauhaus influence
directly to Canada via Manitoba. Early in .
his career, Gropius had worked side-by-side in
22
Ludwig Mies van der Rohe

Mies was director of the Bauhaus
from 1930 until it closed, at which time he left

for the United States and became a highly-
influential architect and instructor at Chicago’s
Illinois Institute of Technology (IIT). He developed
a style that was angular and spare, typically using
dark glass and metal. His buildings tend to
assume one of two forms, both of which display
the grid of their structure: a sleek oblong
Mies van der Rohe, Crown
skyscraper, such as New York’s Seagram Building, Hall, IIT, Chicago, 1950‐56
or a low pavilion on a podium, such as Crown Mies often used rich, polished materials, which,
Hall, the School of Architecture building at IIT. with elegance of proportion, provide visual
Mies saw these basic forms, with variations, as interest and beauty without ornament. Here, the
solutions for any building type, in any situation. capabilities of steel frame construction are
Coining the aphorism “less is more,” he did away evident in the fully glazed exterior walls and the
with ornament and insisted that the structure large open
itself must always determine the aesthetic of a space on the main floor.
building. He was sometimes criticized for
refusing to consider fully the building’s
requirements, causing practical considerations to
take a back seat to his own aesthetic choices.
23
Ludwig Mies van der Rohe with Philip

Johnson, Seagram Building, New York, 1958
An icon of International Modernism, the
Seagram Building expresses its structure on the
outside and has no other ornament. Ironically,
fire regulations required the steel framing to be
clad in masonry, and Mies expressed his hidden
structure by attaching non‐load‐bearing bronze
I‐beams to the exterior of the cladding.
Emphasizing that the structural frame—not the
visible walls— is holding up the building, the
entrance level is a glass box smaller than the
footprint of the building. Other features
common to many International style buildings
are the cantilevered canopy over the entrance
and the setting of the building in a large plaza.
that were emblematic of the International Style,
Le Corbusier such as the Villa Savoye near Paris, added
dramatic curving elements to their basic
The Swiss-born Le Corbusier came to rectilinearity. Le Corbusier believed in the late
favour a more expressionist approach, with 1940s that he had designed a one-size-fits-all
curves and surprises. Even his earlier buildings apartment building—called the Unité
24
d’Habitation— that would work in any situation • A flat roof, on which a terrace would
and any climate; several versions were built in reclaim for outdoor use the same space
different cities. But he eventually inclined to on which the building sat.
relate his buildings more directly to their • A free plan. The use of a steel frame and
surroundings and needs, and to use forms with the elimination of load‐bearing walls
emotive force, as he did at the chapel of Notre allowed the interior to be arranged
Dame du Haut in France. In contrast to without regard to structural needs.
Mies’s taut curtain walls and gleaming surfaces, • A free façade. The thin curtain wall, with
Le Corbusier often employed rough, poured-in- no requirement for bearing a load, could
place concrete, deep window reveals and have openings where convenience and
dramatic shapes to create forms that are beauty demanded them.
emotive rather than intellectual. As he did in his • Ribbon, or strip windows, which provided
buildings for the new Punjabi capital at extensive light and ventilation and
Chandigarh, India, Le Corbusier’s mature work emphasized the nonload‐bearing quality
took into account local conditions of climate and of the wall.
culture, as well as the function of the building. Le Corbusier was also highly
influential for his ideas about city planning. As

