INTERNATIONAL STYLE

A N MODERNISM
D
PRESENTED BY: GROUP 6
 N RECTILINEAR FORMS ARE THE MOST COMMON

I O CHARACTERISTICS OF INTERNATIONAL STYLE BUILDINGS. IN

GEOMETRY, RECTILINEAR MEANS STRAIGHT. IT IS AN 8-BIT FIGURE,
I T FORMING A 90 DEGREE ANGLE. INTERNATIONAL STYLE IS BASED

I N ON ABSTRACTION, CREATED THROUGH CLEAN LINES, BASIC

EF
SHAPES, AND FORMS. THEREFORE, SIMPLE, PLAIN, GEOMETRIC
FORMS, RECTANGULAR SHAPES, AND LINEAR ELEMENTS MAKE
D THE CHARACTERISTICS OF MODERN ARCHITECTURE. IT WAS ALSO
REFERRED TO AS MINIMALIST ARCHITECTURE, IT IS WELL KNOWN
FOR THE MANNER IN WHICH IT ELIMINATES ALL THE UNNECESSARY
ORNAMENTS AND REJECTING TRADITIONAL STYLES AND
TECHNIQUES OF CONSTRUCTION FROM THE DESIGN.

TODAY WHEN PEOPLE SPEAK OF ARCHITECTURE OF THE

MODERN MOVEMENT, IT USUALLY REFERS TO THE
INTERNATIONAL STYLE. THOUGH INTERNATIONAL STYLE IS A
SUBSET OF MODERN ARCHITECTURE. IT ALSO SELECT VERY
SPECIFIC WORK TO CONSTRUCT THE IDEA OF AN
INTERNATIONAL STYLE THAT SOMETIMES IGNORE OTHER
TYPES OF MODERN ARCHITECTURE THAT DID NOT FIT THE
VIEW OF INT. MODERNISM IS A SINGLE MOST IMPORTANT NEW
STYLE OR PHILOSOPHY OF ARCHITECTURE AND DESIGN OF
THE 20TH CENTURY. THIS PERIOD IS ASSOCIATED WITH AN
ANALYTICAL APPROACH TO THE FUNCTION OF BUILDINGS, DUPLI CASA BY J. MAYER H.
STRICTLY RATIONAL USE OF OFTEN NEW MATERIALS,
STRUCTURAL INNOVATION AND THE ELIMINATION OF
ORNAMENT. IT WAS ALSO KNOWN AS INTERNATIONAL
MODERNISM OR INTERNATIONAL STYLE.
 N MODERNISM AS A BROADER MOVEMENT ENCOMPASSES ART

I O NOUVEAU, FUNCTIONALISM, EXPRESSIONISM AND SO ON. THIS

I T INTRODUCED MANY DIFFERENT STRANDS BECAUSE IT WAS

CULTURAL AND PHILOSOPHICAL PROJECT AND PRODUCED
I N VARIETY OF EXPRESSIONS BASED ON DIFFERENT

EF
CULTURES AND GEOGRAPHIES.

D
 N
EN E
WHEN : 1920 (20TH - 21ST CENTURY)
WHERE : EUROPE AND UNITED STATES

H R
W AHE EUROPE
D
W

UNITED STATES

• BECAME THE DOMINANT IN THE USE FOR WESTERN ARCHITECTURE IN THE

MIDDLE DECADE OF THE 20TH CENTURY
• REINFORCED CONCRETE AND STEEL FRAMES WERE DISCOVERED
 N
EN E
BEGINNINGS OF THE INTERNATIONAL
STYLE
H R• THE INTERNATIONAL STYLE AROSE FROM SEVERAL STRANDS OF
W AHE ARCHITECTURAL AND POLITICAL THOUGHT IN THE 1910S.
D
W • IT OFTEN HAS BEEN SAID TO HAVE GROWN OUT OF A
FASCINATION WITH BUILDINGS FOR A MODERN
INDUSTRIALIZED AGE
- AMPLE NATURAL LIGHTING
- FLEXIBLE INTERIOR SPACE
- MINIMAL ORNAMENTATION
- EFFICIENCY OF
CONSTRUCTION
- SOLIDITY OF MATERIALS
1920s - BUILDING FORMS MUST BE DETERMINED BY THEIR FUNCTIONS AND
MATERIALS
 N
EN E BEGINNING IN THE LATE 1920S
H R
W AHE THE INTERNATIONAL STYLE FOUND A RECEPTIVE AUDIENCE ON
D
-

W THE OTHER
- AUSTRIAN SIDE OF THE
ARCHITECTS ATLANTIC.
RICHARD NEUTRA AND R.M. SCHINDLER
- UNITED STATES IN THE 1910S, FINDING WORK FIRST WITH FRANK LLOYD
WRIGHT BEFORE SETTLING IN SOUTHERN CALIFORNIA
- PHILADELPHIA - SWISS ARCHITECT WILLIAM LESCAZE FORMED A BRIEF
PARTNERSHIP WITH GEORGE HOWE
- NEW OFFICE TOWER FOR THE PHILADELPHIA SAVINGS FUND SOCIETY (PSFS
BUILDING)
- THE FIRST COMPLETED SKYSCRAPER TO USE THE NEW ARCHITECTURE

1928

- “A HOUSE IS A MACHINE FOR LIVING” BY LE CORBUSIER

- CIAM (CONGRESS INTERNATIONAUX D’ARCHITECTURE MODERNE OR
INTERNATIONAL CONGRESS OF MODERN ARCHITECTURE)
- LARGELY COMPOSED OF MOVEMENT’S NUMEROUS EUROPEAN ADHERENTS
TO DISUSS THE NEW DIRECTIONS IN ARCHITECTURE
 N
EN E 1932 - MOMA EXHIBITION
H R
W AHE • HELD IN THE STATE OF NEW YORK
D
W •
• SIX WEEKS
TOURED ALL OVER USA
• FIRST “TRAVELING-EXHIBITION” OF ARCHITECTURE IN THE US
• THE EXHIBITION MODERN ARCHITECTURE: INTERNATIONAL EXHIBITION 

- FEBRUARY 9 - MARCH 23, 1932

- MUSEUM OF MODERN ART (MOMA)
- THE HECKSCHER BUILDING AT FIFTH AVENUE AND 56TH STREET IN
NEW YORK
- SIX ROOMS
- ROOM A, “MODERN ARCHITECTS”
- “ROOM B, “HOUSING”,
- ROOM C, WORKS OF LE CORBUSIER, LUDWIG MIES VAN DER ROHE, J.J.P. OUD
AND FRANK LLOYD WRIGHT
- ROOM D, WORKS BY RAYMOND HOOD AND RICHARD NEUTRA
- ROOM E, “THE EXTENT OF MODERN ARCHITECTURE”
- ROOM F,
 N
EN E 1930S AND ‘40S

H R
W AHE - INTERNATIONAL STYLE SPREAD FROM THE US BASE IN
D GERMANY AND FRANCE TO NORTH AND SOUTH AMERICA,
W SCANDINAVIA, BRITAIN, AND JAPAN.
- THE AESTHETC QUALITY FOR THIS STRIPPED-DOWN, SLEAN
SURFACED SKYSCRAPERS THAT WAS PROVIDED BY THE
INTERNATIONAL STYLE HAS BECAME THE STATUS SYMBOL FOR THE
AMERICANS CORPORATE POWER ADN PROGRESSIVESNES DURING
THIS PERIOD.

