Futurist architectureFrom Wikipedia, the free encyclopedia

Perspective drawing from La Città Nuovaby Sant'Elia, 1914.

Futurist architecture is an early-20th century form of architecture born in Italy,

characterized by anti-historicism, strong chromaticism, long dynamic lines, suggesting

speed, motion, urgency and lyricism: it was part of the Futurism, an artistic movement

founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto,

the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians,

and artists (such as Umberto Boccioni, Giacomo Balla,Fortunato Depero, and Enrico

Prampolini) but also a number of architects. A cult of the machine age and even a

glorification of war and violence were among the themes of the Futurists (several

prominent futurists were killed after volunteering to fight in World War I). The latter

group included the architect Antonio Sant'Elia, who, though building little, translated the

futurist vision into an urban form.[1]

Contents

  [hide]

1 History of Italian Futurism

2 Art Deco

3 Futurism after World War II

o 3.1 Googie architecture

o 3.2 Neo-Futurism

o 3.3 Post-modern futurism

4 References

5 Sources

6 External references

[edit]History of Italian Futurism

Lingotto factory in Turin. With its test track on the roof, was recognized in 1934 as the first

futurist invention in architecture[2]

Heating plant and Main controls cabin atSanta Maria Novella railway station

In 1912, three years after Marinetti's Futurist Manifesto, Antonio Sant'Elia and Mario

Chiattone take part to the Nuove Tendenze[3] exhibition in Milano. In 1914 the group

presented their first exposition with a "Message" by Sant'Elia, that later, with the

contribution of Filippo Tommaso Marinetti, became the Manifesto dell’Architettura

Futurista ("Manifesto of Futurist Architecture").[2] Also Boccioni unofficially worked on a

similar manifesto, but Marinetti preferred Sant'Elia's paper.

Later in 1920, another manifesto was written by Virgilio Marchi, Manifesto

dell’Architettura Futurista–Dinamica ("Manifesto of Dynamic Instinctive Dramatic Futurist

Architecture").[2] Ottorino Aloisio worked in the style established by Marchi, one example

being his Casa del Fascio in Asti.

Another futurist manifesto related to architecture is the Manifesto dell’Arte Sacra

Futurista ("Manifesto of Sacred Futurist Art") by Fillia (Luigi Colombo) [2]  and Filippo

Tommaso Marinetti, published in 1931. On 27 January 1934 it was the turn of the

Manifesto of Aerial Architecture by Marinetti, Angiolo Mazzoni and Mino Somenzi.[2] Mazzoni had publicly adhered to futurism only the year before. In this paper

the Lingotto factory by Giacomo Matté-Trucco is defined as the first Futurist constructive

invention.[2] Mazzoni himself in those years worked on a building considered today a

masterpiece[4] of futurist architecture, like the Heating plant and Main controls

cabin at Santa Maria Novella railway station, in Florence.

[edit]Art Deco

Main article: Art Deco

The Art Deco style of architecture with its streamlined forms was regarded as futuristic

when it was in style in the 1920s and 1930s. The original name for both early and

late Art Deco was Art Moderne--the name "Art Deco" did not come into use until 1968

when the term was invented in a book by Bevis Hillier. The Chrysler Building is a

notable example of Art Deco futurist architecture.

[edit]Futurism after World War II

[edit]Googie architectureMain article: Googie architecture

After World War II, Futurism, considerably weakened, redefines itself thanks to the

enthusiasm towards the Space Age, the Atomic Age, the car culture and the wide use

of plastic. For example, we find this trend in the architecture of Googies in the 1950s

in California. Futurism in this case is not a style but an architectural approach rather free

and uninhibited, which is why it has been reinterpreted and transformed by generations

of architects the following decades, but in general we find that amazing shapes with

dynamic lines and sharp contrasts, and the use of technologically advanced materials.

[edit]Neo-FuturismIn the 1980s, French architect Denis Laming, was one of the members of this

movement and founder of Neo-Futurism. He designed all of the buildings

in Futuroscope, whose Kinemax is the flagship building.[5]

[edit]Post-modern futurism

Civil Justice Centre, Manchester (2008) byDenton Corker Marshall, notable for its cantilevers

and straight lines.

The San Francisco Marriott Marquis in San Francisco, California, a notable example of post-

modern futurism, was designed by the architectAnthony J. Lumsden (1989). It is topped with

ajukebox-shaped glass tower.

In popular literature, the term futuristic is often used without much precision to describe

an architecture that would have the appearance of the space age as described in works

of science fiction or as drawn in science fiction comic strips or comic books. Today it is

sometimes confused with blob architecture. The routine use of the term vague and

futurism — which rarely has political implications — must be well differentiated from the

Futurist movement of the years 1910–1920. The futurist architecture created since 1960

may be termed post-modern futurism.

Le Corbusier

Denis Laming

Cesar Pelli

Santiago Calatrava

Archigram

Louis Armet

Welton Becket

Arthur Erickson

Future Systems

Michael Graves

Zaha Hadid

John Lautner

Anthony J. Lumsden

Virgilio Marchi

Wayne McAllister

Oscar Niemeyer

William Pereira

Tadao Ando

Patricio Pouchulu

Eero Saarinen

Library, University of California, Irvine (William Pereira, 1965)

 

Theme Building, Los Angeles International Airport (William Pereira,Charles

Luckman, Paul Williams, 1961)

 

Cathedral of Brasilia(Oscar Niemeyer, 1960)

 

McGaugh Hall, University of California, Irvine (Arthur Erickson, 1991)

Residential building in Paris, near the Maison de la Radio

 

Ferrohouse in Zurich (Justus Dahinden, 1970)

 

Graduate Center (classroom building), Oral Roberts University, (Frank Wallace, 1963)

Portland Building inPortland, Oregon (Michael Graves, 1982)

[edit]References

1. ̂  Günter Berghaus (2000). International Futurism in Arts and Literature. Walter

de Gruyter. p. 364. ISBN 3-11-015681-4.

2. ^ a b c d e f Futurist architecture and Angiolo Mazzoni’s manifesto of aerial

architecture, published in VV.AA. Angiolo Mazzoni e l'Architettura Futurista - p.7-

22

3. ̂  Literally "New Trends".

4. ̂  In 1978, architect Léon Krier described the heating plant as the greatest

masterpiece of Futurist-Constructivist-Modernist architecture. Published

in London 1978 - An architecture thesis on Angiolo Mazzoni by Flavio Mangione

and Barbara Weiss; Angiolo Mazzoni e l'Architettura Futurista p.45

5. ̂  http://laming.fr

[edit]Sources

VV.AA. Angiolo Mazzoni e l'Architettura Futurista, Supple

Organic architectureFrom Wikipedia, the free encyclopedia

Fallingwater by Frank Lloyd Wright

Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so sympathetic and well integrated with its site that buildings, furnishings, and surroundings become part of a unified, interrelated composition.

Contents

  [hide]

1 History

2 Notable organic architects

3 References

4 Further reading

5 External links

[edit]History

The term organic architecture was coined by Frank Lloyd Wright (1867–1959), though never well articulated by his cryptic style of writing:

"So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no traditions

essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but instead exalting the simple laws of common sense or of super-sense if you prefer determining form by way of the nature of materials..." - Frank Lloyd Wright, written in 1954[1]

Organic architecture is also translated into the all inclusive nature of Frank Lloyd Wright’s design process. Materials, motifs, and basic ordering principles continue to repeat themselves throughout the building as a whole. The idea of organic architecture refers not only to the buildings' literal relationship to the natural surroundings, but how the buildings' design is carefully thought about as if it were a unified organism. Geometries throughout Wright’s buildings build a central mood and theme. Essentially organic architecture is also the literal design of every element of a building: From the windows, to the floors, to the individual chairs intended to fill the space. Everything relates to one another, reflecting the symbiotic ordering systems of nature.

Other modernist architects in the U.S., Europe, and elsewhere held complementary and often competing views of how architecture could best emulate nature. Key figures in the U.S. included Louis Sullivanand Claude Bragdon, while among European modernists Hugo Häring and Hans Scharoun stand out. Following World War II, organic architecture often reflected cybernetic and informatic models of life, as is reflected in the later work of futurist architect Buckminster Fuller.

Architect and planner David Pearson proposed a list of rules towards the design of organic architecture. These rules are known as the Gaia Charter for organic architecture and design. It reads:

"Let the design:

be inspired by nature and be sustainable, healthy, conserving, and diverse.

unfold, like an organism, from the seed within. exist in the "continuous present" and "begin again and

again". follow the flows and be flexible and adaptable. satisfy social, physical, and spiritual needs. "grow out of the site" and be unique. celebrate the spirit of youth, play and surprise. express the rhythm of music and the power of dance."[2]

Eric Corey Freed takes a more seminal approach in making his description:

"Using Nature as our basis for design, a building or design must grow, as Nature grows, from the inside out. Most architects design their buildings as a shell and force their way inside. Nature grows from the idea of a seed and reaches out to its surroundings. A building thus, is akin to an organism and mirrors the beauty and complexity of Nature."[3]

A well known example of organic architecture is Fallingwater, the residence Frank Lloyd Wright designed for the Kaufman family in rural Pennsylvania. Wright had many choices to locate a home on this large site, but chose to place the home directly over the waterfall and creek creating a close, yet noisy dialog with the rushing water and the steep site. The horizontal striations of stone masonry with daringcantilevers of colored beige concrete blend with native rock outcroppings and the wooded environment.

