Charles Bage, Ditherington Flax Mill, 1796, Shrewsbury, England 

• grid of slender/ thin columns used to hold up huge rooms in the flax mill. No theory pairs with small columns. No pattern book, no prior references. It is purely structural and designed around functionality.

• The most efficient use of iron was by factory designers.

• production of cotton, using machinery, powered by waterwheels. By 1800, there were 900 cotton mills employing 400000 people. Vast new mills were built- but there was a problem. Dirtherington was the world’s first incombustible iron framed building

   

John Nash, Brighton Pavilion, England (1815-1823) – Chinese Stairwell

• Used Iron in an imitative form. Chinese Stairwell. Iron can be in any form and still be a structural component. (Bamboo stairwell). the design/style created by nash came from a pattern book he was trying to imitate the look of the Taj Mahal that was made of white stone with iron.

• Kitchen cast iron columns are very slender + tall, covered/painted to look like palm trees

• Chinese Stairwell= Iron railing made to look like bamboo

Karl Friedrich Schinkel, Albrechtspalais, Berlin. Iron Staircase (1830-32) 

• Performs structurally but still is imitating classical columns, even though it isn’t needed. It was a this weird time where technological advances were allowing buildings to be made of very thin iron columns but it was matching up with the classical style. Schinkel tried to combine style and iron by making uneccessary ornament on the stair case
• Grander, palace, iron performing structurally, has uneeded arches
• heavily inspired by Brighton Pavilion
• to bad it was "bombed to pieces"

Ludwig Persius, Krankenhaus der Diakonissenanstalt Bethanien (Central Deaconess Institute and Hospital Bethanien, Berlin), Iron Staircase (1830-32)

• Lobby has a colonade neo-byzantine esque interior. the iron staircase is very odd and functional. doesn’t fit the theme. It isn’t taboo any more to show the materiality of the iron. Imitative with non structural arch (alluding to how we used to need an arch). There is one mold, so they use it to mass produce things. Stone archway transitions to iron staircase.

• Yellow stone
  

• Byzantine-esque/ renaissance foyer
  

• Marble/stone archway separate building from functional circulatory staircase
  

• Staircase made out of iron, not hidden anymore

• No structursal forces on landing, iron used in a more efficient way
  

• Mass produced column capitol is now the standard

Fontaine, Galerie d’Orléans, Paris (1829) 

• French passage or gate almost like a shopping mall except there is a cover charge.

• close down street + cover street to create enclosed area for shopping
  

• only customers can access space

Liverpool Crown Street Railway Station, Liverpool, England. John Foster II (architect) George Stephenson (engineer) (1830)

• english civil engineer and mechanical engineer who built the first public inter-city railway line in the world to use steam locomotives, the Liverpool and Manchester Railway which opened in 1830. Renowned as the “Father of Railways).

• (architect) shed +traditional buildings. greek revival temple

• Stephenson design was to build bridge. Skew Bridge: all stones are bizzare parallelogram. Necessity is the best invention. First road Population is more urban and rural.

• iron gets picked up by retailers.

• wrought iron roof
  

• cast iron arcade

• This was a new "type" of building. Although all the structure is exposed it tries to mix both style and functionality with the greek pediment.

Euston Station, London, England 1837, William Cubitt, Philip Hardwick (train shed by structural engineer Charles Fox) 

• grandiose face, temple front, pilasters, huge columns. Grecoroman architecture.

• Ionic colonade wrapping around.

• similar to crysial palace, spectacle vs integration

• contrasts surrounding buildings that are masonry

• skeletal structure similar to crystal palace uses iron.

• different from crystal palace in the sense that is was surrounded by other buildings, the crystal palace was isolated.

The Coal Exchange, London, J.B. Bunning (1846-49)

• huge rotunda/ amphitheater from iron/glass starting= Ferrovitreous. Ferrovitreous was the combination of the use of glass and iron. 

• Regularity, mass production.

• classic building, palladian motif

• stock exchange for coal

• tivoli corner from bank of england

King’s Cross Station, London 1851, William Cubitt

• Has both monumental and modern qualities. It is monumental with the brick arches. it is modern with the iron columns and glass walls.

Pascal Coste, Design (and building) for Muhammad ‘Ali’s Saray (Palace) at Shubra, (1820-23) 

• The kushk (kiosk) at the palace (the place where the king received important people + made important governing decisions) it was like a courtyard almost. It’s a colonnaded veranda. It is a conflation of turkish baroque and classical ideas. Interior is neoclassical, watered down ottoman aesthetic. lots of symbolism in the detailing.

