COMPARATIVE ARCH. THOUGHT II

Name: Abdullah Abdulaziz AL Ghamdi

ID Number: 0909448

Location: Pacific Palisades, California

Built: 1949

Architectural style: Modern

Governing body: Private

The Eames House (also known as Case Study House

No)

is a landmark of mid-20th century modern

architecture

It was constructed in 1949 by husband-and-wife

design pioneers Charles and Ray Eames, to serve as

their home and studio.

Perspectives

Location: CHICAGO

Built: 1922

Architectural style: Modern

One of the most significant events in the history of modern

architecture was the Tribune Tower international

competition in 1922 when the Chicago Tribune, the city's

oldest and most important newspaper, offered a $50,000

prize for the winning design of "the most beautiful and

distinctive office building of the world". More than 263

architects from three continents responded with a broad

constellation of designs ranging from Byzantine to Bauhaus.

The List of contemporary european architects contains

Walter Gropius and Adolf Meyer, Ludwig Karl Hilbe

rsheimer, Bruno Taut, Hans and Wassili Luckhardt and many

more..

Architect: Adolf Loos

Adolf Franz Karl Viktor Maria Loos[1] (10

December 1870 – 23 August 1933) was a

Moravian-born[2] Austro-Hungarian architect. He

was influential in European Modern architecture,

and in his essay Ornament and Crime he

repudiated the florid style of the Vienna

Secession, the Austrian version of Art Nouveau.

In this and many other essays he contributed to

the elaboration of a body of theory and criticism

of Modernism in architecture.

Location: Chestnut Hill, Philadelphia, Pennsylvania

Built: 1962

Architectural style: Post-Modern

"Venturi's first important project to be built was his mother's

house, the Vanna Venturi House of 1961-1964. Disarmingly simple

after the spatial antics of later Modernism, its plan, like that of the

Beach House project, is based on a symbolic conception rather than

upon one that is purely spatially abstract. It is centered on the idea

of the chimney, the hearth, from which— and you can feel it—the

space is pulled. The space is distended from that hearth as the

mass of the chimney rises up to split the house. Here the principle

of condensation becomes an extremely complex and interesting

one. With the chimney rising through the gable, the general parti

derives from that of the Beach House. Now, however, the living

room is half-vaulted, and that semicircle is picked up in the tacked-

on arch of the facade; now, the whole house is rising and being

split through the middle."

Architect: Robert Venturi

Robert Charles Venturi, Jr. (born June 25, 1925 in Philadelphia)

is an American architect, founding principal of the firm

Venturi, Scott Brown and Associates, and one of the major

figures in the architecture of the twentieth century. Together

with his wife and partner, Denise Scott Brown, he helped to

shape the way that architects, planners and students

experience and think about architecture and the American

built environment. Their buildings, planning, theoretical

writings and teaching have contributed to the expansion of

discourse. Venturi was awarded the Pritzker Prize in

Architecture in 1991.[1] He is also known for coining the

maxim "Less is a bore" a postmodern antidote to Mies van der

Rohe's famous modernist dictum "Less is more". Venturi lives

in Philadelphia with Denise Scott Brown. They have a son,

James Venturi.

Perspectives

The New York Five refers to a group of five New York City architects

(Peter Eisenman, Michael Graves, Charles Gwathmey, John Hejduk

and Richard Meier) whose work appeared in a Museum of Modern

Art exhibition organized by Arthur Drexler in 1967, and the

subsequent book Five Architects in 1972.

These five had a common allegiance to a pure form of architectural

modernism, harkening back to the work of Le Corbusier in the 1920s

and 1930s, although on closer examination their work was far more

individual.[1] The grouping may have had more to do with social and

academic allegiances, particularly the mentoring role of Philip

Johnson.

The show did produce a stinging rebuke in the May 1973 issue of

Architectural Forum, a group of essays called "Five on Five", written

by architects Romaldo Giurgola, Allan Greenberg, Charles Moore,

Jaquelin T. Robertson, and Robert A. M. Stern.[1] These five, known

as the "Grays", attacked the "Whites" on the grounds that this

pursuit of the pure modernist aesthetic resulted in unworkable

buildings that were indifferent to site, indifferent to users, and

divorced from daily life. These "Grays" were aligned with

Philadelphia architect Robert Venturi and the emerging interest in

vernacular architecture and early postmodernism.