[edit]Notable organic architects

Alvar Aalto Anton Alberts Laurie Baker

Claude Bragdon Nari Gandhi Antoni Gaudi Bruce Goff Neville Gruzman Hugo Häring Hundertwasser Kendrick Bangs Kellogg (born 1934) John Lautner Imre Makovecz Eero Saarinen Hans Scharoun Gustav Stickley Louis Sullivan Rudolf Steiner Frank Lloyd Wright (1867–1959) Bruno Zevi Toyo Ito

[edit]

Novelty architectureFrom Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2012)

Randy's Donuts in Inglewood, California, built in 1954.

New York-New York Hotel & Casino

Novelty architecture is a type of architecture in which buildings and other structures are given unusual shapes as a novelty, such as advertising, notoriety as alandmark, or simple eccentricity of the owner or architect. Many examples of novelty architecture take the form of buildings that resemble the products sold inside to attract drive-by customers. Others are attractions all by themselves, such as giant animals, fruits, and vegetables, or replicas of famous buildings. And others are merely unusual shapes or made of unusual building materials.

Some hotel casinos on the Las Vegas Strip can be considered novelty architecture, including the pyramid-shaped Luxor

Hotel and the New York-New York Hotel & Casino, a building designed to look like the New York City skyline. Since 2010, the resort city of Batumi on Georgia's Black Sea coast has erected many novelty buildings and structures. Novelty architecture is also used extensively in amusement parks such as Disneyland to fit their playful and sometimes retro theme.

Contents

  [hide]

1 Programmatic architecture

o 1.1 Water towers

o 1.2 Storage tanks

2 Giant sculptures

3 Buildings styled after famous landmarks

o 3.1 Casino architecture

o 3.2 Batumi, Georgia

o 3.3 China

4 Other styles

5 Googie/populuxe architecture

6 Deconstructivism

7 Gallery

o 7.1 Novelty statues

8 See also

9 External links

10 References

[edit]Programmatic architecture

Lucy the Elephant, July 2004

Programmatic (also known as mimetic or mimic) architecture is characterized by constructions in the forms of objects not normally associated with buildings, such as characters, animals, people or household objects. There may be an element of caricature or a cartoonish element associated with the architecture.

Lucy the Elephant , an architectural folly in Margate City, New Jersey

The Longaberger Company 's head office in Newark, Ohio which is in the form of a giant basket

In the 1930s, as automobile travel became popular in the United States, one way of attracting motorists to a diner, coffee shop, or roadside attraction was to build the building in an unusual shape, especially the shape of the things sold there. "Mimic" architecture became a trend, and many roadside coffee shops were built in the shape of giant coffee pots; hot dog stands were built in the shape of giant hot dogs; and fruit stands were built in the shape of oranges or other fruit.

Tail o' the Pup , a hot dog-shaped hot dog stand in Los Angeles Brown Derby , a derby-shaped restaurant also in Los Angeles Bondurant's Pharmacy , a mortar-and-pestle pharmacy

in Lexington, Kentucky Big Apple Restaurant , a 10.7 metres (35 ft) tall apple

near Highway 401 in Colborne, Ontario[edit]Water towers

Peachoid water tower in Gaffney, South Carolina

Water towers, often a prominent feature in a small town, have often been shaped or decorated to look like everyday objects.

Peachoid , a peach-shaped water tower in Gaffney, South Carolina. There are other peach-shaped water towers in Byron, Georgia and Clanton, Alabama

Coffee pot water tower in Lindstrom, Minnesota (see Gallery) Corn cob water tower in Rochester, Minnesota (see Gallery) Brooks Catsup Bottle Water Tower  in Collinsville, Illinois (see

Gallery) Paul Bunyan's Fishing Bobber water tower in Pequot Lakes,

Minnesota (see Gallery) Coffee pot water tower in Stanton, Iowa Strawberry water tower in Poteet, Texas Teapot water tower in Kingsburg, California Wine bottle  water tower in Rutherglen, Victoria (built in 1900,

now dilapidated)[edit]Storage tanksSeveral breweries and other businesses have designed holding tanks in the shape of giant cans of beer or other containers.

"World's Largest Six-Pack" brewery holding tanks in La Crosse, Wisconsin

"World's Largest Hormel Chili Can" in Beloit, Wisconsin

[edit]Giant sculptures

Cleveland Airport is known for its fanciful giant "paper" aircraft sculptures.

Another aspect of novelty architecture is sculptures of ordinary items scaled to enormous size.

Various roadside parks and attractions in the U.S. feature giant sculptures of Paul Bunyan and dinosaurs.

Louisville Slugger  Museum, a building in Louisville, Kentucky that features a giant baseball bat

Cleveland Airport , which includes giant "paper" aircraft in one terminal.

Cowboy boots at North Star Mall , San Antonio, Texas Nut-shaped sculptures in at least two American

cities, Brunswick, Missouri and Seguin, Texas are claimed to be "the world's largest pecan". [1] The Brunswick pecan is much larger and heavier, but the Seguin pecan is arguably more realistically rendered.

A giant rotating candy bar, reading "Curtiss Baby Ruth" on one side and "Curtis Butterfinger" on the other, at the former Curtiss Candy Company factory in Franklin Park, Illinois, since acquired (and redesigned) by Nestlé.

Gigantic baseball paraphernalia and other novelties, such as bats and gloves, team logos, "big apples", and even

supersized Land O'Lakes milk bottles, at various baseball parks including Yankee Stadium, Comerica Park, AT&T Park, Angel Stadium, Kauffman Stadium, the now-demolished Shea Stadium and its successor Citi Field, and the Metrodome.

A replica of Stonehenge made with junked cars, Carhenge, located in Alliance, Nebraska.

A giant bottle of Aji-no-moto is located next to NLEX (North Luzon Expressway) in Bulacan, Philippines.

The world's largest tire is displayed along Interstate 94 in Allen Park, Michigan.

Giant Coca-Cola bottle atop the Green Monster outfield wall at Fenway Park.

[edit]Buildings styled after famous landmarks

[edit]Casino architectureMany casinos are built in a novelty architecture style, designed in they style of famous landmarks around the world. These include:

In Las Vegas:

New York-New York Hotel and Casino  (1997), replicating the New York skyline and Statue of Liberty

The Venetian Las Vegas  (2003), featuring a replica of St Mark's Campanile and other buildings in Venice, Italy

Paris Las Vegas  (1999): The front of the hotel suggests the Paris Opera House and the Louvre

Luxor Las Vegas  (1993), with its main pyramid style tower and within twin 22-story ziggurat towers

Excalibur Hotel and Casino  (1990), its façade a stylized King Arthur's castle (Camelot)

In Macau:

The Venetian Macao , like its counterpart in Las Vegas, featuring a replica of St Mark's Campanile and other buildings in Venice

[edit]Batumi, GeorgiaSince 2010, the face of the city of Batumi on Georgia's Black Sea coast has been transformed by the construction of new high-rise landmark buildings and the renovation of the Old Town.[1] Many of these constructions are novelty architecture, including:

Sheraton Hotel , designed in the style of the Great Lighthouse at Alexandria, Egypt [2]

Alphabet Tower (145 metres (476 ft) high), celebrating Georgian script and writing

Piazza, a mixed-used development in the form of an Italian piazza

Buildings designed in the style of the Leaning Tower of Pisa, the Acropolis, and an upside-down White House

[edit]ChinaThe New South China Mall in Dongguan, China features a 25 metres (82 ft) replica of the Arc de Triomphe,[3] a replica of Venice's St Mark's bell tower,[4] a 2.1 kilometres (1.3 mi) canal with gondolas,[3] and a 553-meter indoor-outdoor roller coaster.[5]

[edit]Other styles

Long-established firms whose features are well-known could still qualify as novelty architecture. A couple of examples would be McDonald's original golden-arches design, originating in California as many of the novelty designs have; and the self-referencing design of the White Castle restaurants.

[edit]Googie/populuxe architecture

Main article: Googie architecture

Architecture popular in the 1950s-1960s in southern California and in Florida featured sharp corners, tilted roofs, starburst designs, and fanciful shapes. This came to be known as Googie Doo Wop or populuxearchitecture.

[edit]Deconstructivism

Some critics claim that much of today's contemporary architecture under the guise of Deconstructivism is actually Novelty architecture. Practitioners include leading architects such as Frank Gehry, Daniel Libeskind and Zaha Hadid.

[edit]Gallery

Coffeepot water tower inLindstrom, Minnesota, built in 1902

 

Teapot Dome Service Station in Zillah, Washington, built in 1922

 

The original Brown Derbyin Los Angeles, California, built in 1926

 

The Big Duck in Flanders, New York, built in 1931

 

Corn cob water tower inRochester, Minnesota, built in 1931

 

Benewah Milk Bottle inSpokane, Washington, built in 1935

 

World's Largest Catsup Bottle water tower inCollinsville, Illinois, built in 1949

 

Wigwam Motel inHolbrook, Arizona, built in 1950

 

The Longaberger Company headquarters inNewark, Ohio

 

The Big Chicken inMarietta, Georgia, built in 1963

 

Coney Island Hot Dog Stand in Bailey, Colorado, built in 1966

 

The Big Pineapple,Nambour, Queensland,Australia, opened in 1971

 

UFO-shaped bus station in Kielce, Poland

 

Paul Bunyan's Fishing Bobber water tower inPequot Lakes, Minnesota

 

The Donut Hole in La Puente, California

 

A 64-foot-tall (20 m) Nehi Bottle located near Auburn,Alabama (In an area referred to

as "The Bottle") was destroyed by fire in 1933.

 

Harold's Garage in Spring Hill, Florida, a formerSinclair gas station.

 

Mighty Og - Gorilla torso near Harvey, ND. Destroyed by windstorm sometime before

June 2005.

 

Large barrel shaped bistro and bar located inOkinawa City, Japan

 

At Cabazon Dinosaurs in California, this dinosaur's belly holds a souvenir shop.

