“Father of Modern Architecture”= Louis Sullivan

Form follows function

Steel skeleton

Light-filled, well-ventilated

Industrial meets ornamentation

Regularity of window placement

Emphasis on verticality- pilasters extend upward

Guaranty Building, Buffalo, NY, 1895

The mother art is architecture.

Without an architecture of our own we have

no soul of our own civilization.

Frank Lloyd Wright

Organic Architecture‘ORGANIC’ = Frank Lloyd Wright philosophy

of architecture as early as 1908. It was an extension of the teachings of his mentor Louis Sullivan

whose slogan “form follows function” became the mantra of modern architecture.

Wright changed this phrase to “form and function are one,” using

nature as the best example of this integration.

Frank Lloyd WrightORGANIC ARCHITECTURE

– Integral to Site - houses designed to rise up out of the site as it belonged.

– Integral to environment - built appropriately to climate.

– Integral to Individual - Each building built to accommodate the lifestyle of the inhabitants way of life and needs.

– Integral to Materials - details of the building were the material themselves

• ORGANIC ARCHITECTURE= respect for properties of materials—you don’t twist steel into a flower—and a respect for the harmonious relationship between the form/design and the function of the building.

• Wright rejected the idea of making a bank look like a Greek temple.

• ORGANIC ARCHITECTURE= attempt to integrate the spaces into a coherent whole: a marriage between the site and the structure and a union between the context and the structure.

• Kaufmann House• House of Falling Water, 1939

PRAIRIE STYLEFrank Lloyd Wright

• Prairie houses were characterized by low, horizontal lines that were meant to blend with the flat landscape around them.

• Typically, these structures were built around a central chimney, consisted of broad open spaces instead of strictly defined rooms, and blurred distinction between interior space and surrounding terrain.

• Cantilevering •Robie House, Chicago, 1909

INTERNATIONAL STYLE

Le Corbusier France

Ludwig Mies van Rohe Germany

Walter GropiusGermany

INTERNATIONAL STYLE ARCHITECTURE• Mirrors early 20th century development visual arts

• Grew out of Bauhaus movement• Merging of Aesthetics with functionality

• Louis Sullivan, Walter Gropius• Mass produced materials, economical, functional, efficient society,

urban center

Walter Gropius/ Bauhaus,

Fagus Shoe Factory,

Germany

1913

International StyleIdentifying characteristics

• Concrete, Glass, Steel = International Style Holy Trinity• Skeleton and skin • Exposing its structure • Rejected non-essential decoration & historical reference• Ribbon windows • Corner windows• Bands of glass• Balance, regularity, symmetry, rectilinear • Right angles• Flat roof, without ledges

Mies van der Rohe & Phillip Johnson, Seagram Building, New York, 1958

• German, rejects Pre WWII historical references

• “Less is More” • New York Buildings

– Lake Shore Drive Apts.– United Nations Bldg.

• “Successful relationship of parts of each and the whole”

• Skeletal, bronze and amber windows, set back from street, on stilts, weightless/sturdy

INTERNATIONAL STYLE HOMES

• Le Corbusier Philip Johnson home,• Villa Savoye, Glass House• France, 1929 Connecticut, 1949

Post Modern Architecture

• Breaks with Modernist restrictiveness• Embraces eclecticism, sometimes whimsical• It’s expansive and inclusive• Self conscious• Rejects the simplicity of International Style• Sometimes references Classical past in fun ways

• Philip Johnson• AT&T Building, NY• 1980

• Michael Graves• Portland Building• Portland, OR• 1980

• Rogers & Piano, Pompidou Center, Paris, 1977

Deconstructivism

• Seeks to disorient observer• Shatters expectations• Dissonance, asymmetry, irregularity• Parts more important that whole• Chaotic• Disassociates from function• Speaks to absence of stability

• Gunter Behnisch• Hysolar Building• Stuttgart, Germany, 1987

• Frank Gehry• Guggenheim Museum• Bilbao, Spain, 1997

Vlado Milunić (w F. Gehry)Dancing House(Fred and Ginger)Prague, 1995