1- Charles Gwathmey

Charles Gwathmey (June 19, 1938 – August 3, 2009) was an American architect. He was a

principal at Gwathmey Siegel & Associates Architects, as well as one of the five architects

identified as The New York Five in 1969. One of Gwathmey's most famous designs is the

1992 renovation of Frank Lloyd Wright's Guggenheim Museum in New York City.

Born in Charlotte, North Carolina, he was the son of the American painter Robert

Gwathmey and photographer Rosalie Gwathmey. Charles Gwathmey attended the

University of Pennsylvania and received his Master of Architecture degree in 1962 from

Yale School of Architecture,[1] where he won both The William Wirt Winchester

Fellowship as the outstanding graduate and a Fulbright Grant.

Gwathmey served as President of the Board of Trustees for The Institute for Architecture

and Urban Studies and was elected a Fellow of the American Institute of Architects in

1981.

2- John Hejduk

John Quentin Hejduk (19 July 1929 – 3 July 2000), was an American architect,

artist and educator who spent much of his life in New York City, USA. Hejduk is

noted for his use of attractive and often difficult-to-construct objects and

shapes; also for a profound interest in the fundamental issues of shape,

organization, representation, and reciprocity.

Hejduk studied at the Cooper Union School of Art and Architecture, the

University of Cincinnati, and the Harvard Graduate School of Design, from

which he graduated with a Masters in Architecture in 1953. He worked in

several offices in New York including that of I. M. Pei and Partners and the

office of A.M. Kinney and Associates. He established his own practice in New

York in 1965.

3- Michael Graves

(b. Indianapolis, Indiana 1934)

Michael Graves was born in Indianapolis, Indiana in 1934. He studied at the

University of Cincinnati, Ohio and at Harvard University. After working as a Fellow at

the American Academy in Rome for two years, he started his own practice in

Princeton, New Jersey. He became a professor at Princeton University in 1972.

A member of the "New York Five", Graves re-interpreted the rational style that had

been introduced by Le Corbusier in the 1920s into a neoclassical style. By the mid-

1970s, Graves had become less concerned with the roots of Modernism and had

developed a wide-ranging eclecticism in which he abstracted historical forms and

emphasized the use of color.

Michael Graves generates an ironic, vision of Classicism in which his buildings have

become classical in their mass and order. Although influenced by the fundamentalists

in developing an architectural language, Graves has become an an opponent of

modern works who uses humor as an integral part of his architecture. Indeed, many

of his recent designs seem to celebrate architectural pastiche and kitsch.

4- Peter eisenman

Peter Eisenman (born August 11, 1932 in Newark, New

Jersey[1]) is an American architect. Eisenman's professional

work is often referred to as formalist, deconstructive, late

avant-garde, late or high modernist, etc. A certain fragmenting

of forms visible in some of Eisenman's projects has been

identified as characteristic of an eclectic group of architects that

were (self-)labeled as deconstructivists, and who were featured

in an exhibition by the same name at the Museum of Modern

Art. The heading also refers to the storied relationship and

collaborations between Peter Eisenman and post-structuralist

thinker Jacques Derrida.

5- Richard Meier

Meier is Jewish [1] and was born in Newark, New Jersey.

[2] He earned a Bachelor of Architecture degree from

Cornell University in 1957, worked for Skidmore, Owings

and Merrill briefly in 1959, and then for Marcel Breuer for

three years, prior to starting his own practice in New York

in 1963. Identified as one of The New York Five in 1972,

his commission of the Getty Center in Los Angeles,

California catapulted his popularity into the mainstream.

Richard Meier & Partners Architects has offices in New

York and Los Angeles with current projects ranging from

China and Tel Aviv to Paris and Hamburg.

