ARCH 350 1st Edition Exam # 1 Study Guide I. Visionaries: “preceding geometrical visions”A. Etienne-Louis Boulléea. Monument to Newton or Newton’s Cenotaph,1783 - Basic geometries- Geometrical purity- perfection; center would contain tomb of Newton- design of the memorial creates the effect of day and nightB. Claude Nicolas Ledoux a. Inspector’s House over the River Loue, 1804- Basic geometries- Geometrical purity- project for the ideal city of Chaux- symbolized state power over nature through scale and relationshipto environment - river goes through houseb. Quarters for rural caretakers, France. C.1790- Basic geometries- Geometric purityc. Saline Royale de Chaux (Royal saltworks) , Chaux, France, 1775-1779- industrial community; utopian cityII. New materials, programs, methods, spacesA. Ironbridge Severn RiverArchitect: Abrahan Darby Location: Coalbrookdale Bridge, England, 1779 - Engineering Advances - The world’s first cast-iron bridgeB. Crystal PalaceArchitect: Joseph PaxtonLocation: London, England, 1851- The World Exhibitions- Highly flexible kit of parts and lightweight skeletal- Transparent construction- Chosen after a competition - Modular design using mass-produced materials (iron and glass), built in eight months- Built by contractors Sir Charles Fox and George Henderson- engineering as a major art- burned in 1936C. Victor Contamin and Charles Louis Ferdinand Dutert: Palais des Machines, Paris, 1889D. Gustave Eiffel: Eiffel Tower, Paris, 1889 - Components prefabricated then assembled on site with four pivoting cranes- Top can be reached by stairs or elevator (first Otis elevator)- Chosen after a competition- First to use the three-hinged arch form in the achievement of a large span (Contamin)- Elevated tracks; mobile viewing platform - Tower: boat-shaped base and parabolic vertical sectionE. John and Washington Roebling: Brooklyn Bridge, NYC, 1867-83F. Le Baron Jenney: Steel frame of Fair Store, Chicago, 1891III. Chicago School- Attention to the skyscrapers- Chicago School sought “higher synthesis” of technique, material and form in their skyscraper designsA. Daniel BURNHAM & John W. ROOT: Monadnock Building, Chicago, 1884-91 - Directness and clarity- “Abstracted cornice”B. Daniel BURNHAM & John W. ROOT, main designer Charles Atwood: RelianceBuilding, Chicago,1890-94 - Delicate transparency and reflective planes- Weightless cage - Steel frame and terracotta horizontal bandsC. Louis Sullivan & Dankmar Adler:Auditorium Building, Chicago, 1886–9- Sullivan: “form follows function” - Building as enterprise- One of the most complex multi use buildings in the country –- 10 story hotel, 17 story office building wrapped around a concert hall in the centerD. Louis Sullivan: CarsonPirie Scott Store, Chicago, 1899-1904- Sullivan: “form follows function”- “Chicago Windows”- emphasis on horizontal- 3 sections- cast iron, steel, terracotta- chicago windowsIV. Frank Lloyd Wright’s SystemA. Frank Lloyd Wright: Winslow House, near Chicago, 1893-4 B. Frank Lloyd Wright: Robie House, Chicago, 1908-10 - One of the clearest of Wrights expressions of the Prairie House ideal- Emphasizes horizontal- layersC. Prairie Houses- Houses in suburban lot/areas- Fenestration in strips;- Low-hipped roof;- Emphasis on the fireplace, and horizontality- Irregular distortions to the rear of a formal façade that conveniently accommodate awkward ingredients such as service elements;- Cruciform plan commonly used during the period 1900-10.- Elimination the room as a box and the house as anotherV. The idea of Modern: Viollet-le-DucA. Eugene Viollet-le-Duc: Project for a concert hall in iron, from “Entretiens sur l’architecture”, vol 2, 1872 - Structural Rationalism- He was as central a figure in the Gothic Revival in France as he was in the public discourse on "honesty" in architecture- Required a language based on new structural technique; New architecture based upon direct expression of structure and programme. - “19th century must try to formulate its own style by finding forms appropriate to the new techniques and programmeVI. New: materials, programs, methods, spaces- The search for new forms- Rejection of historicism- Art Nouveau A. Victor Horta: Hotel Tassel, Brussels, 1892-3 - integrated aesthetics- used iron in domestic architecture- embellished iron tentrils- total work of artB. Hector Guimard: Metro Entrance, Porte Dauphine, Paris, France, 1900 VII. New forms: GaudiA. Casa Batlló, Barcelona, 1905-7 B. Casa Mila (La Pedrera), Barcelona, 1905-10- light wells- free form walls- waves and sea and the mountains- inverted scale models of the numerous domes by using threads under tension- catenary curve and parabolic curvesC. Sagrada Familia, Barcelona, 1884-1926VIII. Arts and Crafts idealsA. Philip Webb: Red HouseBexley Heath, Kent, 1859- produce a design true to its materials and means of construction and expressive of the site and local culture- Encouraged simplicity, honest and direct use of materials, integration with natureB. Charles Voysey: Braodleys Cumbria, UK, 1898 - Simplicity - Honest and direct use of materialsIX. New forms: Mackintosh A. Mackintosh: Glasgow School of Art, Glasgow, Scotland 1897-1909B. Hill House, Helensburgh, Scotland 1902-3X. New forms: WagnerA. Otto Wagner: Post Office Saving BankVienna, 1904-1912 XI. New forms: HoffmanA. Josef Hoffman: Stocklet House, Brussels, 1905-11- Form rather than ornament- Planar quality- Total work of art- “This is cladding and not solid masonry”: corners with thin metal profileXII. New forms: Adolf LoosA. Adolf Loos: Steiner House,Vienna, 1910- The problem of ornament- “Ornament and Crime”- RaumplantXIII. New forms: Reinforced concreteA. Francois Hennebique:Monolithic Reinforced. Trabeated Concrete Joint, Construction detail, 1892- Concrete + steel B. Auguste Perret: Apartments at25bis Rue Franklin, Paris, 1902- reinforced concrete- genuine architectural forms of lasting quality- light well with a U shaped plan that increased the percentage of daylight lit walls- concrete frame C. Frank Lloyd Wright: Unity Temple, Oak Park, Chicago, IL, 1905-07- potential of concrete cheapness and wide spans - steel