early as 1922, he had developed a design for a
Ville Contemporaine, which featured enormous
skyscrapers standing isolated in green space and
connected by a system of raised roads with
interlinked airports and train stations. Pedestrian
and vehicular traffic were completely separated,
and the city would be heavily zoned by use, with
the well-to-do people living in houses outside
the urban precinct and workers in skyscrapers
Le Corbusier, Villa Savoye, Poissy, 1929 Le
nearer to the factory zones. Le Corbusier’s ideas
Corbusier identified five points that he believed
gave us several themes that were to influence
were the key features of Modern architecture;
all are present in this weekend house near bricks and mortar urban development in Canada,
Paris: including the placement of buildings in open
spaces (such as the paved plazas around office
• The use of pilotis, or support columns, to
towers or the open—theoretically park-like—
elevate the main building above the
precincts around housing projects), the
ground and allow the space under it to be
used. separation of pedestrian from vehicular traffic
(such as pedestrian overpasses or dedicated
25
crosstown expressways), near-total dependence same time. In place of Mies’s strict geometry
on the automobile, and the dedication of inner and smooth, polished surfaces, Le Corbusier
city areas to offices that would be abandoned at used rough concrete, poured in place in
5:00 each evening by white-collar workers expressionist curves and following the contour
leaving the supposedly grimy city for the leafy of the hill on which the building stands. The
suburbs. thick walls, pierced by windows of different
shapes and sizes, create a mysterious and
emotive interior very
appropriate for a pilgrimage church.
Le Corbusier, Nôtre dame du

Haut, Ronchamp, France,
1955
This building could hardly differ more from
Crown Hall, though it was built at nearly the
26
3/31/2020
Le Corbusier, Punjabi Legislative Assembly,

Chandigarh, India, 1957
Nearly Contemporaneous with the Seagram Building and Crown Hall, Le
Corbusier’s work at Chandigargh, with its weathered concrete surfaces, is very
different in approach although he employed the grid form on the
sides of this building. Responding to the location, he set the windows deep
into the walls, creating “brises‐soleils,” or sun breaks, to shade the interior from
the hot Indian sun. The dramatic inverted parasol
shape is derived from traditional regional building forms.
A Catalogue of Modern Styles

Like most new doctrines, Modernism began among the avant-garde and gradually
became mainstream. As the Miesian glass box was widely adopted, some critics began to
complain that cities the world over were coming to resemble each other and consequently
losing their identities. “God is in the details,” Mies had famously said, and Modernism’s
elegant forms, deceptively simple and easy to copy, could quickly result in dull, banal
buildings in the hands of less able architects. Among the followers of a Corbusian
27
3/31/2020
approach, who were more inclined to react to local conditions, climates and needs,
Modernism was becoming more varied in its appearance and regional differences are more
evident. People came to realize that it was no accident that different styles had developed
in various climates and situations; for comfort and efficiency, the grey and rainy conditions
of one city demand a different kind of building than the hot and arid climate of another. In
particular, architects working in extreme climates responded to Modernist theory with a
range of regional solutions. By the 1950s, many architects were beginning to move away
from the spare outlines of high modernism to develop a wider range of forms.
The following pages provide a brief guide to some of the more common
developments from the International Modernism that Johnson and Hitchcock had named
in 1932. These include:
• Popular Modernism
• Brutalism
• Corporate Modernism
• New Formalism
• Post Modernism
Popular Modernism
The beginnings of Modernism came with a good deal of writing, theorizing and
debate about the meaning of Modernist forms and the role architecture could and should
play in society. But bit by bit, its forms also entered popular culture and small-scale
commercial architecture. For such businesses as coffee shops, diners, motels, bowling
alleys and a host of other building types—mostly small commercial or recreational
buildings—up-to-date or particularly noticeable architecture can act as an advertisement.
In the late 1920s and the 1930s, Art Deco had played this role, and as Modernism entered
the mainstream, its forms began to spill over into these commercial building types as well.
The 1950s and 60s, particularly, saw the development of a popular type sometimes called
“space age” modernism, or named “googie” after a coffee shop of that name in Los
Angeles. These buildings used dramatic architecture as a billboard to advertize themselves,
and often featured such elements as folded plate or concrete shell barrel vault roofs,
amoebic curves and jutting cantilevers, bright colours and striking graphics. Large neon
signs were often an added identifying feature, and the signs themselves could be almost
architectural in scale.
One of the best examples of Popular Modernism in Manitoba is Perth’s

