The 1950s and forward: The International Style (Modernism) Rules

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Presentation transcript:

The 1950s and forward: The International Style (Modernism) Rules

Richard Neutra The Lovell House, Hollywood Hills, 1929

The Troxell House, 1956, Pacific Palisades

Kaufmann House, Palm Springs

Rudolph Schindler Lovell Beach House

The James Ead How House

Mies, Seagram’s Building, NYC

Mies, Lake Shore Drive Apartments, Chicago

Glass Box clip

Skidmore, Owings, & Merrill Union Carbide Building, NYC 1957

Hanover Trust, NYC 1953

John Hancock Tower, Chicago, 1965

Eero Saarinen Son of a Finnish architect, Eliel Emphasis on craft Beaux Arts training at Yale

Trans World Airlines, Kennedy Airport, NYC, 1956

Stainless steel skin at base covering concrete; steel and rebar used on arching portion Span equals height: 630’ Margin of error for top joint: 1/64th of an inch

Le Corbusier: La Tourette, Lyons, France, 1957

Beton Brut: Raw Concrete

The Maestro of Brutalism: Lou Kahn

“What does the building want to be” Counter-Modernist: history acceptable BUT Essence of the building’s use

National Assembly Building, Dacca, Bangladesh, 1962 Translation of function in to bold forms, clear planning, pure geometry, and simple structure.

Kimball Art Museum, Fort Worth Texas

Servant and Served Spaces Salk Laboratory, La Jolla, CA, 1965

Short clip

Library, Philips Exeter Academy, 1972

Boston City Hall

Le Corbusier: La Tourette, Lyons, France, 1957

Kallman, McKinnell, Knowles 1962

Scollay Square (Left: 1912; Right:before/after1960

1976: AIA names the building the 6th greatest building in American history

Its form—described by some residents as a doughnut on stilts—funnels winds that gust off Boston Harbor and swirl across the vast, often empty plaza.

The preservation debate: 1988: survey concludes only 60% of the space is usable. Energy inefficient. The plaza: “One of the most disappointing places in America.” 1993: Menino becomes mayor: hates the building and plaza. Plans to make it a hotel thwarted.