Di's modern history notes for sharing

Hi guys! This is Di  Carina SONG

This is a pack of modernism history class( from 1900- international style right before post modernism) note that I edited according to the lectures that Julie gave in her Momo lecture in University of Melbourne in 2012 spring semester. Yes I love her lecture!

Things marked in red are what I think very important and a must-toknown for architecture study. I have attached pictures of them. The lecture usually starts with a brief introduction of the cultural and social context, then exemplifies with concrete examples.

I would like to share my study outcome and hope you all enjoy this fun journey of exploring our history.

Best of luck!!!!

Lecture 1 source of the modern movement 

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1753 Laugier – essay on architecture – illustrated by the ‘primitive hut’- the prototype of architecture – columns, entablature, pediments- columns should be free that there is no need to integrate columns with walls, thus incorrect to go by pilasters, entasis and pedestals. This leads to the emergence of neoclassicism – view of antiquity, eclecticism ( combinations of style), a concept of modern style------ Frank Lloyd Wright’s work 1850s the four elements of architecture Gottfried Semper

1750 the idea of pure columns 1830s gothic revival Pugin 1840, 1843-50s Henri Labrouste Bibliotheque 1850s strong column ideas that enables free plan 1860s 59 Philip Webb Red House, origin of arts and craft 1880s 79eclecticism 1890 the development of steel structures, 1889Paris Exhibition 1900s reinforced concrete system in France1892,

Ste Genevieve, Paris, large illuminated open space, use of steel and glass. 1851, Crystal Palace, London, Joseph Paxton. large glass panels

LECTURE 1 ZEITGEIST-----A REVIEW! 1750 Laugier the primitive hut 1830 the gothic revival Pugin 1840s the columns ideas 1850s crystal palace London Joseph Paxton 1860 the red house- arts and crafts Philip Webb, Le duc- decorated oblique columns 1870s 1880 eclecticism 1890Paris exhibition showing the delicate steel trusses, the development of reinforced concrete Bedford Park, London, rational, clean faรงade /Victorian Opulence/Broadley Country House, swelling+ neat faรงade+ vernacular tecture+landscape/Hector Guimard, Art Nouveau, said to be influenced by Victor Horta/ Ernst Olbrich Secession building Vienna1897-8/ Victor Horta Maison du Peuple Time of transition:1 gothic revival 2 arts craft 3 vernacular 4 art Nouveau Brussels 5 eclecticism ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 1897 HP Berlage, Amsterdam Stock Exchange, large span made possible by steel trusses, brick faรงade, much fenestrations 1902-3 Auguste Perret, apartment building, true to materials, large glass windows, steel+ glass 1901-1904 Tony Garnier, Cite Industrielle, Paris, thin veranda supported by steel reinforced columns 1904-06 Otto Wagner, Vienna, postal savings bank his own house, new materials , large fenestrations, rational, limited decorations 1905-11 Josef Hoffmann, Palais Stoclet, Brussels 1909-11 Adolf Loos, Goldman & Salatsch building, Vienna, to search the possibilities of uniformed style, universal truth, industrial capacity. Steiner House, 1910, Vienna Austria

L3 Frank Lloyd Wright Influence: vernacular shinle+ Louis Sullivan( rational, proportion) + Japanese architecture Early style pitched roof+ American Victorian +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Winslow house, River Forest, 1893 A transformation of style / change of new proportions/ emphasis on horizontals/ dominated roof/flattened floated/much picturesque/ prairie school

Ward Willits house, Highland Park, 1900/ panels and engagement of cars

Robie hosue , Chicago, 1909 Larkin building , Buffalo, NY 1904, mechanical ventilation and service tower pushing back to corner, large atrium space

L4,5,6 cond’ FFW /Russian constructivism, Dutch Destij, Brick construction tradition in ( I wrote them on paper but they are lost)

L 7 German architecture Germany, like Italian and Soviet Union, was a nation in a status in a continuous cross in this period, emerging into vibrant, forceful and radical new approaches of architecture.

SOCIAL BACKGROUND: Germany in the 19th century was a nation made up of different Dutches and principalities.

German Empire 1871-1918.After the WW1, forms Weimar republic (period of great liberality and political instability, end up the rise of national socialism, the Nazi, in 1933) +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Two strength of architecture in Germany during 1902-late1920s: expressionist- alpine architecture1919 + new object activity, functionalist, rational, later recognised international style-prefabricated house by Walter Gropius 1927 Free atmosphere to find new forms of architecture, Behrens house at Kunstler, arts and craft, 1901 1910s socialism, housing for workers, Row house in Dresenden and Bruno Taut’s Seidlung Falkenburg house, improve social conditions for worker and incorporate urban planning.