• open space between indoor shelter and outdoor courtyard. "floating pavilion" on shallow pool. This building is a hybrid between european + turkish baroque styles.

Pascal Coste, Nile barrages (dam) at Qanatir, Egypt (c.1820) 

• created an industrial base for the country. founded factories in and around cairo for a variety of purposes. I.E. Nile barrages ( a concentrated artillery bombardment over a wide area).

The (Old/‘Khedival’) Cairo Opera House (1869), Architects: Pietro Avoscani and Mario Rossi (it burned down in the 1970s so please do not confuse it with the new one)

• european composers and musicians wrote and performed pieces for egypt there (opening of the suez canal). it is a classical motif style, almost looks like berlin’s opera house. restrained classical. clock on top of the pediment

Deshima (Nagasaki)

 During tokogawa period, country was on “lockdown”. Limited trade with the west to one small dutch trading post (Dashima) dutch trading post, they basically had their own island in japan and weren’t allowed on main land)

The Glover House, Nagasaki Harbor (1863)

• oldest remaining foreign house in japan. Glover looks Nagasa harbor. dwelling unit for a family. Broker would lease properties to foreigners since they couldn’t buy their own land in japan. Hybrid architecture
•  Classical motif, fanlights, wood keystones. Japanese: traditional local tile roof + traditional demon headed tiles (wards off evil spirits, local mortif). 
• conflating binding arch vocabular. into a specific buildings, that may be able to be used in the forture. built by carpenters but design for foreigners. 
• woodframe plastered buildings, two story verandas, pediments 
• Built by Capital james.
• specific type of chimney that is typically british bungalow

Gishikan (Engineers House), Nagasaki (1867) 

Emergence of Port-Treaty style  wood frame style with plaster

• Built by Japanese craftsmen for foreigners
•  Foreigner housing with windows + porches but with Japanese wood frame
• Pediments, two story verandas buildings typically

• Fanlights, chimneys, shutters, local roof style
•  “Fake” balcony

Boeckmann & Ende, Japan’s Law Court, Tokyo (1875)

• very modern european arch with some jap influence.

• Renaissance revival, pavilion poking out two flanking towers on façade almost like a greek temple
  

Josiah Conder, Rokumeikan, Tokyo (1883)

• tripartite arrangement, classical, colonnade, neo-renaissance. islamic-like details
• it is important because of its culture significance. even the architecture caters to foreigners
• reception hall for foreigners. everyone hated because it pandered to foreign influence. promoted western behavior

Josiah Conder, The Ueno Museum, Tokyo (1882)

• mixture of gothic and “moorish” styles. pseudo palladian. islamic domes

• same premise of crystal palace (it's modeled after it). tripartite, atrium on first floor. islamic archs.

• greenhouses, large clocks (fascination with western time keeping)

Mausoleum of Sulayman Pasha al-Faransawi, Cairo (1862-64)

• exporting modern material (iron) and modern architecture (western architecture) from across the world to Cairo to build a mausoleum

Carl von Diebitsch, Cast Iron Garden Pavilion, Gezira Palace, Cairo 1863-69

• Carl von Diebitsch was really into islamic architecture, he is modern though, talks about mass production. Produces vases. thinks that islamic is the easiest to mass produce and very bourgeoise. Gets commissioned by the king of egypt to make buildings in cairo. Works on private palace for Ishm’il.  Recreate golden age of islam. uses cast iron.

Exposition Universelle of 1867 Egyptian Pavilions at the Exposition Universelle, 1867

•  As representatives of Islamic urban settings, Ottoman and Egyptian quarters were placed adjacent to each other in 1867 in Paris, and, despite their independent designs, they formed an ensemble: visitors could meander through the Egyptian street into the Turkish square. Both quarters were deliberately made irregular to reflect the tortuous streets with many dead ends of Islamic cities. 
• A pavilion called the Isthme de Suez displayed documents and models of Ferdinand de Lesseps's work on the Suez Canal

Exposition Universelle of 1867, Japanese Pavilion 

• A traditional Japanese style pavilion was brought to the exposition to display Japanese style of architecture and artwork.

Exposition Universelle of 1889 Egyptian Section - “Rue du Caire” 

• cairo street (rue du caire) paris there is a picturesque minaret. recreated something articifal. european view of how cairo should look. Cairo street compared with avenue de l’opera. at the fair.