 

Bono's Orange Stand inFontana, California was used from 1936 to sell California

orange juice to hot drivers who all lacked air conditioning at that time.[6][7]

[edit]Novelty statues

Paul Bunyan and Babe the Blue Ox in Bemidji, Minnesota, erected in 1936

 

Dinosaur Park sculpture of a Tyrannosaurus rex inRapid City, South Dakota, opened in

1936

 

Ten meter tall statue of Babe the Blue Ox at Trees of Mystery in Klamath, California,

erected in 1949

 

Golden Driller statue inTulsa, Oklahoma, erected in 1953

 

Paul Bunyan statue inPortland, Oregon, erected in 1959

 

Johnny Kaw statue inManhattan, Kansas, erected in 1966

 

Apatosaurus statue atNorth Carolina Museum of Life and Science inDurham, North

Carolina, erected in 1967

 

The Wall Drug dinosaur statue in Wall, South Dakota, erected in the late 1960s

 

Paul Bunyan statue inAkeley, Minnesota

 

Harvey statue at Harvey Marine in Reedville, Aloha, Oregon

 

Blue Whale of Catoosa inCatoosa, Oklahoma

 

World's Largest Dinosaurin Drumheller, Alberta,Canada, erected in 2000

 

World's Largest Muskellunge in Hayward, Wisconsin at the national freshwater fishing

hall of fame.

 

Pink Brontosaurus statue on US 19 in Spring Hill, Florida

[edit]

Art Deco

From Wikipedia, the free encyclopedia  (Redirected from Art Deco architecture)

Art Deco spire of the Chrysler Building in New York City; designed by William Van Alen; built

1928–1930.

Terracotta sunburst designabove front doors of the Eastern Columbia Building in Los Angeles;

built 1930.

Tamara de Lempicka, "The Musician", 1929 (oil on canvas).

Art Deco (/ ̩ ɑr t   ̍ d ɛ k oʊ / ), or Deco, is an influential visual arts design style which first

appeared in France during the 1920s, flourished internationally during the 30s and 40s,

then waned in the post-World War II era.[1] It is an eclectic style that combines

traditional craft motifs with Machine Age imagery and materials. The style is often

characterized by rich colors, bold geometric shapes and lavish ornamentation.

Deco emerged from the Interwar period when rapid industrialization was transforming

culture. One of its major attributes is an embrace of technology. This distinguishes Deco

from the organic motifs favored by its predecessor Art Nouveau.

Historian Bevis Hillier defined Art Deco as "an assertively modern style...[that] ran to

symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; it

responded to the demands of the machine and of new material...[and] the requirements

of mass production."[2]

During its heyday Art Deco represented luxury, glamor, exuberance, and faith in social

and technological progress.

Contents

  [hide]

1 Etymology

2 Origins

3 Attributes

4 Influence

5 Streamline Moderne

6 Surviving examples

o 6.1 United States

o 6.2 Latin America

o 6.3 Europe

6.3.1 United Kingdom

6.3.2 Spain

6.3.3 Germany

6.3.4 Romania

6.3.5 Lithuania

6.3.6 Brussels

o 6.4 Asia

o 6.5 Oceania

6.5.1 New Zealand

6.5.2 Australia

o 6.6 Africa

7 Gallery

8 See also

9 References

10 Bibliography

11 External links

[edit]Etymology

The first use of the term Art Deco has been attributed to architect Le Corbusier who

penned a series of articles in his journal L'Esprit nouveau under the headline 1925

Expo: Arts Déco. He was referring to the 1925 Exposition Internationale des Arts

Décoratifs et Industriels Modernes (International Exposition of Modern Decorative and

Industrial Arts).[3]

The term was used more generally in 1966 when a French exhibition celebrating the

1925 event was held under the title Les Années 25: Art Déco/Bauhaus/Stijl/Esprit

Nouveau.[4] Here the phrase was used to distinguish French decorative crafts of

the Belle Epoque from those of later periods.[3] The term ‘Art Deco’ has since been

applied to a wide variety of works produced during the Interwar period (L'Entre Deux

Guerres), and even to those of the Bauhaus in Germany. However Art Deco originated

in France. It has been argued that the term should be applied to French works and

those produced in countries directly influenced by France.[5]

Art Deco gained currency as a broadly applied stylistic label in 1968 when

historian Bevis Hillier published the first book on the subject: Art Deco of the 20s and

30s.[2] Hillier noted that the term was already being used by art dealers and cites The

Times (2 November 1966) and an essay on Les Arts Déco in Elle magazine (November

1967) as examples of prior usage.[6] In 1971 Hillier organized an exhibition at

the Minneapolis Institute of Arts then published a book about it: The World of Art Deco.[7]

[edit]Origins

Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm. Exhibited Léonce

Rosenberg, Galerie de L'Effort Moderne (1920), now at Kröller-Müller Museum, Otterlo, Holland

Some historians trace Deco's roots to the Universal Exposition of 1900.[8] After this show

a group of artists established an informal collective known as La Société des artistes

décorateurs (Society of Decorator Artists) to promote French crafts. Among them

were Hector Guimard, Eugène Grasset, Raoul Lachenal, Paul Bellot, Maurice Dufrêne,

and Emile Decoeur. These artists are said to have influenced the principles of Art Deco.[9]

The Art Deco era is often dated from 1925 when the Exposition Internationale des Arts

Décoratifs et Industriels Modernes was organized to showcase new ideas in applied

arts.[3][10][11][12] Yet Deco was heavily influenced by pre-modern art from around the world,

and observable at the Musée du Louvre, Musée de l'Homme and the Musée national

des Arts d'Afrique et d'Océanie. During the 1920s affordable travel permitted in

situ exposure to other cultures. There was also popular interest in archeology due to

excavations at Pompeii, Troy, the tomb of Tutankhamun etc. Artists and designers

integrated motifs from ancient Egypt, Mesopotamia, Greece, Rome, Asia, Mesoamerica,

and Oceania with Machine Age elements.[13][14][15][16][17][18]

Deco was also influenced by Cubism, Constructivism, Functionalism, Modernism,

and Futurism.[15][19]

In 1905, before the onset of Cubism, Eugène Grasset wrote and published Méthode de

Composition Ornementale, Éléments Rectilignes[20] within which he systematically

explores the decorative (ornamental) aspects of geometric elements, forms, motifs and

their variations, in contrast with (and as a departure from) the undulating Art

Nouveaustyle of Hector Guimard, so popular in Paris a few years earlier. Grasset

stresses the principle that various simple geometric shapes (e.g., the triangle, the

square) are the basis of all compositional arrangements.[21]

At the 1907 Salon d'Automne (Paris) Georges Braque exhibited Viaduc à l'Estaque (a

proto-Cubist work), now at the Minneapolis Institute of Arts. Simultaneously, there was a

retrospective exhibition of 56 works by Paul Cézanne, as a tribute to the artist who died

in 1906. Cézanne was interested in the simplification of forms to their geometric

essentials: the cylinder, the sphere, the cone.

Paul Iribe created for the couturier Paul Poiret esthetic designs that shocked the

Parisian milieu with its novelty. These illustrations were compiled into an album, Les

Robes de Paul Poiret racontée par Paul Iribe, published in 1908.[22]

At the 1910 Salon des Indépendants Jean Metzinger, Henri Le Fauconnier and Robert

Delaunay, shown together in Room 18, elaborated upon Cézannian syntax, revealing to

the general public for the first time a 'mobile perspective' in their art, soon to become

known as Cubism. Several months later the Salon d'Automne saw the invitation of

Munich artists who for several years had been working with simple geometric shapes.

Leading up to 1910 and culminating in 1912, the French designers André Mare and

Louis Sue turned towards the quasi-mystical Golden ratio, in accord with Pythagorean

and Platonic traditions, giving their works a Cubist sensibility.

Between 1910 and 1913, Paris saw the construction of the Théâtre des Champs-

Élysées, 15 avenue Montaigne, another sign of the radical aesthetic change

experienced by the Parisian milieu of the time. The rigorous composition of its facade,

designed by Auguste Perret, is a major example of early Art Deco.[23][24] The building

includes an exterior bas relief by Antoine Bourdelle, a dome by Maurice Denis, paintings

by Édouard Vuillard and Jacqueline Marval, and a stage curtain design by Ker-Xavier

Roussel.

The artists of the Section d'Or exhibited (in 1912) works considerably more accessible

to the general public than the analytical cubism of Picasso and Braque. The Cubist

vocabulary was poised to attract fashion designers, furniture and interior designers.[25]

These revolutionary changes occurring at the outset of the 20th century are

summarized in the 1912 writings of André Vera. Le Nouveau style, published in the

journal L'Art décoratif expressed the rejection of Art Nouveau forms (asymmetric,

polychrome and picturesque), and called for simplicité volontaire, symétrie manifeste,

l'ordre et l'harmonie; themes that would eventually become ubiquitous within the context

of Art Deco.[26]

Order, color and geometry: the essence of Art Deco vocabulary was made manifest

before 1914.

Several years after World War I, in 1927 the Cubists Joseph Csaky, Jacques

Lipchitz, Louis Marcoussis, Henri Laurens, the sculptor Gustave Miklos and others

collaborated in the decoration of a Studio House, rue Saint-James, Neuilly-sur-Seine,

designed by the architect Paul Ruaud, and owned by the French fashion

designer Jacques Doucet: also a collector of Post-Impressionist and Cubist paintings

(including Les Demoiselles d'Avignon, which he bought directly from Picasso's studio).