Drycleaners on Main Street in Winnipeg.
28
3/31/2020
Quigley and Clark, Kona Bowling Lanes, Costa Mesa,

CA, 1959
The eccentric folded‐plate roof line, plate glass windows rising the height of the walls, and
eyecatching roof fins combine to draw attention.
Brutalism
The British architects Peter and Alison Smithson coined the term “New Brutalism”
in 1954, taking it from Le Corbusier’s term “béton brut,” or raw concrete, which referred
to the look of cast-in-place concrete with the marks of the wooden forms visible on its
surface. The style was intended as a critique of the refined surfaces, thin skin and
increasing uniformity of high Modernism. It was used mostly for public buildings, and
remained relatively popular until the mid-1970s. Typical Brutalist buildings feature blocky
shapes, often with brises-soleils and deepset windows. The reinforced concrete walls are
load bearing (rarely, one sees other facing materials such as brick or stone), and the
overall massive impression of these buildings is very different from that of the Miesian
curtain-wall construction that was by then nearly ubiquitous. A fine Manitoba example
of Brutalism is the Manitoba Theatre Centre.
29
3/31/2020
Kallman, McKinnell and Knowles, Boston City Hall,

Boston, MA, 1968
Varied exterior forms delineate different functions (such as the council chamber and
mayor’s office), while deep‐set window openings create a highly textured façade.
Corporate Modernism
By the late 1950s there was a demand for corporate buildings that included eye-
catching features and forms that were less cerebral and more individual than those of
International Modernism. Architects of early corporate modernist buildings sought to
develop forms that would be unique and identifiable with a particular image. These
buildings tend to be sleek and polished, often with a lot of reflective glass. Although many
follow the basic forms of International Modernism, they are not restricted to oblong
shapes and right angles, and often feature large glass atria, sometimes several storeys
high. The firm perhaps best known for corporate modern buildings is Skidmore, Owings
and Merrill (SOM), architects of the Sears Tower (now known as the Willis Tower).
Extended into the speculative market, corporate modern buildings continued to dominate
the urban skyline until the end of the twentieth century, with nods to various prevalent
styles.
30
3/31/2020
In Manitoba, Skidmore, Owings and Merrill were responsible for the Richardson Building
in Winnipeg.
Skidmore, Owings
and Merrill, Willis
(formerly Sears) Tower,
Chicago, 1973 An excellent
example of corporate
modernism, the Willis Tower is
made up of nine oblong tubes
of varying heights, each one
like an individual International
Modernist building but
together forming an attention‐
grabbing silhouette. Combined
with its one‐time status as the
tallest building in the world,
this provided name‐brand
identity for the Sears
Corporation, which occupied
only a
relatively small part of the
building.
New Formalism
In contrast to the rough massiveness of Brutalism, some Late Modernists a decade
later began adding historical references to their work, in a highly-polished style that has
31
3/31/2020
been dubbed New Formalist. These buildings, like International Modernist buildings, are
usually light in feeling with many windows, but they include classical or sometimes gothic
motifs such as the arcade (rounded or pointed) and cornice. New Formalism appears
particularly in small office buildings, banks and civic buildings. It shares International
Modernism’s restrained elegance, but with a wider variety of forms. New Formalist
buildings are often clad in white marble or—more modestly—in white-painted stucco or
concrete.
Edward Durell Stone, State University of New York at