Monumental city architecture, railroad station, Stuttgart, 1913-27,cubic+ arch, colonnade+ no embellishments ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Dutch Werkbund- being created by the admirer of arts and crafts See opportunities in arts crafts and a rejection of industrial, distinguish themselves from industrial products/ use high quality design, not necessarily anti- industrial design to create value for German architecture/ increase economic output/improve the standard of German design Peter Behrens, Turbine Factory, AEG, Berlin,1909. Industrial building / steel frame structure Walter Gropius+ Adolph Meyer, Fagus Factory, 1911-1912/ lightness and thinness/ glass treated as skin Factory administration building, Dutch Werkbund Exihibition Cologne, 1914/ expressive+ rational+ refined expression of industrial architecture+ formal gesturer in front and production behind/ open up to public at the front/ high glazed surface/ compared to Charnley house by Frank Lloyd Wright/ Formal distinguishment to industrial architecture, transform of use new materials+ pick up compositional strategies/ transform from traditional materials to industrial materials such as steel and glass Theatre at the Werkbund Exihibition, Cologue, more sculpture like, expressionist, 1914

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Post WW1 period -----expressionism A style merged before WW1, embraced by German architecture after WW1. qualities of the original movement : distortion, fragmentation or the communication of violent or overstressed emotion./ adoption of novel materials, formal innovation, and very unusual massing, sometimes inspired by natural biomorphic forms, sometimes by the new technical possibilities offered by the mass production of brick, steel and especially glass.

leading architects of Expressionism such as: Bruno Taut, Erich Mendelsohn, Walter Gropius, Mies van der Rohe and Hans Poelzig, Bruno Taut, Glass Pavilion, 1914 Werkbund Exhibition Grosee Schauspielhaus, Hans Poelzig, 1919 There had being sense of expressionist architects might be utilised by industrial in forming new building type� Steel industry pavilion

Mies Van Der Rohe, 1921 Fredrichstrasse Skyscraper Competition entry, 1922, project for glass skyscraper Erich Mendelsohn, formal experiment, aggressive statement of the new language for architecture, Einstein Observatory, Potsdam, 1919-1921 Hat Factory, Luckenwalde, 1921-23/ industrial program integrated with structure frames Schocken Department Stores/Stuttgart/ dynamism of forms and curves, 1926

Critique: Not commit to the true past of architecture

L8 Bauhaus In 1919,the candidate for Bauhaus was chosen. Gropius wanted to bring arts and craft together into one academy.

While traditionalist while wants to separate paining sculpture into fine arts and separate those who design for industry. The stage in Germany, there is a extraordinary push to industrialised the product of art and design and put the best aspects of art and design into mass production for the benefit of masses.

Deutscher Werkbund Exhibition, Cologne, 1914, government funded advocacy of good design as makeable for mass production/industrial language steel glass overlayed into the main building / Frank Lloyd Wrights language/ hybrid of old and new ideas/ formal composition integrated with glass and steel/ front and back façade Let the paintings, sculpture and architecture into one unity. The syllabus – use of materials /colour compositions/ form properties/textiles applied in forms into weaving/ transformed contrast and composition into a usable art form 1922 Theo van Doesburg arrives in Weimar/ rational/ anti-individualist Sommerfeld House, 1921 , Berlin Dahlem, Groupius/demonstration house of Bauhaus/ Exhibition of Berlin- Dahlem/ central entry way/ interior enriched with wood and glass/ a total work of art/abstract of version of arts and craft/ 1923 another demonstration house for Bauhaus, changed significantly into De Stilj style, very rational Closed the Weimar in 1925

1925-26 Bauhaus, Dessau, Walter Gropius/ anti urban/ De Style composition/ Curtain walls/ furniture by Marcel

Shift of Marcel Breuer timber chair into more industrial materials 1928 Gropius resigned the position/ Hannes Meyer/left win socialist/ interest in productive art/shift the school into rational position/from product design and industrial architecture to rethinking urbanism 1930 Hannes left Bauhaus for political favour 1932 Mies van der Rohe, Bauhaus moved to Berlin 1933 transformed into a Nazi party officials, 1933 closure of Bauhaus and its ideas moved across the world Hitler wants to realise his own vision of architectural vision. He delighted the architecture in Vienna. Fond of monumental style.