Exposition Universelle of 1889, Gustave Eiffel, The Eiffel Tower

- built as massive iron marvel to celebrate iron

- temporarily built for the exhibition, but became a permanent fixture of of paris

- better example of progression of industry, more confidence into the design and the material→ structural advance

Exposition Universelle of 1889, Ferdinand Dutert and Victor Contamin, Galerie des Machines, 1889

• ferdinand dutert and victore contamin, galeres des machines. Moment of hubrus for the french.

• iront monstrity   

• exposition universalle, Paismr( training) 1889

• foreiners brought to exposition universelle to be workiers,  

George Gilbert Scott, Convocation Hall and Rajabi Clock Tower, University of Bombay, Bombay (Mumbai), India (1869–78)

• it looks like some sort of church, it has a gothic rose window, there is an exterior stair to take advantage of bombay weather. it is super gothic everywhere. it is important to be gothic in the educational environment because of associationism.

Frederick William Stevens, Victoria Terminus, Bombay (1878-87)

• railway station terminus. super victorian gothic. it is a religious language. it has an academic precedent in england.

Frederick William Stevens, Municipal Corporation Building, Bombay (1884-1893) 

• Indo-saracenic style: adapt to india architecture. Municipal corporation building, bombay frederick william stevens (1884-1893) something other than gothic. there are minaret looking things and indian looking domes. gothic references in arches. overly articulated in venetian gothic windows in the new addition to the building. manly mugal examples found in the “indian” parts

Maj. Charles Mant, Mayo College (Main Building), Ajmer, Rajasthan, India, (1875-85)

• mayo college, ajmer, rajasthan, india, maj, c. mant. traditional english plan. exterior is referencing islamic and indian architecture. not a single building is the source, they are studying multiple buildings. it is a new way of dealing with architecture. happening in a new environment.

Robert Chisholm, Madras University (Senate House). (1874-79) 

• albert hall, jaipur, india, 1876-87 based off of tomb building in india samuel swinton jacob. establish identity through architecture.

William Butterfield, All Saints Church, Margaret Street, London (1849-59) 

• victorian gothic church. inside is very italien. plan is a square, weird. gothic language, but there is polychromy, different types of stones (rough and stone).

William Butterfield, Keble College, Oxford (1866-83)

• he does the whole campus. intense brick polychromy. he uses indigenous stones. local and organic. striping of brick on church. blending contemporary theories and ideals with gothic. wood is a natural color on the interior “truthful honesty and design”.

T. Deane & B. Woodward, University Museum at Oxford, England (1854-60)

• inspired by ruskin. gothic used for secular idea. symmetrical with central tower, and ring of rooms. less attention to polychromy.

George Gilbert Scott, Midland Hotel at St. Pancras Station London (1866-76)

• grand clock tower, red brick, mix of french and german irregular roofs, polychromy, pointed arch, superior intense polychromy and iron mix on the interior.  Hotel is a facade, perceive that there is passage/ interplay→ what is the interface for a new civic program

George Edmund Street, Royal Law Courts, London (1874-82)

• george edmund street, worked with scott, influenced by ruskin. Royal law courts, fleet street, 1874-82: gothic throwup. 

Wm. Ware and Henry van Brunt, Memorial Hall, Harvard University (1870-78)

• memorial hall, harvard, ware and henry van brut (1870-78)- interprets ruskin’s theory. high victorian and high gothic 

Charles Garnier, Opera House, Paris (1861-75)

• beaux arts. entablature, over the top gold leaf structure, copper dome, ionic columns etc… the hierarchy is not in the middle, there is variation it is very rococo

Henri Labrouste, Biblioteque Ste. Genevieve, Paris (1839-50)

• unconventional treatment of the facade and reading room, extensive use of exposed iron frame, elements and details. no standard classical organization, more neoclassical, austere entryway. light thin iron columns. abstracted ornament

• henry= iron frame construction, won grand prix

• quatremere de quincy- secretary to the beaux arts. loved classicism. he believes in imitating ideal classical models that becomes the bedrock of the academic system.

Henri Labrouste, Biblioteque Nationale, Paris (1862-68)

• romantic fusion of contradictory architectural styles, creates a dramatic reading room through the use of cast-iron columns supporting a network of glazed tile vaults and glazed oculi. constructs an audacious book stack employing tiered cast-iron galleries with metal shelving and trelliswork floors. light, large space.