Location: Norman, Oklahoma

Date 1950 to 1955

Building Type: hous

Architectural style: Post-Modern

The Bavinger House was completed in 1955 in Norman, Oklahoma,

United States. It was designed by architect Bruce Goff. Considered a

significant example of organic architecture,[2][3] the house was awarded

the Twenty-five Year Award from the American Institute of Architects in

1987.

The house was built over the course of five years by Nancy and Eugene

Bavinger, the residents of the house, who were artists, along with the

help of a few of Eugene's art students, volunteers, and local businesses.

The wall of the house is a 96 foot long logarithmically curved spiral,

made from 200 tons of stone, some of it local "ironrock" sandstone taken

from a quarry three miles away that Bavinger purchased. The structure is

anchored by a recycled oil field drill stem that was reused to make a

central mast more than 55 feet high. The house has no interior walls;

instead there are a series of platforms at different heights, some with

curtains that can be drawn for privacy. The ground floor is covered with

pools and planted areas.

Architect: Bruce Goff

Location: Worth, Texas

Date: 1967 to 1972

Building Type: art museum

Architectural style: Modern

The Kimbell Art Museum in Fort Worth, Texas, hosts a small but

excellent art collection as well as traveling art exhibitions, educational

programs and an extensive research library. Its initial artwork came from

the private collection of Kay and Velma Kimbell, who also provided funds

for a new building to house it.

The building was designed by renowned architect Louis I. Kahn and is

widely recognized as one of the most significant works of architecture of

recent times. It is especially noted for the wash of silvery natural light

across its vaulted gallery ceilings.

Architect: Louis I. Kahn

Christian de Portzamparc was born in Casablanca in 1944, and graduated from the School of

Fine Arts in Paris in 1970. He created his agency in 1980, supported by Marie-Élisabeth

Nicoleau, Étienne Pierrès and Bertrand Beau, and later welcomed Bruno Durbecq, Céline

Barda, Léa Xu, André Terzibachian and Clovis Cunha. Based in Paris, the agency has

„satellite‟ offices near building sites, in addition to offices in New York and Rio de Janeiro,

and represents a team of 80 people, drawn from all corners of the globe.

Both an architect and urban planner, Christian de Portzamparc is implicated in the research

of form and meaning, as well as being a constructer. His work focuses on research over

speculation and concerns the quality of life; aesthetics are conditioned by ethics, and he

maintains that we have too often dissociated one from the other. Christian de Portzamparc

focuses on all scales of construction, from simple buildings to urban re-think; the town is a

founding principal of his work, developing in parallel and in crossover along three major

lines: neighbourhood or city pieces, individual buildings and sky-scrapers.

The growth of Christian de Portzamparc‟s urban projects through competitions and studies

led to an evolution of methods, a practical result of theoretical research and analysis. This

renewed vision of urban structure, which he named the “open block” in the 80‟s, can be seen

today through projects such as the Quartier Masséna - Seine Rive Gauche (since 1995), an

entire neighbourhood of Paris, and at La Lironde (since 1991), in the south of France, both

of which illustrate his master-planning and coordination techniques.

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Educated as an engineer, he graduated from the Escuela Libre de

Ingenieros in Guadalajara in 1923 and was self-trained as an

architect.

After graduation, he travelled through Spain, France (where he

attended lectures of Le Corbusier), and Morocco. While in France he

became aware of the writings of Ferdinand Bac, a German-French

writer, designer and artist who had a huge influence on Barragán's

future career.[1] He practiced architecture in Guadalajara from 1927–

1936, and in Mexico City thereafter.

Important works

Torres de Satélite, Mexico City (1957–58), in collaboration with Mathias

Goeritz

* Las Arboledas / North of Mexico City (1955–1961)

* House for the architect / Barragán House, Mexico City (1947–48)

* Jardines del Pedregal Subdivision, Mexico City (1945–53)

* Tlalpan Chapel, Tlalpan, Mexico City (1954–60)

* Gálvez House, Mexico City (1955)

* Jardines del Bosque Subdivision, Guadalajara (1955–58)

* Torres de Satélite, Mexico City (1957–58), in collaboration with

Mathias Goeritz

* Cuadra San Cristóbal, Los Clubes, Mexico City (1966–68)

* Gilardi House, Mexico City (1975–77)