1950’S

- FORMAL ASPECTS OF INTERNATIONAL STYLE HAD BECAME SOMEWHAT

SYNANYMOUS WITH THE TERM OF “MODERN ARCHITECTURE”
- AT THE END OF THIS PERIOD, THE INTERNATIONAL STYLE HAD BECOME A
TRULYGLOBAL PARADIGM OF MODERNISM.
 N
EN E
H R
W AHE
D 1970’S
W
- THE LIMITATIONS AND CONSTRAINTS INHERENT IN THE INTERNATIONAL
STARTED TO CAUSE IMPATIENCE TO SOME ARCHITECTS AND CRITICS.
- THE UNCOVERED AND STRIPPED NATURE OF THE STEEL-AND-GLASS "BOXES"
THAT ENCAPSULATED THE STYLE BY THEN SHOWED UP CRIPPLING AND
PREDICTABLE.
- MODELERS STARTED MAKING MORE LIBERATED, PROGRESSIVELY INVENTIVE
STRUCTURES THAT PRE-OWNED PRESENT DAY BUILDING MATERIALS
- THIS DEVELOPMENT GAVE SUCH IMPORTANCE IN THE LATE 1970’S AND EARLY
80’S WHICH IS NOW CALLED POSTMODERNISM.
 L G
A

“LESS IS
Y R IN
E T U ID
K EC GU S
IT D PLE
C H N I
R S A INC
A E R
ST Y P
M
“LESS IS MORE”

O
THE DESIGN PRINCIPLE OF
INTERNATIONAL STYLE AND MODERNISM
ARCHITECTURE WAS "LESS IS MORE".
SOMETIMES SOMETHING SIMPLE IS BETTER
THAN SOMETHING ADVANCED OR

R
COMPLICATED. HAVING JUST THE
ESSENTIAL THINGS ALLOWS YOU TO FOCUS
ON THE PURPOSE OF THE STRUCTURE.

E”
 L G
A
R IN
Y “FORM FOLLOWS FU
E T U ID
K EC GU S
IT D PLE
H N I
C
R S A INC
A E R
NC
Y P “FORM FOLLOWS
ST
T
FUNCTION”

I
ANOTHER DESIGN PRINCIPLE AND THE
MOST IMPORTANT CONCEPT IN MODERN

ON
MOVEMENT WAS "FORM FOLLOWS
FUNCTION". IT STATES THAT THE SHAPE OF
STRUCTURE IS DICTATED BY THEIR

”
FUNCTION AND THE PURPOSE SHOULD BE
THE STARTING POINT OF A DESIGN.
 L G
A
Y R IN
E T U ID “TRUTH TO M
K EC GU S

C
IT D PLE
H N I A
R S A INC
A E R
T Y P “TRUTH TO T
S MATERIALS”
E
IN
MODERNISM
INTERNATIONAL STYLE
ARCHITECTURE,
AND
THEY
RI
COMMONLY AND MOSTLY USED CONCRETE,
STEEL, WOOD AND GLASS AS A MATERIAL IN A
LS
CONSTRUCTION OF BUILDINGS.

”
 L G
A
Y R IN
E T U ID
K EC GU S
“VOLUME TH
IT D PLE
C H N I
R S A INC
AN
A E R
ST Y P
M
“THE EXPRESSION OF
VOLUME RATHER THAN
MASS”
A
VOLUME IS FELT AS IMMATERIAL AND

S
WEIGHTLESS, A GEOMETRICALLY BOUNDED
SPACE. PROJECTING PARTS OF A BUILDING
ARE LIKELY TO APPEAR SOLID. THE
S”
MASSIVENESS OF THE ARCHITECTURE OF
THE PAST WAS FELT GRAVITATIONAL. BEING
HEAVY, MASSIVE ARCHITECTURE DEMANDS
APPEARANCE OF SUPPORTS SUCH AS
COULD BE GIVEN BY PILING UP THE PARTS.
 L G
A
Y R IN
E T U ID
K EC GU S
“VOLUME TH
IT D PLE
C H N I
R S A INC
AN
A E R “THE EMPHASIS ON
ST Y P BALANCE RATHER THANM
PRECONCEIVED SYMMETRY”

A
S
BALANCING A COMPOSITION INVOLVES
ARRANGING BOTH POSITIVE ELEMENTS AND
NEGATIVE SPACE IN SUCH A WAY THAT NO ONE

S”
AREA OF THE DESIGN OVERPOWERS OTHER
AREAS. EVERYTHING WORKS TOGETHER AND
FITS TOGETHER IN A SEAMLESS WHOLE.
 ES FLAT ROOF
R
TU FLAT ROOFS WERE MOST COMMONLY USED ON LARGE
A STRUCTURE AND HOUSES IN ARID CLIMATE. THE BIGGEST

FE ADVANTAGE OF A FLAT ROOF IS THE EXPENSE. THEY ARE

RELATIVELY CHEAP, RANGING FROM CONSTRUCTION AND
INSTALLATION TO MATERIALS COMMONLY USED FOR FLAT
ROOFS.

THE SECOND
ADVANTAGE IS THAT
FOR CERTAIN THINGS, IT
CAN BE USED FOR
OTHER PURPOSES. A
FLAT ROOF AS
FLEXIBILITY TO THE
INTERIOR SPACE, TOP
FLOOR APARTMENTS
AND FINISHED ATTICS
ARE POSSIBILITIES.
 S LARGE PANE OF GLASS
R E
TU GLASS IS ONE SUCH FASCINATING MATERIAL WHICH NOT
A ONLY ADDS AESTHETIC VALUE TO A BUILDING BUT ALSO RETAINS

FE ITS QUALITY AFTER RECYCLING. IT IS ONE OF THE BUILDING

INDUSTRY'S MOST VERSATILE AND OLDEST MATERIALS. GLASS
HAS ITS PROPERTIES IN THE CONSTRUCTION AS A TRANSPARENT
GLAZING PRODUCT. IT CAN BE APPLIED AND USED AS SCREEN,
GATE, PARTITION, ETC.
 S LACK OF ORNAMENT
R E
U AND MOULDINGS
AT THE GREATEST ASSET OF MINIMALISM IS ITS
FE UTILITARIANISM. SINCE ITS FOCUS IS OFTEN ON USING THE
GREATEST POSSIBLE IMPACT OF SIMPLE SHAPES, PATTERNS,
AND NEGATIVE SPACE, IT SIMPLY GETS OUT OF THE WAY AND
LETS THE MATERIAL SHINE.
 S OPEN PLAN
R E
TU MODERN ARCHITECTURE IS CHARACTERIZED BY OPEN
A INTERIOR FLOOR PLANS WITH FEWER WALLS AND EXTERIOR
FE GLASS AND STEEL BUILDING MATERIALS. MODERN
ARCHITECTURAL LINES ARE STRAIGHT AND ANGLED, NOT
CURVED, GABLED, AND CARVED.
 ES VISIBLE STEEL FRAME
R
TU CONTINUOUSFRAMES ARE OFTEN USED IN LOW-RISE
A BUILDINGS OR IN LARGE-SPAN STRUCTURES, AND THEIR
FE CONNECTIONS ARE IMPORTANT PART OF THE DESIGN. IT IS
COMMONLY PARTNERED WITH GLASS TO VISUALIZE THE FRAME
MADE OF STEEL.
 S RIBBON WINDOWS
R E
TU THE “RIBBON WINDOW” WAS A TERM FIRST COINED BY LE
A CORBUSIER IN THE 1920S IN HIS FIVE POINTS OF A NEW
FE ARCHITECTURE. RIBBON WINDOWS ARE HORIZONTAL CUTS
ACROSS ENTIRE FACADES ALLOWING INTERIOR SPACES TO BE
EQUALLY LIT
 S SMOOTH WALL SURFACES
R E
TU REFERS TO A LAYER OF JOINT COMPOUND OVER THE WALLS
A THAT FILL IN THE BUMPS AND VALLEYS IN THE TEXTURE,