Laurens designed the fountain, Csaky designed Doucet's staircase, Lipchitz made the

fireplace mantel, Marcoussis made a Cubist rug.[27][28][29][30]

[edit]Attributes

Deco emphasizes geometric forms: spheres, polygons, rectangles, trapezoids,

zigzags, chevrons, and sunburst motifs. Elements are often arranged

in symmetrical patterns. Modern materials such asaluminum, stainless

steel, Bakelite, chrome, and plastics are frequently used. Stained glass, inlays,

and lacquer are also common. Colors tend to be vivid and high-contrast.[13][14][15][31][32][33]

[edit]Influence

Art Deco was a globally popular style and affected many areas of design. It was used

widely in consumer products such as automobiles, furniture, cookware, china, textiles,

jewelry, clocks, and electronic items such as radios, telephones, jukeboxes. It also

influenced architecture, interior design, industrial design, fashion, graphic arts,

and cinema.

During the 1930s Art Deco was used extensively for public works projects, railway

stations,[34] ocean liners (including the Île de France, Queen Mary, Normandie), movie

palaces, and amusement parks.

The austerities imposed by World War II caused Art Deco to decline in popularity: it was

perceived by some as gaudy and inappropriately luxurious.[citation needed] A resurgence of

interest began during the 1960s.[11][15][35] Deco continues to inspire designers and is often

used in contemporary fashion, jewelry, and toiletries.[36]

Chrysler Airflow sedan; designed by Carl Breer; 1934.

[edit]Streamline Moderne

Main article: Streamline Moderne

A style related to Art Deco is Streamline Moderne (or Streamline) which emerged during

the 1930s. Streamline was influenced by modern aerodynamic principles developed

for aviation and ballistics to reduce air friction at high velocities. Designers applied these

principles to cars, trains, ships, and even objects not intended to move such

as refrigerators, gas pumps, and buildings.[14]

One of the first production vehicles in this style was the Chrysler Airflow of 1933. It was

unsuccessful commercially but the beauty and functionality of its design set a

precedent.[37]

Streamlining quickly influenced automotive design and evolved the

rectangular "horseless carriage" into sleek vehicles with aerodynamic lines, symmetry,

and V-shapes. These designs continued to be popular after World War II.[38][39][40]

Bullocks Wilshire, Los Angeles,John and Donald Parkinson, 1929

Cochise County Courthouse doors, Bisbee, Arizona, 1931. Architect: Roy W. Place

[edit]Surviving examples

[edit]United StatesThe U.S. has many examples of art-deco architecture. New York, Chicago, and Detroit

have many art deco buildings: The famous skyscrapers are the best-known, but notable

art deco buildings can be found in various neighborhoods. Detroit's many examples of

art-deco architecture include the Fisher and Guardian Buildings both of which are

now National Historic Landmarks. Los Angeles, California, also has much art-deco

architecture, in particular along Wilshire Boulevard, a main thoroughfare that

experienced a period of intense construction activity during the 1920s. Notable

examples include the Bullocks Wilshire building and the Pellissier Building and Wiltern

Theatre, built in 1929 and 1931 respectively. Both buildings experienced recent

restoration.[41][42]

Miami Beach, Florida, has a large collection of art-deco buildings, with some thirty

blocks of hotels and apartment houses dating from the 1920s to the 1940s. In 1979,

theMiami Beach Architectural District [43]  was listed on the National Register of Historic

Places. Nearly all the buildings have been restored and painted in their original pastel

colors.[44]

Art deco was popular during the later years of the movie palace era of theatre

construction. Excellent examples of art deco theatres, such as the Fargo

Theatre in Fargo, North Dakota still exist throughout the United States.

Fair Park, located in Dallas, Texas, is a large collection of art deco structures. Much of

the art deco heritage of Tulsa, Oklahoma remains from that city's oil boom days.[45] Houston , Texas has some buildings surviving, such as the Houston City Hall,

the JPMorgan Chase Building, Ezekiel W. Cullen Building, and the 1940 Air Terminal

Museum.[46] In Beaumont, the Jefferson County Courthouse, Kyle Building and the First

National Bank Building are some of the few art deco buildings still in the city.

Hoover Dam is a somewhat unusual example of art deco design. Many dam guides

state that the design was to be Gothic Revival, including the installation of gargoyles

with water shooting out of their mouths.[citation needed] The recently opened Smith

Center in Downtown Las Vegas incorporates many design elements from Hoover Dam

and, therefore, is a contemporary example of the use of art deco design elements.

Kansas City is home to the Kansas City Power and Light Building, which was completed

in 1931. This building is a good example of the Great Depression and its effect on art

deco construction. Original plans were for a twin tower to be built next to it on its west

side. However, it was never built due to financial constraints. As a result, the 476-foot

(145 m) tower has a bare west side, with no windows. Other examples of art deco

buildings in Kansas City include Municipal Auditorium (Kansas City), the Jackson

County Courthouse (Kansas City, Missouri), Kansas City City Hall; and 909 Walnut.

Minneapolis has the Foshay Tower, which was finished in 1929. The building was built

right before the Great Depression and is one of, if not the only obelisk shaped office

building in the world. Minneapolis also has the Rand Tower and the Wells Fargo Center,

an example of modern art deco architecture. Neighboring St. Paul has the First National

Bank Building and the Saint Paul City Hall. The city of Rochester, Minnesota houses

the Plummer Building, the original building for the world-famous Mayo Clinic, which was

built in 1927.

Cincinnati, Ohio, houses the Cincinnati Union Terminal, an art-deco-style passenger

railroad station that began operation in 1933. After the decline of railroad travel, most of

the building was converted to other uses. It now serves as the Cincinnati Museum

Center, which serves more than one million visitors per year and is the 17th most visited

museum in the United States.[47][48] Cincinnati is also home to the Carew Tower, a 49-

story art deco skyscraper built in 1931.

In 2005, the largest residential restoration project in the country and the largest

collection of art deco buildings in New Jersey began at the 14-acre (57,000 m2) site of

the former Jersey City Medical Center. The conversion of the national historic site to a

residential enclave had as of 2009 been completed on three of the several buildings on

the site.

Flint, Michigan is also home to The Paterson Building. The Paterson Building has

extensive art deco throughout the interior and exterior. More pictures of the Paterson

Building can be found at [1].

[edit]Latin America

Kavanagh building, Buenos Aires. 1934 design by Gregorio Sánchez, Ernesto Lagos, Luis

María de la Torre

Some of the finest surviving examples of art deco art and architecture are found in

Cuba, especially in Havana. The Bacardi Building is noted for its particular art deco

style.[49] The style is expressed by the architecture of residences, businesses, hotels,

and many pieces of decorative art, furniture, and utensils in public buildings, as well as

in private homes.[2]

Another country with many examples of art deco architecture is Brazil, especially

in Porto Alegre, Goiânia and cities like Cipó (Bahia), Iraí (Rio Grande do Sul) and Rio

de Janeiro, especially in Copacabana. Also in the Brazil's north-east – notably in cities

such as Campina Grande in the state of Paraíba – there are art deco buildings which

have been termed "Sertanejo Art Deco" because of their peculiar architectural features.[50] The reason for the style being so widespread in Brazil is its coincidence with the fast

growth and radical economic changes of the country during the 1930s.

In Santiago, Chile, the Hotel Carrera (no longer a hotel) is a very fine example of art

deco architecture. Art deco buildings are also numerous in Montevideo, Uruguay,

including the Palacio Salvo, which was South America's tallest building when it was built

in the late 1920s. Another example of art deco in Latin America is the Edificio El Moro in

Mexico which has the Loteria Nacional nowadays, it was also the biggest building of

Mexico City at the time it was completed

Edificio El Moro, Mexico City. 1945 design by Manuel Ortiz Monasterio, Bernardo Calderón,

Luis Ávila and José Antonio Cuevas

In Argentina, architect Alejandro Virasoro introduced art deco in 1926 and developed

the use of reinforced concrete, with the Banco El Hogar Argentino and the Casa del

Teatro (both in Buenos Aires) being his most important works. The Kavanagh

building (1934), by Sánchez, Lagos and de la Torre, was the tallest reinforced concrete

structure at its time, and a notable example of late art deco style. In the Buenos Aires

Province, architect Francisco Salamone designed cemetery portals, city halls and

slaughterhouses commissioned by the provincial government in the 1930s; his designs

combined art deco with futurism. In Rosario, Santa Fe, the Palacio Minetti is the most

representative art deco piece.

[edit]Europe[edit]United Kingdom

Former Express Building (1939) in Manchester, designed by Sir Owen Williams.

During the 1930s, art deco had a noticeable effect on house design in the United

Kingdom,[15] as well as the design of various public buildings.[11] Straight, white-rendered

house frontages rising to flat roofs, sharply geometric door surrounds and tall windows,

as well as convex-curved metal corner windows, were all characteristic of that period.[35]

[51][52]

In London, the former Arsenal Stadium has the famous East Stand facade. It remains at

the Arsenal football club's old home at Highbury, London Borough of Islington, which

was vacated in the summer of 2006. Opened in October 1936, the structure now

has Grade II listed status and has been converted into apartments. William Bennie, the

organizer of the project, famously used the art deco style in the final design which was

considered one of the most opulent and impressive stands of world football. TheLondon

Underground is also famous for many examples of art deco architecture.[53] Du Cane

Court, in Balham, south-west London, is a good example of the art deco style. It was

reckoned to be possibly the largest block of privately owned apartments under one roof

in Britain at the time it was built, and the first to employ pre-stressed concrete. It has a

grand reception area and is surrounded by Japanese-style gardens; and it has had

many famous residents, especially from the performing arts.