Albany, NY, 1964
Stone designed an entire university campus in this style that interprets modernism in a
classical vocabulary including arcades, vaults and supporting columns.
32
3/31/2020
Post Modernism
Post Modernism appeared on the architectural landscape in the mid-1960s as a
rejection of High Modernism’s functional, increasingly bland forms and lack of sympathy to
site or history. Pioneering post modernist Robert Venturi insisted, in protest against the
Miesian aesthetic, that
“less is a bore.” Although Post Modernism shared bright colours and unusual shapes with
Space Age Modernism, it was heavily theorized from the beginning, and was not limited to
commercial buildings. For the first time in decades, cutting edge architects were rejecting
the proscription on decoration and history, and were using ornamental details for their
own sake, without reference to structure. Originally, Post Modern buildings often made
ironic “in jokes” about architectural history, exaggerating proportions or using elements
out of context. They combined aspects of historical architecture with modernist structure
and splashes of colour, and they often made reference to neighbouring buildings or to the
history of the site. As time went on, Post Modernism developed a series of identifiable
features that could be deployed to create buildings that lacked the creative sense that had
driven the earlier designs, much as the Miesian office block had been reduced to a banal
and characterless vocabulary in the hands of lesser architects. Square window openings,
pastel colours and curved banks of glass all fill the bill. Employed by creative architects,
however, the Post-modernist approach could result in witty and attractive buildings that
responded well to their surroundings.
Though far more conservative than the example below, the CanWest building in
Winnipeg is Post Modern in style.
33
3/31/2020
Michael
Graves,
Portland
Public
Service
Building,
Portland, OR,
1977
The Portland Public
Service
Building was the first
large Post Modern
office building. The
exaggerated
architectural motifs,
such as the giant
keystone with ribbon
windows running
through it, are
architectural “in‐jokes” that put it squarely in the Post Modern camp. The square window
openings and pastel colours are also characteristic.
34

Hoa Sakit Ulo

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Hoa Sakit Ulo

Uploaded by

Copyright:

Available Formats

University of Batangas

Romanesque Architecture Characteristics

ROMANESQUE ARCHITECTURE: North Italy

• arcading at façade and apse

ROMANESQUE ARCHITECTURE: South Italy

ROMANESQUE ARCHITECTURE: Central Italy

Example: Pisa Cathedral

ROMANESQUE ARCHITECTURE: North France

Abbey of St. Denis, near Paris

among the first instances of

ROMANESQUE ARCHITECTURE: South France

ROMANESQUE ARCHITECTURE: Germany

ROMANESQUE ARCHITECTURE: England

• later became citadels with stone curtain walls

ROMANESQUE ARCHITECTURE: Scandinavia

Man and New Technology:

Iron Cultural Building

1800’s and 1900’s Architecture: Britain

Periods tower “Big Ben” – first major public building

The Clifton Suspension Bridge, Bristol

1800’s and 1900’s Architecture: Britain

1800’s and 1900’s Architecture: Continental

1800’s and 1900’s Architecture: Continental Europe

1800’s and 1900’s Architecture: Continental Europe

- The Stock Exchange, Amsterdam - by HP - The Galerie des Machines, International

1800’s and 1900’s Architecture: Continental Europe

Man and His Individual Creativity:

Architecture at the Beginning of the 20th Century

Jacobus Johannes Pieter Oud

Architecture at the Beginning of the 20th Century

Architecture at the Beginning of the 20th Century

Architecture at the Beginning of the 20th Century

known as not in a central business district – Philip Johnson

Architecture at the Beginning of the 20th Century

Architecture at the Beginning of the 20th Century

Famous Modern Architects:

Famous Modern Architects:

Man and Uncertainty: Contemporary

Contemporary Architecture Characteristics

Contemporary Architecture Characteristics

Examples of Popular Gothic Structures

- built with local

Church of St. Anne –

St. Vitus Cathedral –

- beautifully pronounced flying

Malbork Castle – Poland

The most complete and elaborate

Prague Castle - Czech

The largest ancient castle in the

Elements of Gothic Church

Parts of Gothic Cathedral

Overall increase in architectural sculpture

More sophisticated architectural

Vast interiors and soaring roofs, with external flying buttresses

Cavernous spaces with the expanse of walls

Gothic Architecture in France

Gothic Vaults in England

Early English Vault

• pointed arches in Romanesque

Perpendicular Vault (fan, palm or Tudor Vault (four-centered arch) conoidal

Timber Roofs in England

2. Tie-beam Roof 3. Collar-Braced Roof