FE EFFECTIVELY CREATES SMOOTH TEXTURE

 L E S
B CT ARCHITECT LOUIS H.
A
T IT E
SULLIVAN

O H
N C
R LOUIS H. SULLIVAN WAS AN ESTEEMED
AAMERICAN ARCHITECT, FAMOUSLY
REFERRED TO AS THE FATHER OF MODERN
AMERICAN ARCHITECTURE. SULLIVAN IS
ACCREDITED FOR DEVELOPING THE
AESTHETICS AND DYNAMICS FOR THE FIRST
SKYSCRAPER. SOME OF HIS HIGHLY ACCLAIMED
AND NOTABLE WORKS INCLUDE AUDITORIUM
BUILDING, CHICAGO, THE GUARANTY BUILDING,
BUFFALO, NEW YORK, AND THE WAINWRIGHT
BUILDING, ST. LOUIS, MISSOURI.
HE IS KNOWN FOR HIS BEAUTIFUL USE OF ORNAMENT, FAMOUS PHRASE:
HIS TRUE INNOVATION CAME IN THE WAY HE ADAPTED "FORM FOLLOWS
PREVIOUS ORNAMENTAL STYLES TO THE FUNCTION.“
NEWLYEMERGING TALL BUILDINGS OF THE LATE 19TH
CENTURY, USING IT TO EMPHASIZE A BUILDING'S
VERTICALITY.
 L E S ARCHITECT LE
B CT CORBUSIER
TA ITE
O H LE CORBUSIER WAS A SWISS-
N C BORN FRENCH ARCHITECT WHO
R BELONGED TO THE FIRST GENERATION OF
A THE SO-CALLED INTERNATIONAL SCHOOL OF
ARCHITECTURE AND RANKS AMONG THE
MOST INFLUENTIAL FIGURES IN MODERN
ARCHITECTURE AND IS PERHAPS ONE OF THE
MOST DIVISIVE. HE HAS BEEN BOTH LAUDED FOR
THE SCULPTURAL QUALITY OF HIS FREE-FORM
LIVING SPACES AND REVILED FOR SETTING
THESTAGE FOR CONCRETE SOCIAL HOUSING
BLOCKS THROWN UP IN THE POST-WAR YEARS.

IN HIS ARCHITECTURE HE JOINED THE FUNCTIONALIST ASPIRATIONS

OF HIS GENERATION WITH A STRONG SENSE OF EXPRESSIONISM. HE WAS
THE FIRST ARCHITECT TO MAKE A STUDIED USE OF ROUGH-CAST
CONCRETE, A TECHNIQUE THAT SATISFIED HIS TASTE FOR ASCETICISM
AND FOR SCULPTURAL FORMS.
 L E S ARCHITECT FRANK
B CT LLOYD WRIGHT
TA ITE
O H FRANK LLOYD WRIGHT WAS A MODERN
N C
R ARCHITECT AND WRITER WHOSE DISTINCT
A STYLE HELPED HIM BECAME ONE OF THE
BIGGEST FORCES IN AMERICAN
ARCHITECTURE. AFTER COLLEGE, HE BECAME
CHIEF ASSISTANT TO ARCHITECT LOUIS SULLIVAN.
WRIGHT THEN FOUNDED HIS OWN FIRM AND
DEVELOPED A STYLE KNOWN AS THE PRAIRIE
SCHOOL, WHICH STROVE FOR "ORGANIC
ARCHITECTURE"A PHILOSOPHY IN DESIGNING
STRUCTURES
THAT WERE IN HARMONY WITH HUMANITY AND
ITS ENVIRONMENT. THIS PHILOSOPHY WAS BEST EXEMPLIFIED BY
FALLINGWATER (1935), WHICH HAS BEEN CALLED "THE BEST ALL-TIME
WORK OF AMERICAN ARCHITECTURE."
 L E S ARCHITECT PHILIP
B CT JOHNSON
TA ITE
O H PHILIP JOHNSON MAJORED IN
N C PHILOSOPHY AT HARVARD UNIVERSITY,
R HOWEVER IT WAS A SERIES OF TRIPS TO
A EUROPE THAT WOULD HAVE A GREATER
IMPACT ON HIS LIFE. IN 1928, JOHNSON MET MIES
VAN DER ROHE, AND THE YOUNG AMERICAN
BECAME ENTHRALLED BY THE MODERNIST STYLE.

IN 1932 HE WAS NAMED DIRECTOR OF THE

DEPARTMENT OF ARCHITECTURE OF THE MUSEUM
OF MODERN ART (MOMA) IN NEW YORK. WITH HENRY-
RUSSELL HITCHCOCK HE CURATED THE MODERN ARCHITECTURE:
INTERNATIONAL EXHIBITION HELD AT THE MUSEUM OF MODERN ART WHICH
PROVIDED A DESCRIPTION OF POST-WORLD WAR I MODERN ARCHITECTURE.
WITH HIS COINING OF THE “INTERNATIONAL STYLE” MONIKER, JOHNSON PLAYED
A HUGE ROLE IN DEFINING WHAT WE KNOW AS MODERNISM TODAY.

HE WAS AWARDED THE FIRST EVER PRITZKER ARCHITECTURE PRIZE IN 1979

 L E S ARCHITECT WALTER
B CT GROPIUS
TA ITE
O H WALTER GROPIUS IS A GERMAN
N C AMERICAN ARCHITECT AND ONE OF THE
R PIONEERS OF MODERN ARCHITECTURE, HE
A WAS THE FOUNDER OF THE BAUHAUS, A
REVOLUTIONARY ART SCHOOL IN GERMANY. THE
BAUHAUS REPLACED TRADITIONAL TEACHING
METHODS WITH A FLEXIBLE ARTISTIC COMMUNITY,
FOCUSING ON A COLLABORATIVE

APPROACH TO LEARNING AND THE CREATION

OF INTEGRATED DESIGN PROJECTS.

GROPIUS BELIEVED THAT ALL DESIGN SHOULD BE APPROACHED THROUGH A

STUDY OF THE PROBLEMS THAT NEEDED TO BE ADDRESSED AND HE
CONSEQUENTLY FOLLOWED THE MODERNIST PRINCIPLE THAT FUNCTIONALITY
SHOULD DICTATE FORM. HIS BUILDINGS WERE IN STARK CONTRAST TO
PREVIOUS ARCHITECTURAL STYLES AND WERE CHARACTERIZED BY THEIR
CUBIC DESIGN, FLAT ROOFS AND EXPANSES OF GLASS THAT ALLOWED FOR A
MERGING OF INTERIOR AND EXTERIOR SPACES.
 L E S ARCHITECT LUDWIG
B CT MIES VAN DER ROHE
TA ITE
O LUDWIG
N CHVAUNTED MIES VAN DER ROHE HAS HIS
PLACE IN MODERN ARCHITEC-
R TURE AS ONE OF TH0SE WHO PIONEER THE
ACRYSTALLIZATION OF THE INTERNATIONAL STYLE AS THE CORE
MOVEMENT OF MODERN ARCHITECTURE DURING THE
EARLY 1920S. OVER THE NEXT THIRTY YEARS, HE
HELPED ESTABLISH THE INTERNATIONAL STYLE AS THE
DEFINITIVE ARCHITECTURAL LANGUAGE OF NORTH AMERICAN POSTWAR
MODERNISM AND INFLUENCED HUNDREDS OF EMULA-
TORS WORLDWIDE. HIS STEEL-AND-GLASS AESTHETIC
BECAME THE ARCHETYPE OF THE TERM "MODERN ARCHITECTURE" FOR
DECADES EVEN AFTER HIS DEATH.