[edit]Spain

Valencia was built profusely in art deco style during the period of economic bounty

between wars in which Spain remained neutral. Particularly remarkable are the famous

bath house Las Arenas, the building hosting the rectorship of the University of

Valencia and the cinemas Rialto (currently the Filmoteca de la Generalitat Valenciana),

Capitol (reconverted into an office building) and Metropol.

[edit]Germany

The "Rudolf Mosse Publishing House" altered by Erich Mendelsohn in 1923. Jerusalemer St.,

Berlin

In Germany two variations of art deco flourished in the 1920s and 30s: The Neue

Sachlichkeit (New Objectivity) employed the same curving horizontal lines and nautical

motifs that are known as Streamline Moderne in the Anglophone world. While Neue

Sachlichkeit was rather austere and reduced (eventually merging with

the Bauhaus style),Expressionist architecture came up with a more emotional use of

shapes, colours and textures, partly reinterpreting shapes from the Germany and

Baltic Brick Gothic style. Notable examples are Erich

Mendelsohn's Mossehaus and Schaubühne theater in Berlin, Fritz

Höger's Chilehaus in Hamburg and his Kirche am Hohenzollernplatz in Berlin,

the Anzeiger Tower in Hannover and the Borsig Tower in Berlin. Art deco architecture

was revived in the late-20th century by architects like Hans Kollhoff (see his tower

onPotsdamer Platz), Jan Kleihues and Tobias Nöfer.

[edit]Romania

As a result of the inter-war period of rapid development, cities in Romania have

numerous art deco buildings, including government buildings, hotels, and private

houses. The best representative in this regard is the capital, Bucharest, which, despite

the widespread destruction of its architecture during Communist times, still has many art

deco examples, both on its main boulevards and in the lesser known parts of the city.[54]

[55][56] Ploieşti also has many art deco houses.[57]

[edit]Lithuania

Like Romania, Lithuania too had a booming Inter-War industrial boom. One city in

particular, Kaunas, primarily grew. This resulted in the rapid modernization of the city. At

this time it became the temporary capital of Lithuania. Many buildings around the city

were built in the Bauhaus style. Vytautas the Great War Museum, built in 1936, is a

large museum located downtown in Kaunas, along with the Central Post Building and

the Pienocentras HQ Building (1934) are the three most prominent art deco structures

in the city. Today many of theses buildings still stand, apartment complexes and large

government buildings alike survive from this time, even through

the Nazi and Soviet occupations of Kaunas.

[edit]Brussels

One of the largest art deco buildings in Western Europe is the Basilica of the Sacred

Heart in Koekelberg, Brussels. In 1925, architect Albert van Huffel won the Grand Prize

for Architecture with his scale model of the basilica at the Exposition Internationale des

Arts Décoratifs et Industriels Modernes in Paris.[58]

[edit]Asia

New India Assurance Building,Mumbai, India: Master, Sarhe and Bhuta, with N.G. Parsare,

1936

Mumbai has the second largest number of art deco buildings after Miami.[59]

In Indonesia, the largest stock of Dutch East Indies-era buildings is found in the large

cities of Java. Bandung has one of the largest remaining collections of 1920s art deco

buildings in the world,[60] including those by several Dutch architects and planners,

notably Albert Aalbers's DENIS bank (1936) in Braga Street and the renovated Savoy

Homann Hotel (1939). Others were Thomas Karsten, Henri Maclaine Pont, J Gerber

and C.P.W. Schoemaker. The Sociëteit Concordia (now Merdeka Building) is a historic

building in Bandung designed by Van Galen Last and C.P. Wolff Schoemaker.

In Jakarta, surviving art deco buildings include the Nederlandsche Handel Maatschappij

building (1929), now the Museum Bank Mandiri, by J. de Bryun, A. P. Smiths, and C.

Van de Linde; the Jakarta Kota Station (1929) designed by Frans Johan Louwrens

Ghijsels, and the Metropole Cinema in Menteng.

In China, at least sixty buildings designed by Hungarian architect Laszlo Hudec survive

in downtown Shanghai of which many are art deco.[61]

In Japan, the 1933 residence of Prince Asaka in Tokyo is an art-deco house turned

museum.

In the Philippines, art deco buildings are found mostly in Manila, Iloilo City, and Sariaya.

The best examples of these are the older buildings of the Far Eastern University and

the Manila Metropolitan Theater, which are both in Manila.

Examples of art deco architecture in Malaysia include the Central Market and

the Coliseum Cinema in Kuala Lumpur, and the Standard Chartered Building and the

OCBC Bank Building in George Town, Penang.

[edit]Oceania[edit]New Zealand

The town of Napier, New Zealand, was rebuilt in the art deco style after being largely

razed by the Hawke's Bay earthquake of 3 February 1931 and is the world's most

consistently art deco city. Although a few art deco buildings were replaced with

contemporary structures during the 1960s, 1970s and 1980s, most of the centre

remained intact long enough to become recognized as architecturally unique, and from

the 1990s onwards had been protected and restored. As of 2007, Napier has been

nominated for UNESCO World Heritage Site status, the first cultural site in New Zealand

to be nominated.[62][63] According to the World Heritage Trust, when Napier is compared

to the other cites noted for their art deco architecture, such as Miami Beach, Santa

Barbara, Bandung in Indonesia (planned originally as the future capital of Java), and

Asmara inEritrea (built by the Italians as a model colonial city), "none... surpass Napier

in style and coherence.[64]

Hastings was also rebuilt in art deco style after the 1931 Hawke's Bay earthquake, and

many fine art deco buildings survive.

Wellington has retained a sizeable number of art deco buildings, in spite of constant

post-World War II development.[65]

Former Russell Street Police Headquarters, 1940-43, Melbourne, Australia

[edit]Australia

See also: List of Art Deco buildings in Sydney, List of Art Deco buildings in

Melbourne, List of Art Deco buildings in Tasmania, and List of Art Deco buildings in

Perth

Australia also has many surviving examples of art deco architecture. Among the most

notable are Sydney's ANZAC War Memorial, 'mini-skyscrapers', such as theGrace

Building (Sydney) and the Manchester Unity Building (Melbourne) featuring purely

decorative towers to circumvent the height restriction laws of the time; theAWA Tower in

Sydney, consists of a radio transmission tower atop a 15-story building; and the

former Russell Street Police Headquarters in Melbourne, with its main multi-storey brick

building designed by architect Percy Edgar Everett, reminiscent of the design of

the Empire State Building.

In St Kilda, Victoria, the Palais and the Astor theatres are considered some of the finest

surviving art deco buildings in Australia, while many rural towns such asWagga

Wagga, Albury and Griffith also have significant amounts of art deco buildings and

homes.

Cinema Impero, built in 1937, Asmara,Eritrea

[edit]AfricaAfrica's most celebrated examples of art deco were built in Eritrea during Italian rule.

Many buildings survive in Asmara, the capital, and elsewhere.

Also there are many buildings in downtown Casablanca, Morocco's economic capital.

During Portuguese colonial rule in Angola and Mozambique, a large number of buildings

were erected especially in the capital cities of Luanda and Maputo. Cities in South

Africa also contain examples of art-deco design such as the City Hall, inBenoni,

Gauteng, constructed in 1937. There are a few art deco buildings in Egypt, one of the

most famous being the former Cadillac dealership in downtown Cairoand Casa d'Italia

in Port Said (1936)— designed by the famous Italian architect Clemente Busiri Vici.

[edit]Gallery

RCA, now GE Building, 30 Rockefeller Center, under construction, 1933

 

1931 Philips radio, model 930A

 

Ralph Stackpole's sculpture group over the door of the San Francisco Stock Exchange;

(Timothy L. Pflueger, 1930)

 

Pennsylvania RR's S-1locomotive, designed byRaymond Loewy, at the1939 New York

World's Fair

 

Municipal Auditorium ofKansas City, Missouri: Hoit Price & Barnes, and Gentry,

Voskamp & Neville, 1935

 

U.S. Works Progress Administration poster, John Wagner, artist, ca. 1940

 

"Beau Brownie" camera,Walter Dorwin Teague1930 design for Eastman Kodak

 

Former Teatro Eden, now Aparthotel Vip Eden inLisbon, Portugal: Cassiano Branco

and Carlo Florencio Dias, 1931

 

1937 Cord automobilemodel 812, designed in 1935 by Gordon M. Buehrig and staff

 

Delano Hotel, 1947 (Robert Swartburg) and National Hotel, 1940 (Roy F. France),

Collins Ave.,Miami Beach

 

Palacio de Bellas Artes, Mexico City, Federico Mariscal, completed 1934

 

Wall sculpture, Nix Federal Building, Philadelphia, byEdmond Amateis, 1937

 

Wisdom, with Light and Sound, 30 Rockefeller Center, NYC: Lee Lawrie, 1933

 

Women's Smoking Room at the Paramount Theatre, Oakland. Timothy L. Pflueger,

architect, 1931

 

Century Theatre, modern building in historic downtown, Ventura, California, 1998

 

U.S. postage stamp commemorating the 1939 New York World's Fair, 1939

 

"Rytm" (Rhythm), byHenryk Kuna in Skaryszewski Park,Warsaw, Poland, 1925

 

Disused Snowdon Theatre, Montreal, Canada. Opened 1937, closed 1984. Daniel J.

Crighton, architect

 

Union Terminal inCincinnati, Ohio; Paul Philippe Cret, Alfred T. Fellheimer, Steward

Wagner, Roland Wank, 1933

 

Lobby, Empire State Building, New York City.William F. Lamb, opened 1 May 1931

 

Federal Art Project poster promoting milk drinking in Cleveland, Ohio, 1940

 

Bas-relief from the Polish Parliament building inWarsaw, Poland

 

Interior drawing, Eaton's College Street department store, Toronto, Canada

 

Niagara Mohawk Building,Syracuse, New York

Fantastic architectureFrom Wikipedia, the free encyclopedia

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2007)

Fantastic architecture is an architectural style featuring attention grabbing buildings. Such buildings can be considered as works of art, and are normally built purely for the amusement of its owner.

