Shroeder House, Gerrit Rietveld
Utrect, Netherlands

1924 

Bauhaus/Int'l Style 

Weimer Bauhaus University, Henry van de Velde

Weimer, Germany
1923 

Bauhaus/Int'l Style  

Tugendhat House, Mies van der Rohe, interior by Lilly Reich

Brno, Czech Republic
1928 

Bauhaus/Int'l Style 

Tugendhat House, Mies van der Rohe, interior by Lilly Reich

Brno, Czech Republic
1928 

Bauhaus/Int'l Style  

Tugendhat House, Mies van der Rohe, interior by Lilly Reich

Brno, Czech Republic
1928 

Bauhaus/Int'l Style   

Tugendhat House, Mies van der Rohe, interior by Lilly Reich

Brno, Czech Republic
1928 

Bauhaus/Int'l Style 

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Guggenheim Museum, Frank Lloyd Wright
New York

1956 

Sculptural Modernism  

Guggenheim Museum, Frank Lloyd Wright
New York

1956 

Sculptural Modernism  

Armchair model DAX, Charles & Ray Eames

1948-1950

Sculptural Modernism

Piazza D'Italia, Charles Moore,
New Orleans, LA
1975-80 

Post Modernism

Prada New York Epicenter, Rem Koolhaus
New York City

2001

Minimalism/Sculpted

Ann Demeulemeester Shop, Mass Studies
Korea

2007

Minimalism and Sculpted 

Art Institute of Chicago Modern Wing, Renzo Piano

Chicago, Illinois
2009

Modern Museums, Minimalism 

Kiasma Museum, Steven Holl

Helsinki, Finland
1992

Modern Museums, Sculpted 

Herman Miller "GreenHouse", William McDonough + Partners, Verburg & Associates 

Holland, Michigan
1995

Globalism & Environmentalism 

Throncrown Chapel, E. Fay Jones
Eureka Springs, Arkansas
1980

Globalism & Environmentalism  

Thorncrown Chapel, E. Fay Jones
Eureka Springs, Arkansas

1980

Globalism & Environmentalism 

Virginia Beach House, McDonough + Partners
Virginia Beach, VA
2001

Globalism & Environmentalism 

Reflections at Keppel Bay, Daniel Libeskind
Singapore
2011

Globalism & Environmentalism 

Villa Moda, Marcel Wanders
Bahrain, UAE

2008

Globalism & Sustainability 

• Open and free plan
• Flowing and flexible space
• Geometric language
• Anti-historic
• Unadorned by ornament
• Highly functional spaces
• Curtain walls
• Theme of transparency

• Precursor to Bauhaus
• Reduce, simplify, make abstract
• Straight lines, right angles, primary colors
• No ornament, no historic reference
• Bring order out of chaos and achieve universal harmony
• "The new architecture is anti-cubic...architecture requires a more or less floating aspect."

• Expression of volume > mass
• Emphasis on balance rather than preconceived symmetry
• Expulsion of ornament
• Misses the reforming zeal of Bauhaus, is not concerned with solving social problems 

1. Reinforced concrete stilts (support, use the land efficiently by providing another functional area right below the main living area, takes advantage of the views from the interior)
2. Free-facade (Facades only serve as a skin of a wall, unconstrained by load bearing considerations)
3. An open floor plan (Floor plan relieved of load bearing walls, allowing walls to be placed only where aesthetically needed)
4. Ribbon windows (Long horizontal windows providing illumination and ventilation, echo industrial architecture)
5. Roof garden (Functional space on the roof, allows an efficient use of the land because it is giving a function to the space that is displaced by the building)

• Dominated by Gropius, Mies van der Rohe, Corbusier
• Boxes w/ glass curtain walls
• Brutalism combines logic of Mies structures w/ robustness of Corbusier (Louis Kahn)
• Lacks social reform agenda of Bauhaus
• Associated w/ capitalism and free enterprise (Seagram building, CBS building)

• Turns to the past for stylistic inspiration
• Opposition to Intl Style, Bauhaus, Mies, etc.
• Approves and promotes symbolic design language, color, symbolism, and "in your face" historicism
• Counters the abstraction of Int'l Style
• Lowbrow, anti-elitist pop culture
• Advocates a greater consideration of the context of the place and relating the design to its purpose

• In collaboratio with Denise Scott Brown
• Alternative form of expression to the Int'l Style
• Book is published by MoMA
• Architecture can never be PURE and NEW because the past is always there
• Less is a bore
• “Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture…I like elements that are hybrid rather than pure, compromising rather than clean, distorted rather than straightforward, ambiguous rather than articulated, perverse as well as impersonal, boring as well as interesting…I am for messy vitality over obvious unity.”

• Merging of interiors and exteriors
• Transparency
• Expansive views
• Simple forms
• Floating effects
• Dematerialization, no materiality

• Plastic shapes
• Sense of movement
• Concrete, wood, etc.
• Sculptural forms on a large sscale

·      “As museums, libraries, airports, hospitals, and schools become increasingly indistinguishable from shopping centers…What if the equation were reversed so that customers were no longer identified as consumers, but recognized as researchers, students, patients, museum goers? What if the shopping experience were not one of impoverishment, but of enrichment?”

·      “My mainstay in selecting the solutions…is my independent architectural theory ordered on the basis of a geometry of simple forms, my own ideas of life, and my emotions as a Japanese.”

·      “Architecture is basically a container of something…I hope they will enjoy not so much the teacup, but the tea.”

“Cradle to Cradle” by William McDonough and Michael Braungart (model of sustainability to mimic nature where there is no waste)