MIES' BUILDINGS OFTEN EMPHASIZE THEIR OWN SINGULARITY RELATIVE TO

THEIR SURROUNDINGS, PUTTING THEMSELVES - AND THROUGH THEIR
TRANSPARENCY, THEIR INHABITANTS - ON VIEW. THIS MAKES MANY OF THEM,
SUCH AS THE BARCELONA PAVILION, IDEAL FOR PUBLIC FUNCTIONS, BUT IT ALSO
MAKES SOME OF THEM, SUCH AS THE FARNSWORTH HOUSE, NOTORIOUSLY
DIFFICULT TO INHABIT WHEN PRIVACY IS NEEDED.
 E S  
BL CT ARCHITECT JACOBUS
A
T IT E OUD
O JACOBUS
N CHDUTCH ARCHITECT
JOHANNES PIETER OUD IS A
NOTABLE FOR HIS
R
AOFPIONEERING ROLE IN THE DEVELOPMENT
MODERN ARCHITECTURE. IN 1927, HE WAS
ONE OF THE FIFTEEN ARCHITECTS WHO CONTR-
IBUTED TO THE INFLUENTIAL MODERNIST
WEISSENHOF ESTATE EXHIBITION. IN AMERICA OUD
IS PERHAPS BEST KNOWN FOR BEING LAUDED AND
ADOPTED BY THE MAINSTREAM

MODERNIST MOVEMENT AND AS OF 1932, HE WAS CONSIDERED ONE OF THE

FOUR GREATEST MODERN ARCHITECTS AND WAS PROMINENTLY FEATURED IN
PHILIP JOHNSON'S INTERNATIONAL STYLE EXHIBITION.
 ARCHITECT
L E S RICHARD NEUTRA
B CT  

TA ITTHOUGH
E MODERNISM IS SOME-
O H TIMES CRITICIZED FOR IMPOSING
N UNIVERSAL
C RULES ON DIFFERENT
R PEOPLE AND AREAS, IT WAS RICHARD J.
A NEUTRA'S INTENSE CLIENT FOCUS THAT
WON HIM ACCLAIM. HIS PERSONALIZED AND
FLEXIBLE VERSION OF MODERNISM CREATED A
SERIES OF PRIVATE HOMES THAT WERE—AND STILL
ARE—HIGHLY SOUGHT AFTER, MAKING HIM ONE OF
THE UNITED STATES' MOST SIGNIFICANT MID-CENTURY
MODERNISTS. HIS ARCHITECTURE OF SIMPLE
GEOMETRY AND AIRY STEEL AND GLASS BECAME THE SUBJECT OF THE ICONIC
PHOTOGRAPHS OF JULIUS SCHULMAN, AND CAME TO STAND FOR AN ENTIRE
ERA OF AMERICAN DESIGN.
HOMES DESIGNED BY RICHARD NEUTRA COMBINED BAUHAUS MODERNISM
WITH SOUTHERN CALIFORNIA BUILDING TRADITIONS, CREATING A UNIQUE
ADAPTATION THAT BECAME KNOWN AS DESERT MODERNISM. NEUTRA'S HOUSES
WERE DRAMATIC, FLAT-SURFACED INDUSTRIALIZED-LOOKING BUILDINGS PLACED
INTO A CAREFULLY ARRANGED LANDSCAPE. CONSTRUCTED WITH STEEL, GLASS,
AND REINFORCED CONCRETE, THEY WERE TYPICALLY FINISHED IN STUCCO.
 CHICAGO STOCK EXCHANGE

L E S BUILDING
B RE  
ARCHITECT: LOUIS H. SULLIVAN

TA ITTUTHE
WAS DESIGNED AS A NEW HOME FOR
O C EXCHANGE ITSELF, ALTHOUGH IT ONLY
N U SERVED AS A HOME FOR A FEW YEARS
TR BEFORE STOCKS WERE TRADED ALONGSIDE
S COMMODITIES AT THE BOARD OF TRADE. IN
ESSENCE, THE BUILDING WAS A TYPICAL
COMMERCIAL OFFICE BUILDING WHOSE SECOND FLOOR
REPLACED THE USUAL BANKING HALL WITH A TRADING
FLOOR.
THIS MADE SENSE FROM A FIRE CONTROL POINT OF VIEW,
SINCE A FIRE IN ONE BAY WINDOW COULD THEORETICALLY SPREAD THROUGH AN ADJACENT ONE
BUT IT ALSO STARTED CLOSING THE LOOPHOLE THAT ALLOWED DEVELOPERS TO STEAL FLOOR AREA
FROM OUTSIDE THE LOT LINE; CANTILEVERED BAY WINDOWS COULD EXTEND SEVERAL FEET OVER
THE SIDEWALK, GIVING BUILDINGS NOT ONLY MORE LIGHT, BUT MORE RENTABLE SPACE. THE BAYS–
OR ORIELS–ARE THERE, AND THEY FORM A SIGNIFICANT PATTERN ACROSS THE FAÇADE THAT ARE
RELATIVELY SOLID, REFLECTING REQUIREMENTS FOR MINIMUM THICKNESSES OF TERRA COTTA
MULLIONS. AND THEY HAVE VERY LARGE FLAT WINDOWS BETWEEN THEM, ENABLING THEM TO
MEET NEW SEPARATION REQUIREMENTS. YOU CAN SEE THE SLIGHTLY DIFFERENT EFFECT OF THIS
ARRANGEMENT IN THE PLAN, AS WELL AS THE ELEVATION. THE BAY WINDOWS PLAY MUCH LESS OF A
ROLE THAN IN OTHER CURTAIN WALL BUILDINGS; THEY’RE SMALLER AND TIGHTER, AND THEY TAKE
UP FAR LESS OF THE OUTSIDE WALL THAN THE WOULD HAVE UNDER THE EARLIER CODE.
 VILLA SAVOYE
L E S ARCHITECT: LE CORBUSIER
B RE  

TA TUSAVOYE
COMPLETED IN 1931, VILLA
O C IS ONE OF THE MOST
N U IMPORTANT HOUSES OF THE 20TH
TR CENTURY. A KEY BUILDING IN THE
S DEVELOPMENT OF THE INTERNATIONAL
STYLE OF MODERNISM, IT IS ONE OF THE
ONLY HOUSES IN FRANCE TO HAVE BEEN DECLARED A NATIONAL MONUMENT
DURING THE ARCHITECT'S LIFETIME.