Fantastic architecture should not be confused with Novelty architecture. While both styles have unusual, attention-grabbing designs, novelty architecture is meant to be an advertisement for the business inside, such as buildings with a giant donut on the roof. Fantastic architecture, on the other hand, servers no other purpose than the personal amusement of its builder.

[edit]Examples of Fantastic-style structures

Martin Castle Neuschwanstein Castle Sauer Buildings Historic District by Frederick C. Sauer,

Aspinwall, Pennsylvania Watts Towers by Simon Rodia, Watts district of Los Angeles,

California[edit]

Contemporary architectureFrom Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)

Contemporary architecture is, in broad terms, the architecture of the present day.

The term contemporary architecture is also applied to a range of styles of recently built structures and space which are optimized for current use.

[edit]Topics in contemporary architecture

Blobitecture Computer aided design Critical Regionalism Digital architecture Digital morphogenesis Deconstructivism Sustainable design Futurist architecture High-tech architecture Modern architecture Neomodern architecture Novelty architecture Postmodernism Conceptual architecture Neoclassicism Nanoarchitecture

[edit]Gallery

Sydney Opera House byJørn Utzon, Sydney,Australia

 

National Grand Theatre byPaul Andreu, Beijing,China

 

Guggenheim Museum Bilbao by Frank Gehry,Bilbao, Spain

 

Auditorio de Tenerife bySantiago Calatrava,Canary Islands, Spain

 

30 St Mary Axe by Norman Foster, London, United Kingdom

 

MIT Simmons Hall bySteven Holl, Cambridge,United States

 

Ratner Athletic Center byCésar Pelli, Chicago,United States

[edit]

Contemporary architecture is definable broadly as the building style of the present day. Examples do not necessarily have similar or easily recognizable features, however, because the "style" is really quite varied and has a number of different influences. Even though a precise definition of the term is difficult to articulate, contemporary homes typically include an irregular or unusually shaped frame, an open floor plan, oversized windows, and the use of "green" and repurposed components. Such homes also often have an organic design, fitting into the surrounding space and meeting an immediate need in the area.Prominent contemporary architects include Frank Gehry, who designed the Guggenheim Museum in Bilbao; John Andrews, who designed the CN Tower in Montreal; and Jean Nouvel, who designed the Quai Branly Museum in Paris.

Contemporary vs. Modern Architecture

Although people sometimes use the terms "contemporary" and "modern" architectureinterchangeably, they technically are not synonymous. Modern architecture refers to the building style of the early to mid-20th century. It featured clean lines with an emphasis on function.Some people viewed the elements that characterized modern architecture as too cold and impersonal. This belief lead to the creation of the contemporary style as is recognized today. Like the modern style, it connects indoor and outdoor spaces, but it adds some personal touches and warmth throughout the living space. The use of natural light also plays a big role, so large and expansive windows are a common and easily recognized feature of such homes.AdChoices

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Green Architecture

Green building is also a strong component of the contemporary style. Architects place more emphasis on energy efficiency and use sustainable, natural, and recycled materials to create eco-friendly houses. It's not unusual for builders to thoughtfully integrate these homes into their natural surroundings. People sometimes refer to this practice as organic architecture.The connection extends from the outdoor landscape to the indoor environment. Outside, local plants may be used to decorate the surroundings, or the house may be designed around a prominent natural feature. Living roofs, in which plants are used as roofing materials to

increase energy efficiency, are also becoming popular. Inside, natural materials like bamboo flooring and granite countertops are common.

Reusing Materials

Contemporary architecture often seeks to take old buildings and structures and reuse them in innovative and fresh ways. This might mean a simple redesigning of interior furnishings, or it might entail extensive renovations that dramatically change the look, layout, or function of the space. For this reason, the style often ties easily to work by previous architects and designers, especially since it often uses fairly traditional materials, such as steel and concrete.

Computer Aided Design

Architects and designers often rely heavily on computers as they create their finished product. This allows professionals to produce results that are incredibly precise, durable, artistic, and efficient. Computers also play a role in ensuring the designs are safe and preventing injuries during the construction process. Another major benefit is that they shorten the time it takes to create a structure.

Need as a Driving Force

Whereas desire for particular aesthetic elements typically drove previous styles, need is the primary driving element behind contemporary architecture. Increases in population, along with a reduction of funds and some resources, are forcing communities to explore different means of building and organizing space. One way of defining the style, therefore, is by identifying the structures or designs that meet some pressing need in the immediate surrounding area.The size or use of a given structure by itself does not determine whether an architectural design accurately can fall under the contemporary classification. Skyscrapers in cities are known for leaning toward this style, for example, and may cover dozens of floors and a huge amount of space. Residential homes can also have a contemporary appearance and feel, however. The style appears in both rural and urban neighborhoods.

Contemporary Chic

A closely related concept is contemporary chic. Better known in relation to personal appearance, particularly hair, clothing and accessories, this idea relates to things that are fashionable yet still highly comfortable and functional. Architecture in this style is both useful and artistic enough to set trends.

Related Styles

Over time, contemporary architecture has developed several offshoots, each with its own characteristics, including postmodernism, neomodernism, and deconstructivism, among others. Postmodern and neomodern architecture returned to the use of ornaments on the facade of building. Deconstructivism developed from postmodernism and is characterized by ideas of fragmentation.AdChoices

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MinimalismFrom Wikipedia, the free encyclopedia

This article is about the concept in the arts. For other uses, see Minimalism (disambiguation).

Minimalism describes movements in various forms of art and design, especially visual art and music, where

the work is set out to expose the essence or identity of a subject through eliminating all non-essential forms,

features or concepts. Minimalism is any design or style in which the simplest and fewest elements are used to

create the maximum effect.

As a specific movement in the arts it is identified with developments in post–World War II Western Art, most

strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with this

movement include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt,

and Frank Stella. It is rooted in the reductive aspects of Modernism, and is often interpreted as a reaction

against Abstract expressionism and a bridge to Postminimal art practices.

The terms have expanded to encompass a movement in music which features repetition and iteration, as in the

compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist

compositions are sometimes known as systems music.The term "minimalist" is often applied colloquially to

designate anything which is spare or stripped to its essentials. It has also been used to describe

the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even

the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to

describe the Mensheviks.[1][vague]

Contents

[hide]

1 Minimalist design

2 Minimalist architecture and space

o 2.1 Concepts and design elements

o 2.2 Influences from Japanese tradition

o 2.3 Minimalist architects and their works

3 Minimal art, minimalism in visual art

4 Literary minimalism

5 Minimal music

6 See also

7 Footnotes

8 References

9 External links

[edit]Minimalist design

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. (May 2011)

The reconstruction of Ludwig Mies van der Rohe's German Pavilion in Barcelona

The term minimalism is also used to describe a trend in design and architecture where in the subject is

reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional

design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of

work. De Stijl expanded the ideas that could be expressed by using basic elements such as lines and planes

organized in very particular manners.

Architect Ludwig Mies van der Rohe adopted the motto "Less is more" to describe his aesthetic tactic of

arranging the numerous necessary components of a building to create an impression of extreme simplicity, by

enlisting every element and detail to serve multiple visual and functional purposes (such as designing a floor to

also serve as the radiator, or a massive fireplace to also house the bathroom). Designer Buckminster

Fuller adopted the engineer's goal of "Doing more with less", but his concerns were oriented towards

technology and engineering rather than aesthetics. A similar sentiment was industrial designer Dieter Rams'

motto, "Less but better" adapted from Mies. The structure uses relatively simple elegant designs;

ornamentations are quality rather than quantity[dubious – discuss]. The structure's beauty is also determined by playing

with lighting, using the basic geometric shapes as outlines, using only a single shape or a small number of like

shapes for components for design unity, using tasteful non-fussy bright color combinations, usually natural

textures and colors, and clean and fine finishes. Using sometimes the beauty of natural patterns on stone

cladding and real wood encapsulated within ordered simplified structures, and real metal producing a simplified

but prestigious architecture and interior design. May use color brightness balance and contrast between

surface colors to improve visual aesthetics. The structure would usually have industrial and space age style

utilities (lamps, stoves, stairs, technology, etc.), neat and straight components (like walls or stairs) that appear

to be machined with equipment, flat or nearly flat roofs, pleasing negative spaces, and large windows to let in

lots of sunlight. This and science fiction may have contributed to the late twentieth century futuristic architecture

design, and modern home decor. Modern minimalist home architecture with its unnecessary internal walls

removed probably have led to the popularity of the open plan kitchen and living room style.

Another modern master who exemplifies reductivist ideas is Luis Barragán. In minimalism, the architectural

designers pay special attention to the connection between perfect planes, elegant lighting, and careful

consideration of the void spaces left by the removal of three-dimensional shapes from an architectural design.

The more attractive looking minimalist home designs are not truly minimalist, because these use more

expensive building materials and finishes, and are relatively larger.

Contemporary architects working in this tradition include John Pawson, Eduardo Souto de Moura, Álvaro Siza

Vieira, Tadao Ando, Alberto Campo Baeza, Yoshio Taniguchi, Peter Zumthor, Hugh Newell Jacobsen, Vincent

Van Duysen, Claudio Silvestrin, Michael Gabellini, and Richard Gluckman.[2]

[edit]Minimalist architecture and space

The term ‘minimalism’ is a trend from early 19th century and gradually became an important movement in

response to the over decorated design of the previous period. Minimalist architecture became popular in the

late 1980s in London and New York,[3] where architects and fashion designers worked together in the boutiques

to achieve simplicity, using white elements, cold lighting, large space with minimum objects and furniture.

