Art History 58 (Architecture In The Modern World) Final

Front 1

Back 1

(Modernist)
Lovell “Health” House
(Richard Neutra, Los Angeles, 1930)

Hint 1

• Fascination with technology as an aesthetic stance: the visual essence of machine production.
• International Style

Front 2

Back 2

(Modernist)
Bauhaus Building
(Gropius, Dessau, Germany, 1930)

Hint 2

• Tension between image and reality of industrial production in architecture.
• Walter Gropius

Front 3

Back 3

(Modernist)
Villa Savoye
(Le Corbusier and Pierre Jeanneret, Poissy-sur-Seine, France, 1930)

Hint 3

• A villa in the traditional sense, updated using an architectural language meant to be universally applicable
• Structure, processional movement, control of exposure to nature. Rationalism vs. functionalism in the architecture of the 1920s.

Front 4

Back 4

(Modernist)
E.1027
(Gray and Badovici, Roquebranche-Cap Martin, France, 1930)

Hint 4

• A house designed from a conception of flexible use rather than bourgeois ritual or formal order.
• Localized rather than universal; mixed rather than gendered spaces.

Front 5

Back 5

(Housing)
Karl-Marx-Hof
(Karl Ehn, Vienna, Austria, 1930)

Hint 5

• Housing as an urban issue: integrating public housing into the city and creating communities within it
• Housing reform as a moralistic enterprise: model tenements of the mid-to-late 19C: to set examples to landlords and tenants.

Front 6

Back 6

(Housing)
Sunnyside Gardens
(RPAA, Queens, New York City, 1930)

Hint 6

• The first project of the Regional Planning Association of America, a voluntary group of architects, planners, and housing reformers who wish to bring European urban and housing ideas to the United States.
• Superblocks, integration of city streets, public square, smaller gardens and public facilities, inspirational imagery.

Front 7

Back 7

(Housing)
Tiong Bahru
(Singapore Improvement Trust, Singapore, 1930-55

Hint 7

• Housing in the colonized world employs many of same assumptions and techniques.

Front 8

Back 8

(Housing)
Weissenhofsiedlung
(Mies van der Rohe, Stuttgart, Germany, 1930)

Hint 8

• Directed and planned by Ludwig Mies van der Rohe, with structures designed by many of the leading European architects of the 1920s, as a demonstration of the design potential of low-cost housing.
• Housing as the single most engrossing issue for architects and urbanists of the 1920s-60s

Front 9

Back 9

(Nationalism/Internationalism)
Stockholm City Library
(Erik Gunnar Asplund, Stockholm, Sweden, 1930)

Hint 9

• Neoclassical elements (plain geometrical volumes, reference to the architecture of Ledoux), incorporation of a reading room based on that at the British Library (1857)

Front 10

Back 10

(Nationalism/Internationalism)
Anitkabir
(Onat & Arda, Turkey, 1945-55)

Hint 10

• Temple-like Hall of Honor, which contains the tomb and cenotaph of Atatürk,
• Ceremonial Square, Processional Way, and ornament referring to ancient and modern Turkish culture (Egyptian + others)
• Dramatic space used for rituals of loyalty, but one susceptible to be used for non-official protest.

Front 11

Back 11

(Nationalism/Internationalism)
Casa del Fascio
(Fascist Party Headquarters) (Giuseppe Terragni, Como, Italy, 1930)

Hint 11

• A modernist building that strives to incorporate classical proportions, traditional features of Italian town halls, and aspects of Renaissance palaces that would create an Italian Modernist (“Rationalist”) building capable of advancing the ideology of the Fascist regime.

Front 12

Back 12

(Rebuilding Again)
Hunstanton Secondary Modern School
(Alison & Peter Smithson, Hunstanton, Norfolk, England, 1950)

Hint 12

• Conceived as a rebuke to the “soft” modernism of post-war Britain in its use of unrefined industrial materials.
• Dubbed “New Brutalism” by critic Reyner Banham.
• Formal legibility of plan
• Clear exhibition of structure
• Valuation of materials for their inherent qualities
• Clear exhibition of services

Front 13

Back 13

(Rebuilding Again)
Säynätsalo Town Hall
(Alvar Aalto, Jyväskylä, Finland, 1950)

Hint 13

• A processional landscape using modest materials in a dynamic arrangement.

Front 14

Back 14

(Squiggles)
Baker House
(Aaltos, Perry, Shaw and Hepburn, MIT, Cambridge MA, 1950)

Hint 14

• Undulating form, separation of rooms and services, rough texture of Flemish-bond brickwork interspersed with clinker brick.

Front 15

Back 15

(Squiggles)
Igresa de São Francisco de Assis
(Oscar Niemeyer, Pampulha, Brazil, 1940-45)

Hint 15

• Part of a suburb/resort for wealthy residents.
• Telescoping parabolic concrete vaults, lighting, and decoration with local blue and white tiles.

Front 16

Back 16

(Squiggles)
Yamanashi Regional Communications Center
(Tange Kenzo, Kofu, Japan, 1965-70)

Hint 16

• Architecture as a Metabolic System.

Front 17

Back 17

(Squiggles)
Chapel of Notre-Dame-du-Haut
(Le Corbusier, Ronchamp, France, 1950)

Hint 17

• Architecture and empathy.
• Reinforced concrete structure
• Exterior & interior spaces
• Metaphorical and gestural qualities
• Gesture in the art of the 1950s and 1960s.
• New formal explorations of the mid-20th century.