DESIGNED AS A WEEKEND HOLIDAY HOME FOR THE SAVOYE FAMILY, IT WAS

THE LAST BUILDING IN LE CORBUSIER'S "WHITE VILLAS" SERIES OF PRIVATE HOMES
AND WAS CREATED IN COLLABORATION WITH HIS COUSIN PIERRE JEANNERET,
WHO WORKED WITH LE CORBUSIER ON A NUMBER OF HIS MOST FAMOUS
PROJECTS.
 FALLING WATER
L E S ARCHITECT: LE CORBUSIER
B RE  

TA FALLING
U WATER IS ONE OF
O CT WRIGHT’S MOST WIDELY ACCLAIMED
N U WORKS AND BEST EXEMPLIFIES HIS
TR PHILOSOPHY OF ORGANIC ARCHITECTURE:
S THE HARMONIOUS UNION OF ART AND
NATURE

BY THE MID-1930S, APPROACHING 70 YEARS OF AGE, WRIGHT APPEARED TO

HAVE PEACEFULLY RETIRED BEFORE SUDDENLY BURSTING BACK ONTO THE
PUBLIC STAGE TO DESIGN MANY OF THE GREATEST BUILDINGS OF HIS LIFE.
WRIGHT ANNOUNCED HIS RETURN TO THE PROFESSION IN DRAMATIC FASHION IN
1935 WITH FALLINGWATER, A RESIDENCE AND WEEKEND HOME FOR THE FAMILY OF
PITTSBURGH DEPARTMENT STORE OWNER, EDGAR J. KAUFMANN.
SHOCKINGLY ORIGINAL AND ASTONISHINGLY BEAUTIFUL, FALLINGWATER IS
MARKED BY A SERIES OF CANTILEVERED BALCONIES AND TERRACES
CONSTRUCTED ATOP A WATERFALL IN RURAL SOUTHWESTERN PENNSYLVANIA. IT
REMAINS ONE OF WRIGHT'S MOST CELEBRATED WORKS, A NATIONAL LANDMARK
WIDELY CONSIDERED ONE OF THE MOST BEAUTIFUL HOMES EVER BUILT.
  GLASS HOUSE
L E S ARCHITECT: PHILIP JOHNSON
B RE  

TA TPHILIP
U JOHNSON’S GLASS
O C HOUSE, BUILT ATOP A DRAMATIC
N U HILL ON A ROLLING47-ACRE ESTATE
TR IN NEW CANAAN, CONNECTICUT, IS A
S PIECE OF ARCHITECTURE FAMOUS THE WORLD OVER NOT FOR WHAT IT
INCLUDES, BUT FOR WHAT IT LEAVES OUT. THE DWELLING’S TRANSPARENCY
AND RUTHLESS ECONOMY ARE MEANT TO CHALLENGE NEARLY EVERY
CONVENTIONAL DEFINITION OF DOMESTICITY.

THE RESIDENCE JOHNSON BUILT FOR HIMSELF IN 1949 SUGGESTS A LIFE

PARED DOWN TO PLATONIC ESSENTIALS—AND TRIUMPHANTLY READY FOR
FISHBOWL SCRUTINY. THERE IS SOMETHING INTIMIDATING TO PEOPLE ABOUT
THE RESTRAINT SUCH AN EXISTENCE WOULD DEMAND, AS IF THE HOUSE ITSELF
WERE SILENTLY JUDGING OUR OWN MESSY CHOICES. STILL, THE APPEAL OF ALL
THAT SELF-CONTROL, THAT RIGOR, IS PRACTICALLY NARCOTIC.
 BAUHAUS SCHOOL
L E S ARCHITECT: WALTER GROPIUS
B RE  

TA THE
TU BUILDING WAS DESIGNED BY
O C THE FOUNDER OF THE BAUHAUS,
N U WALTER GROPIUS, AND COMMISSIONED
T RBY THE CITY OF DESSAU. THE PLANS WERE
S DRAFTED IN GROPIUS’S PRIVATE OFFICE – THE
BAUHAUS DID NOT HAVE ITS OWN DEPARTMENT OF
ARCHITECTURE UNTIL 1927. THE INTERIOR FITTINGS WERE MADE IN THE
BAUHAUS WORKSHOPS. THE CITY OF DESSAU FINANCED THE PROJECT AND
ALSO PROVIDED THE BUILDING PLOT.

THE DESIGN IS A FURTHER DEVELOPMENT OF AN IDEA THAT GROPIUS

HADPREVIOUSLY REALISED (PRE-WWI) WITH THE CONSTRUCTION OF THE FAGUS
FACTORY IN AHLFELD AN DER LEINE. IN BOTH BUILDINGS A GLASS FACADE ON
THE LOAD-BEARING FRAMEWORK ALLOWS A VIEW OF THE INTERIOR WORKINGS.
IN THE WORKSHOP WING IN DESSAU THIS PROVIDES CLEAR VIEW OF THE
CONSTRUCTIVE ELEMENTS. THE DESIGN DOES NOT VISUALLY AMPLIFY THE
CORNERS OF THE BUILDING, WHICH CREATES AN IMPRESSION OF
TRANSPARENCY.
 THE FAGUS
L E S FACTORY
B REARCHITECT: WALTER GROPIUS  

TA GROPIUS
T U DESIGNED THE
O CFAÇADE OF THIS FACTORY IN
N UCONJUNCTION WITH ADOLF
T RMEYER IN THE PERIOD AFTER
S THEY LEFT THE OFFICE OF PETER
BEHRENS. THE FLOOR TO CEILING GLASS
CREATES A SENSE OF LIGHT AND THE LARGE RECTANGULAR PANES,
PUNCTUATED BY STEEL MULLIONS AND BRICKWORK, WRAP THE FACTORY IN A
CONTINUOUS MANNER RARELY SEEN IN BUILDING DESIGN BEFORE. OF
PARTICULAR NOTE ARE THE CORNERS, WHERE THE GLASS JOINS AT RIGHT
ANGLES, GIVING THE ILLUSION OF NOT NEEDING SUPPORT. THIS WORKS TO
ELIMINATE THE DISTINCTION BETWEEN INTERIOR AND EXTERIOR, A
REOCCURRING THEME IN MODERNIST ARCHITECTURE. EVERY ELEMENT OF THE
BUILDING IS SIMPLE, FUNCTIONAL, AND CUBIC IN CONSTRUCTION AND THIS PRE-
EMPTS THE ART DECO AESTHETIC OF THE INTERWAR PERIOD. THE ENTRANCE
AND CLOCK DATE FROM A 1913 EXPANSION TO THE BUILDING, ALSO DESIGNED
BY GROPIUS AND MEYER.
AS A WHOLE AND IN THIS DESIGN HE SAW THE USE OF GLASS AS
ADVANTAGEOUS FOR THE FACTORY WORKERS, WHO WOULD BE EXPOSED TO
MORE LIGHT AND FRESH AIR THAN THEY HAD BEEN IN THE ENCLOSED BRICK
FACTORIES OF THE 19TH CENTURY.
 BARCELONA PAVILION
L E S ARCHITECT: LUDWIG MIES VAN

B RE DER ROHE & LILLY REICH  

TA THE
T U BARCELONA PAVILION, AN
O C EMBLEMATIC WORK OF THE
N U MODERN MOVEMENT, HAS BEEN
T R EXHAUSTIVELY STUDIED AND
S INTERPRETED AS WELL AS HAVING
INSPIRED THE OEUVRE OF SEVERAL
GENERATIONS OF ARCHITECTS. IT WAS DESIGNED BY LUDWIG MIES VAN DER
ROHE AND LILLY REICH AS THE GERMAN NATIONAL PAVILION FOR THE 1929
BARCELONA INTERNATIONAL EXHIBITION. BUILT FROM GLASS, STEEL AND
DIFFERENT KINDS OF MARBLE, THE PAVILION WAS CONCEIVED TO
ACCOMMODATE THE OFFICIAL RECEPTION PRESIDED OVER BY KING ALFONSO
XIII OF SPAIN ALONG WITH THE GERMAN AUTHORITIES.
IN 1980 ORIOL BOHIGAS, AS HEAD OF THE URBAN PLANNING DEPARTMENT
AT THE BARCELONA CITY COUNCIL, SET THE PROJECT IN MOTION, DESIGNATING
ARCHITECTS IGNASI DE SOLÀ-MORALES, CRISTIAN CIRICI AND FERNANDO RAMOS
TO RESEARCH, DESIGN AND SUPERVISE THE RECONSTRUCTION OF THE
PAVILION.
 FARNSWORTH HOUSE