House of German art, Munich, Paul Ludwig Troost, 1933-35

Strong embrace of classism, strength, health, nature Albert Speer, 1} Zeppelinfeld, Nuremberg, 1934, Albert Speer 2}1937 Paris international exposition, Russian and Germany pavilion excess the height limitation 3}Chancellery, Berlin 1938 / the whole idea of impression and power/ high classism/classical format

Triumph arch 1924 Hitler, replanning of Berlin, Great Hall, Albert Speer, 1938/ monumental recasting Berlin as in a new empiral city in the 20th century

L9-Le Corbusier

introduction of his early work: Use his Corbusier as a name in 1920s Jeanneret , La Chaux- de- Fonds, Switzerland, Villa Fallet, vernacular/ representing the local, use of flora and fauna and made it into a decorative treatment/ architecture merging from a vernacular tradition of local and from the arts and crafts tradition where the nature itself is transformed into housing such as functional and decorative possibilities.

This tradition travelled to Vienna, met Hoffman in 1907, they realised it is highly decorative design’s dead end ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 1907 Met Tony Garnier, City Industrielle, radical new vision that how industrial city could transformed/same industrial language applied across every building type/This new vision of urban form appeals to generate socialist and typological sympathies.

1908, Auguste Perret, Paris, part time work, domestic use of reinforced concrete form during which he convinced himself of the use of reinforced concrete in the future 1908-1912, Switzerland, vernacular/arts and craft/ lining with up class house at that time in Europe

++++++++++++++++++++++++++++++++trnaform+++++++++++++++++++++++++++++++++++++++++++++++++++++ Dom- Ino, 1914/1914 in conjunction with his friend, reinforced concrete frame, structural concept what a house could be, allow the façade to be free/indicated mass produced- this is kind of product that can be produced rather than be made for particularly site/pilotis, raised above ground Villa Schwob, 1916/ La- Chaux- de- Fonds/combination of early career/ step away from original vernacular/ step towards classical overtimes of Palladio/ no pitched roofs, rough stone works, curves/ use the spatial opportunity that a big wide reinforced concrete frame can bring out/ lines across the façade to bring orders

+++++++++++++++++++++++++++++++++++++1920s+++++++++++++++++++++++++++++++++++++++++++++++++++ Citrohan 1, 1920, Reference back to product design/ mass produced house just like a car could/ first time to use doubled height living area, which makes people to feel relaxed /large living space which 2 stories/ separation of served and serving space/influence later high rise building also Ozenfant, Paris 1922, large illuminated area/studio facing North to avoid direct sunlight/ simple spiral stair case off the ground. Simple use of curves/reinforced concrete frame, steel frame windows can be found in factories/simple piece of architecture that does not need and embellishment and looks like a machine/proportionis very important in his building to create shapes that is pleasing to the eyes

1923 towards a new architecture/ a new epoch/ house of machine/ mass production with health, moral health, beauty/ social housing will provide housing for workers. it is much better compared to slums 1922-26 Housing estate, Bordeaux, First consciousness of purist of colour that colour can inform space/ idea of social housing based on the unit housing/ thinking on how to transform this idea to city plan +++++++++++++++++++++++++++++++++++++++++++++++++city planning++++++++++++++++++++++++++++++++++++ 1922 Ville Contemporaine/ large high rise blocks in the centre with apartments block , residential blocks sit around the work space/ consolidated up into high rise buildings which allows for more green space between them/ the use of efficiency transport be seen elevated high way 1925 Plan Voisin done for Paris 1935 Ville Radieuse, radiant city, same idea/ high rise apartments/separations of residential, factories and parks to make the city more liveable

Maison La Roche, Paris 1923/ solid curve embellish strip in the gallery space can be seen in Ozenfant Pavilion L’esprit Nouveau, 1925, Paris Exhibition known as the exhibition lays out art deco/double height living room/ idealised apartment houses/ then he had a wider vision of stacking the units into a high rise building/ incorporate the greeneries in the building/ radically reproposing what an apartment could be 5 points on architecture: pilotis/ roof gardens/ free plan/ strip windows/ free façade (Fundamentally challenge what architecture is) strip away what is need for architecture, and for the industrial mass production

Maison Stein, Garches, 1927/ public façade is closed down and private space of the building is open up/ consideration how people will engage with the house/proportion of balance Weisenhof Siedlung, 1927 radical departure from much of the late 1920s building from Europe/timeless quality of the building / use of 5 points/connection with the surrounding landscape

