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24 Cards in this Set
- Front
- Back
Sydney Opera House Utzon |
modern expressionism, utzon got in trouble with government for going way over budget and eventually designed, designed in 3 stages, concrete |
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Twa Terminal Saarinen |
concrete reinforced by steel, captures "spirit of flight," modernism, represents moment of optimism and ambition in America |
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John Hancock Center Skidmore, Owings, Merrill |
bundle tubes and mega tiers, steel exoskeleton, steel made construction cheaper and thus the building taller, tower tapers as it gets higher... not just a box |
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Brasilia Cathedral Oscar Niemeyer |
16 concrete columns, columns represent arms raising towards the heavens, visitors enter through a dark tunnel into a bright space with a stained glass roof, diameter of 70m |
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Salk Institute Louis Kahn |
reinforced concrete, modernism, two mirror image structures flanking a grand courtyard, flooded labs with daylight- high regard for natural light, light wells brought in light to lower levels |
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Kimbell Art Museum Louis Kahn |
reinforced concrete, modernism, vaulted ceilings with integrated daylighting, 3 courtyards allow for more natural light and air flow to come through, non ornamental, most galleries on upper floor to allow for more lighting |
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History Faculty Building James Stirling |
glass in steel frames and concrete with brick cladding, eclecticism- influenced by architecture from all time periods, almost same as original design except that building had to be turned 90 degrees to fit space |
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National Theatre of London Denys Lasdun |
Brutalism, pioneer of post-war modernist architecture, three auditoriums, Béton Brut concrete, balance between horizontal and vertical lines |
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Vanna Venturi House Robert Venturi |
postmodernism, distorted symmetry (door in center but windows on side of door are different), emphasis on central hearth and chimney, designed to contradict modernist architecture, 5 functional rooms |
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Mopti Medical Center Andre Ravereau |
takes into consideration local tradition and culture, uses material indigenous to surroundings, mud brick stabilized by cement, integrated it into the city with the use of a street making it less intimidating |
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World Trade Center Minoru Yamasaki |
modernism, steel frame with glass windows... concrete slabs on steel joists, first supertall buildings designed without masonry, innovative elevator design |
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AT&T Building Philip Johnson |
postmodernism, open pediments on top of building were controversial, arched portal entrance (110 feet) marked by 60 foot high rectangular entrances, granite |
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Centre Pompidou Renzo Piano and Richard Rogers |
high-tech modernism, steel and glass, exposed infrastructure of building to maximize interior space and integrate different disciplines, color-coded exposed ducts distinguish different roles |
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Piazza d'Italia Charles Moore |
post-modernism, recognized contributions of Italian culture in New Orleans, highly ornamental, included public fountain in shape of Italy, marble/stainless steel/cement |
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Portland Building Michael Graves |
postmodernism, monumental facades, ornamental design (rejection to modernism), features reinterpreted classical elements, criticized for non-functioning aesthetics, concrete and glass |
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Casa Rotonda Mario Botta |
cylindrical form, brick, incorporates skylight following movement of sun, search for form and spatial organization, sits on north-south axis |
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Lloyd's Building Richard Rogers |
high-tech modernism, ducts are located on exterior to maximize interior space, steel frame with glass curtain wall, three main towers each attached to their own services towers all around a central atrium |
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Hongkong and Shanghai Bank Norman Foster |
high-tech modern, steel/aluminum frame and glass, dramatic exoskeleton trusses, absence of internal supporting structures, natural sunlight is main source of lighting for building |
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High Museum of Art Richard Meier |
concrete frame with steel cladding, more "beauty than brains"... did not use space efficiently to house as much art as possible, modernism, four quadrants with one cut out to be used as lobby/ceremonial center |
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Wexner Center for the Arts Peter Eisenman |
steel/concrete/glass, Deconstructivist modernism, strong grid systems to suggest scaffolding and incompleteness, set of red brick turrets are allusionary to what was destroyed for museum to be put up |
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Jewish Museum Daniel Libeskind |
exterior of titanium-zinc, design represented Jewish life before/during/after Holocaust, structure begins to take form as Star of David, lines of voids slice through entire building |
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Denver Art Museum Daniel Libeskind |
steel and glass, sharply cantilevered section of building juts across street towards north building, interior features dramatically sloping walls/skylight/grand staircase, brings debate up on whether architecture should fade into background when displaying art |
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Grande Arche de la Defense Johann Otto von Spreckelsen |
marble cladding, modernism, plan fills 110 meter square, turned 6+ degrees on its axis due to underground trains running directly underneath building, |
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L' Institut du Monde Arabe Jean Nouvel |
created to devote a destination to relationship of Arabs and French, design follows surrounding environment (road/river), glass curtain wall, modernism, highly ornamental facade |