L E S ARCHITECT: LUDWIG MIES VAN DER ROHE

B RE  

TA TU
O C
N U
TR
S
FARNSWORTH HOUSE, THE TEMPLE OF DOMESTIC MODERNISM DESIGNED
BY MIES VAN DER ROHE AS A WEEKEND RETREAT FOR A CHICAGO DOCTOR, IS
ONE OF THE MOST PARADOXICAL HOUSES OF THE 20TH CENTURY. A
PERFECTIONIST MIRAGE, IT FLOATS LIKE A PAVILION IN A PARK, BUT ITS HISTORY
HAS BEEN BESET BY PLAGUES, FLOODS AND FEUDS. AS THE SECOND
INSTALLMENT OF A SERIES OF THREE MODERNIST CLASSICS PRESENTED BY
ARCHILOGIC, WE’VE MODELED THE FARNSWORTH HOUSE SO THAT YOU CAN
SEE IF—IN SPITE OF ITS AUSTERE REPUTATION—IT CAN BE LIVED IN AFTER ALL.
IN THIS MODEL YOU CAN EXPLORE THE SPATIAL ARRANGEMENT OF THE HOUSE,
AND REFURNISH IT WITH EAMES CHAIRS, DECK IT OUT WITH YOUR IKEA
FAVORITES, OR BOOBY-TRAP IT WITH CHILDREN’S TOYS.
 THE SEAGRAM BUILDING

L E S ARCHITECT: PHILIP JOHNSON & LUDWIG MIES

B RE VAN DER ROHE  

ATHE SEAGRAM
U BUILDING IS A
T T SKYSCRAPER, LOCATED AT 375 PARK
O C AVENUE, BETWEEN 52ND STREET AND 53RD
N USTREET IN MIDTOWN MANHATTAN, NEW YORK
TRCITY. THE STRUCTURE WAS DESIGNED BY LUDWIG
SMIE'S VAN DER ROHE WHILE THE LOBBY AND OTHER
INTERNAL ASPECTS WERE DESIGNED BY PHILIP JOHNSON
INCLUDING THE FOUR SEASONS AND BRASSERIE
RESTAURANTS.
IT STANDS AS ONE OF THE FINEST EXAMPLES OF
THE FUNCTIONALIST AESTHETIC AND A MASTERPIECE OF
CORPORATE MODERNISM. IT WAS DESIGNED AS THE
HEADQUARTERS FOR THE CANADIAN DISTILLERS JOSEPH E. SEAGRAM'S & SONS
WITH THE ACTIVE INTEREST OF PHYLLIS LAMBERT, THE DAUGHTER OF SAMUEL
BRONFMAN, SEAGRAM'S CEO. ITS STRUCTURE, AND THE INTERNATIONAL STYLE IN
WHICH IT WAS BUILT, HAD ENORMOUS INFLUENCES ON AMERICAN
ARCHITECTURE. ONE OF THE STYLE'S CHARACTERISTIC TRAITS WAS TO EXPRESS
OR ARTICULATE THE STRUCTURE OF BUILDINGS EXTERNALLY. IT WAS A STYLE
THAT ARGUED THAT THE FUNCTIONAL UTILITY OF THE BUILDING’S STRUCTURAL
ELEMENTS WHEN MADE VISIBLE, COULD SUPPLANT A FORMAL DECORATIVE
ARTICULATION; AND MORE HONESTLY CONVERSE WITH THE PUBLIC THAN ANY
SYSTEM OF APPLIED ORNAMENTATION.
 WORKERS HOUSES (HOUSE BLOCKS KIEFHOEK)

L E S ARCHITECT: JACOBUS OUD

B RE  

TA TU
O C
N U
TR
S

THIS EXHIBITION MARKED THE MATURATION OF THE INTERNATIONAL STYLE.

OTHER OUTSTANDING WORKS FROM THIS PERIOD IN OUD'S CAREER INCLUDE THE
FACADE DESIGN OF ASYMMETRICAL RECTANGLES FOR THE CAFÉ DE UNIE IN
ROTTERDAM (1925; DESTROYED) AND WORKERS' HOUSING QUARTERS IN THE
HOOK OF HOLLAND (1924-1927) AND THE KIEFHOEK AREA OF ROTTERDAM (1924-
1929). THE WORKERS' QUARTERS SHOW THE PLAIN STUCCO CUBES, THE
EFFICIENT PLANNING, AND THE SOCIAL CONSCIOUSNESS CHARACTERISTIC OF
THE PROGRESSIVE ARCHITECTURE OF THE 1920S IN EUROPE.
 LOVELL HEALTH

L E S HOUSE
B RE )
ARCHITECT: JACOBUS OUD
 

TA THE
T ULOVELL HOUSE OR
O C LOVELL HEALTH HOUSE IS AN
N U INTERNATIONAL STYLE MODER-
T RNIST RESIDENCE DESIGNED AND
S BUILT BY RICHARD NEUTRA BETWEEN
1927 AND 1929. THE HOME, LOCATED AT 4616 DUNDEE DRIVE IN LOS ANGELES,
CALIFORNIA, WAS BUILT FOR THE PHYSICIAN
AND NATUROPATH PHILIP LOVELL. IT IS CONSIDERED A MAJOR MONUMENT IN
ARCHITECTURAL HISTORY, AND WAS A TURNING POINT IN NEUTRA'S CAREER.

IT IS OFTEN DESCRIBED AS THE FIRST STEEL FRAME HOUSE IN THE UNITED

STATES, AND ALSO AN EARLY EXAMPLE OF THE USE OF GUNITE (SPRAYED-ON
CONCRETE). NEUTRA WAS FAMILIAR WITH STEEL CONSTRUCTION DUE TO HIS
EARLIER WORK WITH THE CHICAGO FIRM HOLABIRD & ROCHE. NEUTRA SERVED
AS THE CONTRACTOR FOR THE PROJECT IN ORDER TO MANAGE THE COST AND
QUALITY.
 MUSEUM OF MODERN ART

L E S ARCHITECTS: YOSHIO TANIGUCHI, EDWARD DURELL STONE, PHILIP GOODWIN

B RE  

TA TU
O C
N U
TR
S

THE MUSEUM OF MODERN ART IS AN ART MUSEUM LOCATED IN MIDTOWN

MANHATTAN, NEW YORK CITY, ON 53RD STREET BETWEEN FIFTH AND SIXTH
AVENUES. MOMA PLAYS A MAJOR ROLE IN DEVELOPING AND COLLECTING
MODERN ART, AND IS OFTEN IDENTIFIED AS ONE OF THE
LARGEST AND MOST INFLUENTIAL MUSEUMS OF MODERN ART IN THE WORLD.
MOMA IS A PLACE THAT FUELS CREATIVITY, IGNITES MINDS, AND PROVIDES
INSPIRATION.
 