Villa Savoye, Poissy, 1928/ use of open space and roof terrace/ beautiful proportions/ beinging sunlight in the house/ being the cars under the building/engage with machines/ meanwhile key exhibitions and publications are made Swiss Pavilion, cite universitaire, 1930/ the form work of using cast concrete/ natural form of concrete/ the use of free stone wall/ the textural possibilities of stone and concrete are explored/dog bone/ continuing explorations

Maison Monol, 1919, textural possibilities of concrete and 5 points ++++++++++++++++++++++++++++++++++++++++++post war+++++++++++++++++++++++++++++++++++++++++ Unite d’ Habitation, Marseilles, 1946-52/social house/ sculptural possibilities of concrete/ usable space enabled by the pilotis/ post war building Incorporation of his modular man

Notre Dame du Haut, Ronchamp, 1951-55/ the way he deal with sculptural form and the light effect he created/ deep reveal for windows/ get different qualities of light/ Maison Jaoul, Neuilly- sur- Seine, Paris, 1952 La Tourette Monastery, Eveux-sur-I’Abresle, Lyon, 1953

Chandigarh, 1951, house of assembly/ use of deep reveals of window to avoid sun coming in directly/ sunbreak/ High Court 1952 use of colours and offsetting of concrete windows Secretariat, 1954

Move on towards the possibilities of concrete (modern material ) push away the way modern architecture wouold be done in that time of America.

L 10 Socialist Urbanism: CIAM and the Eastern Bloc( the political imprints on archi) CIAM -international congress of modern architecture Politic of architecture around the group CIAM, -more about the implication of architecture’s discourse for politics and politic utilize and engage with architecture. – Architecture itself positions in politics Founded by Le Corbusier in 1928, claiming that ‘architecture is a social art’ (key ideas of beginning: to put it into the service of society, Design building that reshapes, transforms the cities and serves the people and society.) collaborations of communist and netrian visionaries  Ernst May, communist city architect, friend of Wright in 30s ,Zig Zag house, Frankfurt, 1930, workers housing, international style, provision of housing (a new architecture) as a social force,+ international style  Le Corbusier, Radiant city 1935, influence of netrian, Germany futurist, imprints on Radiant city, no sections, bring the truth down to hill and landing to everyone Plan Voison 1925

Between 1928-34 there is great deal of overlap between CIAM and activities in Soviet Union, where the architecture urbanism was taken home in 1920s. producing comprehensive skins for new cities -

Simple blocks concepts The setback from the street

1933 Principles of the functional city – dwelling – work – transportation – recreation Being applied much more vigorously in the democracy Western European society: Rotterdam 1949 city plan, separation and function, major traffic circulation taken outside, large areas for recreation, separation of works and dwellings no factories and shops, set backs from streets. Improve living conditions and cultural opportunities for everyone 1957 Western Berlin international building exhibition, same principles Le Corbusier, Unite d habitation , 1945-52, based on the same assumption that city should be organized

Lake Meadows, Chicago, 1950, separation of recreational and transportation, purely residential, no factories

++++++++++++++++30s ++++++++++++++40++++++++++++++++++50++++++++++++++++++++++++++++++++++++++++++ 1917-33Constructivism 1928-33 overlap between CIAM and Soviet planners 33-59 socialist realism STALINISM 59-80 utilitarian modernist functionalism : faster better cheaper, mass housing 90-20120 revival of socialist realist 1948 communist manifesto (break down the distinction between town and country which underpins the equitation) Translation of this idea: New Town of Magnitogorsk, replan into a linear city, residence, transportation, set backs Dom Kommuna, the collective dwelling commune house of the Narkomfin, Moscow, 1928, architectural imagines of an industrial city and where you live in a country, share characters of Stalinism and Modernism

Apartment building on Karl Marx Allee, formerly Stalin Allee, Slogan for this project : national in form socialist in contact, Berlin, 1949-61

L 11 THE skyscraper and streamlined styling Particular building type, 1902-1914, (NY Empire state building, Chrysler building) The design of them became a compositional problem because ‘Skyscrapers has no precedents to be built’, which is a new way to think about architecture’s expression. 19 th century architects design based on precedents.