Léon Vaudoyer (and Henri Espérandieu), Marseille Cathedral, Marseille, France (1852-90)

• beaux arts, a culture’s architecture should take its character from institutions, morals, climate, and then materials last.

Viollet-le-Duc, Design for a concert hall (1864) (drawing from the Entretiens)

• concert hall drawing, expresses gothic principles in modern materials, brick, stone, and cast iron. how to span larger spaces. market from lectures on architecture 1866. cast iron at angles, holds up simple structure. least amount of material for greatest structural efficiency.

Viollet-le-Duc, Town House and Tiled Shop front, from Discourses on Architecture, c. 1866

• construction of iron skeletons enclosed by nonbearing masonry walls. “the first building” drawing of a hut, very different of the pediment tree drawing. all the branches are tied together at a point. he becomes obsessed with structure. likes this idea of a skeleton structure, the rest is infill. gothic is ideal style for flexibility.

Morris & P. Webb, The Red House, Bexleyheath, England (1859)

• kent, england. morris’ private residence. irregular gables. chimney’s , L-shaped plan, irregular asymmetries. pointed arches, covered entries. corridor comes off of private part. Glass windows, made by hand. irregularity in materials, in glass different colors of the bricks. medieval sort of ceiling but is actually a truss. 

• gesamtkunstwerk: biggest work is bigger gift. on the first floor in understand. translated as total work of art, ideal work of art, universal artwork, synthesis of the arts, comprehensive artwork, all-embracing art form or total artwork) is a work of art that makes use of all or many art forms or strives to do so.

• all about surface and flatness and they care about window

• inside down my craftsman inside/ outside. red house was a rebellion “was in”. not made in a factory 

• organic connection between interior and exterior, celebration of hearth, painting= morality, regularity in glass and bricks= imperfections played up to show humanity of the building

Charles F. A. Voysey, Julius Sturgis House (near Guilford, Surrey, England) 1896-97). 

• english architecture and furniture designer. avoid angularity, stressed horizontality. made 2d flat textiles. architecture= personal vernacular. asymmetry and horizontality in architecture. inexpensive modes of construction.

• vernacular: domestic, native, indigenous. english manner house.

• english vernacular= asymmetry, stresses surface, stresses horizontality, visible timber. stylized manner house.

• Charles Voysey, Julius sturgis house, 1896-97: bay windows are abstracted to rectangular boxes, horizontal windows strengthen overall “horiznatality”, continued use of whitened roughcast abstracts

“Baillie” Scott, The Blackwell House, Lake District, England (1897-1901)

• the blackwell house (1897) for sir edward holt: heavily influenced by voysey, references him in the house with asymmetry in the windows. variation of the butterfly plan(45 degree angular plan) used (also seen in red house) centrality of hearth, half timber construction. very open floor plan. much lighter than victorian. abstracts fireplace. references english vernacular. no longer  a grand staircase: irregular. he thought the interior was the soul of the house. rejected victorian plan.

• art nouveau decor like reading nooks: inglenook two couches adjacent to a fireplace facing eachother. painted wood (would not be approved by morris)

C.R. Mackintosh, The Hill House, Helensburgh, Scotland (1902-1904)

• scottish architect. he was a designer in the post-impressionist time. continental art nouveau style

• the hill, house helensburgh, scotland, fusing elements of arts & crafts with influences from the continental art nouveau style, baronial vernacular (16th cent. castle). stucco. eyebrows on fleek, variation of butterfly plan kind of a diagonal angled plan. reinterprets traditional ideas of english house. drawing room has pockets within the room that delineates spaces, couch nice, piano area. uses the spaces within the room to say what is going on through different materials and ceiling heights. i.e. library has books. details are super important. contrast between wall and ceiling in the dining expresses through abstraction that it is the dining room. references to art nouveau artwork. relationship between interior and exterior= casement window. formal acknowledgment of shutters through the exterior of the windows without actually having shutters.

• “the shingle style” english influence was combined with the renewed interest in colonial american architecture which followed the centennial of the country. plain, shingled surfaces of colonial buildings were adopted, their massing emulated.

• it is arts & crafts but it is localized into a variety of expressions.

H.H. Richardson, Watts Sherman House, Newport, RI (1875)

• he studied at the beaux arts. influenced by morris with handpainted glass pieces.

