Secession Building

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Olbrich

Vienna, Austria

1898

•  For the Vienna succession artists, to be used as an art gallery
•  Across from the main plaza, down the street from the established artists' gallery space
• Refuge for art, added the skylights for the paintings, columns and sphere evoke the conventions of the past without being completely conventional (note flat surfaces, lack of intricate facade, more emphasis on functionality) 

Postal Savings Bank

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Otto Wagner

Vienna, Austria

1904-6

•  New building materials integrated with classical geometric styles, emphasize function over form. Roman style busts with sans serif type mixes modernity with historicism. 
• Patron was the bank/government/middle class
• Central space fully skylit, walls were made of white glass to write on, social metaphor for honesty and transparency 
• Bolts symbolize function of the building because they look like coins. Marble steps and alluminum rails indicate gov't building
• Ringstrasse building 
• Low maintence cost was key 
• Floorplan evokes cathedral 

Steiner House

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Adolf Loos

Vienna, Austria

1908

• Into fine materials, wanted patrons to decorate themselves, against too much ornamentation, against the secession 
• Admired english crafts
• Wanted spatial variation in the form of level changes 
• Fitness to purpose should determine form 

Michaelerplatz Building

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Adolf Loos

Vienna, Austria

1910-11

•  Included the facade into the plaza as much as possible
• Form indicates function-- marble for the store, simple for apts
• Design before was the Hapsburg monarchy
• Into stone masonry because of his family, the veins of the marble run vertically which makes them more impressive 
• Large windows supposed to evoke the Postal Savings Bank

Palais Stoclet

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Joseph Hoffman

Brussles, Belgium 

1905-11

•  Semi-public character for entertainment/gallery
• First room was small and dark, then big living room-- contrast makes the room seem bigger
• Hoffman was a seccessionist, inspired by seccessionist building 

A.E.G. Turbine Factory

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Peter Behrens

Berlin, Germany 

1908-10

•  Structure had hinges to accomodate for movement of cranes
• Evokes a cathedral "worship of power" 
• Symbol of Germany's industrialization 
• Faceted roof resembles a crystal- Beherens' interest
• Steel supports on the outside remenescent of Greek temple

Fagus Shoe Last Factory

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Walter Gropius and Adolph Meyer

Alfeld-an-der Leine, Germany

1911

•  Response to Turbine Fabrik (Beherens' protege), more open plan, less monumentality, sharper corners, all glass facade
• No visible structural supports  
• Glass was supposed to be modern factory look, let a lot of light in to improve morale. Social purpose to elevate worker via aesthetics. 
• Also a symbol of Germany's industrialization, American influence

Centennial [Jahrhundert] Hall

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Max Berg

Wroclaw, Poland

1910-13

•  On a site where 100 years earlier there was a call to liberate from Napoleon-- it's a nationalist piece of architecture 
• Monumentality in its similarity to the panetheon, but modern times are represented by reinforced concrete 

Glass Pavillion

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Bruno Taut

Deutscher Werkbund Exhbition, Cologne, Germany

1914

• Glass architecture can remove barriers
• No other purpose than to be beautiful 
• Transcendant experience that demonstrates what architecture could be and how it can bring people together 
• "Alpine Architecture" rise above the valleys that hold the damage of the war, move on/repudiate the war period

Grosse Schauspielhaus

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Hans Poelzig

North Berlin, Germany 

1918-19

• Obscurity offers escape from relaity
• Decor evokes nature, a cave
• Collective emotion, stage protrudes into the audience
• 
  

[Second] Goetheanum

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Rudolf Steiner

Dornach, Switzerland

1924-28

•  On a site where the swiss won a battle against Germany 
• Plants have continuity of form, architecture could too
• Wall is a living, plastic form 

Amsterdam Stock Exchange

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Hendrik Petrus Berlage 

Amsterdam, Netherlands

1897-1903

•  Sought architecture of the present, but wanted continuity w past– Time alters fashions, but geometry sticks
• Systematic control over proportion/ratios of dimensions
• Less focus on facades, more focus on space/wall placement 
• Materials: granite is tough like working class; 

Eigen Haard

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Michel de Klerk

Amsterdam, Netherlands

1913

• Communist housing: worker buildings should have aesthetic appeal and symbolics
• Added curves, active skylines to empower the worker

Truus Shröder House 

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Gerrit Rietveld

Utrecht, Holland

1924-25

Open Air School

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Johannes Duiker 

Amsterdam, Holland 

1928-30

•  Duiker thought architecture should balance aesthetic and utility
• Modern buildings should be shaped by the new materials available and should focus on social space 
• Destroy the particularities of form, start with open steel frame  

Van Nelle Factory

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Johannes Brinkman

Rotterdam, Holland

1926-30

USSR Pavilion

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Konstantin Melnikov

Paris, France

1925

Narkomfin Apartments

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Mosei Ginzburg

Moscow, Russia

1928-30

Rusakov [Tram] Workers' Club

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Konstantin Melnikov

Moscow, Russia 

1927-28

Bauhaus

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Gropius & Adolph Meyer

Dessau, Germany 

1925-26

Einstein Tower

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Erich Mendelsohn 

Postdam, Germany

1917-21 

Schocken Department Store 

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Erich Mendelsohn

Chemnitz, Germany

1928-29