Key drivers – improved technology 1, the arrival of steel enables to build building much taller (Cage construction, façade panels being hand and cling to the structure of steel frame, separating the structure from the wall façade which brings freedom to the building) 2. Mechanical device, passenger lift, vertical transportation Traditional Palladio: Rusticated base with deep joints, looks heavy massive that ties down to the ground/first floorfairly plain/attic floor as a top gives a cap to the building Modern idea: similar to column analogy, clear top and base and stacking/stretching in between Piling, stretching and repeating: Louis Sullivan’s analogies of a column – high rise building can have the same ideastrong base, stretched shaft and strong capital. There are concerns of how to finish off the building to avoid people feeling dizzy while looking up. +++++++++++++++++++++++++++**************1885**************++++++++++++++++++++++++++++++++ Louis Sullivan, Auditorium Building Chicago, 1889, Lack of precedents, stacking and repeated floors/ Rusticated stone base: experiments on what expression works best for high rise buildings, Daniel Burnham and Root, 1, The rookery, 1885, 2, Monadnock Block, 1891heavy base, clean strong top corners, long verticals, wholeness of composition: not worrying of mesh different elements of various buildings (repeat elements up the façade) 3. Reliance building ,1894 Thin almost disappearing attic top, eligible base, repeating elements, approach that makes sense for this type of building Similar kinds of development can be seen in Melbourne +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Louis Sullivan’s - Stretching analogy is best shown in Louis Sullivan’s work 1890, Wainwright Building, St Louis

-Strong base - Very strong corners at the top -Decorative panels put in cast terracotta - repeating shafts - Capitols sits on the top of the columns that makes sense to classical language , without being a representation of classical language Guaranty or Prudential Building, Buffalo, NY 1895-6 - Disappearing corners

-small building and the way he designed it makes it looks larger - The use of arch helps to drawing the eyes back down

+++++++++ turn to NY+++++++++++++++Sets precedents for late 19th century skyscrapers+++++++++ Light and air is very important in this period, because they are naturally ventilated and lighted Hugh Ferris did a rendering of possible skyscraper based on the regulations of sets backs and sunlight in NY. Daniel Burnham, Flatiron building, NY 1901-3, tight triangular site -

Use of classical languages, very strong corners Curve being used in the corner, Standard device to deal with irregular shape site

Ernest Flagg, Singer building, 1899-1908 -

A tower A new attitude of how a building is completed, no Emphasis on a point of stopping, but height is the thing to be celebrate instead of being suppressed

1910s: The way the classical language is being used in the building + the height+ overall washing off the decorative details and a celebration of the form (plain shafts and use of decorative detail is washed off) + the use of windows as decorations +++++++++++++++++++++++++back to Chincago++++++1920++++++++++++++++++++++++++++++++++++ Howells & Hood, Chicago tribune building, 1923, get influenced by French Renaissance More about purity of form from the perspectives of European architects Gropius& Meyer/ Adolf LOOS/ Bruno TAUT

1929 Daily News Buildings NY- SET BACK RESPONDS TO the form of the building – the setback regulation – not worrying about the top William van Allen, Chrysler Building, 1928-31 -Product design idea merges into building design

-take off the ancient elements and more about pure form, give importance to the building - Move towards art deco – popular motif being used Empire tower, 1929-31 / Rockefeller Center, 1932/ (decorations are no longer involved in the building ) +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++ George Howe & William Lescaze Philadelphia Savings Fund Society headquarters, Philadelphia, 1932 -European idea of skyscrapers -not symmetrical -Sweeping curves at the base -

Pure form Lettering of telling what it is

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Mid 30 onwards: Production design idea in architecture – advertising the building without a reference to the ancient language, and try to say the idea through use of form. Long sweeping curves, Europeans’ buildings area functional, the use of controlled panels and decoration, no precedents not the past, sweeping curves, horizontal and vertical lines—entire new and fashionable The functionalism wins out – competing ideas at the time but trying to express the same time, the importance of product design, the importance of new means of production and communication, all focus on future new materials and new color that can be created, but they have different underlines drive to them. modern is commercial oriented.

L 12-Emigres ( Carina confidential ==III) -

The transitions of architects out of home countries, and across of the world, particularly as a result of war time.

Pre-effects of ww2, national socialist (Nazi party) in Germany generally took control over the society which makes radicals, Jews, difficult.