Front 18

Back 18

(Postcolonial)
Ciudad Universitaria
(various planners, UNAM, Mexico, 1950)

Hint 18

• Ways architecture is used in emerging, often newly independent, nations of the post-World War II era
• El Pedregal, a lava field at the southern edge of Mexico City.
• An attempt to define a new Mexican citizen as a combination of pre-Columbian and modern culture.
• Juxtaposition to the archaeological site at Cuicuilco (ca. 800-600 BCE).
• Modernist buildings with allusions to ancient Mesoamerican culture, incorporating art of the Mexican mural movement.

Front 19

Back 19

(Postcolonial)
Science Faculty Auditorium
(Cacho, Peschard, & Baylón, UNAM, Mexico, 1950)

Hint 19

• Ways architecture is used in emerging, often newly independent, nations of the post-World War II era
• El Pedregal, a lava field at the southern edge of Mexico City.
• An attempt to define a new Mexican citizen as a combination of pre-Columbian and modern culture.
• Juxtaposition to the archaeological site at Cuicuilco (ca. 800-600 BCE).
• Modernist buildings with allusions to ancient Mesoamerican culture, incorporating art of the Mexican mural movement.

Front 20

Back 20

(Postcolonial)
Central Library
(O’Gorman, Saavedra, & Martínez de Velasco, UNAM, Mexico, 1950)

Hint 20

• Ways architecture is used in emerging, often newly independent, nations of the post-World War II era
• El Pedregal, a lava field at the southern edge of Mexico City.
• An attempt to define a new Mexican citizen as a combination of pre-Columbian and modern culture.
• Juxtaposition to the archaeological site at Cuicuilco (ca. 800-600 BCE).
• Modernist buildings with allusions to ancient Mesoamerican culture, incorporating art of the Mexican mural movement.

Front 21

Back 21

(Postcolonial)
Parliament House
(Shipley, architect; Edmonds, engineer, Kuala Lumpur, Malaysia, 1960-65)

Hint 21

• After independence in 1957, Malaysia embarks on a program of building institutions that will promote and symbolize the values of the new democracy, including a university, institute of language and literacy, museum, stadiums, and the parliament house.

Front 22

Back 22

(Postcolonial)
Masjid Negara
(Planning Committee [Ashley, Albakri, & Abu Kassim], Kuala Lumpur, Malaysia, 1965)

Hint 22

• An attempt to define a distinctly Malaysian modernism
• Literalist representation of Islamic architectural traditions

Front 23

Back 23

(Post-Modernism)
Yale Center for British Art
(Kahn, New Haven CT, 1965-75)

Hint 23

• Mixture of materials, mixture of uses (ground-floor shops)
• Pure geometrical shapes.

Front 24

Back 24

(Post-Modernism)
Vanna Venturi House
(Venturi & Short, Chestnut Hill, PA, 1960-65)

Hint 24

• Communicating the image of a traditional house. Vernacular.
• Classical references on façade.
• Screening and exposure of inside and outside.
• Contradiction: small and large, open and closed.

Front 25

Back 25

(Tropical Modernism)
Tropical House
(Jean and Henri Prouvé, built in Niger and Brazzaville, 1950)

Hint 25

• Factory-made: an attempt to manufacture a prefabricated colonial house.
• Took design from working class housing, responded to humid, hot climate.
• Lightweight and portable to be shipped.
• Didn’t last because French-European ideas of house didn’t match.
• Air circulation/passive control on environment.

Front 26

Back 26

(Tropical Modernism)
School of Architecture at Ahmedabad
(by Doshi, Gujarat, India, 1970)

Hint 26

• Use of materials, siting, sun screening, natural lighting, and ventilation and convection.
• Exterior and interior spaces could be used for instruction and social interaction.

Front 27

Back 27

(Tropical Modernism)
Menara UMNO
(Penang, Georgetown, Malaysia, 2000)

Hint 27

• Natural ventilation, wind walls, sun screens, openable windows and other attempts to reduce the energy load of a tall office building.

Front 28

Back 28

(LA Modernism)
The Los Angeles Performing Arts Center
(Welton Becket and Associates, 1965-70)

Hint 28

• Product of wealth produced by vast suburbs of LA.
• LA had undeniably become a city of great taste, wealth, education and culture.
• Resurgence of interest in Classicism in 1950’s.

Front 29

Back 29

(LA Modernism)
Walt Disney Concert Hall
(Frank O. Gehry and Associates, 1985-2000)

Hint 29

• Picturesque
• Meant to be looked at from many different vantage points.
• Gehry House:
-- Builds it out with masks/screens of low-cost materials.
-- Seemingly random editions
-- Incongruous forms
• Catia computer drawings.
• Complexity of the forms cannot be hand-drawn. Computer aided buildings are different than hand-drawn.

Front 30

Back 30

(LA Modernism)
Cathedral of Our Lady of the Angels
(Rafael Moneo, 1995-2000)

Hint 30

• Question of how architecture deals with history.
• Turns chapels around, people can visit without disturbing the main chapel.
• Trying to locate the church in the long history of Catholic Architecture.
• Acknowledges Los Angeles connection to Spanish-American culture.