Minimalist architecture simplifies living space to reveal the essential quality of buildings and conveys simplicity

in attitudes toward life. It is highly inspired from the Japanese traditional design and the concept

of Zen philosophy.[citation needed]

[edit]Concepts and design elements

The concept of minimalist architecture is to strip everything down to its essential quality and achieve simplicity.

[4] The idea is not completely without ornamentation,[5] but that all parts, details and joinery are considered as

reduced to a stage where no one can remove anything further to improve the design.[6]

The considerations for ‘essences’ are light, form, detail of material, space, place and human condition.

[7] Minimalist architects not only consider the physical qualities of the building. Moreover, they look deeply into

the spiritual dimension and the invisible, by listening to the figure and paying attention to the details, people,

space, nature and materials.[8] Which reveals the abstract quality of something that is invisible and search for

the essence from those invisible qualities. Such as natural light, sky, earth and air. In addition, they open up

dialogue with the surrounding environment to decide the most essential materials for the construction and

create relationships between buildings and sites.[5]

In minimalist architecture, design elements convey the message of simplicity. The basic geometric forms,

elements without decoration, simple materials and the repetitions of structures represent a sense of order and

essential quality.[9]The movement of natural light in buildings reveals simple and clean spaces.[7] In late 19th

century as the arts and crafts movement began to be popular in Britain, people valued the attitude of ‘truth to

materials’, with respect to the profound and innate characteristics of materials.[10] Minimalist architects humbly

'listen to figure,' seeking essence and simplicity by rediscovering the valuable qualities in simple and common

materials.[8]

[edit]Influences from Japanese tradition

See also: Japanese architecture

The idea of simplicity appears in many cultures, especially the Japanese traditional culture of Zen Philosophy.

Japanese manipulate the Zen culture into aesthetic and design elements for their buildings.[11]This idea of

architecture has influenced Western Society, especially in America since the mid 18th century.[12] Moreover, it

inspired the minimalist architecture in the 19th century.[6]

Zen concepts of simplicity transmit the ideas of freedom and essence of living.[6] Simplicity is not only aesthetic

value, it has a moral perception that looks into the nature of truth and reveals the inner qualities of materials

and objects for the essence.[13] For example, the sand garden in Ryoanji temple demonstrates the concepts of

simplicity and the essentiality from the considered setting of a few stones and a huge empty space.[14]

The Japanese aesthetic principle of Ma refers to empty or open space. That removes all the unnecessary

internal walls and opens up the space between interior and the exterior. Frank Lloyd Wright was influenced by

the design element of Japanese sliding door that allows to bring the exterior to the interior.[15] The emptiness of

spatial arrangement is another idea that reduces everything down to the most essential quality.[16]

The Japanese aesthetic of Wabi-sabi values the quality of simple and plain objects.[17] It appreciates the

absence of unnecessary features to view life in quietness and reveals the most innate character of materials.

[18] For example, the Japanese flora art, also known as Ikebana has the meaning of let flower express itself.

People cut off the branches, leaves and blossoms from the plants and only retain the essential part from the

plant. Which conveys the idea of essential quality and innate character in nature.[19]

[edit]Minimalist architects and their works

The Japanese minimalist architect, Tadao Ando conveys the Japanese traditional spirit and his own perception

of nature in his works. His design concepts are materials, pure geometry and nature. He normally uses

concrete or natural wood and basic structural form to achieve austerity and rays of light in space. He also sets

up dialogue between the site and nature to create relationship and order with the buildings.[20] Ando’s works

and the translation of Japanese aesthetic principles are highly influential on Japanese architecture.[21]

In Vitra Conference Pavilion, Weil am Rhein, 1993, the concepts are to bring together the relationships

between building, human movement, site and nature. Which as one main point of minimalism ideology that

establish dialogue between the building and site. The building uses the simple forms of circle and rectangle to

contrast the filled and void space of the interior and nature. In the foyer, there is a large landscape window that

looks out to the exterior. This achieves the simple and silence of architecture and enhances the light, wind, time

and nature in space.[22]

John Pawson is a British minimalist architect, his design concepts are soul, light and order. He believes that

though reduced clutter and simplification of the interior to a point that gets beyond the idea of essential quality,

there is a sense of clarity and richness of simplicity instead of emptiness. The materials in his design reveal the

perception toward space, surface and volume. Moreover, he likes to use natural materials because of their

aliveness, sense of depth and quality of individual. He is also attracted by the important influences from

Japanese Zen Philosophy.[23]

Calvin Klein Madison Avenue, New York, 1995-96, is a boutique that conveys Calvin Klein’s ideas of fashion.

John Pawson’s interior design concepts for this project are to create simple, peaceful and orderly spatial

arrangements. He used stone floors and white walls to achieve simplicity and harmony for space. He also

emphasises reduction and eliminates the visual distortions, such as the air conditioning and lamps to achieve a

sense of purity for interior.[24]

Alberto Campo Baeza is a Spanish architect and describes his work as essential architecture. He values the

concepts of light, idea and space. Light is essential and achieves the relationship between inhabitants and the

building. Ideas are to meet the function and context of space, forms and construction. Space is shaped by the

minimal geometric forms to avoid decoration that is not essential.[25]

Gasper House, Zahora, 1992 is a residence that client requested to be independent. High walls create the

enclosed space and the stone floors used in house and courtyard show the continuality of interior and exterior.

The white colour of the walls reveals the simplicity and unity of the building. The feature of the structure make

lines to form the continuously horizontal house, therefore natural light projects horizontally through the building.

[26]

Barnett Newman, Voice of Fire, 1967, National Gallery of Canada in Ottawa

Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8

[edit]Minimal art, minimalism in visual art

Main article: Minimalism (visual arts)

Kazimir Malevich, Black Square, 1915, Oil on Canvas, State Russian Museum, St.Petersburg

Piet Mondrian, Composition No. 10, 1939-42, oil on canvas, 80 x 73 cm, private collection.

Minimalism in visual art, generally referred to as "minimal art", literalist art [27] and ABC Art[28] emerged in New

York in the early 1960s. Initially minimal art appeared in New York in the 60s as new and older artists moved

toward geometric abstraction; exploring via painting in the cases of Frank Stella, Kenneth Noland, Al

Held, Ellsworth Kelly, Robert Ryman and others; and sculpture in the works of various artists including David

Smith, Anthony Caro, Tony Smith, Sol LeWitt, Carl Andre, Dan Flavin,Donald Judd and others. Judd's

sculpture was showcased in 1964 at the Green Gallery in Manhattan as were Flavin's first fluorescent light

works, while other leading Manhattan galleries like the Leo Castelli Gallery and the Pace Gallery also began to

showcase artists focused on geometric abstraction. In addition there were two seminal and influential museum

exhibitions: Primary Structures: Younger American and British Sculpture' shown from April 27 - June 12, 1966

at the Jewish Museum in New York, organized by the museum's Curator of Painting and Sculpture, Kynaston

McShine [29] [30] and Systemic Painting, at the Solomon R. Guggenheim Museum curated by Lawrence

Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped

canvas, Color Field, and Hard-edge painting. [31] [32]In the wake of those exhibitions and a few others the art

movement called minimal art emerged.

In a more broad and general sense, one finds European roots of minimalism in the geometric abstractions of

painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists

associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the

Romanian sculptor Constantin Brâncuşi. [33] [34] Minimal art is also inspired in part by the paintings of Barnett

Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel

Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity

ofAbstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. [35]

Artist and critic Thomas Lawson noted in his 1977 catalog essay Last Exit: Painting, minimalism did not

reject Clement Greenberg's claims about modernist painting's [36] reduction to surface and materials so much as

take his claims literally. According to Lawson minimalism was the result, even though the term "minimalism"

was not generally embraced by the artists associated with it, and many practitioners of art designated

minimalist by critics did not identify it as a movement as such. Also taking exception to this claim was Clement

Greenberg himself; in his 1978 postscript to his essay Modernist Painting he disavowed this incorrect

interpretation of what he said; Greenberg wrote:

There have been some further constructions of what I wrote that go over into preposterousness: That I regard

flatness and the inclosing of flatness not just as the limiting conditions of pictorial art, but as criteria of aesthetic

quality in pictorial art; that the further a work advances the self-definition of an art, the better that work is bound

to be. The philosopher or art historian who can envision me -- or anyone at all -- arriving at aesthetic judgments

in this way reads shockingly more into himself or herself than into my article. [36]

In contrast to the previous decade's more subjective Abstract Expressionists, with the exceptions of Barnett

Newman and Ad Reinhardt; minimalists were also influenced by composers John Cage and LaMonte Young,

poet William Carlos Williams, and the landscape architect Frederick Law Olmsted. They very explicitly stated

that their art was not about self-expression, unlike the previous decade's more subjective philosophy about art

making theirs was 'objective'. In general, Minimalism's features included geometric, often cubic forms purged of

much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.

Robert Morris, an influential theorist and artist, wrote a three part essay, "Notes on Sculpture 1-3", originally

published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual

framework and formal elements for himself and one that would embrace the practices of his contemporaries.

These essays paid great attention to the idea of the gestalt - "parts... bound together in such a way that they

create a maximum resistance to perceptual separation." Morris later described an art represented by a "marked

lateral spread and no regularized units or symmetrical intervals..." in "Notes on Sculpture 4: Beyond Objects",

originally published in Artforum, 1969, continuing to say that "indeterminacy of arrangement of parts is a literal

aspect of the physical existence of the thing." The general shift in theory of which this essay is an expression

suggests the transitions into what would later be referred to as postminimalism.