War time provoke – a mass migration of architects across the world -

The rise of international style, essentially defined by American historians

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Early works of international style: Weissenhof Siedlung( housing) , Mies Van Der Rohe, 1927 social housing, invite several architects to work within small section of lands: remarkable in similarities, share same characteristics, definable style of architecture

- Mies’ multi housing units -industrial windows (steel frame windows) -plane walls -no decorations - Use of balconies -Le Corbusier’s 5 points Exhibition of the style international: Use of color: present all in black and white, JJP OUD was connected to the de stij +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 1930s exclusive time of move and mass migrate, take their ideas and do new buildings in the place they arrive 

RUDOLPH SCHINDLER, born in Vienna, Otto Wagner, did art nouveau, early modernism, interest in rationalism Work with Frank Lloyd Wright in Chicago, then work in LA TILL DEATH

lovell beach house , Newport beach 1923-24, Wright’s approach, abstract patterning of windows, layering up the façade, horizontal and verticals. But he doesn’t follow the way to deal with landscape; building is lift up off the ground, which the house looks out towards to ocean. Compositional idea of Wright + Otto Wagner’s rationalism, reforming a new idea Own house, prominent flat roof, despite of the horizontal elements that can be found in Wrights’ work, great consistency of using materials, one single object compared to Wright , also can see de Stil, but came from same influence of Frank1921 

Richard Neutra, Adlof Loos+ Frank Lloyd Wright

1lovell health house, LA, 1927-29, (GERMAN FUNCTIONAL ARCHITECTURE transplanted to the west coast)hint of mass production 2von Stemberg house, 1936, opulence client, landscape, create various rooms 3Desert house 1946, planar forms connected back to the landscape, great contract makes the building elements work well, very much like the falling water , stone chimney connects to the hills, play with contrast, opulent water

feature

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++ 1929-32 international style, modernism is a style that is anti-style movement by having no style; a style is not a style but rather merely an approach, Philip Johnson was interested in the INTERNATIONAL STYLE Washed out the use of colors in the book/exhibition and everything is presented in black and white

Single universal style---contemporary style which exists throughout the world is unified and inclusive not fragmentary and contradictory like the work from the first generation of modern architects. principles1.

Architecture as volume not mass ( le Cobusier) skin of the building rather than the need to represent structure, the smooth of exterior 2, need for regularity without having symmetry, functional idea 3 avoid of applied decoration , simple form, simple ideas, mechanical production make the production of international style

1929, siedlung/ villa soyod/ cemetorium/mies**, influenced on significantly in the architecture history.

Presented in the books are: Bohuslav FUCHS, in Czechoslovakis, 1928, pure, block, sculpture/ JJP OUD/ HANS SCHAROUN/VICTOR BOURGEOIS/ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ INFLUENCE OF YOUNG ARCHITECTS ARRIVED IN UK- how they bring the ideas to the place they arrive

 Wells Coates- 33-34Canadian- pure modernism- different from anything else around it  Berthold Lubetkin, 33-34 Pengiun Pool, London zoo 35-38 Finsbury Health Center

 Amyas Connell, New Zealand, 1927, UK, + Basil Ward, 1932 New Farm, UK, Raymond, Australian37/ use of curve not very functional , a bit of decoration,

Walter Gropius constantly responds to the challenge rather than to peruse a single idea.

HIS PAST: Collaborate the Levy House, 1936, UK/ does Bauhass 25/ faculty house 25, constantly experimenting     

27-29 Municipal employment Own house 1937-38, timber board in the local building tradition, adopt local building practice while looks like modern Chamberlain house, vertical boarding to use for dramatic effect, building that melt in instead of stand out, looks like hand crafted, rough stone wall, 37-38, like Busier’s experiment of materials and textures 38-39 Marcel Breuer, own house 1945-the architects collaborative, difficult to be stored in archi history but as a experiment practice, Pan American Building, 1963/ Iraq 1962, University Baghdad, local is embedded into the architecture, sunbreak, idea to create cooler spaces, ideas of flora fauna.

Ludwig Mies Van Der Rohe, German Pavilion, Barcelona, 1929/ 1930 Czechoslovakia   

Illinois Institute of Technology in Chicago, 42-43, limited of financial, 45-50 Farnsworth house, Illinios 48-51 Lake Shore Drive Apartment, Chicago, sets the entire standard for high rise building

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Crown hall 52-56 steel frame to support the building, structure being hang over the steel structures and pulled outside of the building instead of being pushed inwards, perfection of details

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Seagram building, 56-58, NY, I beams being expressed outside the building, and main I beam ( as columns) encased with reinforced concrete for fire protection, detailed decorated with different materials: bronze, introduced court with set back with public plaza in front of it as a guide of 1960s-70s high rise building

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Neue Nationalgalerie, Berlin, 62-68

Harry Seidler, born in Vienna, end up in Canada, work for Gropius in GSD, Rose Seidler House 1948-50 , rough stone walling influenced by Gropius, use of vertical timber boarding, Le Corbusier like internal walls, internal courtyard.