 CITY EMPLOYMENT OFFICE

L E S ARCHITECT : WALTER GROPIUS

B RE  

TA TU
O C
N U
TR
S

GROPIUS DESIGNED TWO DIFFERENT BUILDING SECTIONS TO MEET THE

FUNCTIONAL REQUIREMENTS OF THE NEW OFFICE. THE HITHERTO
CONVENTIONAL CELLULAR OFFICE STRUCTURE WOULD NOT HAVE COPED WITH
THE CROWDS OF PEOPLE NOW VISITING EMPLOYMENT OFFICES. GROPIUS
THEREFORE ACCOMMODATED THE ADMINISTRATIVE OFFICES IN A TWO-STOREY
WING, THIS BEING FRONTED BY A ONE-STOREY ROUND BUILDING WITH A GLASS
SAW-TOOTH ROOF, WHICH WAS RESERVED FOR THE PUBLIC. THE PUBLIC WAS
ADDITIONALLY CHANNELLED THROUGH FIVE DIFFERENT ENTRANCES
SEPARATED ACCORDING TO PROFESSION AND SEX, BEHIND WHICH WERE
DEPARTMENTS ORGANISED ALONG THE SAME LINES. THUS, THE BUILDING
ALLOWED THE PROCESS OF JOB SEEKING TO RUN SMOOTHLY.
 
 APARTMENT HOUSE

L E S ARCHITECT : LUDWIG MIES VAN DER ROHE

B R E  

TA "IN
TUHIS WEISSENHOF
O C APARTMENT BUILDING,
N U
R DESIGNED IN 1926, MIES
STOPPOSITION
BEGAN TO RESOLVE THIS
BETWEEN STRUC-
TURE AND FORM BY MEANS OF THE
STEEL FRAME, THE FIRST TIME THAT HE
ACTUALLY EMPLOYED ONE IN EITHER
PROJECT OR REALIZED STRUCTURE.
THE EXTERIOR WALLS OF THE THREE-STORY APARTMENT BLOCK CONSISTED OF
MASONRY INFILL COVERED BY A SMOOTH STUCCO, LARGE WINDOWS, AND
GLASS DOORS; FLOORS AND ROOF WERE HOLLOW BLOCK BETWEEN JOISTS.
THE STEEL FRAME WAS CRUCIAL TO MIES'S ARCHITECTURAL VISION IN THIS
PROJECT. HE REFERRED TO THE FRAME AS 'THE MOST APPROPRIATE SYSTEM OF
CONSTRUCTION. IT CAN BE PRODUCED RATIONALLY AND PERMITS EVERY
FREEDOM FOR THE DIVISION OF SPACES INSIDE.' IT ENABLED HIM TO LIMIT THE
USE OF SOLID WALLS TO SEPARATIONS BETWEEN APARTMENTS, TO INTRODUCE
MOVEABLE PARTITION WALLS, AND TO EXTENSIVELY OPEN THE FACADES WITH
GLASS."
 TUGENDHAT

L E S HOUSE
B RE ARCHITECT : LUDWIG MIES  
A U
T VILLA
VAN DER ROHE

O CTHISTORICAL
TUGENDHAT IS A
N U BUILDING IN THE
R WEALTHY NEIGHBOURHOOD
STREPUBLIC.
OF ČERNÁ POLE IN BRNO, CZECH
IT IS ONE OF THE
PIONEERING PROTOTYPES OF MODERN
ARCHITECTURE IN EUROPE, AND WAS
DESIGNED BY THE GERMAN ARCHITECTS LUDWIG MIES VAN DER ROHE AND LILLY
REICH. BUILT OF REINFORCED CONCRETE BETWEEN 1928 AND 1930 FOR FRITZ
TUGENDHAT AND HIS WIFE GRETA, THE VILLA SOON BECAME AN ICON OF
MODERNISM.
THE FREE-STANDING THREE-STORY VILLA IS ON A SLOPE AND FACES THE
SOUTH-WEST. THE SECOND STORY (THE GROUND FLOOR) CONSISTS OF THE
MAIN LIVING AND SOCIAL AREAS WITH THE CONSERVATORY AND THE TERRACE,
AND THE KITCHEN AND SERVANTS' ROOMS. THE THIRD STORY (THE FIRST FLOOR)
HAS THE MAIN ENTRANCE FROM THE STREET WITH A PASSAGE TO THE TERRACE,
THE ENTRANCE HALL, AND ROOMS FOR THE PARENTS, CHILDREN AND THE
NANNY WITH APPROPRIATE FACILITIES. THE CHAUFFEUR'S FLAT WITH THE
GARAGES AND THE TERRACE ARE ACCESSED SEPARATELY.
 TUGENDHAT HOUSE

L E S ARCHITECT : LUDWIG MIES VAN DER ROHE

B RE  

TA TU
O C
N U
TR
S

MIES' DESIGN PRINCIPLE OF "LESS IS MORE" AND EMPHASIS ON FUNCTIONAL

AMENITIES CREATED A FINE EXAMPLE OF EARLY FUNCTIONALISM ARCHITECTURE. MIES
USED A REVOLUTIONARY IRON FRAMEWORK, WHICH ENABLED HIM TO DISPENSE WITH
SUPPORTING WALLS AND ARRANGE THE INTERIOR IN ORDER TO ACHIEVE A FEELING OF
SPACE AND LIGHT. ONE WALL IS A SLIDING SHEET OF PLATE GLASS THAT DESCENDS TO THE
BASEMENT THE WAY AN AUTOMOBILE WINDOW DOES. THERE WERE NO PAINTINGS OR
DECORATIVE ITEMS IN THE VILLA, BUT THE INTERIOR WAS BY NO MEANS AUSTERE DUE TO
THE USE OF NATURALLY PATTERNED MATERIALS SUCH AS THE CAPTIVATING ONYX WALL
AND RARE TROPICAL WOODS. THE ONYX WALL IS PARTIALLY TRANSLUCENT AND CHANGES
APPEARANCE WHEN THE EVENING SUN IS LOW.
 L E S
B RE VILLA STEIN  

TA TU
ARCHITECT: LE
CORBUSIER
O C
N U
TR
S BUILT IN: 1926-1928
PARIS,FRANCE

VILLA STEIN-DE MONZIE IS A BUILDING OF ISOLATED SPACE AND

SURROUNDED BY GARDENS, WITH THE SERVANTS QUARTERS LOCATED NEXT TO
THE IRON ACCESS GATE. LIKE THE VILLA SAVOIE, IT FEATURES OPEN SPACES
FORMED BY THE VARIOUS TERRACES AND LEVELS.
THE CUBICAL FEELING IS BROKEN ONLY WITH OVAL SHAPES, INSPIRED BY
THE CHIMNEYS OF THE BIG TRANSATLANTIC LUXURY SHIPS. HOWEVER, THERE IS
STILL A CLASSIC PRINCIPLE IN BOTH SHAPES: THE PROPORTIONS OF THE FACADE
ARE PURELY PALLADIAN. THE VERTICAL ARRANGEMENT OF THE SPACE IS QUITE
CLEAR AND LOGICAL.
A FLAT-ROOFED, CONCRETE STRUCTURE ON PILLARS FEATURING AN OPEN
PLAN, SMOOTH TRANSITIONS INDEPENDENT OF OTHER STRUCTURAL ELEMENTS
AND SHOWCASING ALMOST CEREMONIAL ROUTE FROM THE DOOR TO THE
INTERIOR AND ENDING ON THE ROOF OF THE HOUSE
 ENNIS HOUSE

L E S ARCHITECT : FRANK LLOYD WRIGHT

B RE  

TA TU
O C
N U
TR
S

HE ENNIS HOUSE IS A RESIDENTIAL DWELLING IN THE LOS FELIZ

NEIGHBORHOOD OF LOS ANGELES, CALIFORNIA, UNITED STATES, SOUTH OF
GRIFFITH PARK. THE HOME WAS DESIGNED BY FRANK LLOYD WRIGHT FOR
CHARLES AND MABEL ENNIS IN 1923 AND WAS BUILT IN 1924.