One of the first artists specifically associated with minimalism was the painter, Frank Stella, four of whose early

"black paintings" were included in the 1959 show, 16 Americans, organized by Dorothy Miller at the Museum of

Modern Art in New York. The width of the stripes in Frank Stellas's black paintings were often determined by

the dimensions of the lumber used for stretchers, visible as the depth of the painting when viewed from the

side, used to construct the supportive chassis upon which the canvas was stretched. The decisions about

structures on the front surface of the canvas were therefore not entirely subjective, but pre-conditioned by a

"given" feature of the physical construction of the support. In the show catalog, Carl Andre noted, "Art excludes

the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting."

These reductive works were in sharp contrast to the energy-filled and apparently highly subjective and

emotionally-charged paintings of Willem de Kooning or Franz Kline and, in terms of precedent among the

previous generation of abstract expressionists, leaned more toward the less gestural, often somber, color

field paintings of Barnett Newman and Mark Rothko. Although Stella received immediate attention from the

MoMA show, artists including Kenneth Noland, Gene Davis,Robert Motherwell and Robert Ryman had also

begun to explore stripes, monochromatic and Hard-edge formats from the late 50s through the 1960s.[37]

Because of a tendency in minimal art to exclude the pictorial, illusionistic and fictive in favor of the literal, there

was a movement away from painterly and toward sculptural concerns. Donald Judd had started as a painter,

and ended as a creator of objects. His seminal essay, "Specific Objects" (published in Arts Yearbook 8, 1965),

was a touchstone of theory for the formation of minimalist aesthetics. In this essay, Judd found a starting point

for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values.

He pointed to evidence of this development in the works of an array of artists active in New York at the time,

including Jasper Johns, Dan Flavin and Lee Bontecou. Of "preliminary" importance for Judd was the work

of George Earl Ortman,[38] who had concretized and distilled painting's forms into blunt, tough, philosophically

charged geometries. These Specific Objects inhabited a space not then comfortably classifiable as either

painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided

easy association with well-worn and over-familiar conventions, was a part of their value for Judd.

This movement was heavily criticised by modernist formalist art critics and historians. Some critics thought

minimal art represented a misunderstanding of the modern dialectic of painting and sculpture as defined by

critic Clement Greenberg, arguably the dominant American critic of painting in the period leading up to the

1960s. The most notable critique of minimalism was produced by Michael Fried, a formalist critic, who objected

to the work on the basis of its "theatricality". In Art and Objecthood (published in Artforum in June 1967) he

declared that the minimal work of art, particularly minimal sculpture, was based on an engagement with the

physicality of the spectator. He argued that work like Robert Morris's transformed the act of viewing into a type

of spectacle, in which the artifice of the act observationand the viewer's participation in the work were unveiled.

Fried saw this displacement of the viewer's experience from an aesthetic engagement within, to an event

outside of the artwork as a failure of minimal art. Fried's essay was immediately challenged

by postminimalist and earth artist Robert Smithson in a letter to the editor in the October issue of Artforum.

Smithson stated the following: "What Fried fears most is the consciousness of what he is doing--namely being

himself theatrical."

In addition to the already mentioned Robert Morris, Frank Stella, Carl Andre, Robert Ryman and Donald

Judd other minimal artists include: Robert Mangold, Larry Bell, Dan Flavin, Sol LeWitt, Brice Marden,Agnes

Martin, Jo Baer, John McCracken, Ad Reinhardt, Fred Sandback, Richard Serra, Tony Smith, Patricia

Johanson, Blinky Palermo and Anne Truitt.

Ad Reinhardt, actually an artist of the Abstract Expressionist generation, but one whose reductive nearly all-

black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art:

The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace

to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature.[39]

Reinhardt's remark directly addresses and contradicts Hans Hofmann's regard for nature as the source of his

own abstract expressionist paintings. In a famous exchange between Hofmann and Jackson Pollock as told

by Lee Krasner in an interview with Dorothy Strickler (1964-11-02) for the Smithsonian Institution Archives of

American Art. [40] In Krasner's words,

"When I brought Hofmann up to meet Pollock and see his work which was before we moved here, Hofmann’s

reaction was — one of the questions he asked Jackson was, do you work from nature? There were no still lifes

around or models around and Jackson’s answer was, I am nature. And Hofmann’s reply was, Ah, but if you

work by heart, you will repeat yourself. To which Jackson did not reply at all." The meeting between Pollock

and Hofmann took place in 1942. [40]

[edit]Literary minimalism

Literary minimalism is characterized by an economy with words and a focus on surface description. Minimalist

authors eschew adverbs and prefer allowing context to dictate meaning. Readers are expected to take an

active role in the creation of a story, to "choose sides" based on oblique hints and innuendo, rather than

reacting to directions from the author. The characters in minimalist stories and novels tend to be unexceptional.

[citation needed]

Some 1940s-era crime fiction of writers such as James M. Cain and Jim Thompson adopted a stripped-down,

matter-of-fact prose style to considerable effect; some classify this prose style as minimalism.[weasel words]

Another strand of literary minimalism arose in response to the Metafiction trend of the 1960s and early 1970s

(John Barth, Robert Coover, and William H. Gass). These writers were also spare with prose and kept a

psychological distance from their subject matter.[citation needed]

Minimalist authors, or those who are identified with minimalism during certain periods of their writing careers,

include the following: Raymond Carver, Ann Beattie, Bret Easton Ellis, Charles Bukowski, Ernest

Hemingway, K. J. Stevens, Amy Hempel, Bobbie Ann Mason, Tobias Wolff, Grace Paley, Sandra

Cisneros, Mary Robison, Frederick Barthelme, Richard Ford, Patrick Holland and Alicia Erian.[citation needed]

American poets such as Stephen Crane, William Carlos Williams, early Ezra Pound, Robert Creeley, Robert

Grenier, and Aram Saroyan are sometimes identified with their minimalist style. The term "minimalism" is also

sometimes associated with the briefest of poetic genres, haiku, which originated in Japan but has been

domesticated in English literature by poets such as Nick Virgilio, Raymond Roseliep, and George Swede.[citation

needed]

The Irish author Samuel Beckett is also known for his minimalist plays and prose, as is the Norwegian

writer Jon Fosse.[citation needed]

In his novel The Easy Chain, author Evan Dara includes a 60-page section written in the style of musical

minimalism, in particular inspired by composer Steve Reich. Intending to represent the psychological state

(agitation) of the novel's main character, the section's successive lines of text are built on repetitive and

developing phrases.[citation needed]

Project in Detail

Edificio Corporativo Darcons

CategoryOffice LocationDelicias / Chihuahua, Mexico ArchitectArquitectura en Proceso, Chihuahua / Chihuahua, Mexico WAF Entry2008

CaptionFirst floor plan level +10.40  Photograph by  

The site is located at a suburban lot of a middle size city in northern Mexico. As one drives towards it and away

from de city, the building appears aligned with the road as an arched gate of a medieval town: looking through it

one gets the scenery of the rural fields that surround the city. 

The building was conceived as a frame that captures part of the landscape and at the same time defines a plane

that divides the intercity from the suburbs. The skin of the building plays a dual role: on one hand it is the

transparent material that allows the view through it, and on the other hand, it is the opaque continuous skin that

defines the shape of the frame and protects the interior from solar irradiance. This skin was manipulated in order

to differentiate the public space from the internal activities of the company: the main reception and the costumer

rooms are outside the envelope raised above the ground as a Piano Nobile and organized as self defined entities.

The operation space is contained within the envelope and flows throughout the building in a three dimensional

open plan that honors the hierarchical organization of the company. In order to solve the continuity of the

circulation the mass of the building was divided in various transversal slices, each presenting an intentionally

different profile and two of them defining the geometry of the north and south elevations. The sequential juncture

of all the slices creates deviations and convergences between the internal operational route and the external

costumer route.

The geometry of the volume is shaped according to a juxtaposition of three rotated orthogonal axis structures.

This was primarily done in an effort to recreate the space complexity produced by a urban grid designed in the

style of the 18th century. The west elevation also benefits from the rotated planes by casting shades onto itself

and minimizing direct sun exposure.

The rule was meant to be broken at the main entrance where the opaque skin suddenly sifts direction to frame a

cantilevered volume that flies above the portico. This creates a gesture of urban scale to emphasize the hierarchy

of the entrance and contain the atrium of the building prior to the stair flight.

 

Lead Architect

Arquitectura en Proceso 

Chihuahua / Chihuahua 

Mexico

moshe safdie: music conservatorium at monash university, australia

3

oct 29, 2012

first image'music conservatorium' by safdie architects, melbourne, australiaimage © safdie architects

marking their first project in australia, american firm safdie architect's 'music conservatorium' on monash university's campus will add a vivacious new center of music and culture extending to the greater melbourne area. the project can be considered in two parts: the reception and lobby space between two mirrored concave precast concrete walls with a large full-height atrium, houses the jazz club,cafe, restaurant, department offices, support spaces, forty individual practice rooms and recording studios. large steel trusses and glass surfaces create an elevated transparent space that invites visitors inside in a semi-public area.

the 500-seat recital hall boasts a more vertical language, composed of curved solid forms that control the levels of light in the performing areas and multipurpose auditorium. the exterior contains a green landscape with an amphitheater connected to monash walk, a large promenade where most pedestrians circulate.

curved shell of the theaterimage © safdie architects

transparent lobby and reception facing monash walkimage © safdie architects

central atriumimage © safdie architects

recital roomimage © safdie architects

jazz club/cafeimage © safdie architects

recording studioimage © safdie architects

500-seat recital hallimage © safdie architect