McKim, Mead & White, Isaac Bell, Jr. House, Newport, RI, (1883-85)

• english vernacular, gabled roofs, variation of the theme. conscious of colonial endeavour mixed with ideas of arts & crafts. popouts of windows on corners, evolution of adaptable space= more flexible. diagonal plan. visible timber (nogging)

McKim, Mead & White, William G. Low House, Bristol, RI (1886-87, demolished 1962)

• one massive gable, asymmetry.

• frank lloyd wright, house & studio, oak park, il (1889) abstracted palladian motif. reference to stone base, shingles, arts & crafts, diagonal plan. pushing envelope of arts & crafts. interior attention to detail craft. gesamtkunstwerk.

Frank Lloyd Wright, Winslow House, River Forest, IL (1893-1894)

• symmetry on the exterior, tripartite, looks like a floating roof. horizontality stressed through low windows, and door, the rear isn’t symmetrical 

• the plan is deceptively regular. inglenook variation in the beginning of the house. arcaded screen in front of the inglenook. hearth in the center of the house. craft feel with columns and stain glass.

The Gamble House, Greene & Greene, Pasadena, CA (1909)

• greene brothers disliked the beaux-arts system, really into japanese and chinese decorative arts and arts & crafts movement. saw the phoenix pavilion at the columbian exposition. <3 it. the gamble house, greene & greene, pasadena : combines arts & crafts with japanese architecture. natural and constructed mixed (tree +column) irregularity of bricks celebrated (craft).

Peter Ellis, Oriel Chambers, Liverpool, England (1864)

• Oriel Chambers was one of the world’s first buildings featuring a metal frame glass curtain wall with iron by peter ellis.

Richard Morris Hunt, New York Tribune Building, NYC (1875)

• Hunt was the first american to go to the Beaux-arts
• 1870 american architecture had begun to go in two general directions. 1. the first was by maintaining european forms and simply adding to them both in scale and technology. i.e. 
• Follows the idea of a typical office building with the very large first level, slight smaller second level, and repetitive smaller levels after that.

H. H. Richardson, Trinity Church, Boston (1872-77)

• ‘semi-homegrown’ sensibility as exhibited in the designs of henry richardson. richardsonian romanesque, combine classical elements and composition with (southern) french early medieval romanesque with american ideas in programming and organization

H. H. Richardson, Marshall Field's Wholesale Store, Chicago (1885-87)

• ‘semi-homegrown’ sensibility as exhibited in the designs of henry richardson. richardsonian romanesque, combine classical elements and composition with (southern) french early medieval romanesque with american ideas in programming and organization. trinity church (1872-77) and marshall field’s wholesale store (1885-87)< pivotal moment in american architecture

William LeBaron Jenney, The Home Insurance Building, Chicago (1885)

• american architect and engineer who is known for building the first skyscraper in 1884 and became known as the “father of the american skyscraper”

• Finding american modernism: french and british theory about iron & structure development of steel + american theory about individualism hh. richardson’s american style + american theory about function + chicago fire + post depression economic recovery/resiliency + american techn’l innovations in iron/steel and the elevator = the chicago school a.k.a american modernism.

• when you use iron frame you reduce the weight of your building by 1/3

• first tall building to use structural steel in its frame generally

Daniel Burnham and John Root, The Rookery, Chicago (1888) 

• low entry portal (low sprung arch= h.h. richardson). indicators of structure with column that is tucked in massive corner stone, we don’t need the column or corner stone because the building uses steel. experiment of styles with some mogul architecture, plays with ideas from nature in ornament that looks like vegetation. ornamented steel.

Daniel Burnham and John Root, Monadnock Building, Chicago, (1884-85/1889-92)

• bay windows abstracted and extruded, regularity in the windows. cast iron staircase. building has thick piers in plan. tallest stone masonry building in the world. not a steel structure building. bricks get shallower as it goes up. super heavy deep openings. little ornamentation. addition done in steel structure.

• william le baron jenney, the fair store, chicago (1890-91). there is a big difference between how the building is being made and what it looks like. steel frame

Louis Sullivan and Dankmar Adler, Auditorium Building, Chicago (1887-9)

• richardson reference. 3 large parts. base, middle, top (reference to classicism). steel frame. rustication contrasts with highly polished marble/granite column. role that ornament plays within these buildings. abstracted classical columns, ornament on walls.  

Louis Sullivan and Dankmar Adler, Wainwright Building, St-Louis (1890-91)

• very regular, ornament used sparingly. structural rationalism. particular organization for the architecture to references of what is going on inside. wont let go of classical fucking architecture so he has a base middle and top.