THE DESIGN IS BASED ON ANCIENT MAYA TEMPLES, AND ALONG WITH OTHER
BUILDINGS BY FRANK LLOYD WRIGHT, SUCH AS THE A. D. GERMAN WAREHOUSE IN
WISCONSIN AND ALINE BARNSDALL HOLLYHOCK HOUSE IN HOLLYWOOD, THE
ENNIS HOUSE IS SOMETIMES REFERRED TO AS AN EXAMPLE OF THE MAYAN
REVIVAL ARCHITECTURE. ITS PROMINENT DETAIL IS THE RELIEF ORNAMENTATION
ON ITS 27,000 PERFORATED AND PATTERNED DECOMPOSED GRANITE BLOCKS,
INSPIRED BY THE SYMMETRICAL RELIEFS OF PUUC ARCHITECTURE IN UXMAL.
 FAGUS FACTORY
L E S ARCHITECT : WALTER GROPIUS
B RE  

TA TDESIGNED
U IN AROUND 1910,
O C THE FAGUS FACTORY IN ALFELD
N U CONSTITUTES AN ARCHITECTURAL
TR COMPLEX WHICH FORESHADOWS
S THE MODERNIST MOVEMENT IN ARCHI-
TECTURE. BUILT BY WALTER GROPIUS, IT
IS NOTABLE FOR THE INNOVATIVE USE OF WALLS OF VAST GLASS PANELS
COMBINED WITH AN ATTENUATED LOAD-BEARING STRUCTURE. IT BEARS
TESTIMONY TO A MAJOR BREAK WITH THE EXISTING ARCHITECTURAL AND
DECORATIVE VALUES OF THE PERIOD, AND REPRESENTS A DETERMINED MOVE
TOWARDS A FUNCTIONALIST INDUSTRIAL AESTHETIC.

THE FAGUS FACTORY IN ALFELD ESTABLISHES SEVERAL MAJOR

FUNDAMENTAL ASPECTS OF MODERN FUNCTIONALIST ARCHITECTURE OF THE
20TH CENTURY, IN PARTICULAR THE CURTAIN WALL. IT CONSTITUTES A
HOMOGENEOUS, TERRITORIAL AND BUILT COMPLEX, RATIONALLY AND
COMPLETELY DESIGNED TO SERVE AN INDUSTRIAL PROJECT. IT EXPRESSES
GREAT ARCHITECTURAL UNITY. THE INTERIOR DECORATIVE AND FUNCTIONAL
ELEMENTS ARE ATTUNED WITH THE ARCHITECTURE AND THE SOCIAL PROJECT.
THEY REPRESENT ONE OF THE FIRST CONSUMMATE MANIFESTATIONS OF
INDUSTRIAL DESIGN.
 PAN AM BUILDING

L E S ARCHITECT : WALTER GROPIUS

B RE  

TA THE
TU PAN AM BUILDING WOULD BE
O C THE LAST ONE BUILT IN NEW YORK
N U CITY BEFORE BUILDING CODES WERE
T RCHANGED PROHIBITING LARGE CORPO-
S RATE LOGOS AND NAMES TO BE PLACED ON
THEM. "PAN AM" STOOD OUT ON THE NORTH
AND SOUTH FACES OF THE BUILDING IN LETTERS FIFTEEN FEET HIGH, AND 25 FT.
TALL PAN AM GLOBES GRACED ITS FLANKS. THE BUILDING WAS SOLD TO THE
METROPOLITAN LIFE INSURANCE COMPANY FOR $400 MILLION IN 1981, AT THE
START OF THE LAST DECADE OF PAN AM'S EXISTENCE AS AN AIRLINE. BY THE END
OF THOSE TEN YEARS, PAN AM'S OCCUPANCY OF THEIR EPONYMOUS BUILDING
HAD DWINDLED TO FOUR FLOORS FROM AN ORIGINAL FIFTEEN.

IT CONSISTED OF A TOWER OF 49 STORIES RESTING ON A 10 STORY BASE.

THE EXTERIOR IS COVERED WITH CONCRETE PANELS TO STRENGTHEN THE
BUILDING VISUALLY. THE 246 METER / 808FT TALL BUILDING WAS COMPLETED IN
1963 AND INCORPORATES AN IMMENSE 390,700 M2 OFFICE SPACE.
 LA TOURETTE

L E S ARCHITECT : LE

B R E CORBUSIER
 

TA SAINTE
T U MARIE DE LA
O C TOURETTE IS A DOMINICAN
N U ORDER PRIORY, LOCATED ON A
TR HILLSIDE NEAR LYON, FRANCE
S DESIGNED BY THE ARCHITECT LE
CORBUSIER, THE ARCHITECT’S FINAL
AND MOST IMPORTANT BUILDING. THE
DESIGN OF THE BUILDING BEGUN IN MAY 1953 AND COMPLETED IN 1961. THE
COMMITTEE THAT DECIDED THE CREATION OF THE BUILDING CONSIDERED THAT
THE PRIMARY DUTY OF THE MONASTERY SHOULD BE THE SPIRITUAL AWAKENING
OF THE PEOPLE AND IN PARTICULAR THE INHABITANTS OF NEARBY AREAS.
THAT'S WHY THE MONASTERY WAS PLACED IN EVEUX-SUR-ARBRESLE, WHICH IS
JUST 25 KM FROM LYON AND IS ACCESSIBLE BY TRAIN OR CAR

THE MONASTERY CONSISTS OF FOUR PERIMETER HEAVY RECTANGULAR

STRUCTURES THAT CREATE A CLOSED INTERIOR SPACE. THE ONE VOLUME THAT
IS COMPACT AND RESTS ON THE EDGE OF THE HILL HOUSES THE CHURCH AND
THE CHURCH SACRIFICE, WHILE THE OTHER THREE WINGS THAT ARE CREATED
ARE RAISED WITH PILOTIS OF MANY DIFFERENT SHAPES AND ACCOMMODATING
LIVING SPACES AND ALL THE REST FUNCTIONS OF THE MONASTERY.
FABI, STEPHANIE AUDREY
FLORES, MESAEL
GUEVARA, JANNAH NICOLE
IBANEZ, BIANCA MAE

INTERNATIONAL STYLE
A N MODERNISM
D
 CE
https://www.britannica.com/biog
raphy/Philip-Johnson  
EN
ER https://www.archdaily.com/3986
31/happy-107th-birthday-philip-
F
RE
johnson

https://www.britannica.com/biog
https://www.engelvoelkers.com/ raphy/Walter-Gropius
en/blog/luxury-
living/architecture/le-corbusiers- https://www.theartstory.org/artist
style-and-design-philosophy/ /gropius-walter/

https://www.britannica.com/biog https://www.theartstory.org/artist
raphy/Le-Corbusier/The-first- /mies-van-der-rohe-ludwig/
period
https://www.archdaily.com/7706
https://www.biography.com/artist 12/a-virtual-look-into-mies-van-
/frank-lloyd-wright der-rohes-farnsworth-house

https://www.engelvoelkers.com/ https://www.britannica.com/biog
en/blog/luxury- raphy/Jacobus-Johannes-
living/architecture/the- Pieter-Oud
philosophy-behind-iconic-frank-
lloyd-wright-architecture/ https://www.thoughtco.com/rich
ard-neutra-the-international-
style-177868